a Mine = < We ) | ae fi | Cs - | 3 ‘ ‘ ‘ a | Se al | ‘ x ee TI a \, x ‘ ‘s i \ Bs (axe 4 1 oe vi - “See sie abamee \ oe THEBIG 7 BOOK OF <4 , PACKAGING gg PROTOTYPES Templates for innovative cartons, packages, and boxes Edward Denison | VA 7 er | Richard Cawthray pal Vos oe t Wes ca yes 3 Ds Se‘A RotoViston Book ‘Published and distributed by RovoVision SA Route Suisse 9 GH-1295 Mies ‘Switzerland RotoVision SA Sales and Faltorial Office Sheridan House, 114 Western Road Hove BN3 IDD, UK Tel: +44 (0)1273.72 72 68 Fax: +44 (0)1273 7272.69 Copyright © RotovVision $4 2010 All rights reserved. No part ofthis publication may be reproduced, stored ina rerieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without ‘permission ofthe copyright holder + ‘While every effort has been made to contact ownets of ‘copyright material produced in ths book, we have not always been successfil. In the event of a copyright query, please contact the Publisher, 10987654321 ISBN: 978-2-88893.098-3, Art directed by Tony Seddon Original book designs by James Campus and Fineline ‘This edition designed by Lisa Bltsvik- Miller Photography by Malcolm Robertson and Simon Punter “Template designs by Three Monkeys Packaging Constructors Reprographics in Singapore by ProVision Pu. Tel: +65 63347720 Fax: +65 6334721 Printing and binding in China by 1010 Printing International Ltd Toe white prototypes featured in this hook were programmed and produced by Three Monkey Design. The cardboard engineers and in-house graphic desig team work closely together at Three Monkey to produce eye-catching, smovative packaging designs for the tall industry. This combination of skills makes Tarce Monkey one of the [UK's lacing packaging design companies.The Big Book of Packaging Prototypes Templates for Innovative Cartons, Packages, and Boxes Edward Denison and Richard CawthrayContents Introduction Packaging: Insipid or Imperative? The Roots of Packaging ‘The Different Purposes of Packaging Packaging and the Environment Classic Packages Different Types of Closures Packaging Materials Icon Key Line Key The Designs Contact Details Contributing Companies Contributing Universities Associations, Institutes, and Federations Useful Reading Index 10 7 20 a a1 22 260 260 262 263 269 270benefits long into the future. They also offer remarkable scope for design creativity, providing unrivaled diversity in achieving visually and structurally flamboyant packaging solutions. However, while these designs are intended to inspire and inform designers engaged in the packaging process, the broader ramifications of packaging should always remain a foremost consideration. The Roots of Packaging Packaging has, over the past two centuries, bburgeoned in response to an exponential rise in lobal commercial activity, Though packaging of some description has long been used to contain or protect products, today itis infinitely more sophisticated than at any other time in history. In a globalized world that relies on the efficient functioning of manufacturing and retail facilities located far from one another, we have become completely dependent on packaging to ensure that products withstand the rigors of global distribution networks, and that they are delivered intact to the consumer. ‘The origins of the modern packaging industry can be traced back to the late 18th century, when the Industrial Revolution heralded widespread changes in mamufacturing. Before then, most manufacturing processes were dependent on manual tabor and small- batch production, but the introduction of mechanized processes facilitated mass production, starting with a relatively small number of units ‘manufactured daily on a production line and {increasing to the millions of units per day that modern highly-automated facilities can produce. Mechanization not only accelerated the production ofall types of commodities, but also influenced their packaging, The faster the production, the greater need for packaging: supply could now anticipate and even outstrip demand, so packaging needed to he attractive as well as functional if products were to survive market competition, Packaging innovation flourished. For the first time, food could be contained {in sealed and hygienic metal containers, cardboard cartons could be printed with attractive graphics and folded into striking shapes, and glass could be blown in an automated process in any number of hues. Eatly on, metal proved more popular than cardboard in packaging perishable goods such as cookies and confectionery, and subsequent innovations extended this demand into the containment of liquids and pressurized gases. By the turn of the 20th century, technological innovation had improved enough to pemmit the manufacturing of metal containers in a vide range of shapes and forms, giving rise to the first examples of novelty packaging. Today, with computerized manufacturing and advanced materials technologies, we take it for granted that such an abundance of materials, shapes, styles, and colors can bbe employed in packaging design. ‘The rapid advances in packaging technology encouraged similar developments in printing techniques, which had emerged in the early 19th century. What we now understand as “brand ‘magery” was becoming an important prerequisite in packaging design and had to be displayed on and reinforced through the package itself. Glass bottles, earthenware pots, metal boxes or cans, cardboard cartons, or simple paper wrappers all required a label or visual identity of some kind. ‘The interdependent development of packaging and printing had a profound effect in cultivating branding and nurturing the idea of added value. Products previously considered too bland or too utilitarian to be given attention could now flaunt an adopted identity. Washing powders, for example, assumed evocative names, their cartons demanding attention with glaring colors and deliberately eye-catching graphics. Printing also allowed the package to display practical information, such as illustrating pricing, contents, and instructions, as well as assisting the user in opening, resealing, or disposing of the package. These features helped to facilitate a degree of self-service and decreased the need for informed and specialized shop staff, thus contributing to the shift in the second half of the 20th century from localized independent shops selling basic ingredients, unprepared foodstuffs, and specialized products, to retail superstores offering prepackaged processed foods and a vast range of miscellaneous goods. ‘The role of printing and the development of specialized print techniques have had a profound effect on packaging and product advertising. Artists were first to devise graphic imagery for products. Many of these early creative illustrations evolved into established and internationally recognized brand {dentities, Some have developed further, defining the character of the entire corporation itself. Many of thebrand images forged in the late 19th and early 20th centuries are still ust as strong, and their success played a key rle in forming the basis of what has since become the huge and influential industry of advertising. Advertisers rely on packaging as a key tool in the aggressive struggle for space and attention atthe point of sale, and this isnot always achieved by strong graphic imagery alone. The structural configuration of a package is often just as important, and can be even more effective in conferring brand identity. The ability ofa packaging designer to devise a 3D form that comes to symbolize a product and creates an enduring legacy forthe brand isa rare but rewarding achievement, The Different Purposes of Packaging Packaging design will always need to satisfy a range of objectives, both practical and conceptual. These requirements will be priritized according to the specific conditions stipulated in the packaging brief, and will influence the purpose—and thus the form—of the package considerably. In addition, the form of a package will ikely be determined by the nature of the product within, Apart from the obvious {issues of size and shape, if product's attractive appearance is its greatest asset, it might be represented on, or be visible through, the packaging; whereas for les-appealing products, the package right be used as a method of concealment or disguise, These considerations are illustrated by the contrast between (for example) an elaborately gift wrapped box of chocolates and a budget box of breakfast cereal. Although both forms of packaging share the same fundamental purpose, they are significantly different due to the character of their respective products. Both packages are designed to contain and protect, yet they vary greatly in appearance, texture, graphics, shape, cost, and structure. Furthermore, not all packaging is designed to be seen or used at the point of sale. Most products require extra packaging to contend with the rigors of the distribution system so that they arrive at the point of sale unspoilt and presentable, These added layers of packaging are generally termed “secondary packaging,” and are designed to contain larger quantities of individual product units, each within its “primary packaging,” The size and dimensions of primary packaging will govern how readily it can be stacked together in large quantities, fitted into transportation containers, and installed on standardized shelf layouts. In general, the primary packaging is that which is seen on the shop shelf, and the secondary packaging is that wich is used in the transportation and distribution ofthe product uits from the point of manufacture through to the point of sale, Depending on the product and the specific distribution requirements, there may also be a need for extra layers of packaging outside the secondary packaging (tertiary or quaternary layers). Packaging and the Environment Packaging and the environment are often seen as incompatible, having apparently conflicting demands, The packaging industry uses vast quantities of the Earth’s resources in order to bring products safely to our homes, and the visual evidence of discarded packaging is common in the form of liter. Demands for tighter controls and more stringent regulations to curb the misuse or overuse of materials {in packaging have been increasing for many years. In some countries, strict legislation to reduce or eliminate packaging materials has significantly helped to decrease dependency on packaging, while a growing international trend for locally produced goods is augmenting this process. However, to view packaging as just a form of waste 4s to misinterpret its actual role. Effective packaging Clearly reduces wastage of perishable items; what is questionable, however, is the quantity of material used by the packaging industry to fulfill a particular function. By improving materials technologies, ‘manufacturing processes, and design, the packaging {industry has been able to reduce significantly the ‘quantity of materials used without compromising performance. In addition to this trend, recycling systems and technologies have improved so that the materials used in packaging can be more effectively recovered or reused. While new technologies and design innovations encourage progress within the ‘packaging industry, the familiar exhortation remains: "Reduce, Reuse, Recycle.” The priority for the designer should be to use a5 little material as possible to Full the needs of the package. A saving in materials also results in energy savings further down the supply chain, since every10 unit of packaging has tobe transported to the product; then, with the product, transported to the point of sale; then transported to the point of use, before finally being thrown away. The transportation cost, which uses energy and causes pollution, can be areatly reduced ifthe designer selects lighter or fewer materials. Although small, a sight weight reduction per unit presents a major saving over thousands or even millions of units transported every day, all over the world. Good design not only offers weight saving, but also space saving. The size and volume of a package will affect the quantity of units that can be shipped ata time, Redesigning packaging to increase the number of units that fit into a transportation container minimizes waste and maximizes efficiency. There is clearly no economic sense in packaging lage volumes of air unnecessarily. Occasionally, reducing materials isnot the most efficient way to provide environmental benefits. Some packages require the use ofa greater quantity of materials to make them reusable, but this is offset against the longevity of the package. The dairy and beverage industries offer a good example ofthe reuse method, where a high proportion of bottles are returned for refilling. Reuse is commonly regarded as more efficient and less ofa burden on resources than reeycling Recycling has become a popular banner for the championing of environmental issues in the packaging industry over the past two decades. However, the postive attributes of recycling are somewhat exaggerated. Although recycling increases the life eyele ofa raw material, most materials still havea finite life span. Materials like olass and aluminum can be recycled endlessly, bt plastic and carton board degrade after each use, Plastics are often contaminated during recycling; and the fiber Tenath of carton board decreases each time it is recycled, thus reducing its strength and eventually compromising its suitability for use in packaging. Whether recyclable materials degrade or not, they all zequre collection, sorting, leaning, and reprocessing, necesitating considerable energy and resources. The designer can help minimize these costs by giving careful thought to a range of design {ssues, uch a8 using a single material rather than ‘mixing materials, allowing for easy disassembly of {individual components, reducing volume during collection, and making packs easy to decontaminate orclean ‘As materials and resources become more scarce and ‘therefore more expensive, and disposal becomes more costly, the pressure on designers and manufacturers ‘to improve packaging methods and design will ‘nerease. Packaging will exist for as long as there are products that require it; but there is a fine line between the waste created by goods being damaged as a result of poorly designed or insufficient packaging, and the waste created by overpackaging 4s the packaging industry strives to improve its ‘environmental record, an observation by Sheila Clarke, Managing Director of the design agency, Packaging Innovations (UK), highlights an interesting paradox inherent in the nature of packaging: “The rigors of the distribution system, and the lack of control over it, lead to packaging specifications which cost money and use up resources. They are geared to ensuring a very high percentage of products arrive in safe and pristine condition at their destination, despite the rigors of the journey. By definition, therefore, any product which has not been subjected to being stacked under two other pallets, has not been dropped one meter from the truck's tailboard, and has not been stored in a ‘warehouse for the maximum period of its shelf life, is overpackaged.” Classic Packages Packaging has become such a recognized and fundamental part of our everyday lives that wherever, ‘you live in the world, there will always be a need for packaging of some description. The following packaging examples have been chosen as a broad range of “classic” designs that have become ubiquitous in their field through continued and successful technological or design innovation. THE TIN CAN ‘The storage of consumables in sealed metal cans is ‘two centuries old, though the process relied on tin-plating techniques that had been discovered in Bohemia in the 13th century. Napoleon spurred on ‘the innovation of conserving foods in sealed containers, when he offered a reward to anyone who ‘could devise a successful method of preserving foodfor his armies. A Parisian confectioner solved this problem when he found that a sealed glass container, containing cooked food and sterilized by boiling, could preserve foods for prolonged periods. In 1810, Peter Durand patented his invention that he believed surpassed the glass canister by using instead a sealed metal can, plated with tin to prevent corrosion, that was not breakable like its glass predecessor and was also much ighter. By 1813, the first canning factory was established. Early metal cans were made of iron and coated in tin, but later the base material switched to steel, which outperformed iron in the ‘manufacturing process and in its quality. In the early 19th century, an individual craftsman was able to produce approximately 60 tin-plated steel cans per day using a technique that required food to be inserted into the can through a small hole in the top, which was sealed by soldering after cooking. By 1846, the invention of a can-making machine by Henry Evans had increased production to 600 cans per day. By 1900, production times were greatly improved with the invention of the “sanitary” can-manufacturing process, which allowed a more efficient method af sealing the ends. However, it was not until the 1920s, in America, that a fully automated manufacturing system was designed, and from which evolved today’s highly efficient production lines that produce 2,500 cans per minute THE BEVERAGE CAN Improvements in steel-can manufacturing in the mid-19th century prompted rapid progress in the packaging of consumables in metal containers, Liquid-storage techniques first started being used in. 1885, when condensed milk was packaged in cans in ‘America. By 1940, beverage cans had become a common method of packaging liquids, with beer being a major driving force in the market. In the United States and parts of Europe, beer cans were ‘manufactured in steel and constructed in three separate parts, with a conical lid that could be sealed, using a “crown” cork. By the 1960s, the dominance of steel as a packaging material for cans was being undermined by aluminum. Frozen-juice concentrate was among the first products packaged using aluminum, which, according to consumer polls, proved a popular material among the general public. This favorable reaction encouraged further research and development in aluminum as a packaging material and helped persuade an American firm called ‘Reynolds Metals Company to establish a division focused solely on aluminum packaging. In 1963, Reynolds Metals. Company and the Dayton Reliable Tool Company invented the aluminum can with an easy-open end, revolutionizing the beverage-can market and dramatically improving sales. ‘The subsequent rapid development and commercial ‘use of aluminum cans for the beer and soft-drink markets helped improve design and performance, ct including the introduction of the two-piece can, which by the 1980s had superseded the three-piece can completely in the UX and US beverage markets. Design innovations and manufacturing improvements have further enhanced the drinks can as a packaging device since the 1980s, with some of the most important advances occurring to meet increasingly rigorous environmental demands, One of the early developments in this field was the retained ring-pull, which proved remarkably successful and quickly replaced the highly littering detachable ring-pull. ‘The most significant improvements in recent years, despite fierce competition from the plastic bottle in the beverage industry, have been made in the light- weighting of cans. Enhanced manufacturing techniques and materials have brought the weight of the aluminum can down from 7/4 to '/4oz (21 to 159), and the steel tin-plate can from over 2 to under 1oz_ (60 to 30g) since the 1970s. These improvements have ‘occurred through reductions in wall thickness as well as the end diameter. With modern processing plants producing over one million cans a day, and the European beverage-can industry producing over 32 billion drinks cans per year, the remarkable savings in resources are clearly evident.The recyclability of aluminum is another key factor {n its success, Recycling aluminum represents a 95% energy saving compared with producing virgin material—a much higher percentage than most other materials. The environmental cost of resource use, extraction, and transportation, and the energy required in the manufacturing process, as well as the transportation and recycling of finished and used produets, have all been reduced greatly since the 19908. THE AEROSOL CAN Aerosols are packaging devices that use a pressurizing agent, usually a gas propellant, to dispense a product from the container when a valve is pressed. The key innovation in aerosols was the use of a liquid that ‘would become gas at room temperature yet remain a liguid under pressure or at low temperatures. ‘The idea of dispensing liquid from a pressurized container has been around for centuries. At the end of the 18th century, receptacles containing self- pressurized beverages were developed in France, and by the early 19th century, an innovation called the Regency portable fountain became the first device to use pressurized gas, in the form of carbon dioxide, to dispense carbonated beverages. By 1899, the first aerosol sprays were patented, using methyl and ethyl chloride as a propellant. In 1929, the first aerosol ‘cans using valves were developed in Norway, providing the basis for the ‘modem aerosol can. The aerosol had become a commercial success by the 1940s, creating an entirely new packaging medium encompassing a diverse range of uses from asthma inhalers to tomato ketchup dispensers. The success of the disposable aerosol produced a series of design and manufacturing innovations that rely on the use of various materials including aluminum, tin plate, stainless steel, plastic, and glass. However, the most significant innovation in aerosol desian around the end of the 20th century hhas been linked to the choice of gas used in 4ispensing the liquid. Asis so often the case, environmental necessity forced designers to rethink the problem of aerosol packaging, as mankind's perceived problem-solving ability in one area was ‘causing far greater problems in another. In 1974, two ‘American scientists posited the theory that chlorine- ‘based aerosol propellants (OFC) were causing the depletion of the protective ozone layer in the Earth's, stratosphere, causing harmful ultraviolet rays to ‘penetrate the lower atmosphere. It was over a decade before unequivocal evidence was found to prove that ‘the ozone layer above the North and South Poles was {indeed thinning. In response, most of the world’s {industrialized nations signed the “Montreal Protocol” {in 1987, setting out the terms for phasing out the use of CFCs in aerosols, Today, only a select few products are exempt from using CFCs, while nearly all commercial products use altemative methods of ispensing liquid products. ‘Manufacturing techniques for aerosol cans usually rely on two- or three-piece construction of the cylinder, although aluminum, due to its malleability, can be impact-extruded from a single ingot, allowing for considerably more inventiveness in the container’s shape and form. The sheer size of the aerosol market, ‘which exceeds 1.5 billion aerosols in the UK alone ach year, is testament to the containey’s success asa means of packaging a wide range of products from wet sprays (such as hair spray) or foam sprays {such as shaving foam) through to dry powder for fire extinguishers. ‘THE GLASS BOTTLE Glass is an ancient material, first used by the Egyptians as a packaging material in the second millennium BC, Ithad been used in the production of, decorative omamentation, particularly in the manufacture of beads, for thousands of years; but the ‘manufacturing of the earliest glass containers required a process of forming concave receptacles by pressing lumps of molten glass or by coating a sand core with molten glass to form hollow containers. This first manufacturing process was succeeded by lass-blowing from the first century AD—which the Romans perfected and tried to keep a secret—until the empire collapsed, allowing the technology to spread quickly throughout Europe and the Middle East. Glass-making flourished in parts of Europe, especially Venice, where elaborate designs and colors were used to create all manner of glass products,including bottles and jewelry. By the 17th and 18th centuries, the innovation of the split mold allowed imegular shapes and surface decorations to be achieved in the production of bottles, including the embossing of names and product descriptions on the surface of the bottles. High-quality glass suitable for optical tenses began with the invention of lead-crystal glass. George Ravenscroft found that by adding lead to the glass~ making process the final material was not tainted by clouding and therefore had extremely high optical qualities. This innovation also augmented the use of glass as a building material, especially in large or decorative windows. By the mid-19th century, glass had become a major innovation in the building industry, with the construction of structures such as the Crystal Palace at Britain's Great Exhibition in 1851, which spurred materials and manufacturing processes further. By the end of the 19th century, glass- blowing had become an automated process, with the invention of a machine in England that could produce 200 bottles per hout. This presented a 300% increase {in output over previous techniques, but the process {in turn was superseded in 1907 by an American firm that could produce 2,500 bottles per hour. Manufacturing techniques have continued to improve throughout the 20th century, allowing modern processing plants to produce millions of bottles per day in any color and in a wide range of shapes, making it an ideal packaging material and very popular in the luxury or high-end market. In addition to superior perceived value, glass also boasts, positive environmental characteristics, since it isa stable material and also easy to reuse and recycle. PAPER AND THE PAPER PULP CONTAINER The origins of paper and paper pulp as a packaging material go back to the first millennium BC when they were used by the Chinese, from whom techniques for paper production spread to the Middle East and Europe. Paper was ma using flax fibers and other plant matter until the mid-19th century, when wood pulp was discovered as a mote effective material. Developments fn manufacturing at the end of the 19th century and early 20th century allowed the mass production ‘of paper bags. Innovations like the ausset design, gluing techniques, and printing processes improved the popularity of paper bvags among the general public. Unlike recycled paper, pulp does not require the high-quality surface and bleached appearance that paper often boasts. Pulp’s rough, untefined texture is. often viewed as a positive attribute in the marketplace, evoking a sense of environmental responsibility. This perception of pulp is more than just a superficial association. With environmental degradation— {including increasing fears over the production and disposal methods of petrochemical products—being one of the worlds most serious problems in the 23st century, pulp offers a chemical-free packaging option ‘that has yet to be exploited fully by designers. Exemplary among pulp products is the egg carton, a design unsurpassed for its uncomplicated design and its performance in packaging Nature's own perfect package—the egg, Originally designed and manufactured in the 1930s, the pulp egg carton has survived many rigorous challenges from plastics-based competitors and might yet endure to symbolize the timeless appeal of paper pulp.THE CARTON AND THE CARDBOARD BOX Cardboard was invented by the Chinese in the 17th century and was not used as a packaging material in Europe until the 19th century. The first commercial cardboard boxes were produced in England, but the {introduction of corrugated paper in the 1850s heralded new innovations in transport packaging that, by the turn of the century, started to replace wooden crates. Developments in corrugated paper and cardboard were assisted by the proliferation of processed foodstuffs around the start of the 20th century. Major cereal-manfacturing companies were among the first to use cardboard to package their products directly in ‘boxes sealed with a wax resin coating or wrapped in ‘a waxed paper sleeve on which branding and advertising information was printed. Carton and corrugated board continued to dominate the packaging industry through the 20th centusy until plastics ” were created as a mass- market material after the Second World War. From the 1950s until the 1980s, the market share of paper-based products reduced as plastics {nereased, but this started to shift back in favor ‘of paper by the 1990s, in response to widespread concerns about the use of finite and nonbiodegradable resources in packaging, Concerns for the environment, also experienced in so many other fields of packaging, have been a major factor in stimulating improvements in packaging design and materials use inthis specific area. THE PLASTIC BAG Plastics were first created in the 19th century, but it was not until after the Second. World War that they became an economically and functionally viable mass-market material. The phenomenal growth of plastic since the 1960s has facilitated unprecedented innovations in the packaging industry and transformed almost every type of packaging. However, despite the countless packaging applications that exist for plastics, none is as ubiquitous as the plastic bag. First introduced in the 1950s as a mass- Produced product on a roll, plastic bags have been through many stages of development to satisfy a broad range of uses, from small sandwich bags to large refuse sacks. In the 1970s, new manufacturing processes allowed for the production of plastic cartier bags, which quickly eroded the market share once occupied by the paper bag. As the dominance of supermarkets in Europe and America increased from the early 1980s, a change in shopping habits boosted demand for bigger and stronger bags. The polythene “T-shirt” or “vest” carrier bag (with handles integral to the design, rather than attached loops) was designed in the early 1980s and has since grown dramatically to become the leading cartier bag design in the world. Packaging manufacturers around the world have continued to refine the design of this foremost carrier bag, so that today iti lighter, stronger, and easier to ‘manufacture and dispense than ever before. However, ‘ts unrivaled success might also account for its potential downfall. The plastic bag's omnipresence has made it a symbol of man’s inability to discard waste responsibly and effectively. As litter, the plastic bag causes much anger around the world, with some countries, such as Bangladesh and Eritrea, even attempting to prohibit the use of plastic bags. Such visible environmental problems have sullied the image of plastics in general, forcing the industry to counter claims of poor environmental performance. Indeed, plastic has very positive environmentalcredentials in many instances. Nonetheless, in many parts of ‘the world, plastic bags are a conspicuous pollutant, visually and otherwise, In response to this, some countries have ‘imposed large financial deposits on plastic bags to discourage people from throwing them away after just one use. Many supermarkets, to encourage people to use the same bag again and again, have also introduced new designs of bags that are tougher, stronger, and reusable. As materials technologies improve, itis likely that future plastic bags will be made fom composite starch-based materials that biodegrade harmlessly in landfill or compost. THE PLASTIC DRINKS BOTTLE Carbonated drinks were first invented in the 18th century, but it was not until the early 19th century that “soda” water became a bottled and marketable produet. Glass bottles were used for the storage of carbonated drinks for nearly one and a half centuries before the first plastic bottles were used from 1970, but the early plastic bottles were inefficient and unreliable, with the plastic often failing and splitting due to the extreme pressures imposed by the carbonated liquid In 1973, the first patent was filed for the Polyethylene Terephthalate (PET) bottle, made from a form of polythene that could be mass- manufactured at a reasonable price and yet was strong enough to withstand pressurized carbonated liquid. By the end of the 1970s, the PET drinks bottle was introduced into Europe, and in America was already competing with the glass bottle. Throughout the 1980s, the PET bottle increased its share of the drinks-bottle market, expanding into other product areas such as cleaning products and cosmetics. Today, despite the fact that tens of billions of PET soft-drinks bottles are manufactured every year, the soft- drinks industry accounts for less ‘than half of the PET used in packaging. Due to the unrivalled popularity of PET as a packaging material, there has been a growing and urgent need to find some means of recycling this plastic, as well as finding appropriate uses for the recycled material, Today, billions of PET bottles are recycled every year around the world, feeding a wide range of other industries ‘that manufacture anything from clothing to furniture from the recycled material. 5‘hy Standard Tuek-Fap Caren. 3] slit-Lock Tuck carton Provides a more secure sel ] tab-Lock. Mis provides additional protection against the Ud being forced open ‘rom the inside, With sits in ‘the tab, this design provider level of tamper-prooting. 1) Postal-Lock. This offers a degree of tamper-proofing ‘through the tab-ends creasing when te package {is opened, Since the tabs do not tear immediately, the closure hat limited reuse, ‘A dagger lock is a variation ofthis design that has an arrowhead tab which tears fon opening: this s not seusable, but is completely tamper-proof, Different Types of Closures ‘The closure is an essential part of the carton, providing a temporary barrier between the product, and the outside environment as well as contributing to the package’s structural integrity. ‘There are five common styles for carton closures. ‘The following can all be further adapted to fulfill specific requirements such as tamper evidence, suitability for filling on automated assembly lines, and resealing. ‘TUCK-END CARTON ‘These closures all tuck into place and require no aluing; they can either be opened and closed many times or used once, depending on different types of fixtures such as dagger/spade, sit, and tab locks. v7‘A B] Slee (with butting ‘ape-sealed ends). Sher with a Partial ‘velap Seal. This provides a Aecorative tab and lock sot. SKILLET OR SEALED ENDS Most of the transit cartons use this type of closure, as it provides the most economical use of carton board. Tt also minimizes scrap removal, which is a labor- intensive and costly process. Flaps are sealed using glue or tape, which is commonly applied using an automated sealer on the production line. TUCK-TOP CRASH-BASE CARTON ‘These are used increasingly when fast assembly of the carton is required. They are preglued and folded flat, For assembly, the carton needs to be opene the base slides into position and locks when all sides meet. The above-and-below views of this closure show it tobe glued lengthways along the external sides of the carton, with the flaps from the widthwayssies glued down The bate slides into place when the carton is pushed together, then snaps elosed asthe friction between the faces pushes the paperboard together (see also template below).WEB CORNER TRAY ‘This is used for easy-erect trays without the use of ‘glue, Because the design does not need glue, time and resources are saved during production. There is 2 diagonal fold across each comer that creates a web ‘when erected; the web corners are held in place by flaps that fold down over them. The corners can be glued to give further strength if required. SIX-POINT GLUED TRAY WITH INTEGRAL LID This type requires gluing for added strength and ease of assembly. The corners are preglued and the structure is erected by pulling out the sides of the tray.Packaging Materials DESCRIPTION hite-back folding box board Folding box board reverse side cream Solid leached board Recycled solid white-tined chipboard (minimum 75% recycled content) Pulp board, Unlined A-fute comugated Single-face A-flute comugated A-flute corrugated (33 flutes per linear foot) B-flute comrugated (47 fates per linear foot) flute corrugated (39 flutes per linear foot) E-flte corrugated (90 flutes per linear foot) Double-wall conrugated Bacrute) Multilayered solid bleached board (waterproof lined) Acetate TYPICAL USES Noveltyand luxury packs such as cosmetics, confectionery, and other high-quality foods. Food products (including frozen), medical packaging, and cosmetics. High-quality packaging used for cosmetics and the luxury trade. Display outers and nonfood products. ‘Used for low-cost products, special promotional packs, or ‘to emphasize an “environmental” aspect of the pack. ‘Used for packs which need no strength, providing a layer of protection for the product. ‘A currently fashionable pack for fast-moving consumer goods, with good crush resistance and tactile qualities. ‘A pack for very fragile goods with great shock absorbency, High shock-absorbency packaging with optimal levels of crush resistance. High-level shock-absorbency packaging (greater than Beflute). ‘Thinnest corrugated packaging used in instances where a narrow gauge of corrugation is required, Used to protect fragile goods and to increase the strength of cartons containing heavy objects. Food and drinks packaging. Used to provide 2 barrier to touch and for safety in transport while allowing the product to remain visible, APPROXIMATE THICKNESS (MM) 58 0.35-0.65 03-085, 42 48-47 35-37 ost 03-1Icon Key MATERIALS carton board comgated cardboard elastic amltinateral waterproof board COO00DO ASSEMBLY slue/adhesive tab Ea no glue selFerecting other fixings Line Key cut perforation cut and crease grain direction aoo0@@eoeeads eH SUITABLE USES food packaging confectionery sift liquid container pharmaceutical transit display a other OTHER INFORMATION one-piece design ‘two-/multipiece design product visible possible Eurostot placement environmentally responsible designThe Designs ‘There is no limit to the number of designs for carton packaging. Despite the proliferation of standardized templates and a preponderance of similar or successful designs available on the market, there always remains scope for improvement, innovation, and creativity. Structural design, when applied successfully, will often surpass the numerous other methods of ‘winning customer loyalty, such as advertising, ‘marketing, and graphic imagery, and can significantly improve competitiveness in the ‘marketplace, as well as offer improvements in performance, A successful carton design can forge a company image in the public's eye, convey a sense of quality that becomes the envy of its competitors, and deliver functional and environmental improvements that exceed its predecessors. The cartons featured in this book have been chosen to provide designers with a variety of samples from a wide range of applications that are {intended to inspire, inform, and encourage the design process, and help stimulate future improvements in carton design. No list of carton designs will ever be exhaustive, but the principles of any design can be used in an infinite number of different applications. 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UORTED SNA Jo PH aYLGABLED-ROOF CARTON02098 axe doy papo}-qr pe areqpo[e9 papts-rnoj aso ou ey ot psverodoouy Aina uaeq enn yore 0060 ur jo seam xayduos 9nq payer oi io amne | Santee § OR OSG & — ian a eta ee ——————ADAPTED BALL CARTON 2 ie 0 FO09O6-uasuerpau 67490) ays ue aotaap aqpuey xp seyerods0ou ory ‘pn paddor-aiqeb oe Lees i oO rv e 3 & Oo 3039 = .02808 224 GIFT PACK WITH HANDLE8g ‘poy-qey & Butsn poyeas st pure uoaNsuoo ut ano ow naan 1 ONBSCOEG _ysTdys ® ayea29 yeMp spjoy poate Aq pou} witor> Ayanou e epraod 0} reurequoD — {no-app prepires ® 0} poppe ua9q oxey sapts erx9 0M ‘219 “ubtsep Buny>29-a6o {2 atnoom eo tayo pee-cong paqr> wydans'e “morpeyirps In = MB, z‘anjea pappe ysry Ajeanyeper eu Se eae eee re ee stove eto pans aq ue egy sone ane ryimn) eee020000 230 HEXAGONAL BOXoo} yno-24e3 389 0} YOY wo4y aNd w se YH sd ayy Jo uordurnsuo> OF OS ue ‘Sapis auy ayearo 0} paqgem axe siowro> avy, “apd wun ue Ag panayye ssi “OIeH “UodeD auf yeas 03 aseq puP dor sedey-yan) yas ‘ayeldutoy uoyINI> w wou apeUL ayo axe sadeys progn> ay WEB-CORNERED CUBEsees eel a oe DOUBLE CUP HOLDER OFZOOVOKDO 232“aampenyyeusyeu 10 ua onydeis payuid ybnong peyemausooe ag ue> soaoyss0iN0 pu UU! ayA UaEAIOQ syn ayy Jo sue Kemeao9 am us Buerap ubssap aTANS "ONTO 24a BPIEU 2u0 tye so tapout om 28 s0Ged uo pue aay uaoys 8p yo 7 2iydexd pue eons ee seni sl elas Ringer ond VQO0 890%36 TWO-PIECE INTERCONNECTING CARTONS B8eCBROOO100006vuonaqensrp pue ysuen Buunp zeqjoue 240 wos pareredes pue posnoy Says 3 Serene ean mre a eee are oe i 0 e 8 ° aq ue quawredano9 ypey “AoH a en pene honor i (ore pue ov s9bed wo nous ose) uORMOS sta eee “ets pgs fe an esa ube i gs nn pone biberaemted ead “sionpoud yenprarpuyfzeu yo oberoys ays pu woreedas axn>aH> a4 SuyGeyped 20} suayqoud seynapued sasneo sway Sey [Pus 30 oF40 MULTIPARTITIONED TRAY YAH SOERO @3FOmOGCOeH‘9am op ettayew qua}je0x9 ue yt ayem preoq payesnsi00 jo serradoxd enbrun at \ a, w Pee ee eR EE i 0.2060vou wwogiery ‘ouereadde reynSue aaniunsyp ® worTD 21p ont6 pr obrey x pue aseq thems oy. -adeys rejnGorm we aq ted 0s pur s10}20 ‘san Aq pauyensuan Zou st “a[es-Jo-7UI0d aug We payDar— PUE paNDeA-TeY PAreATAP ‘St yptum “oye poy yno-oyey sty “oumMjoa UF sso} Ae noINEM AeYdsxp wo pure ¥sueN ut oprs Aq apts payed oq oy sym yenplApUT Bumone “uIsop BuBeyTed tur aoeds yo asn quoruso ysour ay aptaord AYqetteauT saybue reynoqpuodiag ANGLE-SIDED CARTON 44 OF BSE“syroureynbor yonpoud 3uasayp 205 19309 0} paztsa1 10 paydepe 0209008 Somes er LL a a com on eaeOQ” @0He— = ‘anejins sy ssoioe Ayjeuoberp woyze> ay 30 pr auf suo; yeyp deyy & ue aHs e ‘yBnongy syasur aypuey aoard-omy ayy, -ase> Aure> e opr yoed ayy sumoysuery yey ‘aqpuey © apnisur 0} paubrsap waeq sey uoyse9 yoo)-yser> ayduns sry 30 doy ay-sdins Aeme-105) 430 suon2es payeioyied se yons ‘spoueur aareusayye Bursn pasuedsyp aq 0} j>npoxd ay aojte 03 Ase pandepe 24 pina wisp payeondwo2un ayy yBno\p “>uposd ‘8 busuadsp jo poxaur ay sasm ayy oj saimseb woose> ay apis uoroes Aer “ano ate 3pay-aey& Bus poyetes 9g ue> vowe> a Yoru waaunog ‘sou eure Aqenpuarpur pasuadstp aq 0} syanpord aydryymum smoyye yyy wbrsep 40 adurexa aydins ® srapo worre> su “jes-yo-wiod aap 38 pue YsueR ur nl i 0 wa oO & aos ong ff os ono Reo) magn San op eg a lite2eY saptaord ose UoyeD sn 39 aro 10 OM Hoddns Oy uo SEGREGATED TRAY2 spnpord au 0} sauar2j21 yensia ‘eu sumo ann sepiaosd pA aM UE MopU ® Jo 25m oy. yo Burdeose 10 padden Sumoaaq wsoxy onpord ayy yuaKsH 21n uo sey rout ayg “bunopD se yons syonpoxd yy Jo aBex03s ay 0} pays ar soyeur Aeydsrp mop obre 24) Aq pasnes uoyed sty Jo wABuays paysturUp ayy FOUR-SPOT-GLUED CORNER-TUCK CARTON-panidde aq pynoo suoronnsur 10 sorydex6 yoryst uo gampord ay 0} sauireg © septaord ose af “siaqu02 aij 03 sseane ox ae sdeys Burddeyano Atos ‘burney Aq anyea pappe want6 aq wed wopse> yomy-wybrENs e Moy Jo eydurexs UY FOm0G260 Contact Details Contributing Companies Acket Drukkerij-Kartonnage BV Gasstraat Oost 13 5349 AH Oss The Netherlands Te 431 (0)412 699799 E: info@acket.nl W: www.acket.nl ‘lean Packaging Alcan Inc. 1188 Sherbrooke Street West Montreal Quebec HBA 362 Canada T: +1 514 848 8000 Fe 41514 848 8115, E: communications.packaging@alean.com ‘W: www.alcanpackaging.com ‘Arden Packaging Ltd. Whitefield Road Bredbury Stockport Cheshire SK6 25 UK T: +46 (0)161 494 6699 F: +44 (0)161 406 6273 E: info@ardenpackaging.co.uk W: wwwardenpackaging.co.uk AssiDoman Frovi SE-718 80 Frévi Sweden T; +46 581 37000 F: +46 581 310 67 E: info@frovi.com W: www-frovi.com Benson Box Co. Lid. Interlink Park Bardon Leicestershire LE67 1PE UK T; +44 (0)1530 518200 F: +46 (0)1530 518222 E: solutions@bensonbox.co.uk W: www-bensonbox.co.uk Boxpak 65 Church Road Newtownabbey Belfast Co. Antrim Northern Ireland BT36 7LR UK +444 (0)28 9036 5421 F: +44 (0)28 9086 6731 E: sales@boxpak.co.uk ‘W: www.boxpak.co.uk MCS Group ple Unit 1 Kennet Road Dartford Kent DAI 4qN UK T: +46 (0)20 8308 5000 F: +44 (0)20 8308 5005 E: sales@emes.co.uk ‘ww.cmcs.co.uk PC Packaging (UK) Ltd.knapps LaneBristolBS5 TUNUKT: +46 (0)117 951 6754F: +44 (0)117 935, 40388: enquiries@cpepackaging.co.uk W: www.cpepackaging.co.ukGrobox Gardens Ltd, Spring Avenue Gee Cross Hyde Cheshire SK14 SLT UK T: +44 (0)161 366 9462 E: customerservices@sroboxgardens.co.uk. Marchmont Packaging Ltd. Cloverhill Industrial Park Clondalkin Dublin 22 Ireland T: +353 1 4130200 F: 4353 14130299 E: sales@marchmont.com W: www-marchmont.com Mayr-Melnhof Packaging Brahmsplatz 6 4-1060 Wien Austria T: +43 (0)1.502 570 F: +43 (0)1502 57250 E: office@mm-packaging.com W: www.mm-packaging.com Model PrimePac AG ‘Auenstrasse 5 cH-9434 Au (86) Switzerland 1: +41 (0)71 747 9191 F: +41 (0)71 747 91 00 Model PrimePac SA Route de Neuchatel 8 CH-1032 Romanel-sur-Lausanne Switzerland T: +61 (021 731 93 19 F: +41 (0)21 731 93 10 E: info@modetprimepac.com W: www.aodelgroup.com MR Designs Unit 6 Lower Farm High Street Inchester Northamptonshire NN29 7B uK 4 (0)1933 410016 F: 446 (0)1933 419929 udesigns@btconnect.com Rob. Leunis & Chapman -Andertensche Wiese 18-25 D-30169, Hannover Germany T: +49 (0)5 11 / 164 990 9 (0)5 11 / 164.99 45 : info@rle-packaging.com W: www.leunisman.de 261 Rapid Action Packaging (RAP) UK 107 Mortlake High Street London swi4 8H UK 1: +44 (0)20 8392 8320 F: +44 (0)20 8392 8321 info@rapuk.com W: wwrwrrapuk.com Rokov Design T: +46 (0)870 776 4343 : info@rokov.biz W: www.rokov.biz Emst Schausberger & Co. GmbH Heidestrane 19 ‘A-4623 Gunskirchen Austria T: +43 7246 6693 353 43 7246 6493 277 E: office@schausberger.com W: wow.schausberger.com§ Sheard Packaging & Sons Ltd ‘Solar Works Calder Street Greetland Halifax ‘West Yorkshire HKé 8AQ UK 1: 446 (0)1422 373609 F: +44 (0)1422 310090 E; sales@sheard.co.uk Ws wwrw.sheard-packaging.co.uk Stora Enso Office address: World Trade Center Klarabergsviadukten 70, C4 P.O. Box 70395 SE-107 24 Stockholm Sweden T: +46 (0)1046 46 000 F: +46 8 10 60 20, Stora Enso Intemational Office 9 South Street London WIK 2xA, UK T: +44 (0)20 7016 3100 F: +44 (0)20 7016 3200 ‘W: wrw.storaenso.com Contributing Universities Blackpool and The Fylde College Te +64 (0)1253 352352 F: +46 (0)1253 356127 E: visitors@blackpool.ae.uk W: wwmrblackpool.ac.uk Brunel University 1: +46 (0)1895 274000 F: +44 (0)1895 232806 E: admissions@brunel.ac.uk We wirwbrunel.ac.uk Holl College +4 (0)1482 329943 F: +64 (0)1482 598733, fo@hull-college.ac.uk W: wwrw.hull-college.ac.uk Kingston University 44 (0)20 8547 2000 F: +46 (0)20 8547 7388 E: admissions-info@kingston.ac.uk. W: www.kingston.ac.uk New College Nottingham T: +46 (0)115 910 0100 F: +44 (0)115 916 6242 E: enquiries@nen.ac.uk W: www.nen.ac.uk North Warwickshire College Tr: 444 (0)26 7626 3154 E: the,college@nwhc.ac.uk W: warw.nwhe.ac.tk Norwich School of Art and Design T: +44 (0)1603 610561 Fr +46 (0)1603 615728 E: info@nsad.ac.uk W: werw.nsad.ac.uk Sheffield Hallam University Tr +44 (0)114 225 5555 F: +44 (0)114 225 2094 E: enquiries@shu.ac.uk W: www.shu.ac.uk South East Derbyshire College T: +46 (0)1332 590500 F: +66 (0)1332 294861 E: enquiries-admissions@derby.ac.uk W: https://ulib.derby.ac.uke Suffolk College T: #44 (0)1473 255885 : +44 (0)1473 230056 info@suffolk.ac.uk Ws worw.suffolk.ac.uk Swindon College T; +44 (0)3793 491591 E; Admissions @swindon-college.ac-ukUniversity of Teesside Ts +44 (0)1642 384228 +4 (0)1642 386201 registry@tees.ac.uke Ws wwew.tees.accuk University Centre Yeovil Tr +44 (0)1935 845454 F: +44 (0)1935 415483 ucy@yeovil.ac.uk j wwrwrucy.ac.uk Associations, Institutes, and Federations ‘Aluminium Federation Broadway House Calthorpe Road Five Ways Birmingham B15 18 UK +44 (0)121 456 1103 F: +64 (0)121 456 2274 E, alfed@alfed.org.uk W: wrowalfed.org.uk ‘Aluminum Foil Container Manufacturers Association 10 Vecilla Lane Hot Springs Village AR 71909 usa T: +1501 922 7425 F: 41501 922 0383, W: wew.afema.org Argentinean Institute of Packaging ‘Av, Sujuy 425 (1083) Buenos Aires Argentina T: 454 11 4957 0350 F: 454 11 4956 1368 Es instituto@envase.org W: www.packaging.com.ar Asian Packaging Federation SPG Nedia Private Ltd. 2nd Floor Challa Chambers Raj Bhavan Road Somajiguda Hyderabad 500082 India 1: +91 40 55837363 F; 491 40 23318066 E:info@spg-global.com ‘The Association of European Producers of Steel for Packaging (APEAL) Avenue Louise, 89 BE-1050 Brussels Belgium 1: +32 (2)537 91 51 F: +32 (2)537 86 49 E: info@apeal.be W: wwrmapeal.org Association of Plastics Manufacturers PlasticsEurope 263 Avenue E van Nieuwenhuyse 4 Box 3 B-1160 Brussels Belgium 1: +32 (2)675 3297, F: #32 (2)675 39 35 E: info@plasticseurope.org W: wirwplasticseurope.org Australian Institute of Packa P.O. Box 1059 Chatswood NSW 2057 Australia E: info@aipack.com.au W: www.aipack.com.au Belgian Packaging Institute 2.1, Research Park 280 B-1731 Zellik Belgium 1, #32 (2)464 02 10 F: #32 (2)466 02 39 E: packaging @ibebvi.be W: www.bebvi.beChartered Society of Designers 4 Cedar Court Royal Oak Yard Bermondsey Street London SE13GA UK Te +44 (0)207 357 8088 F: +64 (0)207 407 9878 E: info@csd.org.uk W: www.esd.org.uk China Packaging Federation No. 46 Dongsi Xidafi Dongcheng District Beijing 100711 China 1: +86 10 65285035 F: +86 10 65285117 W: www.cpta.org.cn Confederation of Paper Industries 1 Rivenhall Road Swindon Wiltshire SN5 7BD UK 1: +46 (0)1793 889600 F: +46 (0)1793 878700 E: cpi@paper.org.uk ‘wwwpaper.org.uk Corrugated Packaging Council 25 Northwest Point Boulevard Suite 510, Elk Grove Village TL 60007, USA T: +1847 364 9600 Fr +1 847 364 9639 W: wnrw.corrugated.org Design Council 34 Bow Street London WC2E 7DL UK 1: +46 (0)20 7420 5200 F: +46 (0)20 7420 5300 E: info@designcounci.org.uk W: www.design-couneil.org.uke ‘The European Carton Makers Association (ECMA) P.O, Box 85612 NL 2508 CH ‘The Hague ‘The Netherlands 7: +31 (0)70 312 39 11 F: 431 (0)70 363 63 48 E: mail@ecma.org W: wrwecma.org ‘The European Design Centre Havensingel 1 5211 TX's-Hertogenbosch Postbus 1860 5200 BW's-Hertogenbosch 265 The Netherlands T+ 31 (0)73 6104000 Fr+ 31 (0)73 6104060 E: Info@edc.nt W: worwede.nl European Federation of Corrugated Board Manufacturers (FEFCO) Avenue Louise 250 B-1050 Brussels Brussels Belgium T: + 32 (2)666 40 70 F: +32 (2)666 66 60 E: information @fefco.org Ws www.efco.orgEuropean Organization for Packaging and the Environment Le Royal Tervuren ‘Avenue de VArmée 6 Legerlaan 1040 Brussels Belgium T: +32 (2)736 3600 F432 (2)736 3521 E: packaging@europen.be W: worw.europen.be European Plastics Converters, ‘Avenue de Cortenbergh, 66 P.O. Box 1000 Brussels Belgium T: +32 (2)732 41 24 F: +32 (2)732 42 18 E: info@eupc.org W: www.eupe.org Finnish Packaging Association Ritarikatu 3h A FIN 00170 Helsinki Finland Ts +358 9 684 0340 358 9 6840 3410 ‘W: www.pakdkaus.com Flexible Packaging Association 971 Corporate Boulevard Suite 403 Linthicum ‘MD 21090 Usa T: #1 410 694 0800 F: +1 410 694 0900 fpa@flexpack.org W: ww-flexpack.org German Packaging Association Deutsches Verpackungsinstitut e.. (DVI) Bund Deutscher Verpackungsingenieure eV. (BDVI) HohenzollernstraBe 12 14163 Berlin Germany 49 (0)30 80 49 858.0 + +49 (0)30 80 49 858 18, info@verpackung.org Ws worw.verpackung.org Glass Packaging Institute 515 King Street Suite 420, Alexandria VA 22314 USA T: +1 (703)684 6359 F: +1 (703)684 6048 E: info@gpi.org W: www.gpi.org Hellenic Packaging Institute 86-88 M. Antypa str. Gr 163 46 Hellioupolis Athens Greece T: +30 210 9982100 F: 430 210 9969100 E: info@hepo.gr W: www.hepo.gr Industry Council for Packaging and the Environment (INCPEN) SoanePoint 6-8 Market Place Reading Berkshire RGi 266 uK T: +44 (0)118 925 5991 F: +46 (0)118 925 5993 E: info@inepen.org W: wone.inepen.org Information Resource for the Packaging Industry W: www.idspackaging.com The Institute of Packaging/The Packaging Society (A division of The Institute of Materials, Minerals and Mining) Stamford Regional Office Willoughby House Broad Street Stamford Lincolnshire PEO 1B UK T: +46 (0)1780 759211 F: +46 (0)1780 759220 E:jop@pi2.org.uk Ws worw:pi2.org.ukThe Institute of Packaging Professionals 1601 North Bond Street, Suite 101 Naperville 11 50563 USA T: 41.630 544 5050 F: 41 630 544 5055 info@iopp.org W: www.iopp.org Intemational Molded Pulp Environmental Packaging Association 1425 W. Mequon Road Suite A Mequon W153092 USA T: +1 262 241 0522 F: +1 262 241 3766 E: info@impepa.org ‘wwwrimpepa.org Italian Institute of Packaging E:istituto@istitutoimballaggio.it W: wwwcistitutoimballaggio.it Japan Package Design Association E: info@jpda.or.jp W: www,jpda.orjp Japan Packaging Institute 20F Togeki Bldg. 4-1-1 Tsukiji Chuo-ku Tokyo Japan T: +81 03 3543 1189 F: +81 03-3543-8970 E: pack@jpi.or; W: www.jpi.orjp Metal Packaging Manufacturers Association SoanePoint 6-8 Market Place Reading Berkshire RG 2E6 UK Tr 446 (0)118 925 5520 F; +44 (0)118 925 5888 E:enguiries@mpma.org.uk Ws wwrw.mpma.org.uk Mexican Packaging Association Homero # 538-101 Col, Chapultepec Morales México D.F. Tr +41.55 5545 6258 Fr4155 554 6258 E: amee@starnet.net.mx W: www.amee.org.mx Netherlands Packaging Centre P00. Box 164 NL-2800 AD Gouda ‘The Netherlands 261 Te431 (0)182 512611 F: +31 (0)182 512769 E: info@nve.nl Ws wowwnve.nt The Packaging Association of Canada 2055 Sheppard Avenue East Suite £4620 Toronto, Ontario M20 4¥1 CanadaT: +1 416 490 7860 F: +1 416 490 7846 E:info@pac.ca Ws wwwmpac.ca Bureau du Québec CP, 43010 1859 René-Laennec Succ. Vilamont Laval, Québec HTM 6A1 Canada Te #1514990 0134 F: 41450 668 2691 E: quebec@pac.ca We: wwew.pac.caPackaging Digest 2000 Clearwater Drive ak Brook 11 60523 USA T: +1 630 288 8000 F: +1 630 288 8750 E: packagingdigest@reedbusiness.com W: wowpackagingdigest.com Packaging Gateway SPG Media Ltd, Brunel House 55-57 North Wharf Road London W2 1LA UK T: +64 (0)207 915 9957 F: +46 (0)207 915 9958 E: packaging@spgmedia.com W: www,packaging-gateway.com ‘The Paperboard Packaging Council, 201 N. Union Street Suite 220 Alexandria VA 22316 USA +1 703 836 3300 Fr +1 703 836 3290 E: paperboardpackaging@ppenet.org W: worw-ppenet.org Pro Carton. 250 Avenue Louise B-1050 Brussels, Belgium Ts +32 (0)2 640 4955 F: +32 (0)2 640 4959 E: info@procarton.com ‘W: www.procarton.com Swedish Institute for Packaging and Logistics STFI-Packforsk AB Box 5604 ‘SE-114 86 Stockholm Sweden 1: 446 8 676 70 00 446 8 411 55 18 info@stfi.se W: www.stfi-packforsk.se ‘Swiss Packaging Institute ‘Schweizerisches Verpackungsinstitut SVI Geschaftsstelle Briickfeldstrasse 18 3000 Bern 9 Switzerland 1: +41 (0)31 302 3003 F: +41 (0)31 302 30 47 E: info@svi-verpackung.ch W: woew.svi-verpackung.ch ‘Waste Watch 56-64 Leonard Street London EC2A 4IK UK +44 (0}20 7549 0300 Fr +44 (0)20 7549 0301 info@wastewatch.org.uke W: www.wasteonline.org.uk World Packaging Organisation o/o STFI-Packforsk Box 5604 $-114 86 Stockholm Sweden T: 446 8 676 7078 F: +46 8 411 55 18 W: www.packaging-technology.com/wpo World Resource Foundation: Bridge House High Street Tonbridge Kent ‘wo 10P UK Ts 444 (0)1732 368 333 F: +44 (0)1732 368 337 E: wrf@wrf.org.uk W: worw.wrf.org.ukeUseful Reading Calver, Giles. What is Packaging Design? RotoVision, 2004. Cliff, Stafford. 50 Trade Secrets of Great Design: Packaging. Rockport, 2002. Denison, Edward and Cawthray, Richard. Packaging Prototypes. RotoVision, 1999. Fishel, Catherine, Design Secrets: Packaging. Rockport, 2003. Hargreaves, Ben. Successul Food Packaging Design. RotoVision, 2006. King Gordon, Stacey. Packaging Makeovers: Graphic Redesign for Market Change. Rockport, 2005. Opie, Robert. Packaging Source Book. Macdonald & Co. Ltd., 1989. Rivers, Charlotte, CD-Art: Innovation in CD Packaging Design. RotoVision, 2003. Rivers, Charlotte. DVD-Art: Innovation in DVD Packaging Design. RotoVision, 2005 Roth, Laszlo and George L. Wybenga. Packaging Designers’ Book of Patterns. Van Nosrand Reinhold, 1991Index acetate 60, 71 ‘Adapted Ball Carton 221 added value 8 ‘Aerosol Can 12 aluminum 11-12 ‘Angle-Sded Carton 244 ‘Angle-Sided Tray with ‘Tuck Top 50 Ae-Top Carton 53, asthma inhalers 12 atmosphere 7, 12 automation 8, 11, 13, 17-18, 115 bags 13-15, 232 Barel-Vaulted Display Case 166 Base-Flanged Tray with (Curve-Topped Lid 43, batch production 8 beer 11 Beverage Can 11-12 beverages industry 10 Biodegradable Round Pop- Up Tub 133 Book-Cover Carton 206, Rottle Carrier 140, Bottle Case with Integrated Neck Lock 152 Bottle-Neck Support Carton 138 bottles 8, 12-13, 15, 67 73, 107, 133, 140, 152 171, 254, 256 branding 8-9, 14, 203 breaklast cereale 9, 14, 118 briefs 9 building materials 7, 13 cakes 90, 147 canning factories 13, carbon dioxide 12 carbonated beverages 12,15 Cardboard Box 14 Carton with Internal Compartments 116 cartridge items 109 (Ds 76, 79, 180, 207 Fes 12 Chamfered-Sided Carton 189, chamois leather 121 “Character” Lid and Storage Box 85 cheese 90, 247 Child-Resistant Carton 176 children 85, 176, 206 chocolates 9, 267 circular goods 92 Circular Roll Product Case 76 Clarke, Sheila 10 classic packages 10-15, cleaning products 15 climate 7 closures 17-19 clothing 7, 15, 36, 58, 117, 255 Clover Leaf Closure Carton 64 (Compact-Dise Case 207 CCompact-Dise Sleeve 180 Compact-Dise Wallet 76 competition 8, 13, 23, compost 15, 263 computerization 8 concealment 9 Concertina-Shaped Card 127 condensed milk 11 Confectionery Egg Carton 72 confectionery items 8, 20, 32, 40, 42, 50, 57-58, 117, 135, consumables 10-11, consumerism 7 contents 8 Contoured Novelty Carton 228 cookies 8 Comer-Locked Tray 99 corporations 8 ccomosion 11 Corrugated Cones 248 comugated paper 14 ‘Corrugated Presentation Case 247 Corrugated Waste Container 243 ‘Corrugated-Board Exhaust Duct 205, cosmetics 15, 20, 73 (Cracker Carton with Interal-Presentation Device 190 Cracker-Shaped Carton 32 crates 14 crush resistance 108 Crystal Palace 13, ‘Cuboid Carton with Tuck- In Top Flaps 47 Cushion-Top Carry Carton 37 cutlery 127 cylindrical items 133, dairy industry 10 Dayton Reliable Tool Company 11 demand 8 Desictop-Display Case 179 detergents 218 Diagonal-Handled Carry Carton 251 disguise 9 Dispensing Carton 252 Display Carton 80 Display Pack 208 distribution networks 78,10 Dodecagon Carton 42 Double Cup Holder 232 Double-Arced Topped Carton 211 drinks 11, 18, 20, 232 Dual-Action Wallet (Burgopak™) 204 Durand, Peter 11 earthenware 8 Easter eggs 72 economics 10 efficiency 10 egg cartons 13 electronic items 7 embossing 13 engineering 39 Envelope-Base Carry Carton 34 environment 7-14, 20, 23, 127, 133, 248 ethyl chloride 12 Euroslot 58, 123, 128, 143 Evans, Henry 41 Expanding Presentation Box 168 fabric $7, 121 Fabric Display Carton 121 fast-food items 194, 196-97, 200 Fast-Food Sleeve 196 Fast-Food Wallet 196 fire extinguishers 12 Flanged Tapered Tray 98 flat-packing 34, 57-58, 95, 100, 133, 147, 167, 171, 175, 184, 186, 193, 196, 207, 26, 268 flax 13 flexography 110 Flp-Top Carton with Tear- ‘Away Entry 117 Floral-Top Carton 215 flower pots 133 Fold-Over Tray 104 food items 7-8, 10-11, 14, 20, 40, 48, 53, 90, 92, 96, 98, 101, 186, 194, 196-97, 199, 231, 26k, 267 Four Comer Glued Skilet- Ended Carton 86 Four Full Flaps Skillet 108 Four Overlap-Flaps Skillet 109 Four-Sided Bulbous Carry (ase 157 Four-Sided Pillow Pack 218 Tour-Spot-Giued Comer- Tuck Carton 255, fragile items 7, 20, 68, 71, 79, 116, 147, 239 Framed-View Tray 73 Freestanding Point-of Sale Stack 144 Frilled Circular Carton 39 Frilled Octagonal Carton 161, froven-juice concentrate 11 Fall Overtap-Tuck Carton 259 furniture 15Gable-Top Carton 135 (abled Roof Carton 216 Garter Carton 212 Gift Box with Carry Handle 147 cift items 9, 37, 42, 50, 57, 64, 113, 147, 226, 228 Gift Pack with Handle 224 lass 8, 10-13, 15, 68, 79,152 Globalization 7-8 Glueless Sandwich Pack 197 gluing 18-19 grease proofing 103, Great Exhibition 13 groundwater 7 Gusset-Sded Carry Carton 36 hair spray 12 Hanging Partitioned Point-of Sale 143 hheat-distribution pads 92 Heat-Sealable Sandwich Pack 199 Heat Sealed Liguid Container 136 Heat Sealed Sanduvich Pack 186 heavy items 20, 108 Hexagonal Box 230 Hexagonal Envelope-Base Carton with Tab-Locked id 63, Hexagonal Six-Pack Carrying Case 139, Hexagonal Tuck-Top Carton 67 Hidden-Lock Display Case 172 Hinged Carton with Internal Lack 203, Hinged Double Closet Carton 113 Icon Key 21 identity 8-9 In-Fold/Out-Fold Four (Comer Tray 109, Industrial Revolution 8 Information Display Carton 123, Instructions 8 Internally Partitioned Carton 167, internet shopping 247 iron 11 Jewelry 13, Sigsaws 58 ketchup 12 labor 8 landéil 7, 15 Lanter Carton 223, lead 13 legislation 9 lenses 13 Light Bulb Carton 71 limited editions 40 lingerie 36 liquids 7-8, 11-12, 98, 136-35, 137, litter 9,11, 16 local production 9 Tong items 124, 128 luxury items 20, 32, 37, 40, 42, 172 ‘manual labor 8 ‘manufacturing 8, 11-15 ‘mechanization 8 medicines 7, 176 Merchandise Carton 116 meta 7-8, 12 methyl chloride 12 Montreal Protocol 12 Multicompartment Tray 89 Multicurved Carton 57 Multipatitioned Tray 239-41 Multisided Tapered Carton 46 Napoleon 10 natural systems 7 Near-Spherical Carton 25 needles 127 nonperishable items 120 North Pote 12 Novelty Case 227THE BIG BOOK OF 2.6) eng too) Vins is both a source of inspiration and an invaluable reference tool. It provides a visual catalyst for the creation of exciting packaging designs. The diverse range of carton templates, which are also included on the accompanying CD, demonstrates the huge variety of packaging possibilities, and the beautifully photographed finished models inspire the imagination. Product suitability and distinguishing characteristics are included for each design, and a system of icons provides easy access to information on every aspect of the designs, from their ecological implications through to their material suitability. Authoritative essays detail the principles of packaging, along with the issues and challenges faced by contemporary packaging designers. A handy guide covers all the major types of closure, and a quick reference list summarizes common packaging materials and their typical uses. 33-055-3 | 209 | se i2m sandwich bags 14 Scent-Encouraging Hexagonal Carton 185 Sealed Ends 18 Second World War 14 secondary packaging 9, 36, 86, 103, 108-9, 115, seedlings 133 Segregated Tray 254 Self-Assemble Angled Front Tray 111 selt-service 8 Self-Supporting Carton 83 shaving foam 12 shelf life 10, 179 shock absorbency 20, 103, 108, 110 shrink-wrapping 96, 100, ‘Side-Entry Hexagonal carton 107 Six-Point Glued Tray with Integral Lid 193 ‘Six-Point Tray with, Integral Lid 19 Skillet 18 Skillet Carton 80 soap 83, 116 soda water 15, South Pole 12 space saving 10 special editions 107, 138 special needs 43, Spiral Binding Display 128 split molds 13 sports equipment 73, spouts 138, 134 sprays 12 stacking 10, 98, 100 staffing 8 Star-Shaped Carton 40 starch-based materials 15, steel 11-12 sterilization 11 stratosphere 12 straws 136 structural design 23 ‘Sub-Divided Carton 256 supermarkets 8, 14-15, supply 8-9 sustainability 7, 232, 248 symbolism 9 systems view 7 ‘TShirt Carrer Bag 14 ‘Tabbed-Handle Carry Case 156 take-outs 53, 98, 211, 231-32, 246 tamper-proofing 17, 72, 93,117 ‘Tapered Pedestal Carton 60 ‘televisions 109 ‘Ten-Sided Carton with Expanding Base 162 tertiary packaging 9 ‘Tetrahedron Carton 137 textiles 212 Three-Sided Display Tray 96 throwaway culture 7 tin 11-12 Tin Can 10-11 tissues 120 tools 124 transit 109-10, 114-15, 179, 244, 252 ‘Tray with Crucifix Flaps To Meet 103 Treasure Chest 148 Teiangular Carton with ‘Window 175 Tuck-End Carton 17 ‘Tuck-Top Crash-Base Carton 18 ‘Tuck-Top Hexagon 66 ‘Two-Pack Interlocking Carton 68 Two-Part Display Carton 151 ‘Two-Part Hexagonal Cone 155 ‘Two-Piece Interconnecting Cartons 235-37 Two-Piece Transit Carton 110 Vest Cartier Bag 14 Wallet Sleeve 79 warehouses 10 waste 7, 9-10, 14, 124, 194, 205, 243, 248 waterproofing 48, 98, 135, 137 Watertight Tapered Container 48 wared paper 14 Web Corner Tay 19 Web-Comered Cube 231 Webbed-Corner Carton 165 websites 260-68 ‘Wedge Carton 186 ‘edged Carton with id 90 weight saving 10 wine 247 ‘wood pulp 13 ‘Wrap Pack 200Manage Orders btps://sellercentral amazon.com gp/orders-v2/packing-slip/ref-sm_my. Ship To: / ISABEL CRISTINA MUNOZ / CAROS A QUINTERO x 1718 DEERFIELD POINT DRIVE alpharetta, GEORGIA 30004 Order ID: 002-2795955-7869031 Thank you for buying from Brickyard Books on Amazon Marketplace. Shipping Address: Order Date: Oct 8, 2012 ISABEL CRISTINA MUNOZ/CAROS AQUINTERO Shipping Service: Expedited 1718 DEERFIELD POINT DRIVE Buyer Name: ‘CARLOS A QUINTERO alpharetta, GEORGIA 30004 Seller Name: Brickyard Books Quantity Product Details 1 The Big Book of Packaging Prototypes: Templates for Innovative Cartons, Packages... Merchant SKU: roto081512 ‘ASIN: 2888930986 Listing ID: 0815M4PB1BK (Ordortom ID: 45255925495818 Condition: New ‘Comments: New copies. CD-ROM sealed in back. Careful packing, quick posting Returning your item: (Go to "Your Account” on Amazon.com, dick "Your Orders” and then click the “seller profil” link for this order to get information about the return and refund policies that apply. Visit hit: amazon, convretums to print a retutn shipping label. Please have your order ID ready. ‘Thanks for buying on Amazon Marketplace. To provide feedback forthe seller please visit ‘wunw.amazon.comvfeedback. To contact the seller, please visit Amazon.com and click on "Your Account” at the top of ‘any page. In Your Account, goto the "Orders" section and click on the link "Leave seller feedback’. Select the order or Click on the "View Order’ button. Click on the "seller profile" under the appropriate product. On the lower right side of the page under “Seller Help’, click on "Contact this seller”. loft 10/8/2012 12:08 PM