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Raimat
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Simón Coll
Snacks Aldi
Tayaimgut
Via Avgvsta
Viar
Viña Pomal
Viña Zaco
Voortrekker
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Projects
Intramurs
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Intramurs

Founded in 1150, the Royal Monastery of Santa Maria de Poblet is the most important Cistercian monastery in Catalonia. The contributions of the Cistercian Order, which was founded in Burgundy a little over half a century beforehand, included its assertion of the importance of the monks’ manual work. As a result of this, they played a decisive role in developing European viticulture.

For a wine that arose from the highly individual tradition of Poblet Abbey, we suggested the name “Intramurs” (between walls), as it is made in the monastery’s winery, within its walled enclosure.

The graphic motif chosen is a 12th-century capitular letter from the first Bible illustrated in the Cistercians’ own style, the so-called Saint Steven Harding Bible, named after one of the Order’s founders. This Bible is preserved in the municipal library of Dijon (France), near the original Cistercian Abbey, founded by Robert of Molesme in 1098.

The colours used in Cistercian art and the abundance of white reflect the spirit of monastic austerity. The strong character of the capitular letter stands out in clean and ordered graphic surroundings as corresponds to a wine with a contemporary profile, thus combining tradition and modernity.


Abadia de Poblet, Naming, Packaging

Amatller Leaves Tins
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Amatller Leaves Tins

The idea behind the product was born from the desire to offer high quality chocolates for personal use after an impulse purchase. The aim was for the brand to reach a wider audience through traditional points of sale spread widely throughout the marketplace.

The impulse attraction was strengthened by using small metal boxes with four different decorations so as to increase collectability. Compositions taken from old Chocolate Amatller posters, created by illustrators Alphonse Mucha and Rafael de Penagos, were selected. The display material contains 40 small metal boxes with two different varieties of chocolate leaves, as well as a large metal box (featuring two designs, see images 4 and 5), making them more attractive for retailers.


Amatller, Packaging

Amatller Leaves Redesign
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Amatller Leaves Redesign

A new design of chocolate pieces shaped like a leaf. The new concept has a more natural look, conveying higher quality and making them more tempting.

Previously pointed flat pieces, cut from a bar of chocolate, now the shape is more rounded and simple, allowing for mechanized handling and making it easier for them to lie flat during packaging.


Amatller, Packaging

Amatller Amatllons Tins
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Amatller Amatllons Tins

Amatllons are a traditional speciality of Chocolates Amatller. They are toasted and caramelised Marcona almonds, coated with white chocolate and powdered with cocoa- a combination which rarely fails to impress anyone who tries it.

Now in a 125 g box, ideal as a gift, the new aim was to succeed in getting new consumers to discover Amatllons by also offering them in a format that made individual consumption easy in one more impulse purchase. To this end, one of the Amatller brand’s old designs was chosen to create a series of small tins (images 2 and 3). Their success has brought about new tins with more capacity, also reproducing the same motifs in highly vivid colours (image 1).

In order to have an attractive display for the smaller tins at the point of sale, another historic design was adapted to a large container tin (image 4) and a cardboard box-display was also designed as a restocking format.


Amatller, Packaging

Amatller Flowers Tins
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Amatller Flowers Tins

The so-called Chocolate Amatller “Flowers” are chocolates in the shape of an almond flower - referring to the brand name - which were initially filled with fresh truffle perfumed with "marc de cava", with many more varieties now presented.

For the launch, four different tins were produced for which we selected four old illustrated front covers with floral motifs taken from early 20th-centry Chocolates Amatller almanacs. The attractiveness of the brand’s graphic heritage makes these tins of 12 chocolates a perfect gesture to give as a present or to yourself to add to your collection. The “Flowers” tins are in turn presented in an attractive display tin (image 4) that exhibits the different presentations.


Amatller, Packaging

Origins Bars
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Origins Bars

This is a range of bars produced using cacao from a single origin, Ecuador or Ghana, with the two cases providing percentages of 75% or 85%. Apart from these four bars there is also one made with milk chocolate - which always has the lowest cacao content - originating only in Ghana and with a touch of the renowned Bourbon vanilla.

These bars are graphically expressed in a black top half which highlights the information that sets them apart, strongly contrasting with the lower area illustrated with an expanded detail of the faces of the central figures of two posters by Alphonse Mucha, with the organic structure of the typical Art Nouveau strokes, produced for Chocolates Amatller in the late 19th century.


Amatller, Packaging

Bach Frizzante

Bach Frizzante

Bach, a strongly-positioned brand in white wines, decided to market a wine produced from Muscat grapes and of the “frizzante” type - in other words, slightly carbonated as a result of natural fermentation.

Although the brand has a classic and traditional character, the competitive orientation of the product at the briefing indicated that this should not hinder creativity in the approach to its packaging, beyond maintaining Bach as the brand name.

In other aspects, they wanted to get away from the traditional green code of many white wines. We selected a stylised bottle in intense blue glass, capable of transmitting the product’s freshness and lightness. The profile was that of a pleasant wine, refreshing and easy for a very wide audience, ideal for unceremonious enjoyment, as an aperitif or with meals. In short, a tone of communication much more relaxed than the norm in wines gave rise to greater graphic freedom in order to achieve a strong and personal impact capacity.

The solution combines simplicity with forcefulness in the proven duotone of white and blue. The label presents an inner die-stamp with the schematic shape of a fish with small bubbles over the blue of the bottle. Culinary pairings apart, the fish motif introduced the bubbles as a feature of this wine, an aspect expressed more obviously through the type of closure and stopper used. The swing-tag in the form of a fish hanging from the neck of the bottle adds a cheerful wink that attracts attention on the shelf.


Bach, Packaging

Baldo, dog food range
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Baldo, dog food range

Redesign of the packaging for the dry dog food products under the Baldo trademark, sold at generalist points of sale.

To represent each pet, different customised illustrations were produced, which are of a highly detailed, pen-and-ink type and in a hyper-realistic style, and stand out over the white background common to all the brand’s products. The distinction between each product is made using the particular colour of a large circle that combines all the information, from the trademark to the net weight. The character of the design comes from a simple and forceful idea that especially lies in the quality of the illustration (see image 3) in its rich complexity compared to the simplicity of the other elements with which it coexists.


Baldo / Kimba, Packaging

100% Graciano
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100% Graciano

This is the first in a collection of wines that aren’t produced on a regular basis. For each harvest, the winemakers at Bodegas Bilbaínas decide to create a limited-run wine based on the particular quality of a specific varietal that year, which is rarely or never seen. This is the case of a native Rioja grape, Graciano, which is normally used to extend the lifespan of reserve wines in blends dominated by other varietals and is showcased here on its own in a varietal wine.

Given that the wine in question varies each year, a common Bodegas Bilbaínas label was needed on which to print the specific information. The front label was composed using the winery’s historical graphic material, reserving a central space, highly visible in red, to identify each specific wine.


Bodegas Bilbaínas, Packaging

Classic Collection

Classic Collection

The origin of the brand’s current visual code lies in the new packaging design for the Castey Classic products. It was a qualitative treatment serving the central display of the product, which acclaims each piece without distracting attention.

The colour associated with the boxes of Castey products has traditionally been black and this has been maintained, due to both the brand’s traditional specialisation in black cast iron pieces and its connotations of quality. The red of the sides and some elements of the facing identify the Induction Line, while the yellow identifies the Yellow Line. The development of the entire collection involved adapting the new design to almost a hundred products, between piece typologies and their different sizes.


Castey, Packaging

Vulcano Collection

Vulcano Collection

The Vulcano collection features the incorporation of silicone grips and handles in its die-cast aluminium pieces in a functional and aesthetic design conceived by National Design Award winner Jorge Pensi.

The packaging of the new Vulcano collection follows the latest graphic guidelines set for Castey cookware products. With regard to the Classic collection, the difference in the boxes is assured through the prominence of the image of the piece over the black background, combined with the silver colour on the sides and some elements of the facing.


Castey, Packaging

Senso Collection

Senso Collection

Nobody buys a set of cutlery without having a good look at its pieces. The more personal and aesthetically individual its design, the more important and necessary it is to show it clearly. The Senso collection has been created by National Design Award winner Jorge Pensi and provides a synthesis of austere and the elegant lines, very contemporary, and an almost sculptural perception, smooth, organic and strongly material.

Faithfully and simply highlighting the attractiveness of Senso cutlery is the function of the boxes defined to contain different groupings of cutlery according to its use. The anthracite background of the boxes contrasts with the stainless steel of the pieces reproduced on the front of their corresponding set. The only exception are the large boxes with complete cutlery sets for 6 or 12 services, which are usually displayed open at the points of sale.


Castey, Packaging

Artic Collection

Artic Collection

Artic represents Castey’s entry into the stainless steel cookware market, maintaining its innovative reputation also in this new segment for the brand.

The Artic collection is a turning point with regard to everything that has been on offer in this market until now, due to both the greater technical advantages of its Trimetal Induction© stainless steel and its excellent modern design, with unprecedented and ingenious features created by National Design Award winner Jorge Pensi. The packaging stands out from the black boxes of the cast iron collections due to its characteristic metallic blue colour, also used in other materials in the collection.


Castey, Packaging

Anna de Codorníu Blanc de Noirs
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Anna de Codorníu Blanc de Noirs

Anna de Codorníu Blanc de Noirs is a new cava in this family that, although it is white, is made entirely from the red Pinot Noir grape. This peculiarity is the result of a complex and delicate process, as is the sensation created upon tasting, given that the demanding Pinot Noir is one of the most highly celebrated and prestigious varietals for sparkling wines.

This premium selling point had to be compatible with a visual appearance that was faithful to the joint visual code of the Anna de Codorníu products. The dark, metallic gray capsule and medallion quickly set it apart from the rest of the brand’s cavas. In addition to the tagline with the Pinot Noir varietal, the name “Blanc de Noirs” enriches the graphic architecture of the label with an elegant calligraphy stamped in gold.


Codorníu, Packaging

Copa Sabia Cavas
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Copa Sabia Cavas

When the aim of a project is expressed as a slight redesign, it can be more difficult than taking on a new creation. In this case, the margin of action was limited inasmuch as the brand had already managed to create a not inconsiderable dip in sales in its export market.

The distance of this market from the original world of cava explained some aspects, such as the choice of the name “Copa Sabia” as trademark of the range and the unrelated appearance of a heraldic shield as its symbol.

From its original presentation (see image 3) we maintained the importance of the large metal frames of the labels. On the other hand, we deleted the simulation of the texture of the cork in the metal capsules to recover the nobility of the clean material. A conceptual exercise consisted of relating name and symbol, for which the inclusion of a grail-type vessel in the shield illustration sufficed. The shield was redesigned to enrich the whole and also to appear in watermark form in various areas of the labelling.


Copa Sabia, Packaging

Optima Range
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Optima Range

The Optima range operates in the pet food category known as Premium, with products that are sold through specialist establishments and which exclude the feed channel. It is an extremely competitive category, dominated by large global brands. In this context, the strategic alternatives for a brand like Cotecnica’s Optima could be simplified into two diametrically opposed ones. You can completely imitate the leading brands and sell yourself as a “me-too” at the price the market lets you or, conversely, strive to be and appear as a different and attractive option, defending your image and your margin. Although the second alternative undoubtedly involves more risks, it is the only one which offers the chance to build a brand with a future.

The new Optima range presents the important benefit of including fresh meat, something unique in its product category and which stands out in its packaging. Consistent with the above, another unique trait of the new Optima is its look, more qualitative than most of the brands in its segment, which prioritise other perceptions. With the aim of ensuring the immediate recognition of the various products in the range, in each variety the colour of the top half of the packs changes, while in the bottom half, changes are made in the pet and the colour of the block containing all the information on the variety and its characteristics.


Cotecnica, Packaging

Maxima Range
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Maxima Range

In Cotecnica’s portfolio, Maxima is the brand positioned as high range and directed at the specialist channel. In terms of the main benefit that Cotecnica offers the market, it means that the Maxima products incorporate higher proportions of fresh meat in the formulation of their ingredients, reaching their highest level in Maxima Excellence and Maxima Grain Free.

One of the weak points of the previous design lay in differentiating the varieties, as there was very limited use of colour and the image of the pet was identical in all the products. These questions have been resolved in the new presentation.

With the mandate of maintaining the brand’s most outstanding visual feature, which is the black background of its bags, the new design has sought to gain in sophistication and interest by giving depth to the previous solid background.


Cotecnica, Packaging

Maxima Grain Free Cats Range
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Maxima Grain Free Cats Range

The success of the Grain Free concept launched for dog food gave rise to the same rationale applied to cats which, being felines, are originally carnivores. As a result of this, the Maxima Grain Free range has also been extended to three new varieties for cats.


Cotecnica, Packaging

Maxima Grain Free Dogs Range
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Maxima Grain Free Dogs Range

The main feature of the Maxima Grain Free range is that it does not contain cereals. In other words, it offers a composition that responds to what a dog’s natural food would be if it were in the wild. As a descendant of wolves, the organism of any dog is that of a carnivorous animal which, on its own impulse, can occasionally consume fruit or vegetables, but never grain.
This rationale perfectly completes Cotecnica’s positioning of offering unbeatable levels of fresh meat in its top ranges. In Maxima Grain Free this involves reaching up to 70% meat in the total content, a percentage which is strongly highlighted on the packs by means of a table, together with the zero percentage of cereals. The evocative power of this particular super-premium food concept is reinforced by converting the black background of the top part of the packs into an appealing landscape.


Cotecnica, Packaging

Maxima Grain Free Hypo-Allergenic Range

Maxima Grain Free Hypo-Allergenic Range

This is a range with an added plus as regards “Grain Free” food, offering a monoproteic food composition that helps to prevent the frequent allergies suffered by dogs.

This sub-range is differentiated by the white colour of its bags, which transforms into a snowy profile in the photograph at the top. The same structure of elements as the rest of the “Grain Free” range is highlighted over it.


Cotecnica, Packaging

Dominante
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Dominante

The three wines under the “Dominante” brand make up a range aimed at the off-trade channel in European export markets. An origin identifiable as a Spanish product to be reflected in the choice of the naming, along with the format of the bordelaise bottle, were the defining factors of a design project that had to be completed without delay due to the firm expectations of immediate sales.

The client was considering a contemporary image line, but removed from both the eccentricities and the classic code of Spanish wine. This target was reachable by using certain shapes and graphic architectures in the labelling, such as the structure of the text that stands out over the landscape label and which covers the central space of the brand with its symbol below. But from our point of view, the most critical thing was to provide an appropriate visual translation of a name as expressive as “Dominante” (domineering): What could be the symbol of a wine called “Dominante”?

As a Spanish wine aimed at a European audience we avoided reinforcing any violent or controversial connotations. We therefore discarded associations with the Spanish conquistadores or the world of bullfighting. Instead we went for the world of horses, which presented very positive traits, with values of nobility, tradition and elegance that could also be capitalised under a Spanish hallmark. “Dominante” is therefore associated with the silhouette in gold stamping of a horse in a classic posture of dressage, an art with acknowledged roots in Spanish equestrian culture.


Dominante, Packaging

Ederra Reserva and Crianza
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Ederra Reserva and Crianza

Together with Viña Pomal, Ederra is one of the historical brands of Bodegas Bilbaínas. In recent years, Ederra had lost its visual identity by taking on a label structured exactly like that of Viña Pomal, which had previously been “modernized”. This led to a situation in which the two were only distinguishable by the name on the label. In addition to the disputable question of squandering the rich history of two brands, this also led to confusion on the market, as the two wines were nearly identical in look but belonged to two different price ranges.

The proposal had to respect the classical formalism of the brand, which obviously belonged to the same family as Viña Pomal. However, the problem of Ederra’s then excessive and damaging similarity was solved by eliminating a trait added in the previous redesign that is part of the visual make-up of Viña Pomal: the line that frames the front label on its wines. At the same time, Ederra once again took on the royal coat of arms as its symbol, which in 1925 accredited it as the wine consumed on a daily basis in the Royal Palace during the reign of King Alfonso XIII.


Ederra, Packaging

Verdejo Frizz

Verdejo Frizz

Today more than ever launching a new product is a real challenge, but it is also an opportunity to orchestrate all the potential attraction of the initiative under an almost implacable criterion of effectiveness.

We had a very pleasant and easy to drink product, slightly sparkling, produced with Verdejo, one of the most successful varietals in recent times. It was positioned in a price range which was attractive, but which also meant it was crowded with alternatives.

As well as making it stand out on the wine shelves, it was necessary to communicate the nature of a fairly uncommon product - a partially fermented must of Verdejo grapes, which provides a characteristic sparkle and just 5.5% alcohol content. In this regard we recommended being very explicit when proposing the naming for the product: “Verdejo Frizz 5.5º”, where “Frizz” refers to a name for this type of production, the Italian “frizzante”. In the face of other possible options, we recommended the use of a sparkling wine stopper to help understand the product.

We addressed the goal of impacting and attracting based on designing an image that was not gratuitous but which would reflect the product organoleptically - very fresh, smooth and light, naturally sweet but with a pleasant acidity - floral and fruity on the palate. The challenge materialised in the creation of screen printed illustrations of flowers floating over a stylised green bottle.

Thanks to its attractive and distinctive look, and with an image totally faithful to what the product offers, Verdejo Frizz has multiplied the forecast sales on its entry into the market.


Frizz, Packaging

GoldenBridge, children's cereals range
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GoldenBridge, children's cereals range

Redesign of the children’s breakfast cereals range, made up of 7 products under the Goldenbridge brand name.

Following the established code of personifying each product with a character, we decided to make a series of monsters the central characters of the range. Always with a friendly and imaginative feel, the mischievous aspect of these characters captures children’s attention. The freedom of forms and colours provides the range with a highly varied character which is at the same time cohesive. The quality of the illustrations, their expressiveness and dynamism, the impact of the tones and the myriad of details and nuances, including the names of the varieties, form a range that does not go unnoticed and which invites each box to be looked at closely.


GoldenBridge, Packaging

GoldenBridge, Style cereals range
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GoldenBridge, Style cereals range

Redesign of a range of 4 varieties of cereals under the sub-brand Style by Goldenbridge.

In the previous design this name, along with a large female silhouette and the use of pastel colours, sent an erroneous message of a light product or one for dieting. We agreed to avoid these allusions but to maintain the feminine character through the conception of the calligraphy and the product still-lifes. Specifically, a fluid and pleasant calligraphy was created on a photographic background of white stripped wood that envelops the whole pack. It highlights an off-centre composition with a breakfast bowl along with the ingredients of the corresponding variety.


GoldenBridge, Packaging

GoldenBridge, Classic Muesli range

GoldenBridge, Classic Muesli range

Redesign of a range of 4 varieties of muesli under the GoldenBridge brand name.

When the new “Muesli Cruijiente” line was introduced, we distinguished this previous range by calling it “Classic Muesli”, as its four varieties present the type of mixture of cereals and ingredients that corresponds more to the original breakfast muesli in central European tradition.

In its previous design the range was called “Activ”, with the word circumscribed in a dynamic vortex. The meaning deduced from this was that being a high-energy product, consuming it enabled the consumer to be highly active. We agreed not to pre-judge its use when opting for the sub-brand “Classic Muesli”: it was perfectly suitable and suggested visual details capable of creating its own image, parallel to that of “Muesli Crujiente”. The vintage feel of the calligraphy we commissioned and the linen tablecloth texture under the bowl are resources that transmit the idea of offering a traditional breakfast of natural quality.


GoldenBridge, Packaging

GoldenBridge, Muesli Crujiente range

GoldenBridge, Muesli Crujiente range

Design of a new range of 3 varieties of muesli under the GoldenBridge brand name.

The GoldenBridge range of muesli varieties was already extensive, but this new range was to be included because its characteristics fitted in better with the majority of local tastes. We therefore proposed to name it “Muesli Crujiente” (Crispy Muesli) to highlight this particular feature.

The two GoldenBridge muesli ranges share an imagery of natural tradition. The design of their boxes presents a front part with an overhead photo shot of the bowl with the product and milk. In the case of the “Muesli Crujiente” line, the intense tones of the image highlight the wooden texture on which the bowl is resting, like that of a table that has become cracked over the years, with the evocative ingredients of each variety around it. The personal character of the specific calligraphy, created for the name of the range and each variety, completes the perception of a product with traditional, artisan roots, which provides all the quality of simple, healthy and natural ingredients.


GoldenBridge, Packaging

GoldenBridge Corn Flakes

GoldenBridge Corn Flakes

Corn flakes were the first product created in the late 19th century in the form of flakes of toasted cereal for breakfast. The subsequent development of this category, by adding ingredients and different shapes, has converted the simple corn flakes into a basic product in the cereals range. Nonetheless, our intention was not to make the new design of the GoldenBridge product visually basic, and to give it its own character and attractiveness.

The combination of the photographic image with the illustration and the reproduction of a calligraphy that associates the name with the product’s main attributes creates a pack with a highly personal look. The dynamism, familiarity and informality it transmits do not detract from the perception of a product of excellent quality.


GoldenBridge, Packaging

GoldenBridge, chocolate stick range

GoldenBridge, chocolate stick range

Redesign of a range of two varieties of chocolate-enrobed sticks, plain and milk chocolate, under the GoldenBridge brand name.

The differences as regards the other range of muesli-type cereal sticks are substantial; therefore they have not been integrated in a common image. The product is very different in itself, much finer and bathed in chocolate, but the main reason behind its consumption is no less so. The product is a very appetising and tasty snack capable of satisfying hunger and which can be used to control the ingested energy intake. This is why it is as important to get across that the product satisfies the palate and the stomach at the same time as to highlight on the pack the low calories each bar contains.

The similarity between the audience and the consumer motivation of these chocolate bars and the “Style” cereals range is also translated into related graphics. In both cases, the product still-life stands out over a white background of stripped wood, giving the ensemble lightness and smoothness. The description just above is written in the same type of calligraphy as we created for “Style” - personal, fluid and with an agreeable and optimistic feel.


GoldenBridge, Packaging

La Granja, product ranges
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La Granja, product ranges

Although La Granja began by making traditional products which very quickly stood out from the norm due to their taste and quality, the company later became a pioneer in breaking new ground. After the traditional ones, they created a range of products to serve dietary-type functional requirements which the first organic bakery products in the Spanish market followed.

When beginning the redesigning process, the current strategy through which various brands had been created in order to group together these different product categories was questioned. In some cases there were up to three cascading brands. “La Granja”, which was in last place as a confidence-inspiring brand and was almost imperceptible. The first recommendation was to support La Granja as a single brand and give it an equal look and position in all its products.

The fact that most bakery products are generally packaged in bags and that their transparency is almost essential is an obstacle to achieving brand identification with impact and value. Image 2 shows what La Granja products were like before we intervened. Taking advantage of a time of change in the packaging lines, we proposed a solution unprecedented in the category, that of adding a cardboard easel on the top closure of the bags. The idea of the easel was basic to enabling the brand-name bias and dignifying the quality of an excellent product. But due especially to the breadth of the range of products on offer, the easel was to be vital to easing the identification of each product and its typology for the buyer. The easel under the La Granja brand name features the description of the product and a side banner whose colour indicates whether it is a traditional product (red) or of a dietary type (blue). In turn, in order to distinguish the organic range, as well as indicating it on a banner (in this case brown), a deeper differentiation, as is the use of completely kraft-coloured banners, was used.


La Granja, Packaging

La Granja, Diet range
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La Granja, Diet range

The La Granja Diet range combines products with some relevant characteristics from the dietary point of view. For example, this would be the case with products that contain no added sugars or which have been produced from whole cereal or enriched with omega 3.

With regard to the traditional products, those making up the Diet range are identified as such by means of a blue banner located in the margin of their cardboard easels.


La Granja, Packaging

La Granja, organic range
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La Granja, organic range

La Granja was the first firm in the Spanish bakery sector to launch products made using only raw materials of an organic origin and certified as such.

Producing under the organic premise resulted in a considerably extensive range, as it not only combined the traditional products they had always offered, but also other traditional dietary ones. In the case of the sugar-free varieties - those produced using whole flour, buckwheat flour, etc.- the enormous development perspectives, most especially in export markets, made it advisable to personalise this La Granja product line. A primary distinction was established: the kraft cardboard tone of the easels that close the bags, compared to the light background of the traditional and dietary product lines.


La Granja, Packaging

La Granja, traditional range
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La Granja, traditional range

The structuring of the range of dietary products and products with organic ingredients in the La Granja portfolio, now in the form of two visually-identifiable ranges, brought about the need to also group the brand’s initial products into a “traditional” range.

The quality and taste of the original products were what established the reputation of a family company that was founded on the grandmother’s recipes prepared in the oven of their kitchen. These muffins and brownies of all types are identified by their red banner in the left margin of their respective cardboard easels.


La Granja, Packaging

Legaris Young Wines

Legaris Young Wines

Design of two new young wines under the Legaris brand: a “Roble” red from Ribera de Duero and a white Verdejo de Rueda varietal. The brand already has a Ribera de Duero Crianza and Reserva; the briefing instructions were to maintain the LEGARIS visual identity defined in these two products. Furthermore, the reality was that the graphic structure of the elements present in the current label design offered little margin to introduce variations without modifying brand perception in developing the two new wines.

We opted to codify their unique selling point as young wines using two interventions to set them apart from the current Reserva and Crianza wines while maintaining their common affiliation. With the necessary adjustment, the new wines are fully Legaris with a more modern touch that fits with the character of the product.


Legaris, Packaging

Calmo de Legaris
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Calmo de Legaris

The information provided by the winemakers of Legaris, in the D.O. Ribera del Duero, pointed to the creation of a wine with all the requirements for achieving an iconic status for the winery. Starting by selecting the best grapes from old strains of Tinta Fina, the area’s top variety, always harvested and processed by hand, the entire production process led step by step to obtaining a wine of the highest level. A wine which would only leave the winery as such if the vintage ensured that the quality offered was exceptional. Nevertheless, its most distinctive oenological feature was the fact that it was one of the so-called “free-run” wines. A production system in which the recently-harvested grapes slowly release the must throughout the night, without undergoing the usual pressings.

A very slow process by which, breaking the silence of the winery drip by drip during the night, the future wine is progressively created. This highly evocative image led us to propose the name that the briefing asked us for: Calmo de Legaris. And it also defined a bottle presence which had to stand out among the other Legaris wines. The description “nocturnal free-run wine” suggested a dark image, in spacious labelling with a rich texture in which the bronze of Legaris is highlighted in the text and in a pewter plaque with the relief of the winery’s symbol.


Legaris, Packaging

Mas Pere Cava Range
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Mas Pere Cava Range

Mas Pere offers seven different cavas. The baseline situation was that of a little-integrated range, which established a value scale by introducing double labelling, starting from a certain level (see image 3). However, the rather “ad hoc” solution of the presentation of each cava, combined with the conviviality of different bottles and tones of glass, contributed to a rather confused dispersion. Neither did it stand out in perception of value, as the combination of resources employed (stamping, reliefs, shield, etc.) did not succeed in adding either character or special attraction to a rather anodyne image.

The briefing aimed at gaining perceived value using a classic language, the original language of cava and champagne. As a product with an imagery of celebration, of consumption at special times, cheerful, bright and luxurious, dressing the Mas Pere cavas elegantly would confirm the promise of its quality, would more efficiently awaken this aspirational connection of the category and would fit in with its higher price positioning.

Like an haute couture dress in a dominant single tone, this was also the key to designing the range, which at the same time achieved the personalisation of each product and a differentiation at range level rendered coherent by an identical architecture. Each cava's label, neck and cap were matched in a single colour tone, displaying a monochrome design with a discrete and qualitative metallic matt. Only the “entry-range” cava and the two cavas at the opposite end - packaged in special bottles - break slightly with the uniformity by presenting white labels. The simple, centred architecture, presided over by the brand name with its re-valued shield, results in classic cavas which transmit undoubted quality, well crafted down to the last detail, with valuable modern restraint which displays wealth without ostentation.


Mas Pere, Packaging

Upgrading Möller For Man
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Upgrading Möller For Man

What we see as rapidly progressing markets usually reflect the dynamic of a social reality that in a short time traps the briefings and leaves them behind as obsolete. And alongside them, the preconceptions on consumption they contain and as a consequence, also their communication from the image of their packaging.

The context of the redesign of the “Möller For Man” brand and men’s cosmetics product line could be described in this way. Although light years away from the women’s market, this one is an ongoing opportunity for the cosmetics industry in response to changes in uses and attitudes which do not come about from generation to generation, but during the course of a single one. Many of the men who today regularly use facial moisturisers do not find it difficult to go on to adopting corrector and concealer creams, for example. It is a mistake to only see a feminisation of habits and not to understand it as a response to an almost Darwinian demand - which does not discriminate between men and women - to present a good appearance in a society of private and professional relationships under the pressure of permanent public exposure.

To this social environment there is added the company’s own internal one: its capacity to contribute technical innovation which provides new reasons to choose visually renovated products. Its “Flashtec” technological development highlights the ultra-fast effect of the active ingredients of the formulations, in response to the values that men give to speed in obtaining the desired effects, together with easy and quick application. A development in this regard is that users have now learned the different types of cosmetic products available to them and their perception has become unbiased. Proof of this is that between the previous design (see image 4) and the current one, the highly educational visual coding of the functions and uses of the various products is no longer necessary. Another change is that of ceasing to symbolically emphasise the technical nature and innovation with the intention of masculinising the cosmetic image. The new packages are much more sober in this regard and reflect that looking after your skin is increasingly a regular pattern with a preventive sense, which overcomes the liability of a previous perception by justifying its use through the necessity to solve specific problems.


Möller For Man, Packaging

Pastoret Yoghurts 500g
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Pastoret Yoghurts 500g

Best Packaging Gold Award 2012.

In Pastoret’s commitment to differentiation, the introduction of a new and unusual 500g yoghurt format was proposed. As with the 125 g format, it was decided to use a distinctive waxed cardboard packaging which, in this case, included a lid in the same material.

In particular, the height of this format permits an elegant and balanced vertical arrangement, which begins with the brand name and closes at its base with the attractive illustrations created for the five varieties on offer - natural yoghurt, sugared yoghurt, strawberry, peach-passion fruit and raspberry.

The final aim pursued was for both the painstaking production process and the promise of quality and pleasure when sampling these yoghurts to be inferred and made credible just by looking at their packaging. Or what is the same, to achieve a highly effective impact on consumers that leads them to confirm the good initial impression by purchasing the product.

The reactions aroused to date in current and potential customers, in the distribution channels and in the domestic and international markets, seem to confirm that this has been achieved beyond all expectations.


Pastoret, Global Project, Packaging

Pastoret

Pastoret "Mató" cheese

“Mató” is a traditional Catalan cottage cheese normally eaten as a dessert, soaked in honey and accompanied by nuts. Pastoret’s new image converts a product with an efficient packaging but also very common into something much more personal, able to transmit the simplicity, care and freshness of craftsmanship. Not surprisingly, the excellent quality and the taste of the “mató” that Pastoret has traditionally produced constitutes one of the company’s foundations for growth.


Pastoret, Global Project, Packaging

Pastoret Yoghurts 125g
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Pastoret Yoghurts 125g

Best Packaging Gold Award 2012.

The visual tenet of yoghurts is defined by the great players of the market in cold food shelves. With their plastic moulded trays, their labelling shows a great deployment of colours, shapes and messages following the impact of brands and sub-brands and of the identification of the variety, a distinction that becomes increasingly complex with the line extensions. As a field of play removed from the interests of a brand like Pastoret, we wanted to get away from this visual code and establish an own code capable of communicating greater value.

It was clear that up to that point the Pastoret 125 g yoghurts had not done this (see image 3) Prior to the new design, the visual chaos of their appearance was, if anything, accentuated by concentrating the information in a top-lid, maintaining the same white plastic container for all the varieties.

To begin with, the plastic was abandoned in favour of using a waxed cardboard tub, similar to those used for ice creams. The packaging permitted personalised decoration for each flavour by creating illustrations with great quality of production. As regards the design, in contrast to the visual noise that dominates the shelves, the Pastoret products succeed in creating their own qualitative, simple and quiet space. The painstaking, conscientious preparation, the cleanness and the freshness make up a generalised perception of looking at a product of a different quality - superior, intended only for the consumer’s pleasure and enjoyment.


Pastoret, Global Project, Packaging

Pastoret Cottage Cheese

Pastoret Cottage Cheese

The fresh cow and goat milk cheeses are currently one of the most prevalent of Pastoret’s specialities on the mass distribution cold food shelves. Located together with a competition whose appearance mostly responds to the impact tenets of high consumption, their contained and neat style, common to Pastoret products, establishes their own space. The presence of the Pastoret fresh cheeses thus stands out and is differentiated, while it communicates a highly personal perception of superior quality.


Pastoret, Global Project, Packaging

Pastoret Caprichos de Yoghourt
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Pastoret Caprichos de Yoghourt

The success of the response to the launching of the Pastoret range under the name of “Caprichos de Yoghourt” (Yoghurt Whims) was key to defining the general direction the company was going to take. Among other consequences, it contributed to defining the positioning which has led to the new design of the brand and of all the products by Lateral Branding.

With eight very attractive varieties, each “Capricho” consists of a creamy, Greek-style yoghurt between two layers of flavours, creating combinations as original and evocative as, for example, a yoghurt with a base of pistachio sauce and finished off with a white chocolate cream.

The initial success of the "Caprichos" was undoubtedly due to the product’s intrinsic quality, as the other factors did not help in this regard. Suffice it to say that they were launched in plastic packaging and with a general appearance inconsistent with a sophisticated and highly priced product profile which had been devised for being served in restaurants. However, the inappropriateness of the appearance did not prevent the product from gaining the esteem of a consumer who found it in gourmet retail stores such as delicatessens, select cooked meat stores, etc.

The development of a new volume for a personal glass pot was the essential step towards ennobling the product’s appearance and not impeding its potential to reach a wider selective distribution, including the catering industry. As an individually sold product, we did not want to conceal the visual attraction of a product with three layers through the glass. All the information on each “Capricho” is concentrated in a booklet tied around the small jar with string. A treatment which emphasises the qualitative and simple line of Pastoret packaging and which seeks to induce consumers to try a product which, when doing so, is so good that it is not forgotten.


Pastoret, Global Project, Packaging

Puro Arte
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Puro Arte

The names mark them out. The distributor who chose this highly traditional expression as a brand name for two wines aimed at export markets probably thought it was totally ideal, due to its original Spanish stamp and to being easily understood as a promise of outstanding winemaking.

Nevertheless, visually expressing what may be “Pure Art” is a much more committed, if not controversial, matter. As this had to be done in any case, the solution was to make the “pure art” mentioned exclusively graphic, focussing on the reproduction of the brand itself which dominates the entire label. As a result of this, both wines take on a highly contemporary character and style, as well as a very personal and forceful presence on the shelves, without losing the initial input that gave meaning to the brand name.


Puro Arte, Packaging

Raimat Abadia Line

Raimat Abadia Line

The design for Raimat’s most well known line, in both domestic and foreign markets, establishes the brand’s visual personality by introducing a two-tone double label that is also used in the rest of the wines (the varietals, special blends and organic wines). It also marks the structure for the other brands and claims: Raimat on the upper label and the sub-brand for the product line and the varietal on the lower label.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat Terra
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Raimat Terra

Liderpack 2010 Award.

Raimat Terra groups the future line of Raimat wines born from the winery’s certification as an organic vineyard, as they use no agrochemical products. Reflecting these same ideals, the packaging uses environmentally friendly materials: a lighter bottle, tin capsules printed with water-soluble ink, and a natural cork stopper, as well as eco-friendly labels.

For the Raimat Terra wines, the upper label displaying the brand is set apart from the rest of the Raimat wines by changing the black background for a brown tone. The lower, white label shows an embossed grape-leaf vein.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat Vallcorba
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Raimat Vallcorba

Raimat Vallcorba is an excellently blended wine that shows the high quality this winery is capable of offering. The lower, white label is made larger in size and visual weight in order to display the enological characteristics of the wine in copper-stamped text.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat Chardonnay-Xarel·lo Cava
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Raimat Chardonnay-Xarel·lo Cava

One of the characteristics of Raimat’s sparkling wines is their use of varietals not frequently seen in cavas, which is reflected in a unique image on a personalized bottle shape. Both aspects change with the new Raimat Brut Nature cava: which proposes a blend of the international Chardonnay varietal and the Xarel·lo, one of the three grapes typically used to make cava, in a traditional bottle.

This balance is manifested in the packaging design by striking a balance between the different codes used for Raimat wines and sparkling wines, as well as a compromise between the restraint, visual simplicity and strong chromatic contrast of the Raimat visual identity and the shinier, lighter, brighter and more festive world associated with image of cavas.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Gama Castell de Raimat
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Gama Castell de Raimat

The sub-brand Castell de Raimat groups together varietal wines grown and vinified on the Raimat grounds. According to the visual structure defined by the brand, the lower, white label displays all the specific information. This includes brief tasting notes for the wine in question and an illustration of the castle that overlooks the vineyards, reinforcing the brand’s roots in this line.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat Clamor Line

Raimat Clamor Line

The Raimat Clamor line is made up of three every-day wines: a red, a white and a rosé. Unlike the double label of the rest of the Raimat wines, these three products from the basic line have only one white paper label that replaces the previous transparent plastic design that didn’t properly reflect the product’s quality.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat Abadia Bag-in-Box

Raimat Abadia Bag-in-Box

Bag-In-Box is an essential format for some Scandinavian markets in which Raimat, and its Abadia line of wines in particular, are well established, as the demanding consumer insists on good wine for every-day use without giving up the convenient pricing of a more affordable format.

Respecting the characteristic separation of color on the Raimat label, in this format the lower part displays a suggestive close-up photograph of the wine, red or white, in a glass.

This execution is part of the global project Raimat.


Raimat, Global Project, Packaging

Raimat 100
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Raimat 100

“For the strains to bear fruit they need something more than fertiliser and work - they need care, they need to be watched over often with the loving gaze of their master or keeper.”

This could be the translation of the quote in Catalan that appears on the label of Raimat 100. The sentence belongs to Raventós, the creator of Raimat, which is today a large winery surrounded by a sea of vineyards that emerged from a desert wasteland and which is celebrating its 100th anniversary with a commemorative wine. Sticking closely to the Raimat style, Raimat 100 is a very limited edition of an extraordinary coupage of Chardonnay and Xarel·lo grapes. Combining an indigenous variety like Xarel·lo with the Chardonnay burgundy one - which Raimat practically introduced to the Iberian peninsula - demonstrates the creative audacity that has always typified this pioneer winery in so many fields.

The design essentially expresses what it is - a very special Raimat wine which pays homage to its founder on the occasion of its centenary. It does this on in almost wraparound label, which focuses the attention on three central elements: the large “100” in gold stamping that announces the Raimat brand name above and the calligraphic text of the quote by Manuel Raventós below. As a highly individual edition, although it is a departure from the design structure of other Raimat products, it breathes the same values through a contemporary and qualitative air that is clean and restrained.


Raimat, Packaging

Anima de Raimat
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Anima de Raimat

The individual winemaking style provided a “very Raimat” character to wines aimed at specialist stores and the catering industry. The briefing sought to identify a personal name for this range, as well as to singularise its image against the visual uniformity of other wines of the brand.

For the project, Lateral Branding suggested the name “Anima de Raimat” and a graphic conception that made its close connection to the brand equally explicit through an authentic Raimat motif which was in turn as representative and attractive as possible. Having assessed different alternatives, they are localised in the interior of Raimat Castle, which overlooks the estate, with early 20th-century handcrafted tiles with the shield presenting the Raimat name based on the composition of the cluster of grapes (“raïm”) and the hand (“mà”). With the exact narrative of the concept ensured by means of the tiles and their significance, their presence makes up a visual of great impact, both on the wine bottles and in the materials that accompany them.


Raimat, Packaging

Gold by Rondel

Gold by Rondel

Among all the categories of wine, perhaps the most evident special quality in the character of cava as a product is its association with being consumed at times when there is something to celebrate. This is a very powerful visual feature, due to its great popularity, and the packaging design must reflect this more forcefully the more the cava is a mainstream one aimed at a wide target audience. This is the case with the Rondel cava brand which, when the Christmas period is about to kick off, puts on its party dress with its Gold by Rondel edition.

Aimed at the shelves and with good value for money, the impact of Gold by Rondel’s golden sleeve is the determining factor for impacting, capturing the attention and showing a profile completely in line with what it represents and what is expected of this product.


Rondel, Packaging

San Miguel Gluten Free
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San Miguel Gluten Free

Our work occasionally gives us the chance to delve into social situations and needs to which our client companies wish to respond. Such as knowing the clear injustice of the cost of someone’s shopping tripling automatically and permanently simply because they suffer from celiac intolerance.

The initiative of making the products for this increasingly numerous group cease to be like strange flowers, that can only be found at the price of gold in select garden centres, is therefore laudable. To change this state of affairs it is crucial that the large brands and their star products - in this case San Miguel beer - promote their “gluten free” adaptations. It is a decision which puts these products within everyone’s reach, due both to the capability of giving them massive distribution and by fixing an affordable price that corresponds to an everyday high-consumption product like beer.

As is to be expected, the beer which celiac disease sufferers wish to enjoy is a real San Miguel. Therefore in the first place, the key was to guarantee gluten-free production that maintains the organoleptic qualities of the product we all know. We then went on to the design challenge: the bottles of “gluten-free” beer on the shelves had to be unmistakably San Miguel but at the same time perfectly distinguishable from the regular San Miguel beer. To be effective, as well as the “gluten-free” mention and the official symbol certifying the fact, the new product was associated with a specific light green colour tone, widely present on the labels of the bottles and the design of the basket that groups them together.


San Miguel, Packaging

Prior Scala Dei
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Prior Scala Dei

The design of Prior de Cellers de Scala Dei was inspired by the historical legacy of this emblematic winery, the first in the Priorat to market bottled wine. It is a winery which even today continues to cultivate the same steep terraces worked by the monks of the Scala Dei Carthusian monastery since its founding in the 12th century.

The appearance of Prior harks back to the style of the covers of 18th-century codices, evoking times prior to the final abandonment of the Carthusian monastery following the confiscation of the church lands and assets in 1835. The editorial and historical character of the typography, the frequent use of black and red duotone, the arrangement of the texts on the label and the old seal of the Scala Dei Carthusian monastery create an image true to the origin and formal sobriety imprinted by the monastic roots of this great Priorat wine.


Scala Dei, Packaging

Garnatxa Scala Dei
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Garnatxa Scala Dei

One of the wine varieties most associated with Priorat D.O.C. is Grenache, whose Aragonese-Catalan origin is well known and which became firmly established in France, Italy and many other regions with Mediterranean climates. While the specific conditions of each region stipulate the varieties that grow in it, the wine created from these Grenaches owes its exceptional profile and acknowledged quality to the uniqueness of the Priorat geography, of which its slate soils, the so-called “Licorella”, are especially typical.

In the same way that the wine is described with a traditional name - “Vi Fi de Terrer”, i.e. “fine wine of the native soil” - visually speaking its label also reflects a formal classicism that has its roots in the historical authenticity of its monastic origin. Seen in the visual references of yesteryear that inspire the label, the use of red ink in the texts qualifies the sober restraint of its appearance and gives the presence of this wine a strong personality.


Scala Dei, Packaging

Scala Dei, Three Grenaches
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Scala Dei, Three Grenaches

Scala Dei is the benchmark winery of D.O.C. Priorat. Its origin is connected with that of the monastery of the same name, which from the 12th century on promoted vine growing on the steep slopes of the land under its control. This is why the region is known as the Priorat, the Priory.

But Scala Dei was also the first winery to produce, bottle and market high-quality wines, the first to believe in the enormous qualitative potential of the Priorat wines. The fact that it owned the oldest and most privileged vineyards, with a rare variety of heights and soils that provide differentiations which are a priceless source of qualities and nuances for the work of the winery, contributed to this.

These conditions have enabled the renowned Scala Dei winemakers to produce a unique project whose results have been rapidly recognised and celebrated by the oenological world. The production of three wines which, despite sharing the same varietal - the classic Grenache - and the same 2010 vintage, are nevertheless very different. The three wines, each with its own unique barrel, expose the rich organoleptic diversity that three soils of different types give to a single Grenache grape:

- Of a vineyard with “licorella” soil, the typical slate of the Priorat, in the wine La Creueta de Scala Dei
- Of a vineyard with a red clay soil in the wine St. Antoni de Scala Dei
- Of a vineyard that has a soil with boulders or alluvial stones in the wine Artigots de Scala Dei

The three wines, all of inevitably very low production, were grouped together to enable comparative sampling of their respective profiles. The defined image responds to the high level of the wines, with a parallel classic structure in the three wines of great austerity and simplicity. An appearance that is faithful to the historic nature of the winery and in particular, to its Carthusian roots.


Scala Dei, Packaging

Cartoixa Scala Dei
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Cartoixa Scala Dei

The Priorat region takes its name from that of the large area of rugged terrain under the control of the prior of the once-powerful Carthusian monastery of Scala Dei. The fact that this wine is named Cartoixa (i.e. Carthusian monastery) is due to the continuity of the connection with the vineyards tended by the monks in the Middle Ages and for its importance and significance in the region. Because Cartoixa is not only the Scala Dei wineries’ most emblematic wine; it is also a landmark in the winemaking history of the Priorat, having been the first wine to be bottled under the Denomination of Origin.

In its decades of existence and with the evolution this brings, Cartoixa has remained a benchmark of quality and of the strong personality of Priorat wine in its rapid international acclaim. Its image in bottle responds to the only truth that tasting it cannot reveal, the special quality of its ancient historical monastic origin which is reflected in a graphic combination - symbol, typography, chromatics, architecture - tremendously simple but highly qualitative in its austerity.


Scala Dei, Packaging

Simón Coll Chocolate Bars
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Simón Coll Chocolate Bars

Although the redesign of the SIMÓN COLL chocolate-bar line maintains the structural features of the previous packaging, the aim was to take a significant step forward in the brand's perceived value, a role this product range had to take on as the main public element of the renewed SIMÓN COLL, a brand dating back to 1840.

The types of chocolate, -50% cocoa, 70% cocoa, milk and white chocolates, chocolate with almonds, and sugar-free options-, had previously been codified using a different background colour for each bar. Now each variety is identified by a different coloured stripe. Visually, the rest of the packaging follows the brand architecture, using a high quality linear paper in white, the colour of the brand's most popular chocolate bar.

The colour stripe divides the space between the logo area and the new illustration of the sailboat below, which identifies the chocolate-bar line. With the restyling, the wrapping system for the whole formats range (200g, 85g and 18g) has been modified from the former folded paper sleeve to a one-piece wrapping.

The simple, clean lines of the packaging are enhanced with the use of embossed paper with the texts and the sailboat illustration printed in gray, reserving black only for the brand name.

This execution is part of the global project SIMÓN COLL.


Simón Coll, Packaging

Simón Coll's Small Chocolate Bars
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Simón Coll's Small Chocolate Bars

Scaling of the new chocolate-bar image to smaller formats, the 18g chocolate-bar line and the 5g "napolitanas" line. This small, square chocolate for coffee is the only format where the SIMÓN COLL brand logo is fully displayed, with the sailboat in the background as a watermark, following the corporate version.

This execution is part of the global project SIMÓN COLL.


Simón Coll, Packaging

Simón Coll 1880 Artwork
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Simón Coll 1880 Artwork

The SIMÓN COLL brand kept some of its more traditional chocolates in their original packaging dating back to the end of the 19th century. This is the case of, for instance, the thick bars of "chocolate a la piedra" (stone chocolate) also known as "chocolate a la taza" (chocolate by the cup), which evokes the origins of chocolate in Europe, when cocoa beans were ground on a stone, the Aztec "metate", and chocolate was consumed exclusively in drink form.

This old design features the illustration, appropriately naive, of the original SIMÓN COLL sailboat between two landscapes, with people ploughing a field and collecting sugar cane respectively, symbolizing both shores of the ocean. Once the brand had been redesigned and was ready to be applied to these products, we not only kept the historical pattern but also took the opportunity to make it more faithful to the original artwork.

This execution is part of the global project SIMÓN COLL.


Simón Coll, Packaging

Taps al Marc de Cava Truffles
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Taps al Marc de Cava Truffles

It is not surprising that one of the traditional specialties of this century-old chocolate company based in Sant Sadurní d'Anoia, capital city of cava sparkling wine, is a marc de cava chocolate truffle. Like the "bouchons", a similar product from the region of Champagne, “Taps al Marc de Cava” are chocolates shaped like champagne corks. They are traditionally sold in a dark-green cava bottle with an opening in the bottom to remove the chocolates.

The result of their previous packaging (see image 3) was a product that, when placed on a store shelf, did not stand out at all from a real bottle of cava, going unnoticed except by those who were aware of this specialty. For this reason, when faced with imagery from the two categories of reference (cava and chocolate) in the redesign, we chose to tip the scales towards the latter.

The choice of a more selective bottle that stood out and was more transparent not only helped avoid any confusion but also allowed for a better view of the chocolates. In terms of graphics, the label design responds to an ornamental style while still maintaining the visual neatness that characterizes Simón Coll’s packaging. Both chocolate and cava references share values of tradition, wealth and celebration, as well as a particular graphic style that links the historic graphic code used for cavas and that of the most traditional chocolates. Often given as a gift, the Taps bottle is presented inside an elegant white cardboard box.


Simón Coll, Packaging

Simón Coll's Three Wise Men and Santa Claus
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Simón Coll's Three Wise Men and Santa Claus

One of Simon Coll’s traditional specialties is making foil-wrapped chocolate figurines, which are purchased at Christmas as gifts for children or used to decorate the Christmas tree. In line with all the work previously done for the brand, the goal was to revalue a very good chocolate product aimed at children, avoiding the banal appearance and carelessness that usually prevails in this product category and making it attractive to adult buyers as well.

By updating the decorated foil wrapping, we were able to connect with contemporary tastes and put these wrappings on par with the quality and expressiveness of images, for instance, in the present-day illustrated children's books. The excellent reception these received when presented at international fairs led to the creation of new assortments based on drawings of Santa Claus and the Three Wise Men.


Simón Coll, Packaging

The Three Wise Men and Santa Claus chocolates
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The Three Wise Men and Santa Claus chocolates

One of Simon Coll’s traditional products, this simple 18g chocolate bar, becomes the perfect seasonal item with just simple changes to the packaging design, attracting much more attention and making it a commercial success in any market.

For this reason, after the Three Wise Men came the more recognizable Santa Claus and, after Christmas, many other holidays that may provide an unexpected sales boost for Simón Coll’s high-quality milk chocolate bars.


Simón Coll, Packaging

Simón Coll's Assorted Christmas Figurines

Simón Coll's Assorted Christmas Figurines

The impact of the characters on the individual wrappings is enhanced by the same images shown on the cardboard packaging that seals each bag. This product’s appeal and ability to awaken children’s imagination makes it stand out in this category in which, in general, not enough attention is given to design.

Having aroused the interest of many international distributors, more cardboard bag closers were created with new illustrations of different assortments of chocolate figurines.


Simón Coll, Packaging

Simón Coll's Cacao Nibs
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Simón Coll's Cacao Nibs

In the technical language of the cocoa experts, the word "nibs" refers to sliced, toasted cocoa beans. Obtaining the cocoa nibs is one of the first stages of the chocolate-making process.

Being chocolate manufacturers from bean to bar, Chocolates Simon Coll decided to introduce an unprecedented product concept for its domestic market based on these cocoa nibs. This initiative perfectly highlights the company’s expertise obtained through their more than 170 years of experience. The marketing guidelines were to launch an adult chocolate snack, geared toward impulse purchases and individual consumption as it was packaged in small tins sold in display boxes. The target audience is adults that enjoy bitter dark chocolate because this is not your average chocolate. Although every little nib is covered in 70% dark chocolate, its crunchy core, the nib itself, is pure cocoa and thus quite bitter.

The consumer’s lack of previous references regarding the nature of this product led us to include educational elements in the packaging and display box design. The decoration around the small dispenser of cocoa nibs shows, with a level of detail of a botanical illustration, the branches of a cocoa tree with its pods. This attracts customers and demonstrates the visual quality necessary to entice them to try this product.


Simón Coll, Packaging

Chocolate
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Chocolate "Turrones"

"Turrones" (almond nougats) as well as chocolate “turrones” are one of the traditional foods eaten at Christmas in Spain. Simón Coll produces, only for the season, a number of types of chocolate “turrones” with different varieties and presentations geared towards either food stores or pastry shops and bakeries.

White folding boxes with a window showing the product variety were chosen for this range to be sold in pastry shops and bakeries. The result is a serious, high-quality appearance in line with the image expected of products sold through this distribution channel.


Simón Coll, Packaging

High Cocoa Content Bars

High Cocoa Content Bars

For a company backed up by 175 years of producing chocolate from the cocoa beans it selects and imports directly, offering chocolate bars with a high cacao content is today almost a requirement. The Simón Coll chocolate bar range - the one with the illustration of the sailing ship that transported the cocoa over the seas - ended up with a maximum of 70% cocoa. The new range now includes three new tablets, made up of 70% cococo with cacao nibs, 85% cocoa and 99% cocoa.

So that they could present a specific identity compared to the others, the three new varieties include illustrations based on cocoa - on its beans, on this tropical tree and on its leaves. Its colourful presence bursts out above and below a format which is kept vertical and shares the clean and qualitative elegance associated with the Simón Coll brand.


Simón Coll, Packaging

Drinking and Cooking Chocolate Bars
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Drinking and Cooking Chocolate Bars

Dating back to the 1840 origins of this chocolate producer, the bar for making drinking chocolate is possibly Simón Coll’s most long-lasting product. Its image, which maintains the graphic style of the 19th century, has made it one of the brand’s iconic products.

The interest it arouses in consumers in both the domestic and export markets is supplemented by the growing importance of chocolate as a culinary ingredient. As a result of this, Simón Coll decided to complement the classic version with three new varieties for drinking or cooking. 60% cocoa and cinnamon, 60% cocoa and vanilla and 70% cocoa with chilli and pepper. Visually speaking, the breakdown of the flavours shares the historic monochrome appearance of the design of the original product by allocating a single distinctive colour to each variety in a wrapping whose background is in a much more tenuous tone of the same colour. A display box has also been designed for the three new products.


Simón Coll, Packaging

Home Baking Range
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Home Baking Range

Bakery professionals have always had a range of products and formats which Simón Coll produces and markets according to their needs. The recent fondness for homemade pastries and for cooking which uses chocolate as an ingredient has boosted the demand for products that were previously restricted to the professional sphere. In their corner shops, consumers look for products to use in different ways - to melt for preparing sauces or bathing desserts, as chips to add when making homemade pastries, or for finishing off an ice cream with a topping of chocolate vermicelli or a tiramisu with powdered cacao.

This situation gives Simón Coll the opportunity to have a presence at points of sale where it is not normally found, making it known to a wider target audience as a traditional brand expert in chocolates, through more specialised cocoa products. The range, packaged in bags and canisters, includes a variety of chocolate types (according to the percentage of cacao, with milk, white, etc.) and in different forms (drops, vermicelli, powder, etc.).


Simón Coll, Packaging

Chocolate Bars with Whole Almonds
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Chocolate Bars with Whole Almonds

The chocolate bars with almonds - 50% chocolate and 70% cocoa and two milk chocolate formats - initially formed part of the common presentation of Simón Coll bars that reproduces the symbol of the brand, the ship that transported the cacao in the time when the brand was created (1840).

The redesign seeks to highlight products which coexisted too discretely with all the other bars. Products which are very highly valued due to the flavour provided by the quality of the almonds used - always from this country, whole and toasted every season - combined with the chocolate in the Simón Coll style, produced from cocoa beans which are toasted in two stages following a special process that enhances the flavour of the almonds.


Simón Coll, Packaging

Winter chocolates

Winter chocolates

The Christmas-theme chocolate bars are supplemented by new themed illustrations, which can extend the temporary duration of this type of product to the whole winter season. The winter motif chosen for the three illustrations is one of snowmen, and maintains the line created for Simón Coll in all the previous productions, as regards always offering very attractive, high-quality production which transmits empathy and warmth.


Simón Coll, Packaging

Aldi chips range
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Aldi chips range

The design we devised groups a wide range of different flavours of potato chips, as well as varieties of corn nachos and vegetable chips. When conceiving the packaging, the photographic still-life of the product was imposed, as metallic bags are almost always used, with no chance of a window. Due to the extension of the range and given that the appearance of the products is similar, we allocated different bag colours to each variety.
With the functional aspect resolved, we looked for a feature that would give the range personality and attractiveness, arousing attention and impulse to buy. The idea was to personify each variety in a character representing it, with their bust-type illustration over the main description of the flavour. The slightly humorous communication tone is catchy and fits in well with this type of product. It also gives the range cohesion, as the features of the central character - a man or a woman as appropriate - are always repeated. Thus a single character is dressed as a mariachi in the nachos or as a gentleman with a bow tie and monocle in the more gourmet potatoes, those fried in extra virgin olive oil. In the case of the woman, she appears Flamenco-style in the cured ham flavour or Italian in the pizza-flavoured potatoes, for example, so that the design invites you to discover the many varieties on offer.


Snacks Aldi, Packaging

Aldi children's snacks range
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Aldi children's snacks range

Its design combines a wide range of snacks, most notably the extruded products, under a design we classify as juvenile. One imagines that the profile of consumers of many of these kind of snacks coincides with those who eat sunflower seeds or toasted corn; therefore although these products are of a different type, they share a common focus and design.

The creative idea was to show the snack in a photograph, taking part in an illustrated story. In an informal style, highly imaginative scenes are presented that are not exclusively aimed at children. The link common to them all is the world of the circus, with a degree of absurdity that raises a smile. Each product’s name is located on a large balloon in its own colour that helps to differentiate the options in the range. For this description we even created a new typography which breathes a style in tune with that of the illustrations.


Snacks Aldi, Packaging

Aldi nuts range
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Aldi nuts range

Nuts must be the most traditional snack products of all time and they are considered natural, healthy and familiar. This profile explains the simplicity of the specific design we proposed, along with an important practical determining factor. Being a wide range, in bags almost always small and often with a window, it is a priority to identify the contents well. The illustrations of the corresponding nuts thus seek to ensure this.


Snacks Aldi, Packaging

Tayaimgut Sauvignon Blanc
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Tayaimgut Sauvignon Blanc

LAUS Silver Packaging Award. LAUS 2009.

The current aesthetic explosion in wine image design has created somewhat unclear perceptions of the real quality of the product behind each label. TAYAIMGUT is a Sauvignon Blanc made through total personal dedication in both its vine growing and winemaking, elaborated on a small scale. To its producer, a wine can only be appreciated when tasted. Therefore, all you can do after making it is explain what gives the wine is special characteristics and forego aesthetic issues. This led to a fortunate paradox: the absolute priority of the content finally gave rise to an interesting, distinctive form.

An unusual, eye-catching, folded label hanging from the neck of the bottle contains an extensive explanation of the ups and downs of each year’s crop. The role of the label on the front of the bottle is mainly functional and basic: it attaches the aforementioned folded label and allows customers to identify the wine while consuming it. Due to the absence of illustrations or symbols, the label’s typography takes on a leading role. The bottle is a standard shape and only a tiny paper seal protects the cork. The final result is as extraordinary as the quality and the name of this wine.


Tayaimgut, Packaging

Via Avgvsta Extra Virgin Olive Oil
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Via Avgvsta Extra Virgin Olive Oil

INNOFORUM Best Packaging Award. FÒRUM GASTRONÒMIC, Girona 2009.

Inspired by the concept, the VIA AVGVSTA bottle evokes the shape of the amphoras that were used to transport Hispanian olive oil, the most highly esteemed in the Roman Empire, throughout the known world at the time.

An exclusive, personalized bottle was designed for the product with the embossed symbol of the coin and the brand name written at its base, available in two sizes: 500 and 250ml. Its special black glass (not painted glass) protects the product from sunlight.

On the neck of every bottle, a hangtag summarizes the brand story and offers information on the product, like the taster’s note. Below the tin capsule, a stopper drain incorporates a system to collect any drips.

An individual case and personalized bag attend to demand for the product as a prestigious gift in certain outlets.

This execution is part of the global project VIA AVGVSTA.
http://www.via-avgvsta.es


Via Avgvsta, Packaging

Via Avgvsta Tasting Kit
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Via Avgvsta Tasting Kit

We proposed having a VIA AVGVSTA tasting kit as an introductory tool for the specialised trade. The tasting ritual is a perfect representation of the brand tone and presents this to a targeted selection of traders and outlets. It consists of an oak box, with quality finishings and the brand in laser engraving, containing a bottle of VIA AVGVSTA olive oil, special tasting glasses, small china plates personalised with the brand and a saltcellar. A special edition was made to show the two current VIA AVGVSTA products together, oil and vinegar.

Finally, in order to give out samples to clients or within fairs, small sachets have been produced containing a tiny sample of the olive oil.

This execution is part of the global project VIA AVGVSTA.
http://www.via-avgvsta.es


Via Avgvsta, Packaging

Via Avgvsta Wine Coupage Vinegar

Via Avgvsta Wine Coupage Vinegar

The power of the concept, the appeal of the design and new commercial opportunities quickly led to the extension of VIA AVGVSTA beyond just olive oil, adding an Andalusian wine vinegar in the 250cl bottle. It is a unique vinegar, a sweet-and-sour coupage of aged Sherry vinegar and Pedro Ximénez sweet grapes.

This execution is part of the global project VIA AVGVSTA.
http://www.via-avgvsta.es


Via Avgvsta, Packaging

Via Avgvsta Organic Olive Oil

Via Avgvsta Organic Olive Oil

In markets such as the US and the United Kingdom, the organic extra-virgin olive oil has soon become the top-end quality category in olive oils. Via Avgvsta positioning in these markets made it necessary to offer a product in this segment.

This execution is part of the global project Via Avgvsta.
http://www.via-avgvsta.es


Via Avgvsta, Packaging

Viar Turrones (Spanish Nougats)
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Viar Turrones (Spanish Nougats)

Among the different specialities that Viar produces, the initial redesign project focused on one of the brand’s seasonal but emblematic products - its wide range of “turrones” (Spanish nougats). In any of the 4 formats differentiated by the weight and shape devised, the packaging consists of a paperboard container in which only two inks and a relief in the brand name are used.

The design concept is very simple. Precedence is given to the size and location of the window through which the “turrón” variety is identified, as the containers have been devised as multipurpose so that they can hold the very different types offered and thus be able to reduce stocks. The presence of the brand name is structured in each format based on the window, and always accompanied by a generic text


Viar, Packaging

Viña Pomal Alto de la Caseta
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Viña Pomal Alto de la Caseta

Viña Pomal Alto de la Caseta is a wine that expresses all the knowledge and prestige of this winery. It is the result of an ongoing selection and is only available in a very limited edition. This wine brings together the best of each harvest with the most careful elaboration. Creating Alto de la Caseta has been a challenge for the enological team and its excellence only further enhances and demonstrates the prestige of the Viña Pomal brand.

For this reason, Alto de la Caseta had to be inseparable from Viña Pomal in its graphic look and feel. The image had to share an identifiable family feel while expressing the higher status of this product, through a higher quality treatment of the elements that set it apart and by transmitting subtle elegance.

For Viña Pomal Alto de la Caseta we created natural, untreated oak boxes containing one or four bottles. The wine brand and that of Bodegas Bilbaínas are branded into the outside of the boxes and inside customers find printed materials in which the enological team presents the wine and explains how it is made.

This execution is part of the global project Viña Pomal.


Viña Pomal, Global Project, Packaging

Viña Pomal Reserva and Crianza
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Viña Pomal Reserva and Crianza

Recovering the historic legacy of the Viña Pomal image meant examining the brand’s first labels from the beginning of the 20th century. Here we find the main keys, as these labels establish the traits that set this brand’s graphic style apart from the rest of the small set of great Rioja brands it belongs to.

Eschewing the normal distribution of a symbol above the brand aligned along the central axis of the label, for many years Viña Pomal maintained a highly personal structure in which the brand alone occupied the central position, placing the illustration of their emblematic winery on the upper part of the label and off to one side. In this redesign we have returned to this distribution, balancing the space with another highly significant element, the prescriptive tag "Denominación de Origen Calificada Rioja" (Rioja Qualified Designation of Origin) and a seal that expresses another asset that can be capitalized on: the fact that the brand holds the oldest bottler registration number in Spain. The elements surrounding the brand neither detract from its starring role nor make it seem old fashioned, thanks to the way they are treated graphically.

For Viña Pomal Reserva, we went back to a larger label that is more appropriate for the brand’s traditional Burgundy bottle. This bottle immediately sets the Reserva apart from the Viña Pomal Crianza, which uses a Bordeaux bottle. The latter has a smaller label that is located on the upper part of the bottle face. However most of the graphic traits of the Reserva are maintained, for example the burgundy frame.

This execution is part of the global project Viña Pomal.


Viña Pomal, Global Project, Packaging

Viña Pomal Centenario Reserva and Crianza
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Viña Pomal Centenario Reserva and Crianza

Both of these products are special editions commemorating the 100th anniversary of the Viña Pomal brand, which were destined to appear on wine lists at fine restaurants or in specialized wine shops.

On Viña Pomal Centenario, both the Reserva and the Crianza, the traditional burgundy frame seen on the Viña Pomal labels appears in old gold and the interior of the brand in grey.

This execution is part of the global project Viña Pomal.


Viña Pomal, Global Project, Packaging

Viña Pomal Gran Reserva

Viña Pomal Gran Reserva

Redesign of the brand’s Gran Reserva wine to fit with the new image of the Viña Pomal Reserva and Crianza. By maintaining the colors used in the previous presentation, we ensure that it is easily differentiated and quickly recognizable.

This execution is part of the global project Viña Pomal.


Viña Pomal, Global Project, Packaging

Viña Zaco and Viña Zaco Ecológico Redesign
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Viña Zaco and Viña Zaco Ecológico Redesign

The briefing required continuity with the previous design, which was relatively recent, for Viña Zaco; a wine that was conceived of and launched as a modern, unique Rioja, even designated a “rebel” with regard to the mainly traditional profile of the wines from this Designation of Origin.

When tackling the redesign, we were specifically asked to maintain the current black and red color scheme, as well as the prominence of the crossed words in the brand, even through the style of this label admittedly didn’t transmit the real quality of the wine. As a result, respecting the general guidelines, we revised and modified the elements that make up the Viña Zaco graphics as well as the label material in order to transmit a higher perceived value. After the new image had been defined, we shaped that of the new organic Viña Zaco as well.


Viña Zaco, Packaging

Voortrekker Gin
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Voortrekker Gin

The case is that once a valid conceptual key with potential has been identified, everything that must be developed thereafter usually arrives as a logical and coherent succession of decisions that seem somewhat less than obvious. By the same rationale, rather than under this heading, the explanation of the Voortrekker packaging is found in the “Strategy”, which expounds the concept of strategic creativity that originates it.

For this case, the initial research led us to the history and the concept. This in turn led us to the naming "Voortrekker" and through that, to an authentic and powerful symbology which we had to use on the packaging, such as the X-shaped cross or the orange colour. All the pieces fitted perfectly. Orange, as the colour associated with the Dutch origin and as the botanical element typical of the recovered South African formula, was a heritage to capitalise on. The natural orangey reflections of Voortrekker gin set it apart through the transparency of the chosen bottle. A stylised bottle that permits a large vertical screen-print with the name of these pioneers on the cross of their flag, creating a simple, powerful and memorable identification for the brand.


Voortrekker, Packaging

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