Innovating glass jars: a strategic design project for Verallia

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Driven by the main goal of creating feasible and innovative

jar concepts for Verallia, this research aimed to build

a broader knowledge about glass packaging through

better analyzing Verallia’s brand, products’ properties,

relevant final users and the current production process.

Verallia’s branding, communication elements, values

and structure are presented along with comparisons

with competitor’s brands and glass industry landscape.

Based on it, corporate strategies are envisioned.

The products analysis focused their characteristics, their

interaction with the consumer while displayed in the

store and their relationship during use. By it, one can go

deeper in the implications of shapes, sizes, colors and

other physical properties of jars.

Different users were analyzed and personas/stereotypes

were defined in order to summarize and personify the

findings.

The report presents three distinct profiles with their

respective needs and journey, by which one can grasp

their lifestyles, consumer behaviors and presumed

desire for one or other jar.

Based on these inputs, four scenarios were created to

prompt the generation of new concepts.

The research served as an inspirational platform for the

R&D team [candidates of the Master in Strategic Design

– Poli.Design 2014/2015] and building this common

knowledge background with the company is essential to

promote a better comprehension about the inspirations

and implications of each concept.

Although the current production process is not

presented in this report, it was constantly considered

during ideation phase.

ABSTRACT

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INDEX

01. COMPANY OVERVIEW

02. PRODUCT ANALYSIS

03. USER’S DEFINITION

04. IDEATION PHASE

05. DESIGN CONCEPTS

05.2 THE FINGER JARFrancesco Aliprandi - Guilherme Pacher

05.1 THE KNIFE WELCOMER Francesco Aliprandi - Guilherme Pacher

05.3 REF. IN THE IMAGINARIUMLuisa Figueroa - Max Yogoro

05.4 DOTTYLuisa Figueroa - Max Yogoro

05.5 SUNNYLuisa Figueroa - Max Yogoro

05.6 TWO IN ONEYasuyuki Hayama - Dhanashri Walimbe

05.7 HONEY COILYasuyuki Hayama - Dhanashri Walimbe

05.8 THE NATURE INSIDEYasuyuki Hayama - Dhanashri Walimbe

05.9 THE SPHEREMarcela Cubero - Nicole de Cándido - Veronika Ji

05.10 CHEMISTRYMarcela Cubero - Nicole de Cándido - Veronika Ji

05.11 THE TEA CUPMarcela Cubero - Nicole de Cándido - Veronika Ji

05.12 THE STAMP JARErik Andrade - Silvia Podestá

05.13 THE LIGHT HOUSEErik Andrade - Silvia Podestá

05.14 THE HONEY POTErik Andrade - Silvia Podestá

05.15 THE SPOON SAVERErik Andrade - Silvia Podestá

06. SCENARIO’S LANDSCAPE

COMPANY OVERVIEW

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01.1 COMPANY PROFILE

A member of the bespoke Saint

Gobain Group, glass manufacturer

Verallia has bonded its reputation

to high quality glass packaging for

both the beverages and food sector.

Iconic shapes that populate

consumers’ mind are thoroughly

designed and molded in its plants:

Martini Royal precious bottle,

Vecchia Romagna stout flask and

Mutti tomato puree jar - to name

just a few.

A staple in the B2B glass packaging

market, Verallia serves ten thousands

clients in 47 countries worldwide

and with more than 90 plants and

6 innovation and research hubs can

rely on an articulated network of

partners, to ensure high standards

of manufacturing and service.

The key points of the brand strategy

are high levels of capital expenditure,

combined with a constant quest

for innovation in all areas of glass

packaging, and a business model

which combines the “strength”

of its industrial facilities with the

“proximity” of a local market

presence to serve customers of all

sizes.

Moreover, in order to foster its

relationships with customers,

the French company is pursuing

differentiation of solutions and

products, often through co-

development with the very clients.

Sustainability, corporate social

responsability and commitment are

consistently stressed throughout

Verallia’s brand identity as they are

the core values that cement and

sustain the company’s brand equity.

“Verallia aims at becoming the benchmark for glass packaging and, more generally, for rigid packging - a company contributing to the sustainable development of its communities, value for its customers and the well-being of its end-consumers.”

CORE VALUES

6 INNOVATION HUBS

ONGOING QUEST FOR OUTSTANDING DESIGN AND TECHNOLOGIES

SOCIAL COMMITMENT

STRICT PRINCIPLES OF CONDUIT: PROFESSIONAL COMMITMENT, RESPECT FOR LAW, CARING FOR THE ENVIRONMENT, WORKER HEALTH AND SAFETY, EMPLOYEE RIGHTS.

TRAINING AND CAREER MANAGEMENT FOR THE EMPLOYEES’ PROFESSIONAL DEVELOPMENT.

INNOVATION

CSR

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0 wasteThe company’s focus on sustainability is embodied in a strict code of cunduit:

3.2B bottles and jarsproduced in 2011.

6 factoriesplus 10 furnaces, 3 recycling plants and 2 innovation labs

1400 products

770. 000 glass tons the amount of recycled material used every year to produce new containers

in the food and beverages glass packaging

3rd brand

1100employees

ITALIA

Verallia labsspecifically conceived as

hotbeds for design

sperimentation , aimed at

preempting new market

trends and exploring fresh

opportunities

Product variety11 color hues

BORDOLESE BOURGOGNE HONEY JAR LIQUEUR OIL BOTTLE

-high % of recycled glass

-water recycling systems

-reduced noise pollution

-methane and fuel oil


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01.2 GLASS FOOD & BEVERAGE PACKAGING INDUSTRY-OVERVIEW

Glass is being used to package food, chemicals,

pharmaceuticals, and alcoholic and non-alcoholic

beverages. Glass bottles and jars are available in

various shapes, sizes and colors. This suits the

application wherein they are used.

Rising preference for glass in the healthcare

industry due to its sterility is likely to be a factor

contributing to the growth of the glass packaging

market. Increasing consumer awareness about

sustainable and hygienic packaging of food and

beverages is likely to provide new opportunities

for the growth of the glass packaging market in the

near future.

In fact, it is the ideal packaging for containing food:

it is healthy and preserves tastes and flavours, it’s

natural, safe, hygienic, elegant, 100% recyclable

endless times.

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01.3 AUDITING THE BRAND

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Sustainability and innovation - as already said- are the

two pivotal values that give shape to Verallia value system.

Let’s now have a closer look at what sustainability means

for companies operating in the glass manufacturing

market. Intuitively associated with environmental issues,

the concepts stretches beyond that, to enclose also the

economic and social dimension of the organisations.

For a company, achieving economic sustainability means

being able to rely on a sound economic performance,

which ultimately will allow further investments to back

up the very process of reducing the environmental

impact , while also making a positive social contribution.

Innovation comes into play as soon as sustainability has

to be achieved continuously over time, and processes

need to be costantly up-to-date with changing dynamics

and economic and social requirements.

Three significant shifts of values could be identified

as the main drivers of this updating process within

the brand Verallia: from “recycling” to “upcycling” (an

example: “I riprodotti”, a collection of objects made up

of glass bottles and jars), from the concept of “creation”

to that more crucial of “innovation”, from “safety in

the worplace” to the comprehensive “corporate social

responsibility”.

The following mental map plots on a two layered graph

the users’ conceptual associations to the glass, intended

as packaging material in the food and beverage market:

the above layer stands for the product dimension,

while the lower one gathers all the concepts that are

related to glass by virtue of cultural scripts: values such

as innovation, recycle and commitment have become

integral part of Verallia’s- as well as of all the other

companies in the glass manufacturing industry- which

uses them as statement values for of its brand equity.

By comparing the intensity of users’ association

between a particular concepts and the material, with

the importance placed by the company upon each

concept, we may get interesting insights about areas of

intervention yet to be properly explored by the brand; or

even, we could identify possible discrepancies between

the users’ perception of the brand and the company’s

goals.

01.3.1 SHIFTING BRAND VALUES AND IMPLICATIONS ON BRAND EQUITY

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Degree of given importancein the brand strategy

Intensity of consumers’ association with the material

Product level

Cultural level

High

Very High

High

Medium

Low

MediumLow

Commitment

Recycle

Genuinity

Heaviness

Design

Technology

Tradition

Decoration

Volume

Transparency

Hygene

Customisation

Innovation

Variety

Vintage

Food

Drink

Environment

MENTAL MAP FOR VERALLIA

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A consistent, relevant and all-round communications strategy allows the company to orchestrate diverse media to convey its brand values and mission.

From social presence to video and corporate brochures, all the elements of the brand identity reinforce the company’s mission: achieving excellence in the market through a savvy mix of sustainability, design and innovation.

WEBSITE SOCIAL MEDIA

CORPORATE BROCHURES EVENTS & PRESS

CORPORATE VIDEO

01.3.2 A CONSISTENT TONE OF VOICE

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The graph depicts the performances of four major players in the food&beverages glass

market, according to eight variables. The organisations studied all feature medium and

even high levels for each of the variables, suggesting that the market leaders are all

aligned on the same standards and this results in a tough competition. Hence, the need

for them to create unique PODS (Points Of Difference). In a market where the Points Of

Parity (POPs) are excellent performances, sustainability best practices, design and state

of art technology, Verallia needs to find different levers to appeal to customers. Most of

all, it needs to be recognizable and to build a powerful brand equity, that is ultimately

a function of the number, strenght and uniqueness of consumers’ associations to its

brand.

Low

Medium

High

B2B

Product scope

Design variety

Iconic productlines

Sustainability

Brand Equity

Product system

Customisation(pattern&shapes)

Vera

llia

Borm

ioli

Arda

ghO-

I gro

up

In the food&beverages packaging market,the product scope measures how mcuh a company is focused on glass, or it exploits di�ernt materials

Bormioli.Rocco iconic product line “4 stagioni” and “fido” yield the company a strong grasp on the italian consumer’s mind, for whom the company is synonim of specific culinary habits

Brand equity here stands for the visibility of the brand in user’s mind. Verallia’s bespoke reputation amomg its B2B customers is not preventing teh company from being relatively unknown in the B2C market

01.3.4 FLOATING IN RED WATER? Blue ocean analysis suggests competition is tight in the food & drink glass market

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Far from being just a matter of creating new products,

innovation can be pursued by leveraging a mix of

different elements, which in their whole constitute the

company landscape: internal processes, production

chain, services, branding, network of stakeholders.

The “ten types of innovation” is a powerful tool developed

by strategy consulting group Doblin to asses the

performance of an organisation in three relevant areas:

the offering, the configuration and the experience.

Each area is allocated some components, on which

innovation can be pursued.

For the offering:

• Product performances: How distinguishing features

and functionalities are developed

• Product systems: complementary products and

services

For the configuration:

• Business Model

• Network: valuable connections with stakeholders

• Structure: the internal ortganisation of the company

• Process: how does the company put in place superior

methods for accomplishing its work

Finally, for the experience:

• Customer engagement

• Brand

• Channel: how the offering is delivered to customers.

We applied the Ten Types of Innovation tool first to the

glass packaging industry as a whole, then specifically

to Verallia, to assess their performances for each

of the components and highlight possible areas of

improvement. Tough performing very well on average,

Verallia may look for innovation in those areas like

product system, service ans business model whcih still

leave some room for enhancement.

01.3.5 INVESTIGATING THE STRATEGY: INNOVATION LANDSCAPE

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Core Processes

Low

Medium

High

Enabling Processes

Product Service System

Product Performance

Services Channels Brand Customer Engagement

Business Model

Value Network

Complementaryproduct

manufacturing

Complementaryproduct

manufacturing(lids, locking..)

Advanced glass Manufacturing technology and

processes.

B2B & B2Ccustomised

services o�erings

Worldwide presence in proximity of

B2B/B2C clients

A large variety of o�erings for customers (B2B/ B2C) along with

personalised services

01.3.6 INNOVATION LANDSCAPE - GLASS PACKAGING INDUSTRY

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Core Processes

Low

Medium

High

Enabling Processes

Product Service System

Product Performance

Services Channels Brand Customer Engagement

Business Model

Value Network

Advanced glass manufacturing technology and

processes.

Large variety plus innovative o�erings in

food and beverage glass packaging products.Best quality product

range.

Worldwide presence in

proximity of B2B clients

Design application for 3D customised

co-creation with the client

Customised design, reduced time-to-market

Strong brand image in the B2B sector.Less awareness

among B2C customers

World’s 3rd largest glass food packaging

manufacturer

01.3.7 INNOVATION LANDSCAPE - VERALLIA

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PRODUCT ANALYSIS

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As part of our research, we visited several stores from

different sectors: High end, Middle end, Low end and

Organic food markets. We analized the way in which

products contained in glass jars are displayed as well

as the predominant shapes of jars used for each group

of products, such as honeys, marmelades, spreadable

sweet creams (chocolate and nuts) and other types of

spreadable creams.

In the following spreads you may find an annalysis of

both the way these products are displayed as well as

the shapes and their relationships with the way the

consumer relates to each product.

As part of our research we tested the product, evaluating

differents aspects of it, like shapes, functions, appealing,

use.

We also visited the Verallia factory where we were

able to understand the manufacturing process of

glass containers. This was a very important step in

our research because it helped us understanding the

technical constraints of our concepts.

02.O INTRODUCTION

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EmotionVA

LUE

PRO

POSI

TIO

N

Performance

Function

Form

STRONG

MEDIUM

WEAKWe analysed 3 companies for each, Premium and Standard supermarket.

Premium: Eataly, Natura, Rinascente / Standard: Carrefour, Esselunga, Simply.

Jars are standarized specially in terms of shape and basic performance. In each case of jam, chocolate and honey.There seem to be a few number of examples of jars that try to distinguish they value from an emotional point of view.

JAM

PREMIUM STANDARD

CHOCOLATE HONEY

PREMIUM STANDARD PREMIUM STANDARD

02.1 MARKET ANALYSIS - VALUE PROPOSITION

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Texture

No texture

Convergent

No - Convergent

Straight labeling

Body labeling

Symetric

Asymetric

STRONG

MEDIUM

WEAK

Almost all types of jars are standarized in order the clients to get some advantages in terms of logistics, production, transportation and price. There are few examples of jars trying to allow the users to get aditional value.

PRO

DU

CT

SHA

PE

JAM

PREMIUM STANDARD

CHOCOLATE HONEY

PREMIUM STANDARD PREMIUM STANDARD

02.2 MARKET ANALYSIS - SHAPES

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02.3 PRODUCT TEST

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APPEARANCE

STAND ALONE DISPLAY

HONE

Y

HIGHER - MORE ELEGANT

DIFFICULT TO CHOOSE

TEXT

ILE

OR DEC

ORATI

ON ON LE

ADS

MIN

IMAL

IST

LABE

LS

LOOKS MORE SUITABLE IF THE JAR

REMINDS THE HONEYCOMBS

SIMETRIC, ROUND SHAPES

NO VERTICAL JARS

ROUND S

HAPES

+ PREMIUM: NOT HORIZ. OR VERTICAL

+ PREMIUM: NOT TOO BIG

+ PREMIUM= ROUNDED SHAPE

- PREMIUM: SMALLER JAR

- PREMIUM: TRADITIONAL SHAPEAPPEALING

PREMIUM PER

CEPT

ION

JAM CHOCOLATE

PRODUCT / RELATION

02.3.1 PRODUCT TEST - INSIGHTS

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USE

TOOLS LEAD

LITTLE SPOON OR KNIFE

HONEY SPOON (FOR HONEY)

HONEY SPOON IS THE WORS TOOL

SPOON/ KNIFE AREN’T 100% EFFECTIVE

PUT INSIDE HOT WATER-SHAKE (HONEY)

PUT INSID

E COFFE-SHAKE (CHOCOLATE) ACCESS TO THE LAST PORTION

USER DOESN’T WANT TO GET STICKY

WAITING TIME WHILE SERVING (HONEY)

SPILLING THE PRODUCT WHILE SERVING

3RD BEST: PLASTIC COVER (N

O TWIST)

2ND B

EST:

MET

AL T

WIS

T-OFF

BEST

: PLA

STIC

TW

IST-

OFF

LAST PORTION DIFFICUL

TIES

02.3.2 PRODUCT TEST - INSIGHTS

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02.4 INSPIRATION BOARD

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During the visits to different High end food

stores we could notice that the shelves are

not as high as in Middle and Low end food

stores, not even as in Organic food stores.

The lighting is directed to the product and

the hight of the shelves is relatively low in

comparison to the other stores.

Even thoough products are separated by

brands and sizes in Middle end, Low end

and Organic stores, in High end stores we

can notice a very intentional separation

and organization of products.

HIGH END FOOD STORESEATALY

HIGH END FOOD STORESEXCELSIOR / EAT’S

HIGH END FOOD STORESPECK’S

02.5.1 HIGH END STORES

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We could observe in the Middle and

Low end food stores that the shelves

were the products are displayed

are much taller than in High end

food stores. The lighting is more

general than focused to product

enhancement. As for the consumer

the visibility is compromised as the

choices are displayed in a way that

he/she must look all over the shelf and

search for the the desired product.

MIDDLE END FOOD STORESESSELUNGA

LOW END FOOD STORESPAM

LOW END FOOD STORESPAM

LOW END FOOD STORESSIMPLY

02.5.2 MIDDLE AND LOW END STORES

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02.5.3 VISIT TO STORES. MARMALADES AND JAMS.

HIGH END FOOD STORES

MEDIUM END FOOD STORES

LOW END FOOD STORES

ORGANIC FOOD STORES

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02.5.4 VISIT TO STORES. HONEYS.



LOW END FOOD STORES

ORGANIC FOOD STORES

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LOW END FOOD STORES

ORGANIC FOOD STORES

02.5.5 VISIT TO STORES. SPREADABLE CREAMS.

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As we analized the product portfolio of each type of

food store we could inmediatly notice some variables

that we thaught were interesting for our research.

We observed that in High end and Organic stores the

portfolio of products is bigger than in the Medium and

Low end food stores. The shapes of the jars are very

particular in High end food stores and the product

portfolio is very big. On the other hand in Organic

food stores we could see that even though the variety

of products is similar to the High end food stores, the

shapes of the jars are much more common. In Middle

end food stores we could find a big arrange of products,

but not as diversified as in High end and Organic food

stores and the shapes of the jars respond in a way

much more to efficient issues than to appealing ones.

Regarding the Low end food stores it was evident the

fact that the product offering was very limited, usually

up to five choices for each of the products analized.

02.5.6 VISIT TO STORES

MIDDLE END FOOD STORES

ORGANICFOOD STORES

LOW ENDFOOD STORES


MORE THAN 20 CHOICES FOR EACH PRODUCT CATEGORY

AROUND 20CHOICES FOR EACH PRODUCT CATEGORY

UP TO 15CHOICES FOR EACH PRODUCT CATEGORY

3 TO 8CHOICES FOREACH PRODUCT CATEGORY

Eataly, Eat’s, Peck’s and la Rinascente.

Esselunga, Carrefour, IperCoop and Auchan.

Billa, Conad, Simply and Pam.

NaturaSi and Bio Natura.

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CONSTRAINTS FROM THE PRODUCTION PROCESS

- Press and Blow ... For the Jars- Blow and Blow ... For the bottles

- Cost; 10 Cents on average- Label must be protected - Embossing and logos

OTHER NOTES

- The principles of Saint Gobain; Behavior and Action- Geographical Distribution of Dego’s sales- Dego’s production Segments (Wines 33%, Sparkling Wine 29%, Jars 14%)

02.6 FACTORY VISIT

USER’S DEFINITION

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03.1 USER’S DATA

Taking in consideration the

importance of the final user for the

jar’s design, the next step was to

define what kind of people could

be the most accurate to research

about.

As a part of the design methodology

we are following, we decided to

built three personas. As the jar is

considered just a packaging, there

are lots of people who directly or

not, using it.

With our three personas, we can

understand from a better point

of view, the range of different

needs involved in all the process

faced by different people, from the

moment in which they decide to

buy something (in this case a sweet

product packed in a glass jar) until

the last step of the life cycle of it and

its package, without leaving behind

all the logistic’s considerations

that different people could have

depending also, of the differet

lifestyles.

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03.2 PERSONAS AND JOURNEY

MARTINA // 21 // STUDENT MATTEO // 30 // DENTIST & ANNA // 32 // VET

FRANCO // 40 // SALES MANAGERGIORGIA // 38 // TEACHER

CELIA, 4// LUCA, 3 // ANGELA, 0.5

“I really like the convenient stuffs, it saves my time!”

“We always got inspired and attracted by the special beautiful things.”

“We really hope our kids grow up happily and healthy.”

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PROFILE

Martina comes from Sicily, now she’s studying in Milan

for her Master’s degree in Economics.

She shares an appartment in Isola area with 2 other

students.

She is looking for partime job so that she could rely

less on her parents financially. She wants to learn and

participant as much as possible in life.

DETECTED NEEDS

LIFESTYLE

Martina spents a lot of time preparing her thesis,

meanwhile she also likes to meet friends in social events.

She cares very much about her figure, so that she goes

to gym twice a week and attends outdoor activities

occasionally.

She often takes the lunch box to school and sometimes

also brings the food to the outdoor activities.

She goes to the nearest supermarket during weekend

for grocery shopping. In the supermarket, she is always

looking for stuff which are convenient and fits her

budget. Since she doesn’t have a car, she needs to take

home the shopping bag with hand.

“ I really like the convenient stuffs, it saves my time! ”

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

DETECTED NEEDSMARTINA

25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

DETECTED NEEDSMATTEO & ANNA

25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

DETECTED NEEDSFRANCO, GIORGIA & FAMILY

25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

25

50

75

PERSONA // MARTINA // 21 // STUDENT

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USER JOURNEY // MARTINA // 21 // STUDENT

phases

mainquestion

actions

people

objects

environment

relevantinformation

experiencesatisfaction

Finding Evaluating and choosing

Transporting Storing Accessing the content

GETTING USING FINISHING

Accessing the last content

Disposing or re-using

JOURNEY// MARTINA [young student]

Where is the honey?

Which is the best honey that fits my bugdet?

How to safely take it home?

Will it going to fit the space I have to this kind of product?

What is the bet way to take the honey out of the jar?

What is the best way to take the content left?

Where should it be disposed?

Looking for the honey shelf

Checking price and promotionsEvaluating appearance, and/or volume

Putting on bag or backpackCarrying it home [walking or by public transportation]

Arranging and rearranging other products and the honey itself

Taking it out of the closet and opening itPicking tool and contentPlacing tool while not using [in plate, lid or jar]Closing the jarRe-storing it

Pick the chosen toolReach every corner of the jar

Dispose the jar

Alone With flat mates Alone or with flat mates

Alone

Small cart or basketPersonal backpack

Bag or backpack ClosetOther food products [also of her flat mates]

Breakfast stu� Spoon, knife or hot water

Trash can

inside near supermar-ket

Honey shelf Street and/or public transportation

Kitchen Kitchen or dinner room

Kitchen

Signs and labels about shelves’ categories

Product label

Confusing[sometimes it’s di�cult to find the right shelf]

Neutral Annoying [sometimes it is di�cult to reach all the content and every corner]

Neutral Bad [because she is dealing with waste/trash]

Happy [she’s having breakfast]

Annoying [it’s hard to walk carrying groceries]

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PROFILE

Matteo and Anna got married 2 years ago.

They both got very high education background, and

have professional jobs, doctor and vet.

They are now living in Romolo area, and planning to

buy an appartment in via Montenero next year.

They share similar value in life, which is to live healthy

and classy.

DETECTED NEEDS

LIFESTYLE

Matteo and Anna are quite busy on their work during

week days, and even sometimes get emergency call

during weekends.

They eat in restaurants with colleagues for lunch, and

for dinner at home they pay a lot of attention to the

healthness and balance.

During weekend, they go to the big supermarket such

as Essenlunga for grocery shopping. And some evenings

they go shopping in Eataly for some special and natural

products. Even without concrete shopping list, they

also would like to go there and purely got inspiration for

gifts or life ideas. They both easily got attracted to smart

designed goods.

PERSONAS // MATTEO // 30 // DENTIST ANNA // 32 // VET


PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

25

50

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USER JOURNEY // MATTEO // 30 // DENTIST //// ANNA // 32 // VET

phases

mainquestion

actions

people

objects

environment

relevantinformation







JOURNEY// ....... i don’t have the name [professional young couple]

What do I want to buy today?

What is the best healthy jam in the market?

How to take it home?

Where should I put the jam?

How I want to taste the jam?

Do we have more jam?

How should I dispose it?

Looking through the shelf

Looking at labels and for appealing packag-ingChecking ingredients and nutrition factsChecking price

Putting on bag or backpackCarry the products to the car

Rearranging other productsPutting the honey in front of other products [due to its attractive appearance

Taking it out of the closet and opening the jarPicking tool and the contentPlacing the tool while not using [plate]Closing the jarRe-storing it

Pick the chosen toolReach every cornerPutting the jar in the sink

Putting it on the dishwasherDisposing it on the glass recycling basket

Couple One or another

Small cart or basketPurse/bag

Bag BagOther productsCloset

Breakfast stu� Spoon, knife or hot waterSink

DishwasherOther dishesTrash can for glass

Fancy market Sweet shelf MarketCar

Kitchen Kitchen or dinner room

Nutrition factsIndoor [market] ads Product label

Inspired In love Sad [“there’s no jam anymore”]

Satisfied SatisfiedHappy [she’s having breakfast]

Neutral

Kitchen

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PROFILE

Franco and Giorgia have 3 kids, Celia 4 years old, Luca

3 years old, and 6 months old Angela. They live in a

house in the suburbs of Milan.

Both parents are working fulltime, and grandma takes

care of the kids on week days.

Since Celia has some decayed teeth as she ate much

sugar. The doctor ask her parents to give her less sugar.

DETECTED NEEDS

LIFESTYLE

Franco travels a lot for work, in hence he treasures very

much about the weekends staying with family.

Giorgia often does the grocery shopping on week days

evening after work, so that on weekends they could

accompany the kids adequately.

Celia and Luca loves chocolate and sweets, however

they don’t want kids to get decayed teeth or over-

weighted. In hence they usually try to find some bio or

low-fat food for kids.

During weekends, family drive to Natura Si for some

trustworthy sweet shopping, and then Franco will makes

some chocalate crepes for kids. They are happy to see

kids grow up happily and heathy.

PERSONAS // FRANCO // 40 // SALES MANAGER GIORGIA // 38 // TEACHER CELIA, 4// LUCA, 3 // ANGELA, 0.5


PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

25

50

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phases

mainquestion

actions

people

objects

environment

relevantinformation







JOURNEY// Massimo, Giorgia and three kids [family]

Where can I find the healthy chocolate?

Which chocolate suits better my kids’ condition?

How to safely take it home?

How can I store the chocolate away from the kids?

How can I provide proper quanti-ty/volume to my kids each time?

What is the best way to take the content left?

Is it worth keep-ing the jar?

Taking care and following kidsStopping at the chocolate shelf

Take the products and check the description [because of health requirements]Ask kids to chooseKids point and pick one

While taking care of the kids...Carry the products to the car and arrange them thereTake it from the car to the kitchen

Arrange the higher closet to store the chocolate

Taking it out of the closet and opening the jar. Picking tool and the content. Put limited quantity on a home made pancakePlacing the tool while not using [plate, lid or in the jar]. Closing the jar. Re-storing it

Pick the chosen toolReach every corner

Judging its appear-ance and reliability of the closing systemIf not worth keeping: Clean and disposeIf worth keeping: take o� the label, put in the dish washer and reuse

Parents and kids

Small cart/basketBaby strollerShopping bag

Market products ClosetOther productsChocolate

ToolPan

Parents and kidsGrandparentsMaybe other kids

Parents

Spoon, knife of bread Dish washerTool to remove the label

Healthy/bio market Chocolate shelf Car Kitchen

Recipe [on book or app]

Signs and labels about shelves’ categories

Product label [with emphasis on descrip-tion and ingredients]

Happy [it’s a family moment]Cautions [they are taking care of the children]

Neutral Annoying [some-times it is di�cult to reach all the content and every corner]

Careful [due to products characteristics]

Annoying [sometimes taking o� the label is very di�cult]

Happy and fulfilling [for spending leisure time with their children]

Neutral

USER JOURNEY // FRANCO // 40 // SALES MANAGER //// GIORGIA // 38 // TEACHER //// LUCIO, 4// LUCA, 3 // ANGELA, 0.5

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PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION


25

50

75

PORTION SIZE

USABILITY

SAFETY

HEALTHY

PRICE

VISUALATRACTIVENESS

PRODUCT INFORMATION

25

50

75

03.3 COMPARISON OF THE DETECTED NEEDS

Looking for intersections and differences among the needs of different personas,

it’s possible to understand which design elements makes sense to the crowd and

which better fits a specific kind of market segment.

To compare their needs, we analyzed them on the following dimensions:

PORTION SIZE [0 as very small and 100 as very big]

The smaller the easier to carry

And it also influence the relation between the product’s expire date and people’s

consumption speed [e.g. short expire dates are better suited in small portion sizes]

USABILITY [0 as bad and 100 as good]

How easy is to open/close it and to access its content

SAFETY [0 as unsafe and 100 as very safe]

How safe is handling the product for children and elders?

PRODUCT INFORMATION [0 as confusing ormissing and 100 as clear and proper]

Information must be shown and explained in a clear way

HEALTHY CONTENT [0 as unhealthy and 100 as healthy]

How healthy is the content

PRICE [0 as not important and 100 as very important]

How important is the price of the product

VISUAL ATTRACTIVENESS [0 as not attractive and 100 as very attractive]

Due to its packaging and content, how visually appealing is the product.

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03.4 CHALLENGES + OPPORTUNITIES FOR JAR DESIGN

phases

userexperience

FAMILY // FRANCO, 40, sales manager // GIORGIA, 38, teacher // CELIA, 4 // LUCA, 3 // ANGELA, 0.5

COUPLE // MATTEO, 30, dentist // ANNA, 32, vet

YOUNG // MARTINA, 21, student


Finding it in the market

Evaluating and choosing




USER JOURNEY // CHALLENGES + OPPORTUNITIES FOR JAR DESIGN

Confusing[sometimes it’s di�cult to find the right shelf]

Neutral Annoying [sometimes it is di�cult to reach all the content and every corner]

Neutral Bad [because she is dealing with waste/trash]

Happy [she’s having breakfast]

Annoying [it’s hard to walk carrying groceries]

Inspired In love Sad [“there’s no jam anymore”]

Satisfied SatisfiedHappy [she’s having breakfast]

Neutral

Happy [it’s a family moment]Cautions [they are taking care of the children]

Neutral Annoying [some-times it is di�cult to reach all the content and every corner]

Careful [due to products characteristics]

Annoying [sometimes taking o� the label is very di�cult]

Happy and fulfilling [for spending leisure time with family]

Neutral

THE IDEATION PHASEBUILDING THE SCENARIOS

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43

Prompted by the need to stay ahead of competition and adapting to new market

needs and trends, Verallia Italia is looking for innovative concepts, to freshen up its jar

product line. Namely, the company is looking for an appealing, eye-catching jar for

the jam, honey and other confectionary spreads market. Starting from the the brief

with its general intentions, our team embarked in an in-depth process of analysis and

research, whose first stage was the definition of two kind of elements:

• specific intentions: further details that help better frame the brief, converging the

research on a well defined context, with a view of achieving a specific goal. In

this case, we chose to focus on the organic sweet confectionary spreads segment

within the European market.

• design objectives: in this category all the constraints and the elements that are

relevant for the pursuit of the brief’s goal were listed and thoroughly examinated.

We identified two main constraints, one stated in the brief, the second aroused after

our visit to Dego factory and the consideratmade an overview of what actually the

market offers and worked on some specific pieces of advice to keep in mind during

the design process, because even the psychological and cognitive aspects matter

beside the functional ones.Dego factory and our survey of the product line process:

a volume range between 314 ml and 490 ml and the necessity to keep the existing

product line unchanged (that means, no further steps could be added to the product

chain). On the other hand, the overall design was to be revolving around the stilistic

visibility of the jar: namely, its capability to stand out on the shelf, leveraging on an

eye-catching appearance, that had to come from a creative combination of shape,

color and textures.

Once defined these two categories, the team moved on

to examine the environment where the jars are being

sold: premium stores, supermarkets, small groceries.

Factors like the visibility of the objects on the shelf, their

stackability, their relative proportion to the label of the

content were thoroughly considered and reported.

Through rapid etnography and internal tests we got

important insights of the product in use: users’ gestures

and methods in the acts of opening, carrying, placing

the jars; ways of consuming the content, and so on.

04.1 INNOVATING THE JAR PRODUCT LINE: SCENARIO PROCESS

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The observations led the team to assess the concept of

“jar” relatively to 5 main areas of analysis : product, user,

P.O.S, company and price. These areas allowed us to list a

series of polarities, that is couples of opposite attributes,

which enable the classification of existing products

on a scale that runs form an extreme to another. For

example, the couple warm/aggressive associated with

the “product” area, the polarity disposable/upcycling

from the user interaction area. Defining polarities is a

useful tool not only to classify already existing products:

in fact, they can also prompt the generation of new

SCENARIOis a mental construction which

holds solid basis in the real

world: it is the representation of a

possible context of use in which

a concept of a new product can

be imagined and developed.

Often a scenario can be based

on analogies with existing

contexts from different fields. It

is usually built starting from the

intersection of relevant polarities

of attributes.

Some examples of polarities intersected. Examples from different in-

dustries help understand and label the resulting areas of the matrix.

concepts. Hence, we plotted some of what we though

were the most relevant polarities on a two axes graph.

The intersection of the axes generates four areas: the

scenarios. A scenario is a mental construction which

holds solid basis in the real world: it is the representation

of a possible context of use in which a concept of a

new product can be imagined and developed; this

representations are often built by means of analogies

with real contexts, which may belong to different field

of application.

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The final step of the research highlighted a suitable

intersection of polarities among the ones previously

taken into account. The two couples of attributes that

were chosen belong to the product and to the user

areas, respectively:

• Functional-formal: the jar is considered under two

opposite and complementary aspects, its utilitarian

features vs its aesthetic form;

• Performance based-emotion based: what the user

is mostly looking for when buying and using the jar: if

just mere functionality or also some other evocative

characteristics or original ways of use.

The resulting scenarios, given by the intersection of

these axes, were titled with a short and suggestive claim;

analogies were also provided, as hints for the ideation

of the concepts. All the concepts shown in chapter 5

are married to one of these four scenarios and thus are

exploiting the frame provided by the relative attributes.

Dego factory and the consideratmade an overview of

what actually the market offers and worked on some

specific pieces of advice to keep in mind during the

design process, because even the psychological and

cognitive aspects matter beside the functional ones.

04.2 THE FINAL SCENARIO: COMBINING USERS APPROACHES WITH PRODUCT ATTRIBUTES

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THE FINAL SCENARIO FUNCTIONAL

FORMAL

PERFORMANCE EMOTIONPRACTICITY OF LIFETHE POWER OF TOOLS

MUSCULAR BEAUTY ICONIC SYMBOLS

exclusiveselectiveiconic

evocativeinttimateartistic

efficientpersonalconnective

modular

multitaskdurable Leaving tangible traces

of our thoughts is so

crucial for the expression

and development of our

inner personality

As human being, we

will always keen on

looking at things to

find meanings that go

beyond their apparent

shape. (In the picture

“Cathedral”, by Sebastiao

Salgado)

When harmony marries

power, the result is

simply elegance and

functionality: a product

that goes straightforward

to its goal, without

giving up style

We seek clarity. Clarity

is all about having a

purpose, a tool and

instructions on how

to use the second to

achieve the first in a

streamlined process

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THE KNIFE WELCOMERGROUP#1

FRANCESCO-GUILHERME

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05.1.1 INSPIRATION BOARD

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THE KNIFE WELCOMERThe stand point of this concept is the practicity to use

the jar and its content, in this case using the knife as a

tool to improve the usability of the product; after findings

in the product test, where most of the users used the

knife to stract the content from the jars, we decided to

facilitate it’s use.

To do so, was analyzed from the consumer perspective,

the abitual and the most used tool witch end up to be the

knife. From the overall shape of 35 knives we developed

the shape of this jar.

05.1.2 CONCEPT DESCRTIPTION

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The product test reveled that the most used “tool” to extract the content from jars is

the knife. According to that was developed this concept where the effort of the user

is reduced, it can be completly clean and it will facilitate the re-use or the disposal.

Facilitating the use change users perception improving functionaly and practicity,

provides comfort and preserves the beaty.

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THE FINGER JARGROUP#1

FRANCESCO-GUILHERME

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THE FINGER JARThe stand point of this concept was the emotional aspect and

relation between the user and the last bit of chocolate in the

jar, the gesture of the desire to clean the jar in a “gluttonous

way”.

The spiral was developed with the shape of the cofee spoon,

and from the bottom or from the top it express and drives

the action.

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With this shape it would be funny and easier to clean the jar when the product is

finishing. Revolving the finger or a tea spoon on the spiral part of the jar, the user can

clean it completely. The spiral drives the user gesture and create an appealing shape.

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REFERENCESIN THE IMAGINARIUM

GROUP#2LUISA-MAX

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05.3.2 CONCEPT DESCRIPTION

REFERENCES IN THE IMAGINARIUM

The concept is flexible because the jars can be sold together or separately, they can be produced

in different scales so it’s possible to make a set of the same jar in different sizes. The concept

is generic, both jars can be use for all three categories of sweet: honey, jam and chocolate

cream.

The concept is practical both for displaying the products on the shelves of the points of sale

and for the modern family with few space in the cabinets and in the fridge. In order to solve

stability problems the volumes have been designed with short proportions and the bottom of

the jars are deeper than the standard jars.

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4 STACKABLE POSSIBILITIES 1 REFERENCE IN THE IMMAGINARUM OF PEOPLE

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67.0

47.0

85.5

56.0

84.5

59.0

85.0

52.0

85.0

60

90.085

55

90

75.0

70.0

84.5

130.0

85.077.5

120.0

105.0

77.572.5 90.0

105.0

99.5

70

75.0

95.0

130.0

64.0

92.5

60.0

89.0

92.0

94.0

115.0

66.0

125.0

90.0

100.5

160

70.0

70.0

57.0

DIMENSIONSRENDER

JAR N° 1

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DIMENSIONSRENDER

JAR N° 2

67.0

47.0

85.5

56.0

84.5

59.0

85.0

52.0

85.0

60

90.085

55

90

75.0

70.0

84.5

130.0

85.077.5

120.0

105.0

77.572.5 90.0

105.0

99.5

70

75.0

95.0

130.0

64.0

92.5

60.0

89.0

92.0

94.0

115.0

66.0

125.0

90.0

100.5

160

70.0

70.0

57.0

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DOTTYGROUP#2

LUISA-MAX

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DOTTY

DOTTY appeals specially to emotion. Its icons communicate with different people and

makes the jar meaningful to be kept and reused. Sets of icons represent families of jars.

DOTTY appeals to functionality by bringing the possibility to conveys specific messages

with jars, to all people with icons and also to blind people with words in braille language.

Additionally its wide open mouth, through which it’s easy to access even the last drop

of jam, chocolate or honey, makes it also perfect to be cleaned and reused. The “dotty”

texture in the body makes the jar easier to hold.

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TO COMMUNICATE THROUGH SIGHT AND TOUCH

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TO ALL PEOPLE [FRONT GRID]:

meaningful to see relevant to touch

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TO BLIND PEOPLE:1. What they “see” of a regular jar in the shelf

2. What they “see” with a regular jar in their hands

3. What they “see” with a DOTTY jar in their hands

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TO BLIND PEOPLE [BACK GRID]braille language [honey, cherry jam and chocolate, respectively]

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WITH LABEL

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DESCRIPTION

From ancient cave walls and first drawings as kids to our traffic signs and smartphone

screens, we always talked through symbols, icons and pictograms. They are in every

situation where fast and universal communication is needed.

Icons convey ideas and feelings.

Through sight and touch, DOTTY brings icons to people and gives meanings to jars.

DOTTY stands for flexibility and openness. Companies are allowed to think about the

signs and messages that they would like to have embedded on their jars. People can

collect different jars, decorate their houses and, why not, play with it by placing a

paper over the jar and scribbling a texturized icon.

DOTTY stands for inclusion. Imagine that you have your eyes closed and you’re holding

a jar. You try to figure out what is inside. It’s beautifully written on the label but you

just can’t see it. Yes, that’s what blind people face every day. DOTTY built an elegant

framework not only for icons but also for braille language, enabling those who are laid

aside to access products and services.

SCHEME

Two grids made of small dots in opposite sides of the jar

Each grid is made of engraved dots, where some embossed dots compose symbols.

In one grid, icons. In another grid, braille [written language for blind people]

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PEOPLE MATTERThe braille grid not only speaks to blind people. It shows to everyone that behind that

product and behind that jar there are companies who trully care about people.

IT TALKS WITH DIFFERENT PEOPLE/PERSONASThe icon grid is a framework for different icons and this freedom of visual elements

on the shape of the jar allows Verallia and its clients to convey a variety of messages

to a variety of people. For example, a set of icons inspired by the “internet culture” can

attract young and trendy people; a set of icons inspired by kids will indeed make sense

to them; and so on.

IT FITS EVERY PRODUCTIt could be used to jam, chocolate, honey, any sweet or kind of product.

PRODUCTION FLEXIBILITYInstead of having a mold to each icon, it’s possible to create an adaptable mold, in which

there would be a standard grid of dots. And placing little pieces on the mold’s internal

grid of dots, we are able to change which icon and braille word will be produced.

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SUNNYGROUP#2

LUISA-MAX

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SUNNYSunny appeals to aesthetics. The curves are simple and harmonious while detaching from the

common jar. It refers to an universal symbol, the sun, recognizable by everyone.

Sunny appeals to performance.

Its shape let the user easly acccess all the content and clean it for future [re]use. By using spherical

shapes, the sunny jar presents a suprprising shape and reflects to the customer’s the lights of the

environment [at the supermarket or at home]. Like the sun, it shines.

AESTHETIC

PERFORMANCE

MUSCULAR BEAUTY

FUNCTION

EMOTION

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RISING SUN:part of every breakast

SUNNY JAR:a symbol of nature and joyfulness

Sunny brings to the breakfast the symbol of a new day. The sun has been used

by many different cultures along human kind history to express newness, birth,

happiness and strength. It’s the welcome guest of every breakfast and picnic.

Two semi-spheres represent the sun and its horizon.The label goes in the bottom

part to enhance the dense horizon and let the “sun” part [top] free to be noticed.

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DIMENSIONS

RENDER

87.5

80.0

79.5 69.5

75.0

100.0

84.0

94.0

130.0

85.0100.0

77.5

120.0

105.0

77.572.5 90.0

105.0

99.5

92.5

75.0

70.0

70

75.0

95.0

100.0

64.0

85.0

55.0

52.0

130.0

90

55

8590.0

85.0

64.0

59.0

56.0

85.5 100.5

57.0

60.0

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TWO IN ONEGROUP#3

YASUYUKI-DHANASHRI

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English breakfasts are really elaborate, which include many flavours of jams, chocolate

creams, etc.,this was interesting insight for us. While working on the concepts, we

thought , what if the different parts of the jar like lid become functional. This thought

led us to this concept of ‘Two In One’ Jar. This concept is about exploring the possiblity

of combining two jars in one setup. This playful setup joins two jars with a simple

connecting attachment, in which the lids of the jars become connecting link.


There are multiple possiblities like single

stand alone jar, combination of different

volumes of jars, also option of combining

different flavours into one setup, etc.

Being a simple form, this design of jar is

easily manufacturable option.

Also, as this concept is flexible,we intend to

keep it suitable for all sorts of sweets like

Jams, jellies, chocolate creams and so on.

FUCTION

THE POWER OF TOOLS

PERFORMANCE

AESTHETIC

EMOTION

TWO IN ONE

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Simple and easily manufacturable attachment that combines two jars into one

interestingand playful setup.

Image (a.): Standard single jar (314 ml)

(b.): Option of joining two different jars into one setup.

(a.)

(b.)

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Standalone JarVol. 314 ml

Standalone JarVol. 157 ml

Combination of jarsTotal Vol.314 ml

For larger quantities,Combination of two volumes

The attachment that

connects two jars into one

setup.{

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HONEY COILGROUP#3

YASUYUKI-DHANASHRI

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HONEY COIL

This concept evolved around enriching the visual experience of the honeycoil. We

tried to capture the essence for natural form of behive and honey bee.

As a concept, we are trying to propose two versions of this concept. One, standard jar

and two, jar with an added set of functional lids.

In option two, the lid itself becomes a bowl and the other lid has a straw structure

which will ensure neat and clean honey consumption experience.

This simple form of the jar is designed by keeping formula of ‘golden ration in mind.

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Two versions of Honey Coil concept

a) Standard version with lid

b) Premium version with added functional lid cap keeping consumption pattern

in mind

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THE NATURE INSIGHT GROUP#3

YASUYUKI-DHANASHRI

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This concept of jar, is inspired from nature. While doing

research for the project, we found out interesting insights

around user habits, relationship between tools (spoon,

knife) and jars, the content in them and consumption.

We thought of incorporating these in this “Nature Insight’

concept.

The simple organic form is inspired form some elements

in nature.


THE NATURE INSIDE

AESTHETIC

PERFORMANCE

MUSCULAR BEAUTY

FUCTION

EMOTION

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To incorporate usage pattern of jars in relation with tools (spoon, knife, etc.),

this organic form of jar serves the purpose of holding spoon while in use.

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THE SPHEREGROUP#4

MARCELA-NICOLE-VERONIKA

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THE SPHERE

A sphere is a shape that we can easily relate to many objects. When seen in “unusual materials” (like glass)

it usually triggers curiosity in the observer as it’s not very common.

When we find this type of shape in food markets we immediately feel drawn to it. It definitely comes out

of “the crowd”.

Round shapes are playful, very generic and at the same time highly personalizable. They are very functional

in terms of containing different types of creams, honeys, jams and other spreadables because its shape

enhances the content in a beautiful and particular way.

Moreover, when thinking of Sphere, it also reminds us of ball sports, especially the baseball, which calls

our attention in a powerful way.

PRACTICITY OF LIFE

FUNCTION

EMOTION

AESTHETIC

PERFORMANCE

- the shape arouses curiosity

- the sparkle gives extra focus to the

content

- strongly related to energetic ball

sports

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As it can be noticed we applied the concept of the “baseball sewing” to the base with

different textures in order to enhance the grip performance. On the other hand a “ring”

was added to the center of the sphere to ease up the labeling positioning.

FRONT VIEW

TECHNICAL DRAWING WITH DIMENSIONS

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...AND WITH OTHER CONTENTSSPHERE WITH HONEY

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300

250

200

150

100

50

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250

200

150

100

300

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PROPOSED TEXTURESS

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CHEMISTRYGROUP#4


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CHEMISTRY

What is chemistry?

1. A science that deals with the structure and properties of substances, or

2. A strong mutual attraction, attachment, or sympathy.

Which one do you think is correct?

For us both! Our chemistry concept goes around almost every possible interpretation of chemistry.

That is the reason why we decided to propose a “collection of jars” based on chemistry equipment.

We know that each of these particular shapes has a specific function inside the “laboratory”, but to

our purposes the best feature is that they SHOW the contents in a crystal clear way.

EMOTION

FATALATTRACTION

AESTHETIC

PERFORMANCE

FUNCTION

- mutual attraction and sympathy

- a collection of “memory”

- measuring marks related to

precise and fitness

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We took inspiration from 4 different chemistry glass containers: The round flask, the

conical flask, the beaker and the pear shaped flask.

FRONT VIEW

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JAR WITH LABEL

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We are proposing an extra feature that could be considered to add to the jar if the client

wants to: measuring lines. These measuring lines could be used for the consumer as

he/she consumes the product as well as later as a measuring cup.

ENHANCING THE VARIETY

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THE TEA CUPGROUP#4


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CONTEXT OF USE IMAGES

TEA CUP

The “Teacup” jar was inspired by the oriental tea cup which has a convenient mouth share

enabling easy access to the content. And its elegant appearance entitles a great after-use

experience, to be displayed as adornment in dining table.

Users could access the jam, chocolate cream and honey without leaning the jar, jjust easily

taking the content along the shape of the jar. During the usage, the shape conveys a pleasant

artistic atmosphere just as tasting a cup of tea.

AESTHETIC

PERFORMANCE

MUSCULAR BEAUTY

FUNCTION

EMOTION

- convenient shape for accessing

- elegant appearance reminds the

pleasant tea tasting experience

- “Reminder line” - it’s almost over.

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The “TEA CUP” jar shown here has a ring in the finishing area, so that

1) for easier holding by users,

2) to prevent the jars touch with each other during the delivery.

FRONT VIEW

TECHNICAL DRAWING WITH DIMENSIONS

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FULL OF CONTENT SHAPE VS USE

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THE STAMP JAR GROUP#5

ERIK-SILVIA

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THE STAMP JAR

A family of jars with engravings on the base to customize

your cookies. Products that delight with their playful

appearance and can be used both as standalone or as a

set of original stamps for your lipsmacking recipes.

The base of the jar is engraved to allow a second use of

the product as a decorative tool for pastries.

The concept comes with different pattern proposals:

alphabet letters, stylized cute icons and a chess collection

for playing with your tea break fellows.


PRACTICITY OF LIFE

FUNCTION

EMOTION

AESTHETIC

PERFORMANCE

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Proposal 1: Alphabet

A no-frill basic idea: a set of letter and numbers in curvy

Brooke font.

A

1

B

2

DC

! ?

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Proposal 2: Cute icons

Witty and essential pictograms to add humor and style

to your creations

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Proposal 3: The Chess Game

Stylized chess characters to make a game out of your

tea break.

Bake your pastry biscuits, the white team with basic

dough, while for the black one add some chocolate to

the mixture. The collection comes with the six pieces,

the queen, the king, the pawn, the bishop, the horse and

the rook.

A plastic chessboard-tablecloth may be provided as a separate accessory.

The king

The horse The bishop The king

The pawnThe queen

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THE LIGHT HOUSE GROUP#5

ERIK-SILVIA

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THE LIGHT HOUSE

Humans always like to look beyond everyday objects.

No matter if we are children or adults, things often

evoke to us something different. Here, we chose the

lighthouse as an icon of solidity, guidance, safety and

desire to explore new horizons, which are ultimately

Verallia’s core values.


AESTHETIC

PERFORMANCE

MUSCULAR BEAUTY

FUNCTION

EMOTION

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The product comes with a distinctive and evocative shape that adds dynamism to

traditional jar formats. An iconic shape that might hint at Verallia’s brand proposition

and that adds statement value to your kitchen

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THE HONEY POT GROUP#5

ERIK-SILVIA

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05.14.1 INSPIRATION BOARD: THE HONEY POT

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THE HONEY POT

We took inspiration from nature to create a distinctive

honey pot, that is likely to stand out on your shelf, thanks

to its playful shape.

This jar is poised to add light and cosiness to your

kitchen and suits very well with wooden interiors.

The ideal context to imagine this jar in use would be a

mountain baita in Dolomiti: combined with the warmth

of colors and materials, our honey pot sweetens the

severity of the weather outside and make your day have

a fresh start.


PRACTICITY OF LIFE

FUNCTION

EMOTION

AESTHETIC

PERFORMANCE

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The lower section of the jar offers enough space for labeling. The sinuous shape in the

upper part is eye-catching and reminds us immediately of honey.

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THE SPOON SAVER GROUP#5

ERIK-SILVIA

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FUNCTION

THE POWER OF TOOLS

PERFORMANCE

AESTHETIC

EMOTION

THE SPOON SAVER

This idea came after considering how annoying is putting a spoon dirty with jam

or other sticky stuff on a table cloth. Usually you are likely to place the dirty spoon

on the top of the open jar, if you don’t ave a suitable cloth or a small dish at hands.

Some spoons exist which have been designed in such a specific shape to ease the

positioning of the tool on the glass-such as curve handles fitting the edge of the

jar’s mouth. Our solution tackle the issue from the opposite point of view: doting

the jar itself with some kind of facilitator, to make it an intuitive and very practical

support.

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This jar features a lateral slit, that fits the tool and invite the user to lean it to the jar,

avoiding the contact with the table cloth.

The hole is limited in size and doesn’t take away too much space from the label,

allowing the jar to appeal to different clients with different labelling requirements.

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Application of the concept for a strawberry jar brand. The small size of the hole

would leave room also for all round and bigger labels.

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Top-view and three-quarters perspective of the jar with its spoon annexed

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06.1 PLOTTING THE CONCEPTS

Each concept developed for

the jar line has been related

to one of the four scenarios

identified above. For a

comprehensive view of the

team’s work, the following

graph plots all the concepts in

the relative quadrant.

G1: Francesco-Guilherme

G2: Luisa-Max

G3: Yasuyuki-Dhanashri

G4: Marcela-Nicole-Veronika

G5: Erik-Silvia

FUNCTIONAL

FORMAL

PERFORMANCE EMOTION

Two in One

The Spoon Saver References inthe imaginarium

The Knife Welcomer

The Honey Coil

The Sphere

The Stamp Jar Finger Jar

Dotty

The Honey PotThe Tea Cup

The Nature InsideSunny

The Chemistry

The Lighthouse

G1

G1

G3

G3

G3G5

G5

G5

G5

G4

G4G4

G2

G2

G2