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AIC 2010, Color and Food From the Farm to the Table
Interim Meeting of the International Color Association Mar del Plata, Argentina October 12-15, 2010
PALETAS CROMÁTICAS COMPATIBLES PARA ENVASES DE ALIMENTOS NATURALES
Autores : Carlos PRAUSE1, Susana CARIOLA2
Facultad de Arquitectura, Diseño y Urbanismo, Universidad Nacional del Litoral.
Postal address: Centro de Estudios Morfológicos, Facultad de Arquitectura y Urbanismo,
Universidad Nacional del Litoral, Ciudad Universitaria, Paraje El Pozo, 3000 Santa Fe, Argentina
E-mails: [email protected]; [email protected]
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The idea of packaging is as
old as human civilization,
since the transportation and
storing of products has
always demanded putting
them in containers and
boxes, as well as the
protection of food from dust,
rain, humidity and other
deteriorating agents.
Luís Meléndez (1716-1780) Pintor Español del siglo XVIII. del bodegón.1-2.
Food store. Old packaging.
ABSTRACT
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Similarly, the influence of colour as
an identifying and communicating
element of the “attributes” of those
signs, acquire today a central role,
key in the visual communication of
the product image.
In the case of consumer goods,
particularly food, the packaging is
not only a simple wrapping for
protection, but it becomes a mean
of communication, used to reflect
the product “image” that is intended
to transmit to the consumer.
El mundo del envase. Ma.Dolores Vidales Giovannetti.
UAM Azcapotzalco. Ed. Gustavo Gil. Barcelona, España.
ABSTRACT
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Consequently, the packing size, shape,
colour, the typography for the texts and
materials used in its elaboration,
become of key importance making the
packaging its own seller and becoming
sometimes the connection with the
consumer, since it anticipates what the
consumer thinks or awaits from the
packaging, generating a sort of “meta-
communication” since it expresses what
the packaging contains or supposedly
contains.
Examples of shapes and sizes.
Container + Product + Marks
ABSTRACT
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There are many factors in our reality,
either psychological or visual, that
determine the appropriate choice of
the packaging colour, shape and
material, according to the adopted
commercialization strategies.
These factors become more important
day after day, and they vary according
to the cultural traditions and tastes of
the different societies.
Food packaging design has been one
of the disciplines that has been more
related to the graphic industry in the
last decades.
Color + form + material
ABSTRACT
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We intend to investigate this issue
and show some incompatibilities
that certain design decisions have,
regarding the colours used to
represent the natural shapes and
the resulting colours of the
production of the printing standards.
We will also offer some possible
solutions to these conflicts which
occur between one system and the
other in the colour treatment.
It is also the objective of this work
to offer some ideas to the designers
providing some conceptual and
visual tools, establishing a series of
compatible chromatic palettes
between the suggested colour and
the depicted colour.
Design decisions as product identity, such as MILK and WINES.
Color White natural-color of the pack: White, Black, Red, Yellow
Product Color: Red-erase white wine: Green / packaging Color: Red and White
and Red-Green
Non-Alcoholic Wines: Color: Red, Pink and White Color package: Black &
White & Red and Green
ABSTRACT
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In this opportunity, we do not intend to
deal with the packaging colour as an
industrialized product material, but we
want to deal with some particular
colour features in the graphic
messages and its relations with the
possibilities of reproduction, taking
into account general types of
materials for packaging or, even more
important, the covering materials
which are the visual media for the
messages.
Some design decisions on the packaging for the same
product.: From color-WHITE MILK
Color of mark on the packaging: (ALL)
ABSTRACT
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It is in this particular issue
this paper deals with, where
product identity, laws of
marketing, technology
constrains, rhetoric,
persuasion among others,
coexist –or not.
Colors of packaging for Coca Cola: Red, White, (black Gray) Other Blue and Orange.
Fruit juices. Assorted colors for the brand.
Some design decisions on the packaging for the same product: soft - chemical components (Coca Cola) and fruit juices.
ABSTRACT
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ESTHETICS OF PACKAGING
Certain categories of intervention
are established, matching the
types of packaging materials in
products of daily, periodical and
occasional use. This classification
corresponds with the variables of
“cesias” , since they determine
sensory differences in the
perception of colour in accordance
with the concerning topic. In this
opportunity, the following
classification is used:
Containers with different 'cesias "on display together
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1. Transparent
We can observe that in transparent
packaging for fruits, vegetables or
pasta, the representation of colour
comes from a natural fact, since the
same product is the one being
exhibited in its most pure
expression; consequently, the
perceived colours will be a
combination of the colours of the
product interacting with the
proposed colours for the visual
message of the container.
The harmony or incompatibility
should be seen in the combination
of these two semantic fields.
ESTHETICS OF PACKAGING
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2. Translucent
In this case, its own
composition produces a
combination of overlapping
colours due to the semi-
transparent veil covering the
product.
ESTHETICS OF PACKAGING
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3. Opaque
This kind of packaging requires a
colour treatment to access the
identity of the content, in addition to
photos or 2D or 3D illustrations to
exhibit it. In this case, the
participation of the designer and the
areas of knowledge presented in this
work are of essential importance.
ESTHETICS OF PACKAGING
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4. Reflective
Similar to the previous material
as regards the treatment of
colour, but it has interesting
possibilities in its colour display
due to the reflexion of light over
the covering material.
ESTHETICS OF PACKAGING
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5. Blended
Combinations in pairs of the
materials mentioned above.
The characteristics aforesaid
for each type also apply here.
ESTHETICS OF PACKAGING
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FOOD COLOUR AND IDENTITY
One of the basics conditions of
colour in packaging is that is has to
be “useful” and support its shape in
the identification of the product. In
now a days society the -visual-
identity already established its value
as a basic need of every entity or
item.
There are some categories that
have a direct influence in the colour
choice of the graphic proposals for
packaging, where there has to
have:
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• The brand´s identity:
the shapes that represent the
production company and/or the logo
of the product.
• The product image
the leading companies establish a
colour associated to its identity
assigning to it meanings that may
refer or not to the food they
represent.
FOOD COLOUR AND IDENTITY
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• Selling requirements
Visibility, readability and unity in its
writing, with the objective of facilitating
its localization and recognition.
• Semantic association
Basic relation between the content and
what it is displayed. Colours help attract
the buyer´s attention and provide
information related to its content.
FOOD COLOUR AND IDENTITY
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We can also include any type of
image manipulation that does not
modify the original colours.
Consequently, it is necessary to talk
about colour "naturalness" in the
packaging graphics, since it is in this
instance –the design- where
decisions which are usually
contradictory are taken.
This is why we start with a
classification of the degrees of
naturalness:
When we talk about the “natural” characteristic of
colour, we make reference to a semantic distinction
in the faithfulness of the colours of the product,
which can be verified mainly in photographs, where
it is presumed that colours do not suffer alterations.
FOOD AND MATURAL COLOURS
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Natural food colors, natural (unprocessed)
• Natural (unprocessed)
If we accompany this
classification with a palette of
colours, we can establish a
range of “natural colours”, that
is, those which are “from the
same nature of the product”…
FOOD AND NATURAL COLOURS
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Chemicals in natural food colors (industrialized)
• Processed (manufactured)
...and “processed colours” or
artificial, since it would fit a
sort of logical and semantic
response.
FOOD AND NATURAL COLOURS
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TIPO
Nº CEE
Amarillo Limón E-102 + E-110
Amarillo Huevo E-102 + E-110
Amarillo Mimosa E-102 + E-110
Anaranjado 1787 E-110 + E-124
Naranja 2000 E-110 + E-124
Colorante Marisco E-110 + E-122
Pardo Chocolate 648 E-102+E-124+E132
Marrón 4004 E-110 + E-151
Verde 519 E-102 + E-133
Verde Menta 1869 E-102+E-131
Verde BB2228 E-102+E-133
Verde Menta 20 E-102+E-132
Verde Menta 23 E-102 + E-131
Verde Menta TV66 E-102 + E-131
Verde Menta 839 E-102 + E-131
Violeta 952 E-122 + E-151
Violeta 1027/1 E-124+E-131+E-
151
Negro 952 E-102+E-110+E-124+E-131+E-
151
PRODUCTO
COLORANTE
PRINCIPAL C.I
Riboflavina
Riboflavina Fosfato
Curcuma Curcumina
Annatto Norbixina
Annatto Bixina
E-160b
B-Caroteno
E-160a
Pimentón Capsantina
E-160c
Xantofilas Luteina
E-161
Caramelo
E-150
Clorofilas-Mg. Clorofila-Mg.
E-140
Clorofilas-Mg. Clorofilina-Mg
E-140
Clorofilas-Cu. Clorofila-Cu.
E-141
Clorofilas-Cu. Clorofilina-Cu
E-141
Rojo Remolacha Betanina
E-162
Cochinilla Carmín
E-120
Cochinilla Acido Carmínico
E-120
Antocianinas Enocianina
E-163
Antocianinas
Antocianina de
zanahoria
E-163
Carbón Vegetal
E-153
Blanco Titanio Oxido Titani
E-171
Amarillo Coninor
E-172 Oxido Hierro
E-172
Rojo Coninor E-
172 Oxido Hierro
E-172
Rojo Coninor R/E-
172 Oxido Hierro
E-172
Negro Coninor E-
172 Oxido Hierro
E-172
Synthetic dyes: Natural dyes
FOOD AND NATURAL COLOURS
This classification is
essential to determine the
colour fidelity as regards
its “naturalness”, because
it is a highly positive
attribute in advertising
content, since it is related
to “freshness”, “healthy”,
etc.
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We will now try to establish which are
the “natural colours” for “natural
food”, within a general category,
according to its origin:
• Mineral
(whites, browns, sepia, yellows)
FOOD AND NATURAL COLOURS
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• Vegetable
(greens, reds, violets,
blues, oranges, yellows)
FOOD AND NATURAL COLOURS
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• Animal
(reds, whites, pinks)
FOOD AND NATURAL COLOURS
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We would like to focus on the ones classified
according its dominant colours, since they present
substantial differences even if they look similar,
such as: Fruits , Vegetables, Meat, Dairy products.
FOOD AND NATURAL COLOURS
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• Fruits
(reds, yellows, oranges,
greens, blues, lilaceous)
The colors in fruits
FOOD AND NATURAL COLOURS
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Colors in the Plant
• Vegetables
(greens, yellows, oranges,
red beet, cabbage,
eggplant)
FOOD AND NATURAL COLOURS
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The colors on meats
• Meat
(beef, pork, poultry, fish)
FOOD AND NATURAL COLOURS
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The colors in dairy
• Dairy products
(milk, cheese, creams, by-products)
FOOD AND NATURAL COLOURS
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With this classification we tried to list what we are
interested in highlighting about the colours semantic
attributes regarding “naturalness” and the different
packaging graphics that sometimes are not in
harmony with the election and treatment of colour.
FOOD AND NATURAL COLOURS
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For these considerations, we find
that certain packages contain
colours according to the
“sensations” they produce, and this
generates contradictions and
opposing or wrong interpretations in
the identification of the content.
We are including some examples
considered incompatibles (or at
least inharmonious) from different
semantic fields.
FOOD AND NATURAL COLOURS
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NATURE VS. COLOUR PSYCHOLOGY
Having in mind the products general
categories mentioned before, we think that
packaging must contain colours that represent
the semantic attributes of its content;
therefore, the colour palette of its design
should match them.
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Some incompatibilities can be found.
For example, earthy colours are a good match
for items of mineral origin, but for fruits,
vegetables and dairy unprocessed products
this colour can be associated with “oxidation”.
Therefore, it can be said that not all the
assessments made about “colour psychology”
are effective, since for some food items the
colour white can indicate “purity” but for others
it is linked to its "fermentation”.
NATURE VS. COLOUR PSYCHOLOGY
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Black is a sign of “excellence” for
wines but it is hard to attribute this
meaning to other food items.
Packaging serves as a container, but it
is also a product identifier.
This last function cannot be achieved
by what it is called the colour
“personality” if it is not directly related
with the product attributes it identifies.
NATURE VS. COLOUR PSYCHOLOGY
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We would like to make it clear that this
particular approach is directed towards
graphic productions of illustrations or
backgrounds and not towards
photographic images (or transparent
packaging), since in those cases, the
photography captures and reproduces
the colour that the product reflects, which
-except in the treatment of some relative
variable- are not the result of the
designer´s “colour decision-making”.
It is also important to mention that the
colours of the graphics depend in great
extent to the percentage of the area that
takes up in the packaging as a whole.
NATURE VS. COLOUR PSYCHOLOGY
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“…colours have a meaning that makes the
objects attributes stand out. They can be
general attributes, when colours mean the
same for every individual (the sky, the
trees, the earth, the sun, blood), since
colour categories are socially constructed.”
(Goodwin, 2000).
It can be inferred that colour associations
are the result of some type of experience
with the product, and thanks to the contact
with it, the person acquire the capacity to
relate colour, form and function.
CONCLUSIONS Mislabeling: makes health claims ("Fresh, healthy and tasty") can not be made without accompanying information.
Properly: Cantos Blancos, is the only brand with proper
labeling in all samples. They are also the only ones,
along with the other three samples of the same brand,
bearing the date on each egg.
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It´s very interesting the idea that,
“…when the consumer observes
similar products, he generalizes this
learning and gives similar attributes
to products looking alike in its
appearance even if he recognizes
them as being from different brands”
(Warlop and Alba, 2004; Miaoulis & D'Amato, 1978).
There are many cases in which the
image and colour of the leading
brand are used as a generic identifier
of the product.
CONCLUSIONS
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It is very common to confuse packaging of
different categories because of the similarity
of the codes, and this strengthened the need
to use standard codes for the category.
Assertive reading is given not only by the
packaging´s shape and material but also the
image and colour consistency.
CONCLUSIONS
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To conclude, we would like to say that the goals of our
work -because of the extent and diversity of the topic-,
cannot be completed in this speech, but some solutions
are given and it is complemented with another work
displayed in poster format, named “Natural Colours for
Natural Food”, where we depict a series of compatible
colour palettes for natural food packaging.
Thanks