Says Colour and Reprographics Director, Andrew Davis: “The initial vision – coupled with the technical skills and people required to implement a project of this scope, sophistication and complexity – was only the beginning. What made this challenge so special was the “why not?” attitude from all stakeholders. We are delighted that the DBA has recognised the huge benefits derived by this intelligent and collaborative approach which continues to deliver substantial results.”

Here’s our story:

Unilever’s Spreads & Cooking Category (SCC) produces soft spread brands such as Flora and Becel. This market is highly competitive with new products and own-label constantly challenging the brand’s ‘premium’ price. To help Unilever to effectively compete, designers naturally erred towards the selection of different spot inks when re-designing and extending the brands. This meant that the number of inks used to print the entire SCC range had increased to over 100 – a technical complexity that resulted in huge production costs. In 2005, having worked with SCC for some time, LFH identified an opportunity to reduce print costs without detriment to the ‘look and feel’ of their brands. We found a way to ‘faithfully’ reproduce 150 different SCC brands using a fixed and constant set of just six inks.

This meant that, whilst printing is underway there is dramatically less down time and greater actual print time, which equates to greater print capacity and total output. The result was lower print fixed cost allocations leading to lower print costs. LFH’s ‘colour harmonisation solution’ – Chapter 1 – involved fully engaging with the SCC Management team to ensure that our approach was championed, embraced and implemented to very tight deadlines.

Our solution remains the most comprehensive example of brand-focused colour harmonisation in the market. ‘Project Rainbow’ was a commercial success with brand value actually enhanced. Its success was entirely due to the fact that LFH are experts in both design and production.

“The team was, quite frankly, blown away with the results – no-one could quite believe that such quality could be realised when using six colours, considering our printers had, in many cases, been using well over 100! Revolutionary is a strong word to use, but that’s exactly what we’re talking of here – cost savings as a result are set to be significant to say the least.”

Mathew Daniels, Global Capability Leader – Printing and Decoration, Unilever

Says Executive Director, Mark Gandy: ”The DBA awards are the most rigorous proof of the ROI design can bring to brands. The fact that the Grant’s brand’s transition from 4th to 3rd largest in the World, as a direct and proven result of its investment in design, has been recognised by these awards is something in which both client and agency teams can feel immense pride. No agency works in a vacuum and our brand partners at W Grant & Sons made the process of transformation not only hugely successful but great fun and rewarding at the same time.”

Here’s our story:

In 2006, Grant’s was the fourth largest global blended whisky brand which, although supported by an active marketing campaign, suffered from lack of direction. The brief was to transform the brand into a credible ‘Scotch whisky brand’ with a distinctive and compelling personality, making it an active choice for consumers.

Our response enabled Grant’s to attract new consumers in exciting growth markets without alienating consumers in mature markets. The new design has increased quality perceptions and created clear differentiation across the range. Launched in March 2007, by 2010 the brand had met all targets set and achieved a +16% increase in sales, compared to 2006, whilst the global market only managed a 2% increase in the same period. The extra sales earned was equivalent to £290 million (US$464 million). Global market share had increased by 0.68% to 5.84%. In addition to this sales increase across the entire brand range, the new structural design for the 12 Year Old achieved a reduction in cost of goods (COG).

Recently, Grant’s took to the podium of standard Scotch whiskies, becoming the world’s number three in retail value. Since 2006, Grant’s has grown ahead of the category, achieving in 2010 worldwide sales of 4.8 million cases and retail value over £646 million ($1bn). This represented more than a 30% increase in retail value compared to base year, 2006.

“We are delighted by LFH’s design for the Grant’s brand. The new packaging was the catalyst – and the key driver for change – and I can confidently say that it has played a central role in delivering success and played a huge part in achieving our podium position.”

Kate Athanasi, Grant’s Global Brand Director, William Grant & Sons Distillers Ltd

Author: Mark Gandy, Executive Director

With the sun rising, frost on the ground and just the right amount of chill in the air, it seemed like an apt time for me to risk my life by running across the busy road – the sculpture is installed on a roundabout – to capture the moment in all it’s glory.

Its creator, Andy Scott, writes: “I was inspired by seeing so many cobs grazing among the industrial buildings in Belvedere and I have tried to capture the essence of the horse.” In local Council’s view: “This striking sculpture reflects the rich cultural heritage of the traveling communities in this area and the contribution they, and their horses, have made – and are still making – to the area. The horse is vivid, alive and proud and represents everything good about the area.”

After reading the inspiration behind the statue I set about locating the animals that were its inspiration. After a five-minute trek over some muddy and difficult terrain – well, difficult for a city lad like me dressed in flash, multi-coloured, non-grip trainers – my efforts were rewarded. In a field no bigger than a football pitch were a dozen or so cobs. The amateur photographer in me, armed with just a smart phone, set about trying to capture their image.

For those that have never heard of this particular breed, Wikipedia classifies it as ‘in general terms, cobs are larger than ponies, standing 14.2 hands or taller, but are relatively small and compact, usually with somewhat short legs. It is said that good show cob should have “the head of a lady and the backside of a cook”‘.

Author: Brett Goldhawk, Account Director

A day later, walking past the door again, I noticed it looked strangely shiny. The reflections were being created from a piece of PVC that was attached over the top of the graffiti. This loyalty shows just how far Camden will now go to protect its subversive heritage and how they rallied round their neighbour who was – in my view – a superstar that personified and praised our human flaws.

Don’t even think about removing it.

Author: Ed Ezra, Artwork and Repro Operator

Through the exhibition, the gallery gives visitors an idea of what 3D printing is and how it is beginning to be used. It certainly provides food for thought.

The exhibition – ‘Send to Print/Print to Send‘ – includes a variety of industrial design concepts from the fields of architecture, industrial design, fashion and product design, and features the work of Assa Ashuach, Riccardo Bovo, Michael Eden , Freedom of Creation­­, Sam Jacob, Jump Studios, Markus Kayser, Dirk vander Kooij, Chau Har Lee, NEX, PearsonLloyd, Chloe McCormick & Nicholas O’Donnell-Hoare, Serie, Superfusionlab, Silvia Weidenbach and Unfold. It is open to the public from until 25 Feb 2012.

Meanwhile, you might like to check this out: a short film from industrial designer Dejan Mitrovic who is using the 3D printing technology as a part of his MA project ‘Kide‘ which allows children to develop their imagination and design skills by making their own toys.

Author: Zarya Zarkova, Designer

Just as walking around the iconic building that now houses “The Hepworth Family Gift‘ seems so far away from the wide open vistas of Cornwall.

We are in Wakefield, of course. Visiting Yorkshire’s very own tribute to the grand dame of sculpture. Magnificent and touching, this is the largest purpose-built gallery to be built in Britain for 43 years. And, it’s quite something to behold. A shining light balanced within a confusion of shabby buildings (currently being converted into ‘loft spaces’ for the pulsating entrepreneurs that seems to be driving Yorkshire towards becoming one of the most dynamic and exciting hotbeds of talent in the country).

Go. Just go.

And, whilst you’re in the vicinity, check out the stunning ‘Yorkshire Sculpture Park‘. You see, we have more than our fair share of fine gardens with grand vistas and inspiring art.

Author: Kate Burton, Curious Curator

We aren’t the kind of people who seek fame, but as a rule of the gallery, when taking photographs there must be a person in each shot.

We all left the exhibition feeling overwhelmed from the amount of spots, and Zarya left feeling refreshed from the colour, and I left wondering what it all meant. As usual with Damien Hirst work, it was a subjective exhibition, we all saw his work in a different light.

If you are a Damien Hirst fan then I think this is definitely an exhibition to see before its too late.

Author: Luke Ferrand, Designer

This artist and self-promoting genius is looking to connect the dots in a big way with the opening of a global show for his body of coloured spot paintings. The Gagosian Gallery network – with 11 locations in New York, London, Paris, Los Angeles, Rome, Athens, Geneva and Hong Kong – has been turned over entirely to Hirst’s geometric patterns. The gallery is even running a competition inviting those who can prove that they have visited all eleven Gagosian Gallery locations during the exhibition to claim a signed spot print by the artist, which comes complete with a personal dedication. Perhaps thats maybe only for obsessive fans and frequent flyers amongst us? Perhaps not.

Hirst proclaims “I was always a colourist, I’ve always had a phenomenal love of colour… I mean, I just move colour around on its own. So that’s where the spot paintings came from — to create that structure to do those colours, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of colour.”

The exhibition is currently running and you can catch it at the london venues shown here.

I for one will be checking it out!

6-24 Britannia Street
January 12-February 18, 2012
Opening Reception: 6-8pm
E. london@gagosian.com T. +44.207.841.9960

17-19 Davies Street
January 12-February 18, 2012
Opening Reception: 6-8pm
E. london@gagosian.com T. +44.207.493.3020

Author: Russell Hardingham, Design Director

In their own words: “Tangerine Tango marries the vivaciousness and adrenaline rush of red with the friendliness and warmth of yellow, to form a high-visibility, magnetic hue that emanates heat and energy”.

Certainly the colour portrays warmth and heat. There’s also a retro glare to it which is suggestive of the decadence of  1950’s Cuba, alluding as it does to emotive stories and passionate designs. As such, it provides a solid influence upon which we can go about creating authenticity and heritage in packaging design. Take, for example, our re-design for ‘Glenfiddich 21 year old’ which was founded in our desire to portray the authenticity and passion of the Tango. Looks like we were ahead of the game on this one.

Every year, Pantone choose a colour upon which to hang its flag. This choice is usually aimed at fashion, interior design and even packaging, but just how influential that these decisions be? Let’s talk about last year’s choice:  ’Honeysuckle’.

On the basis of it’s definite retro hue, alone, this was a very fitting colour for 2011. It sparked off a series of related colours which were used in textiles and furniture design before quickly spread into other design catergories. Indeed, 2011 emerged as the year of ‘Mid-century Modern’, so the colour was reasonably well predicted. Whatever your opinion, Pantone certainly create a buzz around a certain colour, and its nice to see them using their expertise to create an impact on the design industry.

So the question is: what trends lie ahead in 2012? And have Pantone chosen the right colour for this year?

‘Tangerine Tango’ is an optimistic colour and perhaps it will help bring us out of the difficult times of 2011.­

Author: Luke Ferrand, Designer