USER-DRIVEN IN-STORE VISUALS - Theseus
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USER-DRIVEN IN-STORE VISUALS HOW TO DESIGN USER-DRIVEN IN-STORE VISUALS FOR SKINCARE PRODUCTS IN FINLAND. CASE: LUMENE LDT. FINAL THESIS / SPRING 2019 PAMELA KOMPPA
T IT L E : U S E R- D RIV E N I N - S T O R E V I S UA L S
CAS E : L U M E N E L D T .
L AH T I U N I VE RS I T Y O F A P P L I E D S C I E N C E S
INSTITUTE OF DESIGN
D E G RE E P ROG R A M M E I N D E S I G N
P ACKAGI N G D E S I G N A N D B R A N D I N G
PAMELA KOMPPA
F I N AL T H E S I S / S P R I N G 20 19
P AG E C O U N T 6 3
Image 1.
ABSTRACT
In my thesis, I get acquainted with the user-driven design approach and
how to utilize it in a store environment when creating shelf graphics and
designing clear communication through visuals. I use empathy design
method and tools to research and understand the user behavior and their
specific needs in skin care shelf card visuals.
K EY WO R DS
I get to know the visual communication fundamentals in-store marketing
and in the store environment while trying to discover new ways to improve VISUAL DESIGN
and simplify the product navigation for the consumer.
USER-DRIVEN DESIGN
The case brand Lumene is in a need of improvement with their visual
navigation and communication, therefore, I am going to implement my
finding when creating design proposals to function as an inspiration for EMPATHIC DESIGN
the company. I wanted to take into consideration how to sustain their
brand image, yet help them to create more useful content for their target BRAND COMMUNICATION
consumer. I aim to respect the brands’ philosophy and to reveal the magical
secret, an urban tale of the Nordic skin care atmosphere through visual
SKINCARE
design.
The final proposals will include a 3D shelf view of the shelf cards that
I created for Lumene based on their existing assets that I used to my
advantage. I present an alternative way to break the toneless and generic
visual cycle in their shelf cards visuals to add more emotional value for the
skin care shoppers.
3
TIIVISTELMÄ
Tutustun opinnäytetyössäni miten hyödyntää käyttäjälähtöistä lähestymis-
tapaa myymäläympäristössä, kun suunnitellaan ihonhoitotuotteille hylly
grafiikoita ja selkeämpää visuaalista kommunikaatiota. Käytän empaattisen
muotoilun metodeja ja työkaluja tutkimukseni yhteydessä ja hyllykortti
visuaaleja suunnitellessa, ymmärtääkseni kuluttajan käyttäytymistä sekä
AVAIN SAN AT
heidän ihonhoidon tarpeita.
Käyn läpi visuaalisen kommunikaation toimintaperiaatteita myymälä- VISUAALINEN SUUNNITTELU
markkinoinnissa ja myymäläympäristössä, samalla tutkien uusia tapoja
parantaa ja yksinkertaistaa tuotteiden välistä navigaatiota kuluttajalle.
KÄYTTÄJÄLÄHTÖINEN MUOTOILU
Toteutan tutkimuksessani ilmenneitä löytöjä visuaalisiksi hyllykorttien
parannusehdotuksiksi Lumene Oy:lle inspiraation lähteeksi, sillä koin EMPAATTINEN MUOTOILU
työjaksoni aikana brändin olevan visuaalisen navigoinnin ja kommunikaation
tarpeessa. Haluan huomioida miten ylläpitää brändin ilmettä, mutta silti BRÄNDI VIESTINTÄ
avartaa yrityksen näkemystä miten luoda hyödyllisempää sisältöä brändin
kuluttajille. Tavoitteenani on kunnioittaa brändin filosofiaa ja paljastaa
IHONHOITO
heidän taianomaiset, urbaanisen tarumaiset salaisuudet pohjoismaisen
ihonhoidon tunnelmasta visuaalien avulla.
Lopulliset konsepti ehdotukset sisältävät 3D kuvat hyllykorteista, joihin
hyödynsin Lumenen olemassa olevaa kuvallista materiaalia. Esittelen
vaihtoehtoisen tavan irtaantua geneerisestä tavasta tuottaa visuaaleja
hyllyihin tarjoamalla emotionaalista arvoa brändin ihonhoidon ostoksilla
kävijöille.
4
CONTENT
1 INTRODUCTION 5 USER-DRIVEN APPROACH
1.1 Disclaimer 5.1 What is user-driven design
1.2 Choice of subject 5.2 Emphatizing the consumer
1.3 Purpose of the design 5.3 Empathy mapping
5.3.1 Empathy map analysis
2 RESEARCH 5.4 Skincare personas
2.1 Literature 5.5 Analyzing the user problems
2.2 Tools & methods
6 DESIGN PROCESS
3 IN-STORE VISUAL MARKETING 6.1. Inspiration
3.1 The definition of visual design 6.1.1. Caudalie
3.2 User guidance: skincare visuals 6.1.2 Madara cosmetics
3.3 User preferences and needs 6.2 Starting point and drafts
3.4 Designing in-store graphics 6.3 Elements and colors
3.5 Color functionality in visuals 6.4 Prototyping
6.5 Shelf view
4 CASE: LUMENE 6.6 Final design proposals
4.1 History of lumene
4.2 Brand values 7 FINAL WORDS
4.3 Best-selling skincare brand 7.2 Final process evaluation
4.4 Skincare in-store visuals now 7.4 Acknowledgements
4.5 Competitor analysis
4.6 Skincare in-store visual goals REFERENCES
ATTACHEMENTS
5
THE NEED FOR CLEAR & IMAGINATIVE COMMUNICATION HAS NEVER BEEN GREATER. PHILLIP B. MEGGS GRAPHIC DESGIN EDUCATOR & HISTORIAN
1 INTRODUCTION
1.1 DISCL A IM E R
The purpose of this thesis is to share and provide research
information and findings that may give more insight into the
corporation of Lumene about how to design user-driven in-store
visuals for the company’s skincare products. The design process
of this thesis does not include the final in-store materials, nor is
an actual brief from Lumene.
Visual proposals are designed as a concept for personal user
testing, and hopefully to give inspiration for the employees of the
company and to have them benefit from the research results that
are presented in this thesis.
Visuals and copy texts used in this thesis are placeholders and
borrowed from Lumene, therefore are not guaranteed for future
use or implementation.
Although close attention has been paid to the content creation
process of these visuals to respect the brand image and to avoid
any false advertising, please be advised that Lumene Ldt. assumes
no responsibility for designs and visuals created for this thesis.
7
Image 2.
INTRODUCTION
1.2 CH O ICE O F SUBJE CT
Buying beauty products from a store is not visible enough for consumers since
environment can be a draining and the in-store visuals are not designed
stressful task. Often it is beyond over- clearly for their users’ needs.
whelming and exhausting to be sur-
rounded by the sea of information, visual The case company of the thesis, Lumene
elements like colors, labels, patterns, Ldt. is a cosmetic company specialized
signs, then the people and an endless in quality skincare for women of all
selection of products. It is like a mental kind. Their cosmetics and skincare pro-
marathon for the brain. (Schneider 2014.) ducts are sold worldwide in various
stores and online. This thesis focuses
Users want to feel confident after walking on their skincare product line visuals in
out of the store with this new fantastic department stores and hypermarkets in
product. Consumers wish to have security Helsinki area, such as K Group, Stock-
with their purchasing decision, that the mann and Sokos in Finland. To be more
outcome of the product would be what it specific, in stores where Lumene has
was claimed and how they have imagined more space to pro-mote their skincare
it to work for them. products.
Visual merchandising is a challenging way After Lumene’s brand renewal in 2016,
of marketing products since we live in this there has been a massive change in
busy world where people prefer to spend their visual merchandising in-store en-
as little time as possible in the stores vironment with their packaging graphics,
and many purchases are made through visuals and brand feel. There are still
online shopping. People tend to shop plenty of things that can be improved
often in a hurry, and they do not have to be more user-friendly since con-
the proper mindset to pay attention to sumers seem to be struggling with the
8 brands advertising or their key messages. information and navigation provided with
It is common that brand communication the brands’ store graphics and visuals.
Image: Pamela Komppa. 2018.
INTRODUCTION
1.3 P URP OSE OF THE DESI GN PRIMARY RESEARCH
Q U E S TI O N S A R E :
I started to plan the subject while working The objective of this thesis is to find ways
for Lumene as a graphic designer. I found to improve Lumene’s in-store visuals for
it difficult to find a decent brief at first skin care products and the consumers
since Lumene has already a strong brand by using user-driven design approach
based on their long history. The brand’s and methods while utilizing empathic
overall visuals, packaging, and identity are ideology into the process. The proposals How to include users into the
well-crafted, but of course, there is always created in this thesis are my professional design process to create clear and
something that one could do better or recommendations, and the results of the simple, yet effective skin care product
develop even further. The design team study can be taken advantage in future education and visual communication
of Lumene has been currently designing actions. for consumers?
more user-driven visuals for better
navigation and product education for I wanted to focus on visual design and
the brands’ color cosmetics. Therefore, I user-driven design in my thesis since I
found this project interesting and current, found myself interested in user-driven
where I could have the chance to apply design approach during the second
the same methods to Lumene’s skincare year of my studies. I was keen into the
visuals with a twist of my profession and entire process and hoped to improve my How to improve brands’ in-store
designer knowledge as a concept. knowledge of the subject to have a user- visual communication and education
driven approach in my design process of the skincare products through
handprint. Also, visual design is an overall visual design?
interest of mine, and it has always been
my passion and forte which is why I
wanted to implement this knowledge in
my project. I fancied the idea of combining
two of my ambitions to create something
9 useful for the company that they might be
able to benefit from in the future.
INTRODUCTION
OBJECTIVES
UNDERSTAND FIND SOLUTIONS
H OW TO I M PR OV E T H E SK I N C A R E PR O D U C T
T H E USER A N D T H EI R N EED S
N AV I G AT I O N T H R O U G H V ISUA L S F O R CO NSU M ER S
H OW V IS UA L S WO R K I N -S TO R E EN V I R O N M EN T
H OW TO SI M PL I F Y T H E CO M M U N I C AT I O N
LEARN RESPECT
TO I N CO R P O R AT E EM PAT H Y D E SI G N T H E B R A N D I M AG E ,
PR I N C I PL E S I N TO USER - D R I V EN D E SI G N PR O C E S S I T S VA LU E S A N D I T S R O OT S
10RESEARCH
2.1 LITE RATURE
2 RESEARCH
To comprehend the user behavior, and years ago but are timeless and carry
visual design fundamentals, and the profound tools that should be taken into
brand communication, I decided to consideration when using user-driven
implement some of the literature that design approach. The choices of my
I found valuable during my study years by literature are a combination of science
adding theories, and models of various and recent findings from the authors that
literature sources that were utterly new I selected by their field professionalism,
to me. The methods found and written expertise and whom I have looked up to
about in this thesis are developed years as a designer.
Photo: Pamela Komppa 2019.
11DESIGN IS NOT JUST WHAT IT LOOKS LIKE & FEELS LIKE. DESIGN IS HOW IT WORKS. STEVE JOBS INVENTOR, DESIGNER & ENTREPRENEUR CO-FOUNDER OF APPLE INC.
RESEARCH
2.2 TOOLS & M E THOD S
I use the knowledge and methods that I Methods used in this thesis are research; SPECIFY THE
have learned from the completed courses observation, benchmarking, competitor CONSUMER NEEDS
during my studies, and I take them into analysis, surveys, casual interviews and
practice while respecting brands’ design conversations with different types of skin
principles. On the right, you will see six care consumers, user-driven design tools;
phases of the user-driven design process emphatic design and empathy mapping,
SPECIFY BUSINESS
that I will implement in the store visuals persona profiles, user testing, and pro- REQUIREMENTS
for skincare products. Some of the totyping, finally creation of the design
methods used in this thesis are entirely proposals with the visual design tools;
new for me, and those that have been graphics software and a 3D modelling for
highlighted in the next paragraph. the mock-ups. CREATE DESIGN SOLUTIONS
FROM ROUGH CONCEPT
TO FINISHED DESIGN
EVALUATE DESIGN WITH
USABILITY TESTING
IMPLEMENTATION –
DEVELOP AND DELIVERY OF
THE FINAL DESIGN
Gladkiy, S. 2018.
13
Image 3.IN-STORE VISUAL MARKETING
3.1 WH AT IS VISUAL DESIGN?
3 IN-STORE VISUAL
MARKETING People are surrounded by visual design
in their everyday life. Visual design is the
the conscious part is in control of our
humanly actions. (Visiblebody 2019).
first impression that a brand’s product
is going to make on consumers, but it When a corporation is designing its
is beyond more than what meets the product marketing campaign, it has to be
eye. (Rhyne 2016). It’s used to improve well-thought of what is going to be the
the user experience through shapes, conception that is provided externally
color, images, typography, layouts, and of the brand. Memory traces are crea-
space. Visual design is everything about ted from what one sees, hears and ex-
providing information in an easy to un- periences. Therefore, that memory that
derstand form and a better visual effect is given for customers shouldn’t be taken
on users’ eyes since people get 80% for granted. (Nieminen 2004, 8, 147.)
information through their vision, hence
the visual design effects directly their It’s good to remember that nearly 80%
user experience. (Kyrie 2017.) of the information that is received by the
human brain will eventually be forgotten,
The majority of information surrounding which is why constant reminders are
people comes through our vision. It has necessary. The key messages should be
been stat-ed that 75% of the information super easy to understand and consistent
provided our observation field is formed so that the information provided will
first through our eyesight and vision in remain in consumers’ minds. Consumer’s
our conscious or unconscious part of the mind may reject too complicated and
brain. (Nieminen 2004, 8, 147.) Moreover, confusing marketing information, in which
15IN-STORE VISUAL MARKETING
PRIMARY RESEARCH
case the investment on the marketing It’s good to remember that the customer Q U E S TI O N S A R E :
campaign would be superfluous. decision is influenced by a positive feeling,
the more relatable and effective an in-
The consumer may benefit when the core store retail campaign will be. Designing
message is kept simple from the very the in-store marketing campaign and
beginning, but there is a slight chance taking customers in consideration is
that the information will be lacking the the key to success and therefore, it may
needed attraction. (Laakso, H. 2004: 66.) increase the sales of the product.
How to include users into the
design process to create clear and
simple, yet effective skincare product
education and visual communication
for consumers?
T H E T Y PE S OF M E M OR Y:
1. SIGHT 2. FEELING 3. SOUND
How to improve brands’ in-store
visual communication and education
of the skincare products through
visual design?
40 PERCENT of the 30 to 40 percent 20 to 30 percent
population is SENSITIVE reacts more to is more responsive
TO SIGHT and visuals. the feeling. to sound.
PRINTED VISUALS, Taste, smell, movement, Sound, talking,
expressions emotions, actions, music, what is
16 aesthetics, sensations... HEARD & SAID. Y
what is SEEN. what is FELT.
(Vita, A.2014.)
Image 4.IN-STORE VISUAL MARKETING
3.2 USER G U ID A NC E : S K INC ARE V I SUAL S
Visual design is an excellent tool to in- for Finnish consumers, it doesn’t always
fluence customer purchasing habits since come naturally to ask for help since in
consumers tend to “buy with their eyes” our culture we are determined to figure
when browsing through the shelves. things out on our own. Skincare visuals
(Construction Specialties, 2019) are only there to help the consumer to
navigate between the products. Information
Visual design and learning design aren’t
usually spoken together, but it’s quite So, what could be the ways to design
clear that these terms go hand in hand. educational skincare visuals that guide
Visuals are essential for learning and the user through the shelves to find the
understanding, therefore being a crucial right product? I would first look into the
tool for designers to master. Visual de- brands’ target users. It’s essential to
User
sign is all about the quality of learning, figure out what type of information is the
experience
the value of the communication, and most valuable for consumer needs. With
providing the motivation for users. that information, the designer can then
create the visual hierarchy to compli- User Business
needs goals
In this thesis, I wanted to specifically ment the brands’ business goals, values
focus on fast and easy communication and the core message of the product
through visuals since I’ve learned during to gain consumers’ attraction and to
my studies that it helps tremendously get their attention. I profoundly believe
when the communication works between that consumer needs and preferences
the users and the brand. Don’t we all should be taken into consideration and
just get frustrated when we have to put preferably, prioritized in visual marketing Illustration 1.
time and effort into finding the product and communication.
that we were meant to look for? Also,
17IN-STORE VISUAL MARKETING
DO Y O U EVER P AY AT T EN T IO N T O T H E
P R O DUC T VISUALS IN ST O R ES?
52
R ESPONDENTS
32% SAID YES
NO YES
99,5%
68% SAID NO
OF THE
R ESPONDENTS
W ERE FROM
FINLAND
DO Y O U USE N AT UR AL
SK IN C AR E P R O DUC T S?
3.3 USER PRE FE RE NC E S A ND N EEDS
According to my natural skincare pro- notice the designed visuals. I’m intrigued 68% SAID YES
YES NO
duct survey, where 52 women who par- to challenge this finding to discover
32% SAID NO
ticipated and answered the questions possibilities with the graphics that can be
that I provided: two third use natural designed in-store. How could the brand
skincare products, but 68,3% of the draw more attention to their visuals in-
respondents do not pay attention to store?
18
the visuals in-store and the rest 31,7%
Infographic illustrations: Pamela Komppa 2019.IN-STORE VISUAL MARKETING
WH AT C ER T IFIC AT ES AFFEC T S IN Y O UR B UY IN G
DEC ISIO N O F B EAUT Y P R O DUC T S?
The majority who participated in this for consumers but it turned out that the
survey were between 22 to 34 years old. majority were concerned about the animal CRUELTY FREE 67%
What I have understood and discovered wellbeing, and if the products are locally
MADE IN FINLAND 50%
is that skincare consumers are motivated manufactured. Respondents support
to seek a specific type of information these top 3 values that are highlighted in ALLERGY & ASTHMA 37%
when trying to find the perfect product blue when they buy new beauty products. NATURAL 35%
for themselves. Every individual has their
ORGANIC 33%
own specific goal and purpose of how When choosing the perfect product
they prefer to take care of their skin. consumers want to have quality, affor- ECOCERT 29%
dable prices along with right ingredients
100% VEGAN 27%
Also, it came into my realization that the for the skin. Recommendations and en-
skincare consumers have their individual vironmental friendliness stand out as well, DOESN’T MATTER 17%
values that they prefer to respect and and it was surprising that the product
therefore, act based on their personal promises and the brand didn’t seem to
values. I somehow have assumed that be the top priority for the users.
products being vegan are very important
WH EN C H O O SIN G T H E P ER FEC T P R O DUC T , WH IC H O F
T H E FO LLO WIN G FAC T O R S M AT T ER T O Y O U?
W HAT I S YOU R AGE ?
QUALITY 78%
PRICE 58%
22 OR
YOUNGER INGREDIENTS 54%
63,5%
RECOMMENDATION 46%
44+ 15,6%
23-34 ECO-FRIENDLY 42%
15,6%
35-43 5,8% BRAND 40%
PRODUCT PROMISES 33% 19IN-STORE VISUAL MARKETING
W HAT ARE Y OUR PR IMAR Y R E ASONS WH IC H O N E O F T H ESE FO LLO WIN G S DO Y O U
T O US E BEAU TY PR OD U C TS? FIN D IM P O R T AN T WH EN SEEK IN G T H E B EAUT Y
P R O DUC T FR O M T H E M AR K ET ?
72% 58%
FOR INFORMATION
SKINCARE ABOUT PRODUCT
USABILITY
61% 56%
INFORMATION
TO FEEL
ABOUT THE
CONFIDENT
INGREDIENTS
54%
37% INFORMATION
ABOUT THE
SKIN
BRAND’S
ISSUES SUSTAINA-
BILITY
W HAT T Y P E OF SKINC AR E
CON S UM ER AR E YOU ? Respondents use beauty products for Consumers prefer to have access into
skin care purposes, to feel confident, and the information about product usability
to treat the possible skin issues. and ingredients in-store visuals. I want to
focus on the ingredient benefits based on
ENVIRONMENTALIST 44%
Majority of the respondents are either the survey data. I found that many people
MINIMALIST 40%
minimalists or environmentalists. Women are not aware of the effects products have
BEAUTY HOARDER 27% usually love to try out new products on the on their skin, therefore it will educate the
market; hence 27% of the respondents consumer about product usability based
SALESEEKER 19%
buy excess amounts of beauty products to on the needs of their skin.
AESTHETIC SHOPPER 14% fill their bathroom cabinets and consider
20 IMPARTIAL 14%
themself a so called beauty hoarder.IN-STORE VISUAL MARKETING
3.4 D ESIG NING IN- S TORE GRAP HI CS
There is a set of rules that a designer provides clarity of what will work the After being satisfied with the overall Usually, when working for a rapidly
should follow during the design process best in the situation where the final print layout and design, and before fine-tuning progressive company, there isn’t always
of the in-store graphics. I had to learn will be. it to get ready for the final print: it’s good time to execute these rules which is quite
through my own mistakes that have to ask the opinion of a third party. Which unfortunate for the brand and the com-
been made while working for Lumene, The third rule is that in-store designs comes down to rule five: always ask an pany since some of the communication
to create functional graphics in store should be always test printed. The de- outside opinion. This step is going to help might end up being misleading or unclear.
environment specific steps has to happen signer cannot possibly understand the with getting comprehension of what will It is very common that when working
first. I created five rules that should be visual hierarchy between elements if only be the first reaction of the external party under pressure, the mind state may easily
taken into consideration before sending seeing the material on the screen. It will and how the design will be viewed. A new get shifted into thinking that creating
any final visuals forward to the printing look surprisingly different after printing, perspective is shared, and the design just something is better than nothing,
houses. depending a lot on what purpose the might get improved even further from its and it should be addressed if the goal
material is designed for. If you can’t see original state. is to enhance any visual communication
If time permits, I would say that the it without the screen another great way in-store environment.
first rule most definitely should be is to mock-up it into the environment
benchmarking. Benchmarking is an ex- where the visual will be shown. In this
cellent tool to provide insight of the way usually, the designer will spot a few
competitive market and to help the brand things that should be done differently
stand out the in-store environment. Du- and get a better understanding if the
ring this process, the competitor visuals visual elements are balanced and proper
are analyzed briefly to see how they in size.
are communicating through visuals and
promoting their products, and analyze if The fourth rule is to test the design in
it’s working or not. action, if possible, and this goes pretty
much alongside the third rule. There can
The second rule is to create raw drafts, be obstacles in the way of the design
at least a couple of layout variations per hence some visual elements might get
design. Comparing them side by side left unseen. 21
Image 5.IN-STORE VISUAL MARKETING
3.5 CO LO R FUNCTIO NALITY IN VISUALS
A color guides consumers, draws the It is said that the brain reads color before
attention and speaks about the brand reading the content and after it registers
more than words. Using colors to a shape (Wheeler 2012: 150). In this case,
differentiate and ease the product I am going to use the colors for functional
navigation in skincare visuals in-store is, purposes to see how big of a difference it
in my opinion, the best tool to use. When would make if adding more colors in the
the colors are too subtle or non-existent, cards, yet trying to keep the layout well
it takes more effort for the consumer to balanced and calm.
understand the product and they have to
do their research through text, and that
might get very overwhelming.
22
Image 6.CASE: LUMENE
4.1 TH E H ISTO RY O F LUME NE
4 CASE: LUMENE
The story of Lumene began in the year of Since the early beginning, the success
1984 when the pharmaceutical company of Lumene has thrived from combining
Orion founded Noiro Ltd. to manufacture nature, pure ingredients and the un-
and sell technochemical products. The derstanding of the extreme Nordic climate
name was changed from Noiro Ltd. to conditions which are safe to use and well
Lumene Group in February 16, 2005, researched. Lumene has also partnered
because of their new business strategy. with Allergy- & Asthma Federation of
(Lumene Group 2005, 3.) Lumene got Finland. (Lumene Group 2005: 3, 4.)
its name after the bright and sparkling
Lummenne Lake in Kuhmoinen in the The brands’ mission was back in 2005
Finnish Lake District over 40 years ago. to develop high-quality and innovative
Lumen means “light” in Latin which cosmetics and hygiene products in
complements Lumene’s meaning and harmonious interaction with nature,
story. (Ahvonen, T. 2011.). science, and technology while promoting
the daily well-being of consumers.
Lumene cosmetics was launched in (Lumene Group 2005, 8.) In 2011 the
1970, and it became the market leader brand’s mission was to enhance people’s
in Finland with its wide range of skincare beauty and vitality in their everyday life
products and color. The corporation’s with the power of plants and minerals
business facilities are Lumene Cosmetics, from the Arctic Nature. (Ahvonen, T.
Cutrin and Farmos. Their key business 2011.)
activities are developing, manufacturing,
marketing, and sales of high-quality skin
care and color cosmetics, hair cosmetics,
as well as cleaning and hygiene products.
The headquarters and factory are located
in Espoo, Kauklahti. (Lumene Group 23
2005: 3.)CASE: LUMENE
VALUES
(Lumene values. 2018)
EX CE E D CUSTOMER RESPEC T AND D RIVE FOR
E XP E CT A T IONS TRUST RESULTS
We show that we are
We know and predict our We aim to the best results in
worth of the trust through
customers’ need. everything we do.
our actions.
INNOV ATE SUSTAIN
We deliver innovative, Our work is long sighted and
value adding solutions in environmental. It promotes safety
all that we do. and wellbeing.
24
Image 7.CASE: LUMENE
E N VI N R OM E N TA L :
4.2 BRAN D VA L U E S
The brand values help consumers to Lumene’s Research and Development
To increase the diversity and volumes
connect with the brand, which is essential made environmental and quality policy of local Arctic and Nordic ingredients,
when the brand is trying to gain trust and goals in early 2009 and some of the focusing on ingredients from side
loyalty among their target consumers. things I found out to be quite relevant and streams of food and wood industry.
(Cambridge dictionary. 2019) valuable for this day. The environmental
and quality aspect has been central
When I briefly analyzed Lumene’s values to everything that Lumene does. After
they made sense when reviewing their the brand renewal in 2016 Lumene has
quality in skincare products, how the brought these values out even more for To formulate safe, naturally
brand has performed on the market and the consumers. derived and more sustainable products.
how they have succeeded to gain brand
trust and loyalty during these past couples I decided to choose a few of the good
of years through their actions. However, points from those goals that could be
when it comes to the skincare in-store beneficial to implement in the visual
improvement proposals, also based on
Q U A L I TY :
visuals, my initial feeling is that they
need improvement to exceed customer the survey data that I analyzed in the
expectations and meet their consumers’ previous chapter 3.3. User preferences
needs, aim to the best result in everything and needs. These
Lumene’s quality thinking starts from
that they do and add solutions to con- product idea and extends all the way to
sumers’ current problems. consumer usage experience. Consumer
preference evaluation is essential part
of our quality process.
25CASE: LUMENE
4.3 FINLAND’S BEST-SE LLING SKINCARE BRAND
Lumene provides beauty rituals of Finnish “We may not have the key to Finland’s
heritage for women all over the world, high levels of happiness, but at least we’ve
whatever their age, skin type or tone is. got the secrets of their skincare.”
The philosophy is firmly rooted in its – Vogue 2018.
Finnish origins where wellbeing rituals
are influenced by women’s relationship UK’s Local free daily newspaper Evening
with the surrounding, nature and unusual Standard has also embraced Lumene on
light cycle, but also a place where a their website by calling the Lumene
down-to-earth, authentic and effortless skincare products a Lapland’s Gold
approach to beauty is celebrated. (Mor-gan 2018), which many of the
(Lumene 2019). Lumene’s power in beloved and loyal Lumene consumers
skincare are the Nordic ingredients can relate to. The skincare products are
that nourish the skin, and their infused high in quality, and the story behind the
formulas are high in quality. The brand products is like a fairytale come true.
has undoubtedly gained trust and respect
among their consumers when it comes to Lumene has developed and improved
caring for their target audience skin. its technologies amongst the skincare
products to the competitive markets, and
Lumene today is a forerunner of Nordic their goal is to encourage and inspire the
beauty. The brand has been featured skin care consumer to take better care of
in several beauty magazines and blogs their skin. They are investing their genuine
mainly due to their fantastic skincare interest in providing new improved pro-
prod-ucts after their astonishing brand duct on the market. However, this doesn’t
renewal. Even the top fashion magazine, accurately transmit to the person who is
British Vogue wrote about Lumene’s trying to seek better skincare alternatives,
best-selling skincare brand on their and the communication is lacking why
website which was a massive milestone to buy it and the glory that the product 26
for Lumene. (Haaksluoto 2018). offers.
Image 8.CASE: LUMENE
A N A L Y Z I N G TH E P R OB L E M S :
4.4 SKINC A RE IN- S TORE VI SUALS N OW
There have been many changes during felt like the graphics in color cosmetics
these past few years after Lumene’s great and skincare aren’t in line and coherent.
brand renewal, that it is no wonder that Various problems can be resolved with
the brand hasn’t managed to master the help of user-driven design methods
every aspect in branding and visual design and involving the brand’s target audience
when it comes to in-store marketing. into the design process.
The graphics are good for sure, but they
could be a lot better and helpful for the I started my research by going through
consumers. department stores and hypermarkets in
Helsinki and Espoo area, to see in person
The brand’s in-store visuals of the color what is the current situation in Lumene’s
cosmetics are at the moment under skincare visuals that I have also produced
development towards better product during my work period for them. Honestly,
navigation and attractiveness. The shelf I rarely see them in action and how they
visu-als are going to have energizing work in actual store en-vironment which I
swatches, textures, a more vibrant color think is the first mistake that the designer
and delicious ingredients. can make.
While I’ve been working for Lumene, I have I would suggest that designers do field
realized that the skincare visuals are a bit days to analyze the designs regularly and
left behind in the development. Hence, I take notes to learn how they can make
wanted to take action to hopefully create better designs in the future.
something useful with my thesis. I also
27
Image 9EXAMPLES: CASE: LUMENE
1. Shelves are lacking some severe pro-
duct and range navigation. Most packages
between ranges look pretty much the
same, which increases the risk for the
consumer to purchase the wrong product
if not paying close attention to the little
information provided in the packaging.
2. Claims are a bit dull not unique and
don’t resonate with the brand values.
They have been repeated far too many
times and doesn’t add enough value for
the user. Visuals were quite dark and not
2
very desirable. Yellow range text didn’t
1 seem to fit in the card.
3. Stamps that may add value for the
consumers but aren’t always visible
enough. Color shades in visuals seemed
to be different between ranges. Brighter
colors seemed to be fresher and pop
from the shelf compared to dark and
gloomy visuals.
4. Too much information in small space
and the weight of the text is too light,
therefore, making valuable information
for consumer redundant.
28
3 4
Photos: Pamela Komppa. 2018.Overwhelming amount of products, and
the shelf views are very white which
30 makes the product and range navigation
challenging for consumers.
Image 10.CASE: LUMENE
SWOT ANALYSIS IN-STORE VISUALS
BASED ON THE BRAND KNOWLEDGE AND THE COLLECTED DATA.
STRENGHTS WEAKNESSES
NORDIC BEAUTY SECRET POOR NAVIGATION IN VISUALS
QUALITY OF THE PRODUCTS URGE TO TELL EVERYTHING IN SMALL SPACE
INGREDIENT AND BRAND STORIES VISUAL GUIDELINES ARE MISSING
LOCALLY MANUFACTURED PRODUCTS PACKAGING GRAPHICS ARE TOO SIMILAR
AFFORDABLE PRICES TEXT IS TOO SMALL
BRAND STANDS OUT IN STORES UNFLATTERING AND FLAT IMAGES
LACK OF CONSISTENCY
OPPORTUNITIES THREATHS
SIMPLIFY THE NAVIGATION OF THE RANGES CONSUMERS DOESN’T FIND THE RIGHT PRODUCTS
ENHANCE EXPERIENCE THROUGH COLORS AND VISUALS INABILITY TO PROVIDE MEANINGFUL INFORMATION
TO PRIORITIZE INGREDIENTS AND PRODUCT PROMISES LACK OF CONTRAST, VISUALS DO NOT STAND OUT
TAKE ADVANTAGE THE WHITE SPACE IN-STORES TOO MUCH REPETITION IN COMMUNICATION
IRRELEVANT INFORMATION
INFORMATION WILL NOT MEET THE AUDIENCE
30CASE: LUMENE
4.5 CO MPETITO R ANALYSIS
Competitor research is about evaluating One thing I found in common that
and understanding the collected data. most of the brands had quite simple,
It’s not supposed to be used directly to effective and yet, informative way to
replicate what other brands are doing on communicate through visuals. Most of
the market, more so, aiming to do better the shelf cards were kept quite clear
than the brand competitors. This method and easy to understand. Visuals were
is there to help the company to be more aiming to provide guidance to separate
insightful about what the competitive the products, education, for example, the
market is doing and how they can exploit ingredients, the usage or what kind of
the collected information to indicate product it exactly is. Skincare visuals are
opportunities for the brand’s future meant to be used in-store mainly to help
growth. (Wheeler 2012: 116, 126.) consumers with the navigation.
I collected valuable data and information L’oreal had the most minimalistic com-
when analyzing the competitor’s skin munication that was kept simple. Clarins
care visuals in K-Citymarket, Sokos, and used colors and illustrations to help with
Stockmann. I gained a better understan- navigation. Mádara has powerful images
ding of what the competitor markets are with bold titles which tell how the product
doing better in their skin care visuals is going to make your skin feel. I am going
in the store environment and how to keep the collected competitor analysis
Lumene could improve their brand’s data to work as an inspiration, and to give
visual performance. me a nudge towards the right direction
of how I can create better visuals in-store
I didn’t limit myself to only look at the environment for skin care products and
most prominent brands like L’oreal. use this as my advantage when creating
I wanted to be open to new ideas and the visual proposals.
seek inspiration, therefore decided to
also look at some of the natural skin care
brands to see how they are commu-
31
nicating with their visuals to their target
audience.
Photos: Pamela Komppa. 2018.CASE: LUMENE
4.6 SKINC A RE IN- S TORE VI SUAL GOAL S GOALS:
The primary goal is to focus on skin care §I also want to take into consideration
consumers’ needs. The aim is to create the brand and its values and how to MAIN FOCUS ON THE
a different alternative proposal to help maintain a similar visual feel through the SKIN CARE CONSUMER NEEDS
to communicate through visuals and to visual renewal process. I want to retain
provide the needed information that the visual association to-wards the brand
the brand’s target market prefers to be from the consumers’ perspective. I want
visible and available. I am going to start by to be able to differentiate the skincare CREATING VISUAL
thinking about new visual solutions based ranges clearly and effectively but find OPTIONS AND SOLUTIONS
on the collected data and implement ways to increase the visual attractiveness.
that knowledge in their skincare shelf
cards that are there to help with product
HOW TO PREVENT
navigation and to tell more about the
INCONSISTENCY IN VISUALS?
product benefits. The cards have been
developing over the years, and the de-
signs have remained slightly inconsistent.
There hasn’t been one specific guideline
MAINTAIN THE
to create them; therefore the cards vary BRAND IMAGE
greatly from each other.
VISUAL
ATTRACTIVENESS
325.1 WH AT IS USE R-DRIVEN DESIGN?
5 USER-DRIVEN
APPROACH The user-driven design is a process and
a design philosophy. It starts by focusing
I believe that the vital component in
the user-driven design is observation,
on the user needs, wishes and limitations which plays a significant part in my
throughout the design process. (Rouke entire process. The designer can’t have
2017). It’s about understanding human assumptions of how people behave when
behavior and people, then designing from using a product or service; they have to
their perspective rather than designing follow along the journey of the user, see
based on designer’s assumptions. User- the world through their eyes. It will give
driven designs happen when there is you a front-row view to see what is
enough data collected from the users happening in consumers’ minds, hear
that can back up the design solutions their hopes and needs, and get real insight
and lead the designer to identify into the personal design challenges.
improved alternatives for consumers.
(Gladkiy 2018).
33USER-DRIVEN APPROACH
THE DESIGN PROCESS
HOW TO DESIGN USER-DRIVEN IN-STORE VISUALS
SOLUTION
DEVELOP DELIVER
PROBLEM
BRIEF RESEARCH IDEATE PROTOTYPE
TESTING
FEEDBACK
ANALYSISUSER-DRIVEN APPROACH
5.2 EMPH A S IZING THE C ON SUMER
Empathic design is about stepping closer and thinks in the store environment
into the lives of users and understanding when browsing through skin care visuals.
their circumstances and experiences, in I cannot honestly think a better way to
the hope to improve the chances that the understand the needs of the users if not
service, product or visuals designed meet emphasizing the consumers. I believe
the required users’ needs. It’s not about that it is crucial especially in the store
trying to know the user beforehand, but environment to understand users rather
more relating to the individual’s or group than play the guessing game during the
situations. The word “empathic” in the design process.
design process will serve the designer
by informing and inspiring to cre-ate I also like to think it is like a customer
services, products or visuals that will most service, if the users are being satisfied
likely meet the user’s needs. (Kouprie & with the service that was received, they
Visser 2009). either talk about it or keep coming back
for more due to a positive feeling. So,
And this is where the emphasizing hap- to keep the consumer happy and build
pens when the designer builds awareness trust it’s essential to start from the very
based on the collected knowledge that basics, like helping them with the product
has happened during the design process. navigation is already a significant im-
Common tools to identify the users are provement if done correctly and put an
observation, a persona representation, actual effort into the design process. It
empathy mapping and several workshops is going to reduce the costs because the
like a role-playing session of the design business doesn’t have to be continually
team. redesigning visuals or renew them in-
store regularly when the cards have
I decided to utilize an empathic design been once designed accurately and with
during my design process. It’s conside- consumers in mind. 34
rable to understand how the user feels
Image 11.USER-DRIVEN APPROACH
5.3 EMPH A S IZING THE C ON SUMER
E M P A TH Y M A P P I N G
Empathy mapping is a visualization tool Empathy mapping has four segments
designed and created by Dave Gray, as that include thinking, saying, feeling and
part of a human-centered design toolkit doing. These segments help the designer
that they named Gamestorming. (Gray or teams to relate the user in action and
2017.) The vision behind it is to relate ideally to spot the obstacles that the user
with the emotions of others and to is having when using the service, product
help groups and teams use Emotional or when trying to navigate through vi-
Intelligence to gain proper insight into the suals. And this is what I did by going SAYS TH I N K S
target user groups. The core of the empa- through the purchasing process of the
thy mapping is to visually present the skin care products to understand how
results, therefore being easier to share visual navigation actually works from the
when pin points can be highlighted from user’s point of view. I decided to choose
the research results. (Mindtools 2019) a few personas that fall under the age
category of 22 to 34 since that was also CONSUMER
the majority of the respondents in my
survey and it also fits well with the age
group of Lumene’s target users.
D OE S FE E L S
35
Illustration 2.USER-DRIVEN APPROACH
EMPATHY MAPPING
SAYS THINKS
BUYING
WHAT LOCAL
WILL BE THE PRODUCTS
BENEFITS IS MY #1 IS THIS
FOR MY WHAT PRIORITY PRODUCT I WANT THESE
SKIN? THESE RIGHT JUST WORDS
WORDS FOR ME? A CREAM DON’T
IT’S SO EXACTLY THAT WILL MAKE
HARD TO MEANS? WHERE PROVIDE SENSE
CHOOSE IS THE HYDRATION
THE RIGHT LOTION
AM I TRY
PRODUCT THAT I AM
TO CRACK
TRYING TO WILL THIS
I PREFER A SECRET
UMMH FIND? RESOLVE
NATURAL CODE
EXCUSE ME, THE THIS IS SO
AND FRESH OVER HERE?
CAN I HAVE PROBLEM EXHAUSTING
INGRE-
SOME HELP DIENTS OF MY
PLEASE? SKIN?
PASING USERS SUSANNA ANXIOUS
THROUGH PACKAGING ASKS OVER-
EVERY VISUALS FOR HELP WHELMED
SHELF FOR NAVI- TRUSTS CONFUSED
GATION THE BRAND
DELIGHTED
GOES
TRYING THROUGH FEELING
TO FIGURE LISTENS MULTIPLE LOST
OUT THE RECOMMEN- OF PRODUCTS UNCERTAINTY IN STORE
FRUSTRATION
MEANING DATIONS TO FIND THE ENVIRON-
OF WORDS CORRECT MENT
ONE
DOES FEELSUSER-DRIVEN APPROACH
EMPATHY MAPPING
SAYS THINKS
CAN
I CAN’T SERUM
FIND THE BE USED
FOR DRY IS THIS
INFOR- WHERE SKIN? PRODUCT I REALLY THESE
MATION ARE THE RIGHT HAVE TO WORDS
SKIN FOR ME? CONCENTRADE DON’T
IT’S SO MOISTU- TO UNDER- MAKE
HARD TO RIZERS? I AM NOT STAND SENSE
CHOOSE SURE
THE RIGHT ABOUT MY
I DON’T
PRODUCT SKIN TYPE
HAVE TIME
I DON’T OR ITS
TO FIGURE I DON’T
EXACTLY NEEDS
I LOVE THIS THESE KNOW
KNOW THIS IS SO
NATURAL THINGS OUT WHAT
WHAT AM I EXHAUSTING
LOOK OF TRYING TO TO BUY
LUMENE FIND
NEVER
LOOKS AT
USERS
UNDERSTANDS
EMMI ADMIRATION
PACKAGING OVER-
THE SKIN- VISUALS SOME OF THE
WHELMED
CARE FOR NAVI- WORDS IN TRUSTS CONFUSED
VISUALS GATION VISUALS THE BRAND
DELIGHTED
ENDS UP PICKS
BUYING CONSTANTLY FEELING
A PRODUCT LISTENS LOST
THE WRONG MIXED
WITHOUT RECOMMEN- UNCERTAINTY IN RETAIL
TYPE OF FEELINGS
KNOWING DATIONS ENVIRON-
PRODUCTS
THE MENT
BENEFITS
DOES FEELSUSER-DRIVEN APPROACH
5.3.1 EMPATH Y MAP ANALYSIS
EM P AT HY M AP P ING ANALYS IS
After observing and walking past a few
skincare consumers in the brands’ point
of sale in Sokos Helsinki, I noticed that
some helpful questions were necessary
S AYS THINKS to gain the preferred information in the
process.
Trying to say out loud the Thinking takes time and extra effort from
information that is missing from the user, therefore making the user easi-
I reviewed the data collected from the
the users’ point of view. ly frustrated and exhausted by the sea of
empathy mapping process and this was
Questioning itself out loud which products and too much information, also
makes the user uncertain about the information is not in most convenient the primary information that I received
the products. and easy to access for the user. Thinking from my research process.
then leads to confusion when the user is
not sure exactly what to look for.
5.4 SKINCARE PE RSO NAS
CONFUSED
CONSUMER I decided to create a couple of persona
maps after the empathy mapping process
D OES FE E L S
to help me visualize skin care consumer
Doesn’t really bother to look Trust the brand and are characteristics to understand the user’s
at the visuals. Navigation delighted by its products, mindset, lifestyle, behavior, problems,
happens through packaging packaging visuals, and
and needs. Persona mapping enables the
graphics only. Listens to rec- offerings. Yet, ended up
designer to have a deeper understanding
ommendations and may ask feeling strongly confused,
help from the store employees uncertain and lost in the of the brand’s target user. The following
if it is absolutely needed. brand’s point of sale. characters were created based on the
empathy mapping process and from
the collected data during my quick
observation phase.
38USER-DRIVEN APPROACH
C AUTIO US SH O PPER
A cautious shopper always seeks the
18-28 YEARS OLD
perfect products online before going
to the store to purchase anything. The I N C O ME :
research before buying anything is Lo wer m id-clas s
a crucial part of the decision-making
process and increases the stakes that PERSONA:
the consumer will be satisfied with the - W an ts to feel m o re co n fiden t.
- Lo ves takin g care o f th e s kin .
product in the end.
- E n dles s cu rio u s ity
- O wn s variaty o f differen t pro duc t s
They want to make the purchase decision
- Fin d vegan is m an d cru elty-free
independently and don’t necessarily need im po rtan t
the customer service, yet they still listen - S o cially o u tgo in g
to recommendations from others who - M in im alis ts
might have the same skin type or from
BEHAVIOR:
the person whom they trust.
D o es ex ten s ive res earch o n lin e
befo re bu yin g an y n ew s kin care
Cautious shoppers make the purchase
pro du ct o n th e m arket, lis ten s to
decision after testing the product in- in flu en ces an d frien ds ’ reco m m e n-
store based on the texture, smell and the datio n s , reads blo gs an d watch es
initial feel of the skincare product. They Yo u tu be video s . In -s to res tes tin g
often own a sensitive skin type or are not th e pro du ct is es s en tial to fin d o ut
entirely sure about their skin type. Hence, th e co m po s itio n o f th e pro du ct.
they don’t want to spend too much
PROBLEMS:
money into products that they won’t use
An o verwh elm in g am o u n t o f
in the end.
pro du cts pro m o ted in -s to res ,
to o m u ch in fo rm atio n pro vided
These personas are environmentally in graph ics an d n o t co n n ectin g
conscious and prefer products that are with th e vis u als . W h en n o t
good for the environment as well. They s eein g th e actu al pro du ct affects
39 th e fin al decis io n to bu y th e
are always looking for familiar products
pro du ct.
on sale and prefer to buy them in bulk
when the product is at its cheapest.USER-DRIVEN APPROACH
LUXURY SEE KE R
Luxury seeker chooses to buy products
25-38 YEARS OLD
rather in-store than online. This persona
group is devoted to trying out all of the
I N C O ME :
new skincare products on the market, m iddle-clas s
yet they always go back with the trusted
brands and products that they already PERSONA:
adore and love. They may often end up - Co n fiden t an d vibran t
leaving the store with a variety of new - S kin care is daily lu x u ry ritu al
items on hand. They don’t suffer as much - P ro du ct an d in gredien t co n s cio us
from significant skin issues and therefore - Lo yal to bran ds th ey tru s t
- Fin d vegan is m , cru elty-free an d
are confident to try out boldly anything
lo cal m an u factu rin g im po rtan t
slightly interesting from their point of
- S o cially o u tgo in g
view.
- Beau ty h o arder
Their purchase decision gets affected BEHAVIOR:
by the recommendations of others and Takin g care o f th e s kin day an d
the sales person’s speech. Usually, they n igh t is an everyday lu x u ry
prefer to have external approval. Luxury ritu al, lis ten s to in flu en ces an d
seekers are curious, always asking for frien ds ’ reco m m en datio n s an d
more information and don’t fear to ask prefers lo cally m an u factu red
help. pro du cts . In -s to res tes tin g th e
pro du ct is es s en tial to fin d o u t
th e co m po s itio n o f th e pro du ct.
They don’t have the same type of urge to
test the products, but they do prefer a
PROBLEMS:
pleasant fragrance and the feeling after
In fo rm atio n s eem s n o t to be eas y
that the product will provide. They don’t
to acces s wh en bro ws in g th ro u gh a
mind spending a bit extra when buying s ea o f beau ty pro d-u cts in th e s tore.
new products. Skincare is more important V is u als do n ’t res o n ate o r tell en ough
than money for them. Since it acts as a abo u t th e pro du ct. W h en n o t s ee ing
daily luxury relaxation routine for them, an d bein g in to u ch with th e actu a l
40 they are also environmentally conscious pro du ct in vis u als affects in to the
and prefer products that are local and fin al decis io n to bu y th e pro du ct .
good for the environment.DESIGN PROCESS
6 DESIGN PROCESS 6.1.1 C AUDALIE
Caudalie is a skincare company founded independently career oriented and prefer
6.1 I N SP I RATI ON in Bordeaux, (France) at the heart of the to keep their skin youthful and radiant as
vineyard on the family estate. Where long as possible.
Mathilde Thomas, wife and her husband
While I was doing benchmarking and
Bertrand Thomas founded the vine and The brand brings out the beauty of
analyzing the competitors, I found a
grapes that have expectational benefits vineyards in the store environment
few brands that have very inspirational
for the skin and its care. (Caudalie 2019.) through visual merchandising which gives
in-store visual communication and was
Caudalie has done exceptional and ef- the user the genuine beauty and feel of
impressed how their navigation works
fective in-store visuals and graphics that being at the vineyards while shopping the
from the users’ point of view. In the next
compliment the brand origins. Caudalie brand’s products. Caudalie had placed
subsections, I will introduce a coup-
embraces the benefits of their vine- the brand story prominently to bind the
le of brands that have a similar feel to
yard grapes in everywhere. Visuals are whole in-store visual storytelling together.
Lumene, have a bit premium feel, lea-
dominating the deliciousness of the In-store visual layout is precisely well
ning towards natural skin care, praise
product ingredients while using text as designed, and the brand is not afraid
main ingredients while at the same
an informational guide for consumers to to embrace their origin, roots and the
time being able to keep the navigation
find the perfect product for their specific vineyards grape benefits for the skin.
and communication in visuals clear and
skin needs. They have managed to keep
effective.
it simple, effective and educational, yet Caudalie is a great example of how the
astonishingly colorful. brand has managed to build powerful
in-store visu-ality to compliment and
Caudalie as a brand represents premium crystallize the brand’s roots. You can
feel and the products have a similar price clearly see how well-designed visuals
range to Lumene’s. The products have make such a difference, why it is note-
been specifically designed for women worthy from users’ perspective and why
over their mid-twenties. Their target it shouldn’t be a foregone conclusion to
group seems to be more women who the brand to simply miss from the overall 41
are battling with the early signs of aging, product marketing process.CAUDALIE DESIGN PROCESS 42
CAUDALIE IN-STORE DESIGN PROCESS
43DESIGN PROCESS
6.1.2 MÁDA RA C OS M E TIC S
Mádara Cosmetics, Mádara, is a Latvian Mádara has gained great success with Visuals are vividly stating the Nordic and Mádara products seem to be targeted
organic skin, hair and baby care product its brand values by bringing organic skin Baltic feel with muted, earthy color tones to the skin of all kinds; for kids, young
manufacturer which takes the skincare care products on the market that are with clean and bold typeface. Mádara has adults and adults who experience the
literally deeper than the skin. The product high quality and affordable. They have a lot of great features in their in-store signs of aging. Products have this high-
ingredients are biologically certified blos- managed to create a unisex type of feel graphics which I find inspirational to im- end, luxury feel and an affordable price.
soms and herbal extracts from the Nort- in their brand image. They communicate plement in my designs. I want to reflect They also have a strong, sensational feel
hern and Baltic region. Mádara has ma- skin delicacy, caring and show what the a bit similar feel in the in- store graphics in their way of communicating. They don’t
naged to tell a unique story about the raw and real texture of the skin is. Skin to provide Lumene have more relatable have to put many words when promoting
extraordinary properties of the Northern is the largest organ of humans and no and empathizing feel in their imaginary, the products since the visuals are already
nurturing plants that have survived in the wonder it should be treated in a gentle product copy text and overall visuals. so bold and strong that they don’t have
harsh and cold climate over thousands of way. Mádara manages to bring out to say much to pass the brand’s emotion
years and they vouch for the emotional the best qualities of the brand images forward.
connection that goes into individuals’ out there in an exemplary way for the
skin. (Mádara Cosmetics. 2019). consumers to enjoy. The brand’s in-store
visuals and communication are evident
and straightforward, and there is no
doubt that people are going to recognize
the type of company that Mádara repre-
sents.
44
Image 12.MÁDARA COSMETICS DESIGN PROCESS
45MÁDARA COSMETICS IN-STORE DESIGN PROCESS 46
DESIGN PROCESS
6.2 STARTING POINT A ND
D RAFTS
I started the design process by drafting
and creating several raw layouts based
on inspiration, research data, and user
needs. I found it hard at first to break
the original pattern of how the design
team of Lumene had previously designed
the shelf cards. I noticed using the same
layout over and over again without much
changing it.
ORIGINAL INFO CARD
After my teacher gave me feedback and
guidance, I gained more confidence
to unleash my inner creativity and to
truly think about the consumers and
user data that I have collected, and how
could I possibly implement some of that
valuable information into my layouts.
47DESIGN PROCESS
6.3 ELEME NTS & C OL ORS
While trying to figure out the base layout In November 2018 Lumene made a public free logo is forbidden in Europe by the The range name could be secondary
for the shelf cards, I started to make statement that all of the Lumene skincare official EU court case explicitly and it has information and rather bringing the range
certain guidelines of what elements are and foundations are 100% vegan. Not been up to the brand whether to use it in color there to dominate and also, to help
absolutely needed and where they can be all product packaging’s have the 100% products or not. (Francisco 2018). with navigation.
positioned. Stamps and Icons are relevant vegan stamp yet. (Lumenefinland 2018).
since these elements help the consumer Therefore, I would suggest a regulation And what comes to the product copy, Lumene has currently around ten skin
quickly spot the needed information to use it in all in-store visuals to help I have to first play around with the layout care ranges plus a selection of cleansers.
based on their personal values. the user spot the information fast and to see how the text will be placed and what Every range has one main color that is
efficiently. Since veganism in cosmetics parts should be most visible. My initial there to help the consumer in product
All of the skincare products have been and skin care may increase its emotional feeling is that the product name should and range navigation to get to know the
manufactured in Lumene’s own factory value for the consumer, hopefully, to be clear to help the user with the product ranges. Also, range colors will help the
in Espoo. According to my survey, the lead the consumer to build trust with the navigation as well as the information user to easily differentiate the products
respondents prefer to support locally brand and their products. about ingredients and product benefits. based on their needs.
manufactured products and that should
come clearly through the in-store visuals. Unfortunately for the consumers, Lumene
Lumene has Made in Finland certification doesn’t have a cruelty-free certification
in their skin care products, and the or icon due to the European Union law
icon already exists in their packagings and regulation which already states that
graphics, but it’s such a waste to not give it is illegal to do animal testing with the
the icon a better location in visuals. final products or ingredients. In 2013
Europe signed a new law which bans the
marketing of all cosmetics that have been
tested on animals. The usage of cruelty-
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