Category Archives: Design

Corks Versus Screw Caps: Which Is Better?

A recent report from Wine.com that correlated high-quality wines with cork closures got me thinking about corks and screw caps. Since April is Earth Month, it’s a good time to explore natural cork closures versus metal screw caps and answer the burning question: which is less harmful to the environment?

Where Do Corks Come From?

Cork comes from the cork oak and Portugal is home to 34% of them, with another 28% of the world’s cork oaks in neighboring Spain. Growing and harvesting cork is a long-term investment. It takes 25 years for a cork oak to yield its first harvest – and that first harvest nets cork that is not useable for wine or spirit bottles. The earliest that the next harvest can be made: nine years. And that second harvest is still not good enough quality for wine corks. It takes a minimum of 43 years to get the first harvest of cork that can be used for bottle closures!

Harvesting cork is not easy. Harvest happens in June, July and August – and in Alentejo, those months are hot, averaging 89°F. Highly skilled and trained harvest workers are paid €150 per day to carefully carve bark from the trees with a very sharp tool, and take great care to not damage the tree.

Cork is a Super Sustainable Natural Resource

Cork oaks aren’t irrigated and no pesticides or fertilizers are used, making them low-maintenance. Plus, black pigs eat the acorns that fall from cork oaks, so they are an important part of an entire ecosystem.

On top of it all, cork has a negative carbon footprint. Cork forests are great at carbon sequestration, as the trees absorb carbon from the atmosphere, and they are lightweight in transit. In fact, studies have shown that a single wine cork can offset the entire carbon footprint of the glass bottle in which it is put.

Most consumers associate cork with higher-end wines and year upon year cork closures are the preference for wines that earn the highest scores, regardless of price point. The conclusion cited in a APCOR (Portuguese Cork Association) report that “the best decision a novice consumer can make when choosing wine is to purchase a wine sealed with a cork.”

This begs the question of Australian wines, which are known for being mostly under screwcap. But that may be changing, according to APCOR’s Operational Director, Carlos de Jesus. “For three years in a row – from 2017 – to 2019 – use of cork in Australia grew by 33% each year.”

According to de Jesus this can be attributed to three things: the growth of sparkling wines in Australia (which only use cork closures), the younger generation of winemakers who aren’t interested in making the next “$2.99 screwcap Chardonnay,” and the massive importance of the image-obsessed Chinese market on Australian wines until the tariffs of March 2021.

Some Background on Screwcaps

Screw caps do come from factories, but this makes them low cost and consistent. They are made from aluminum and/or tin and plastic, and the metal components can be recycled indefinitely. Amcor, the company that produces the popular Stelvin brand of screw cap, has pledged to make all their packaging components recyclable by 2025.

While natural cork is recyclable, facilities that recycle corks are few and far between. The good news is that cork is biodegradable, so even in a landfill, corks are fairly harmless. Aluminum and plastic screw caps can be recycled, but obviously are not biodegradable.

Of course there is the ease of use when it comes to a screwcap. Sure there is an elegance to using a wine key and allure of popping a cork at dinner or really anytime when sharing wine with friends. But there are also those days when you are traveling for work, TSA took your corkscrew way, and all you want is a glass of wine at the end of a long day. The simple screwcap is your friend on these occasions, as much as learning to open a wine bottle with the heel of your shoe is an entertaining life hack.

But What About Cork Taint?

Cork has long been held as the culprit of cork tainted wines. This common wine flaw is in a chemical reaction of fungi, mold, and lignin reacting with fungicides, insecticides, and hypochlorite, aka bleach, which are collectively known as halophenols. The resulting compound, 2,4,6-Trichloroanisole, or TCA, stays on the cork impacting the smell and taste of the wine. In pronounced examples this will make your wine smell like wet cardboard, musty basement, or wet dog. In milder cases this will result in a wine that smells and tastes muted with the typical fruit characteristics just lacking. Either way, you will always notice as corked wine as the off flavors become more pronounced with time and oxygen.

While TCA is not harmful to ingest, those faulty aromas and flavors can ruin a wine experience. So with time and research, the cork industry has invested heavily in finding ways to minimize and even eliminate the presence of TCA in corks. In fact de Jesus, said, “The sweet irony is that as long as cork has been defeated by TCA, it has now become the best defense against TCA.”

He is referring to processes that have been developed to get rid of TCA in corks. These processes can be expensive, but for wineries and winemakers who make “safe” corks a priority, it’s a good investment.

Alex Sokol Blosser, president of Sokol Blosser Winery in Willamette Valley, Oregon, explained why they use the DIAM™ natural corks on their wines. “It’s natural cork that gets ground up into flakes and then goes through a sort of “decaffeinating” process that removes any TCA. Then the cork is then reassembled into one piece with beeswax, so it’s a win-win!” He notes that since Sokol Blosser started using DIAM corks in 2008, they have not had one corked bottle of wine.

Screw caps also can reduce the possibility of TCA, but as de Jesus said, “Cork is not the only carrier of TCA – it can be present in fruits, vegetables, coffee beans, even plastics – and even, sometimes, screw caps.”

Decisions and Choices

In speaking with winemakers, the preference for cork was unanimous, because of the sustainability. “I prefer using corks over screwcaps because cork is a more sustainable product,” said Marisa Taylor, an independent Napa Valley winemaker.

Ana Diogo, director of winemaking at Artesa in Napa Valley agrees. “Cork closures are my preference because they are sustainable and there is more potential for cellar aging for with wines under cork,” said Diogo. “And as a Portuguese, I have a deep appreciation for cork oaks and how they are a protected and important part of the entire ecosystem where they grow.”

Alex Sokol Blosser, declares, “I hate screw caps. Sustainability has a been a core value and daily practice for us since we were founded more than 50 years ago,” he said. “Do I wish that every single bottle we make was under cork? I do. But we also need to sustain our family-owned winery with sales, so a few of our wines are under screwcap to meet customer demands.”

Indeed, according to winemakers that I spoke with, the only reason that some wines are under screwcap is linked to sales. “Servers like screwcap bottles for wines sold by-the-glass,” said Diogo. “It’s a double-edged sword, because screwcaps are more expensive now and some wineries have to bring in a mobile bottling line to do screwcaps – so do the sales make up for the added expense? It’s hard to know.”

In the end, natural cork is the clear winner for the world from an environmental standpoint. As de Jesus says, “The pop of the cork always carries good news. It signals that a great moment is about to happen!”

2021 Winners of BevTest’s Annual Packaging Competition

While Beverage Testing Institute’s beverage evaluations occur year-round, our highly anticipated packaging competition is held only once annually.

To determine the year’s best packaging submissions, we assemble a diverse group of experts: distributors, buyers, beverage directors, and designers with keen eyes for contemporary form and key insight on what draws consumer attention. Each panelist conducts a solo evaluation, taking time to consider each product individually and independently of any others within a given submission category.

The following design categories are evaluated for each product:

Creativity  Fresh and original concepts and execution

Graphic Design  Images, text, and arrangement thereof

Form  Shape, texture, and mass

Style  Relationship of the package elements to the character of the products and its projected image

Functional Innovation Technological, pragmatic, and design breakthroughs

The panelists enter detailed observations and rank entries along a scale for each of these design categories. Once evaluations have been completed, BevTest’s proprietary analysis methodology software aggregates the data and determines the winners of that year’s packaging championships.

As the pandemic continues to put a pause to on-premise sales, the importance of beverage alcohol packaging design is more crucial than ever. Consumers are making quick decisions at off-premise locations or adding to their virtual shopping carts after a quick swipe-and-glance, and it is only in these short moments that a brand has the opportunity to capture attention. And so, without further ado, here are the winners of Beverage Testing Institute’s 2021 Packaging Competition.

Beer

 

 

After a year like 2020, we’re buying our suds by the case. Mighty Swell Spiked Seltzer‘s case series uses a “nice combination of lettering and photo-real fruit” resulting in “of-the-moment” graphic design with mouthwatering details. Cans have to stand for themselves too, and Tolago Hard Seltzer‘s use of “cute and cool” imagery is sure to be a tractor beam to thirsty buyers.

 

Wine

While we fantasize about the day we can return to swirling wines by the glass on our favorite patio, we want to like how our purchased bottles look on our dining room table cum work-from-home desk cum remote learning station. Designed by VINT Studio, the wine bottles from Cooper’s Hawk were impressive across the board. Their Trocken Riesling label’s winning “modern” color combo of lime green foil and navy blue “will stand out and be enticing to buyers,” their “festive” Scarletto bottle’s “elegant” typography “overdelivers for the price point,” and their LVE’s “practically holographic” label “brings the image to life” (with said image being John Legend, who I’m sure most of us would love to share a bottle of wine with).

 

When it comes to a well-executed classic design, the Gecaj Estate 2016 Owner’s Choice has a “good weight” to reflect its quality, the Lescombes Pistol Pete’s Crimson Legacy is “understated” and “classy,” and Broadside‘s 2017 Blackletter Cabernet Sauvignon fully “achieved the rustic vibe.”

 

Our panelists also loved the “nice, modern, new-world” labels of Alamos, and felt that its “lovely” illustration “evokes the country and vineyard,” which is definitely where we can pretend to be while we sip it. Sometimes you want to try multiple offerings from a producer all at once, and cohesion in design matters! The FUN WINE Hard Bubbly Collection has a “clever exuberant anime design” that’s sure to turn heads, and the Perfect Wines series uses negative space for “simplicity that really works.”

 

 

Spirits

As we continue to improve our at-home cocktail game, we want to reach for pours that still make happy hour feel special. If you’re starting the new year dry, Ritual Zero Proof‘s offerings are “clear and concise” and upon seeing them one of our experts exclaimed “these bottles look GREAT, I would buy them immediately.”

We loved the “memorable and striking” design of NEFT Vodka‘s “homage to family roots” and Verak‘s “totally unique top-shelf” design “radiates class.”

Boukman and Fid Street Hawaiian Gin both have “lovable” and “unique” design, Saint Liberty Bertie’s Bear Gulch has stand-out shape and imprint, and the YaVe Tequila bottle is “durable and functional” and ready to be back in bars as soon as the world is.

 

Because we are all craving a little getaway, the RTD series lineup from CANTEEN Spirits “nailed it” with their “adventure-on-the-go” vibes that “people will love drinking in their hiking boots.”

Both Two Chicks Cocktails and Bristow Gin have eye-catching details that will “stand out on the shelf” and Ólafsson Icelandic Gin‘s “inviting, intricate, and unique” label will transport you to a faraway dream.

2021 Winners of BTI’s Annual Packaging Competition

While Beverage Testing Institute’s beverage evaluations occur year-round, our highly anticipated packaging competition is held only once annually.

To determine the year’s best packaging submissions, we assemble a diverse group of experts: distributors, buyers, beverage directors, and designers with keen eyes for contemporary form and key insight on what draws consumer attention. Each panelist conducts a solo evaluation, taking time to consider each product individually and independently of any others within a given submission category.

The following design categories are evaluated for each product:

Creativity  Fresh and original concepts and execution

Graphic Design  Images, text, and arrangement thereof

Form  Shape, texture, and mass

Style  Relationship of the package elements to the character of the products and its projected image

Functional Innovation Technological, pragmatic, and design breakthroughs

The panelists enter detailed observations and rank entries along a scale for each of these design categories. Once evaluations have been completed, BTI’s proprietary analysis methodology software aggregates the data and determines the winners of that year’s packaging championships.

As the pandemic continues to put a pause to on-premise sales, the importance of beverage alcohol packaging design is more crucial than ever. Consumers are making quick decisions at off-premise locations or adding to their virtual shopping carts after a quick swipe-and-glance, and it is only in these short moments that a brand has the opportunity to capture attention. And so, without further ado, here are the winners of Beverage Testing Institute’s 2021 Packaging Competition.

Beer

 

 

After a year like 2020, we’re buying our suds by the case. Mighty Swell Spiked Seltzer‘s case series uses a “nice combination of lettering and photo-real fruit” resulting in “of-the-moment” graphic design with mouthwatering details. Cans have to stand for themselves too, and Tolago Hard Seltzer‘s use of “cute and cool” imagery is sure to be a tractor beam to thirsty buyers.

 

Wine

While we fantasize about the day we can return to swirling wines by the glass on our favorite patio, we want to like how our purchased bottles look on our dining room table cum work-from-home desk cum remote learning station. Designed by VINT Studio, the wine bottles from Cooper’s Hawk were impressive across the board. Their Trocken Riesling label’s winning “modern” color combo of lime green foil and navy blue “will stand out and be enticing to buyers,” their “festive” Scarletto bottle’s “elegant” typography “overdelivers for the price point,” and their LVE’s “practically holographic” label “brings the image to life” (with said image being John Legend, who I’m sure most of us would love to share a bottle of wine with).

 

When it comes to a well-executed classic design, the Gecaj Estate 2016 Owner’s Choice has a “good weight” to reflect its quality, the Lescombes Pistol Pete’s Crimson Legacy is “understated” and “classy,” and Broadside‘s 2017 Blackletter Cabernet Sauvignon fully “achieved the rustic vibe.”

 

Our panelists also loved the “nice, modern, new-world” labels of Alamos, and felt that its “lovely” illustration “evokes the country and vineyard,” which is definitely where we can pretend to be while we sip it. Sometimes you want to try multiple offerings from a producer all at once, and cohesion in design matters! The FUN WINE Hard Bubbly Collection has a “clever exuberant anime design” that’s sure to turn heads, and the Perfect Wines series uses negative space for “simplicity that really works.”

 

 

Spirits

As we continue to improve our at-home cocktail game, we want to reach for pours that still make happy hour feel special. If you’re starting the new year dry, Ritual Zero Proof‘s offerings are “clear and concise” and upon seeing them one of our experts exclaimed “these bottles look GREAT, I would buy them immediately.”

We loved the “memorable and striking” design of NEFT Vodka‘s “homage to family roots” and Verak‘s “totally unique top-shelf” design “radiates class.”

Boukman and Fid Street Hawaiian Gin both have “lovable” and “unique” design, Saint Liberty Bertie’s Bear Gulch has stand-out shape and imprint, and the YaVe Tequila bottle is “durable and functional” and ready to be back in bars as soon as the world is.

 

Because we are all craving a little getaway, the RTD series lineup from CANTEEN Spirits “nailed it” with their “adventure-on-the-go” vibes that “people will love drinking in their hiking boots.”

Both Two Chicks Cocktails and Bristow Gin have eye-catching details that will “stand out on the shelf” and Ólafsson Icelandic Gin‘s “inviting, intricate, and unique” label will transport you to a faraway dream.

Labeled for Failure: 3 Obstacles to Successful Packaging (and Their Solutions)

“We’ve seen some people start to feel that maybe packaging is not as important and I would make the argument that it’s more important than ever.” – David Schuemann, Owner/Creative Principal of CF Napa Brand Design

It is widely known that the alcohol beverage market is saturated with offerings, and the clamor for coveted space in consumers’ shopping carts is only becoming more competitive. BevTest spoke with brand design firms from coast to coast that vehemently assert that the foundation of a brand’s success, as well as its failure, lies in its packaging. Though these authorities forecast imminent collapse for brands that don’t invest in professional design, that blend in with the crowd, and that rush through fine details in development, they have also shared their keen insights on forward-thinking strategies that, if heeded, both establish and secure the modern consumer’s attention.

1. Don’t Be Cheap

According to our design experts, one of the biggest mistakes a brand can make is not allocating room in the budget for packaging development. David Schuemann, Owner and Creative Principal of CF Napa Brand Design, says that “we’ve seen some people start to feel that maybe packaging is not as important and I would make the argument that it’s more important than ever.” Kevin Shaw, Owner of design firm Stranger & Stranger, points out that “you have to get inside your customer’s head” in order to avoid “designing for yourself.” According to Scout Driscoll, Founder and CEO of wine branding and design firm VINT, another pitfall is “having your friends design a label.” Driscoll urges even smaller producers to invest in a professional designer because “if you don’t sell it, if people aren’t buying it, you’re going out of business.” Nicole Flores and Kat Karpati, Creative and Executive Directors at Hatch Design, say that many brands they’ve worked with start with in-house design, but that then, eventually, “a few years down the road, they’ll come to us to help them get to the next level.”

Schuemann understands that a lot of producers are “bootstrapping it,” but pushes that investing in professional designers is essential because, initially, “what [you’re] selling is the packaging more than the product itself.” Most design firms have tiered pricing in order to offer solutions for a range of budgets, and “given that distributors are not just out there pounding the pavement,” Schuemann justifies the metrics for successful packaging as being delivered in “clean numbers” when sales jump. When working with designers, Driscoll encourages brands to “make your marketing choices with your head and not your gut.” For those smaller producers that are tentative about affording a designer, she notes that “if they have one beautiful label design that’s locked in and recognizable” they can modify that slightly across the numerous offerings within the brand, a solution that’s “much more affordable than doing a custom design for every single [product] they offer.” Having outside eyes on a packaging project can also create a better idea of not just who a brand is but “what they want to be,” and Flores and Karpati feels this emboldens producers to “see the forest through the trees.”

“If you don’t sell it, if people aren’t buying it, you’re going out of business.” Scout Driscoll, Founder and CEO of wine branding and design firm VINT

2. Don’t Be Boring 

A common challenge faced when launching a product in an overflowing category is making your brand stand out while maintaining recognizable characteristics. Driscoll acknowledges that “there’s certainly a long legacy of aesthetics that are tied to certain styles of wine” and that you want your brand’s packaging to “trigger those feelings” while still “pushing the envelope,” further pressing that “when people don’t differentiate, when they copy or try to follow in the footsteps of their biggest competitor, it’s a huge mistake because they’re not identifying what makes their brand unique.” Schuemann echoes warnings against this, giving the example of a client that was in the “saturated sector” of vodka, describing that it had a “fairly decent following” but “terrible packaging” that was not lined up with the quality of the product, and therefore did not stand out on shelves already jostling with clear offerings. Shaw agrees that packaging shouldn’t just fall in line with that of the others in its category; he “cuts to the chase” and asks, if on a long row of similar products, “why should anyone care about [your brand]?” Shaw adds that in ensuring your product stands out, “yearly trends are never to be followed” for many reasons, but essentially because “it can take two years for a brand to make it from briefing to shelf stocking and will look out of date before it’s even launched.” Flores and Karpati further surmise that with every trend comes a “backswing.”

There are many solutions to making sure a brand doesn’t fall into what Shaw refers to as an “existential wormhole.” Driscoll attests that “all consumers truly crave an authentic brand,” and just need “something they can connect with that’s rooted in a very clear story.” Schuemann calls this the “brand essence,” the “heart and soul of the brand,” and encourages the development of a story around which to “wrap the packaging” to help express it, a process his firm took with the redesign of the aforementioned vodka which has since “completely taken off.” Flores and Karpati urge brands to be “provocative” with their packaging because many consumers have chosen their go-to products and therefore need “inspired desire” to be “provoked” into a new promised experience. In taking the risk of pushing forwards provocatively, Shaw reassures that “polarization is good,” and that it’s okay if “[some] people don’t like you” as long as “some people love you.”

“Why should anyone care about [your brand]?” – Kevin Shaw, Owner of design firm Stranger & Stranger

3. Don’t Rush & Gloss – Brush & Polish

Even after carefully examining the many facets of packaging that reflect a brand’s identity, things can still fall through the cracks. Schuemann often sees a lack of attention given to functionality and finds it “amazing” that so many products wind up with “bubbles and rips and tears and labels that go on crooked and just don’t look very good” as well as the headache of “[bottle] shapes that couldn’t hold the screenprinting or label,” leaving producers with “thousands of bottles they can’t use” and expensive delays that butt up against launch dates. Though it should be obvious, he also urges that brands ensure their labels are TTB compliant and to be aware of possible trademark infringement, warning that “you kinda get what you pay for” when “there are a lot of online design resources…that are just copying things they’ve seen” which can result in “lawsuits that will cost hundreds of thousands of dollars down the road.”

When running over your packaging with a fine-tooth comb, consider that the specific patterns of the current market are instrumental to your brand’s prosperity. We don’t need to be reminded that we are living in a world in which social media is a heavily relied-upon platform, and Driscoll counsels that “it’s really important that your packaging design be recognizable on a tiny phone” because “your label, for the most part with people buying online, is going to be a centimeter tall” so it’s crucial that your brand is “differentiated at a glance.” Driscoll cautions that “if you’re not saying something distinct” that can be interpreted “in the blink of an eye,” then “you’ve really not done your product justice.” Once purchased, Flores and Karpati carry the importance of stressing instantaneous brand identification into the modern era of “grab and go, single-serve” products. As opposed to the time consumers spend with a “gallon of milk or orange juice that sits in [the] fridge” for a number of days, consumers are spending mere minutes to hours with single serving beverages, which means that your brand’s packaging has a limited amount of time in which to convey its story and offerings. An additional way to secure what Shaw refers to as “well-designed products that over-deliver on the shelf” that simultaneously “deliver clear stories on screen,” both Driscoll and Schuemann avidly emphasize the display or awards and tasting notes. “When you’re selling online you have a consumer that can’t pick [your product] up, can’t touch it and feel it and certainly can’t taste it,’ which Schuemann acknowledges makes it “that much harder” to describe the “intrinsic value.” Driscoll finds the solution in “including a tasting profile” in addition to any awards in order to drive home “what really makes [your product] special.”

With almost 40 years of experience with thousands of brands, BevTest can confirm that problematic planning yields problematic packaging, and that corner-cutting, monotonous, and thoughtless products do not succeed. BevTest’s Associate Director, Laura Kruming-Berg, further stresses the lessons offered by these expert designers, concluding that “this is not just marketing speak from design firms seeking new clients,” nor “tactics for big budget brands,” but rather “non-negotiable rules for brands of all sizes.”

The Winners of BevTest’s Annual Packaging Competition

While Beverage Testing Institute’s beverage evaluations occur year-round, our highly anticipated packaging competition is held only once annually. 

To determine the year’s best packaging submissions, we assemble a diverse group of experts: distributors, buyers, beverage directors, and designers with keen eyes for contemporary form and key insight on what draws consumer attention. Each panelist conducts a solo evaluation, taking time to consider each product individually and independently of any others within a given submission category. 

The following design categories are evaluated for each product:

Creativity Fresh and original concepts and execution

Graphic Design Images, text, and arrangement thereof

Form Shape, texture, and mass

Style Relationship of the package elements to the character of the product and its projected image

Functional Innovation Technological, pragmatic, and design breakthroughs

The panelists enter detailed observations and rank entries along a scale for each of these design categories. Once the evaluations have been completed, BevTest’s proprietary analysis methodology software aggregates the data and determines the winners of that year’s packaging championships. 

And so, without further ado, here are the winners of Beverage Testing Institute’s 2020 Packaging Championships, accompanied by a little in-depth information on why our experts agreed that these products achieved their design goals. 

Beer

 

With “rich concept, illustration, color, print quality, and brand cohesion,” Indeed Brewing’s submissions earned multiple medals for their cans and case, with panelists taking a special liking to their consistent presentation of ingredients and tasting notes.

 

 

Lift Bridge Brewing’s case submission had a winning color scheme and made good use of custom illustration. 

 

 

 

“Great artwork” and a “unique approach to design and visuals” showed that Common Cider Company’s can composition was as thought-provoking as it was medal-winning. 

 

Spirits

The “classy appearance” of this glass didn’t disappoint. Panelists found it “lovely to pour into, sniff from, and sip from,” and hopefully the folks at Stölzle are celebrating by swirling a dram in this winner. 

 

 

These labels were “absolutely exquisite, beautiful, captivating, and rich with story” and our panelists send “high praise for the design team, illustrators, and printer.” Both Barnacles and Espanita would be proud additions to any bar, home or professional. 

 

 

 

Newer to the market, Belfour’s covetable decanter-style bottles and attention-grabbing catchphrase, “The Spirit of Champions,” resulted in classy packaging highlighting a brand that “you certainly can’t just walk past on the store shelf.” 

 

 

Already one of BevTest’s high-scoring spirits, Uncle Nearest Tennessee Whiskey has quality packaging to match. “It strikes all the right notes to keep it competitive within its class” and the “small touches” show that “this is a more premium product.” 

 

 

 

“Baseball fans rejoice: there’s a whiskey gift for you.” Cooperstown Distillery’s “incredible” bottle and “clever” details came together nicely in this winner. 

 

 

 

“Classy, well-crafted, incredible label work” created intricate continuity in Koval’s bottle series, leading panelists to infer that “what’s inside will also be thoughtfully crafted.” 

 

Wine

 

Jam Jar’s “lovely little 4-pack” had great pattern integration and fun design. 

 

 

 

A range of thoughtful methods resulted in these wine label winners. VARA’s “gorgeous presentation” invited panelists to take a “deeper, longer look at this package’s lovely understated crisp presentation” and Bella Luna’s rich embossing established an “elegant and classic” brand identity. Creating personal connections in their designs, Greetings from the Willamette Valley’s art direction did a good job of “evoking memories while encouraging the consumer to make some new ones” and St. Hilaire Cellars’ use of hyper-localized labels was a “powerful tool” invoking a “sense of belonging.” 

The Winners of BTI’s Annual Packaging Competition

While Beverage Testing Institute’s beverage evaluations occur year-round, our highly anticipated packaging competition is held only once annually. 

To determine the year’s best packaging submissions, we assemble a diverse group of experts: distributors, buyers, beverage directors, and designers with keen eyes for contemporary form and key insight on what draws consumer attention. Each panelist conducts a solo evaluation, taking time to consider each product individually and independently of any others within a given submission category. 

The following design categories are evaluated for each product:

Creativity Fresh and original concepts and execution

Graphic Design Images, text, and arrangement thereof

Form Shape, texture, and mass

Style Relationship of the package elements to the character of the product and its projected image

Functional Innovation Technological, pragmatic, and design breakthroughs

The panelists enter detailed observations and rank entries along a scale for each of these design categories. Once the evaluations have been completed, BTI’s proprietary analysis methodology software aggregates the data and determines the winners of that year’s packaging championships. 

And so, without further ado, here are the winners of Beverage Testing Institute’s 2020 Packaging Championships, accompanied by a little in-depth information on why our experts agreed that these products achieved their design goals. 

Beer

 

With “rich concept, illustration, color, print quality, and brand cohesion,” Indeed Brewing’s submissions earned multiple medals for their cans and case, with panelists taking a special liking to their consistent presentation of ingredients and tasting notes.

 

 

Lift Bridge Brewing’s case submission had a winning color scheme and made good use of custom illustration. 

 

 

 

“Great artwork” and a “unique approach to design and visuals” showed that Common Cider Company’s can composition was as thought-provoking as it was medal-winning. 

 

Spirits

The “classy appearance” of this glass didn’t disappoint. Panelists found it “lovely to pour into, sniff from, and sip from,” and hopefully the folks at Stölzle are celebrating by swirling a dram in this winner. 

 

 

These labels were “absolutely exquisite, beautiful, captivating, and rich with story” and our panelists send “high praise for the design team, illustrators, and printer.” Both Barnacles and Espanita would be proud additions to any bar, home or professional. 

 

 

 

Newer to the market, Belfour’s covetable decanter-style bottles and attention-grabbing catchphrase, “The Spirit of Champions,” resulted in classy packaging highlighting a brand that “you certainly can’t just walk past on the store shelf.” 

 

 

Already one of BTI’s high-scoring spirits, Uncle Nearest Tennessee Whiskey has quality packaging to match. “It strikes all the right notes to keep it competitive within its class” and the “small touches” show that “this is a more premium product.” 

 

 

 

“Baseball fans rejoice: there’s a whiskey gift for you.” Cooperstown Distillery’s “incredible” bottle and “clever” details came together nicely in this winner. 

 

 

 

“Classy, well-crafted, incredible label work” created intricate continuity in Koval’s bottle series, leading panelists to infer that “what’s inside will also be thoughtfully crafted.” 

 

Wine

 

Jam Jar’s “lovely little 4-pack” had great pattern integration and fun design. 

 

 

 

A range of thoughtful methods resulted in these wine label winners. VARA’s “gorgeous presentation” invited panelists to take a “deeper, longer look at this package’s lovely understated crisp presentation” and Bella Luna’s rich embossing established an “elegant and classic” brand identity. Creating personal connections in their designs, Greetings from the Willamette Valley’s art direction did a good job of “evoking memories while encouraging the consumer to make some new ones” and St. Hilaire Cellars’ use of hyper-localized labels was a “powerful tool” invoking a “sense of belonging.”