Issue link: http://winesandvines.uberflip.com/i/732978
October 2016 WINES&VINES 37 BOTTLES &LABELS Always ahead of the design curve, David Schuemann of CF Napa Brand Design pub- lished a blog post in December 2014 that accurately predicted the coming fashion. "Black labels were once assumed to be reces- sive and ominous, but today black is one of the hottest new colors in alcohol packaging," the designer wrote. He called the tone a key communicator of chic luxury. Schuemann attributed this trend to recession recovery, noting that wary consumers might still be price conscious but willing to pay slightly more for products they perceive as more pre- mium. "Nothing says luxury like black." A black limousine evokes more gravitas than a long white vehicle; a black tuxedo has more class than baby blue. The timeless little black dress has been and will forever be a staple in women's closets. Black label Johnny Walker Scotch is more expensive than the red label, and Jack Daniel's whiskey has long been identified by its black label. "Black has also become a way to effectively target men in a way that is neither distastefully overt, nor polarizing to women," Schuemann wrote. In the wine industry, Constellation's Black Box became the first brand to make bag- in-box packaging an acceptable alternative. Paper suppliers and printers have responded with new label stocks, inks and techniques, while observant package designers are promot- ing the style with their winery clients. Designer notes Sara Nelson, whose Kennewick, Wash., design firm won the prize for Best Overall Package in the 2015 Wines & Vines Packaging Design Awards, considers herself a student of color who reads everything she finds about human reaction to colors and color combinations. "Black is amazingly flexible," she said. Whether used to create low-contrast, luxury labels for premium-priced products or dialed up with high-contrast pops of whites, brights or metallic for more eye-catching designs on grocery shelves, black labels compete nicely in a retail environment, Nelson believes. Combined with heavy glass bottles, custom capsules or other pricey details, lower contrast black labels communicate high perceived values, she said. "This is best used for wines to be hand- sold from tasting rooms, as they do not inherently stand out in a crowded visual field such as a retail shelf or section," she has observed. To compete in a crowded retail environ- ment, more contrast is required. "Black plus yellow is the highest contrast—one that can easily scream 'cheap'," in Nelson's opinion. She said that a black background with white type is a close second in visibility, but without the negative psychological impact. Many eyes find "reverse" type—white on black—difficult to read, especially with small type fonts. Nelson cautioned, "Designers need to be very careful with reverse type. A porous, uncoated paper behaves like a sponge, causing reversed type to fill in with ink. Thus, we typi- cally choose a bolder version of the font. Then if it fills in a bit, it's still nicely legible." Mill Valley, Calif., designer Jim Moon said he's been fond of black since his earliest days in advertising. To his practiced eye, black accentu- ates color: Bright colors pop on a black back- ground. Black focuses the eye on color. "White backgrounds do not provide the contrast. Black wins that contest every time," he said. Moon then cited psychological aspects: Black is dramatic, contributing mystery and sophistica- tion. Red wines bottled in dark glass provide a natural canvas, but he thinks black labels also work well for white wines, providing a visual break with the see-through contents to make the live design area within the label visually pop. Moon is a fan of screen-print applications. "Nothing works better than a handsome Bor- deaux bottle and a minimal, well-designed silk-screened package. Designs that work best are clean, elegant understatements," he said. Moon thinks that U.S. vintners are becom- ing less risk averse and therefore are stepping away from conventional white labels with il- lustrated chateaux. "Risk is good. After all we live in California, not in France, where tradi- tion is entrenched," he commented. Affinity Creative Group on Mare Island in Solano County, Calif., is a team of veteran brand makers. Director of strategy Ed Rice stated flatly that reverse copy/type is about 15% more vis- ible and legible. When the type is "reversed out," it creates a visual stop sign, with more contrast than dark print on a light label. Rice traced the current trend to the growth in popularity of red wine blends, including Gallo's Apothic, which he called a "huge seller," as is Trinchero Family Estates' Ménage à Trois Midnight, which was designed by Affinity. As these labels gained traction in the imagination of consumers, they spawned more dark labels in search of market differentiation. Marketers noticed and were intrigued by this different look, Rice said. An additional layer is that darker labels are congruent with the taste profile of darker wines, underpinning that profile. But, he noted, the pale and hugely popular Italian import Ecco Domani Pinot Gri- gio also is labeled in black. Like Schuemann, Rice said "In general, black has always been a quality cue," conveying class and style. Of course, if a whole shelf is full of black labels, they won't stand out as much. This is where deep, saturated dark col- ors may step in with another nuance. Affinity just created a label for Washington state's Ste. Michelle Seven Falls. "It's not black, but in that world," he noted. Whether or not a winery wants to use simi- lar labels for its entire line, Rice said, depends on the "connective brand tissue." Winery cli- ents must work with their designers and talk about their brand strategy. The goal is to give consumers the right degree of price and quality cues, while main- taining a cohesive identity. "You want to per- suade consumers at the shelf," to pick up and try your product. Even traditionalist French producers are be- ginning to turn to dark labels, especially if Cali- fornia designers and printers are called into the mix. 4Parts Design in Sausalito recently pro- duced a striking new label for a French Bor- deaux called 59 Prime. The two elements combine in a classic label using geometric de- sign to emphasize the mathematical aspect, according to managing partner David Hanson- Jerrard. A silver foil and a red foil stamp on a dark label create an intense relationship of these two dramatic, mathematic wonders. The label R emember "critter" labels, the hot trend of the early 2000s? To the relief of many in the wine industry, these are long past their peak. What looks hottest now, according to package designers, suppliers and their clients, are black or deep-colored labels. For the fourth annual Bottles & Labels Issue, Wines & Vines ex- amined the art and the science behind this chic new trend. KEY POINTS Critters be gone: High-end, highly trendy dark labels are what's happening on retail shelves. Savvy packaging designers agree that handled properly, very dark labels stand out and provide visual cues of elegance. Experienced printers employ varied tech- niques for best results. Paper suppliers also have jumped on the darker bandwagon. The latest trend in wine labels is a dark background that showcases foil accents and texture.