Despite the introduction and growing acceptance of alternative wine packaging during the past decade, most consumers still buy their wine in glass bottles. Bottles require closures—either screwcaps or natural/synthetic corks—and these provide an underutilized packaging opportunity/challenge for those charged with their design.

Wine packaging specialists have the opportunity to work with numerous brands, different styles, target markets, budgets and price points. Even the largest multi-brand, multi-million-case producers routinely retain independent packaging designers for this crucial element in their marketing strategy.

This spring, we surveyed packaging designers from the Wines & Vines 2013 Directory & Buyer’s Guide about their practices and preferences when it comes to closures and capsules. Our questions focused on the aesthetic choices (not the technical considerations) designers and their clients weigh when choosing closures. Even tiny start-up wineries that cannot yet afford professional design services will benefit from these experts’ diverse experiences, good and bad.

“Remember that the capsules and closures are just as much a part of your brand experience as the bottle itself,” said Kristina Carson at PUSH Branding of Urbandale, Iowa.

“The closure or capsule is an important component of the package design: the finishing touch,” according to Patti Britton at Britton Design in Sonoma, Calif. “Label graphic elements added to the capsule/wine closure strengthen and reaffirm the brand.”

How much influence do designers have?
We asked: “How much influence do you have in a client’s choice of closures/capsules?” Thirty-three percent of respondents answered: “A great deal: My clients want my input.” An even 50% of respondents said, “Some: My clients know what closure they want, but want design advice.”

Tony Auston, principal of Auston Design in Emeryville, Calif., explained. “We don’t design wine labels: We design wine packaging. A capsule is an integral part of a wine package design—typically an accent to the label, not the main focal point, but no less important. I often equate it with fashion accessories. They are meant to accompany the outfit, not overshadow it.”

Ed Penniman of Penniman Design in Capitola, Calif., near Santa Cruz, started working in wine package design in San Francisco, Calif., in 1969. “The winery knows what type of closure is appropriate for the market. I assist with reviewing samples from vendors for quality in terms of how successfully design is translated from concept to printed, stamped and embossed completion.”

Jim Moon at Jim Moon Designs in Mill Valley, Calif., described his mandate: “My job as I see it is to offer advice on what my clients might expect in the way of design reproduction from a given capsule manufacturer.

“I believe that the capsule/closure treatment is a major contributor to the success of a package design. When reproduced faithfully, a well executed and designed capsule can add just the right accent to lift the entire package presentation.”

Advising the client
Exactly half of respondents stated: “I have strong recommendations and will try to influence my clients if I think they need to consider other options.” Meanwhile 42% reported, “I’m flexible and can adapt to whatever preference my clients have. I’m familiar with all the options and know their strengths and weaknesses.”

Penniman commented: “The line is blurring between the appearance of cork with foil and screwcap closures. I am mostly concerned with shelf impact and appropriateness of design: how it visually supports the packaging concept.”

“The amount of decoration is usually reflected by the price point of the wine. A $10 bottle will often have more decoration than a more expensive bottle. The higher the price point, the more minimal the decoration,” Auston said.

Auston cited one pricey exception. “Occasionally, a special decoration like the cast metal button tops made by the Argentinian company Apholos are appropriate for high-end wine. Caymus uses them on its Mer Soleil Silver. They are very expensive and hard to apply, but they eliminate the need for a capsule.”

Professional designers are hired because they know all the details. They know what’s worked for their clients and for other wineries. Materials and technology continue to evolve, and designers are obligated to stay current. They can work within your budget to maximize every element of your wine package.

Styling recommendations
What do the pros consider the greatest advances in capsule/screwcap design and décor during the past decade? An even 50% were in agreement, answering “all the above” from among the choices offered: more diverse décor capabilities; choice of materials and easier application. Décor options were singled out by 33% of survey respondents, choices of material by 8%.

Cynthia Sterling at Napa’s Sterling Creative Works has been designing wine and spirits packaging for 15 years, working with some of California’s biggest producers including Treasury, Diageo, Constellation and Jackson Family Wines. “We’ve seen the capsule/closure business change a lot in the past 10 years. Suppliers are capable of so much more.”

“One of the more cool recent innovations in capsule manufacturing is the ability to emboss on the skirt (of the capsule),” Auston commented. Monvera Glass Decor, a specialist in screen-printed bottles, recently launched another new capability: screen-printed bottle necks, something like a tattoo that permanently brands the bottle without the need for a capsule.

“We look at more than just price and quality,” Penniman said. “We take safety and non-toxicity into consideration. The advance I appreciate is the coordination internationally of specifications for foil stamping and ink colors. Molecules matter!”

For this reason, Penniman said he prefers aluminum capsules. “I try to balance sustainability into the equation. Plastic is a problem for me. In my choices, I am considerate of Mother Earth.”

On the other hand, Trinchero Family Estates’ Trinity Oaks wine brand is now being bottled with capsules made from a “carbon-neutral biopolymer.” The capsules are produced by Plastic Suppliers Inc. and Maverick Enterprises with a polylactic acid film. The film is compostable, and the aluminum top disk is recyclable.

Given a choice, Britton also opts for aluminum screwcaps. “The technology and decoration capabilities have greatly improved over the years. Screwcaps work well with all tiers of wine and are user friendly,” she commented.

Preventing problems
As with other packaging elements, problems can surface inconveniently on the bottling line (see “Avoid Label Mishaps” in Wines & Vines’ May 2011 issue), forcing delays and increasing costs. Planning ahead is crucial.

Wines & Vines asked: “To your knowledge, have any of your clients experienced any application problems applying capsules/closures on the bottling line?” Sixty-seven percent responded with a flat “No. We’ve worked those out in advance.” The remaining third admitted, “Yes, but we solved them and continued using the same products.”

Auston commented, “This is usually something that is dealt with between the client and the manufacturer.”

“The last thing anyone wants is a surprise on the bottling line. If applicators can’t fit capsules, it’s a disaster,” Moon said.

“I had one nasty experience with a small run of a high price-point bottle that refused to take the special sized capsule. As it turns out, the bottle die line was in error. No one thought to test the fit before bottling day. They were eventually applied, but it was a fight,” he recalled.

Penniman concurred. “I think every winery has one juicy horror story on the production line. As part of my standard process, I obtain samples for the wineries to use in an equipment/closure compatibility test run. Working out bugs in advance is crucial. Who wants to have thousands of unusable foils lying around as a botch reminder?”

Judy Olsen, owner of By the Light of the Moon Design in Marshall, Va., brings a different perspective—and not just because of her East Coast location. “My husband runs a mobile bottling line, so I have the advantage of knowing what works well in that environment,” Olsen said.

The biggest issue, she relayed, is getting the correct fit. “Winemakers are often told a bottle is ‘just like’ the one they used last year, when in reality the neck size is a little different.”

Something for everyone
With the evolution of closures, aesthetic decisions are perhaps even more important. We asked the designers to pick their favorite medium strictly from an aesthetic/marketing standpoint. When price is no object, traditional tin capsules are the clear favorite of more than 70% of respondents. Polylaminate capsules garnered 14% of the votes, with aluminum capsules and screwcaps each the preference of 7%.

Carson commented, “Polylam is great for the experienced wine drinker who has a cutter nearby. Personally, I have always loved the look of a wax-dipped bottle.”

Achieving the look of wax dipping no longer requires actual wax. “No-Chip Dip” is a durable synthetic substitute. Available in a rainbow of colors (Etched Images in Napa is a distributor), it’s melted in a slow cooker and applied by hand to individual bottles, so it’s not recommended for mass bottling runs.

Choosing the capsule/closure is not your final decision, however. From the design/marketing point of view, 31% of designers called “color” the most important aspect; 69% called for “décor: logos, design and brand identification” to be included on this diminutive slice of pricey real estate. None considered the feel of a capsule or embossed cap—nor ease of removal—to be the most vital consideration.

Auston elaborated: “All of the above, in any number of combinations. The most important aspect is that it works with the overall look and feel of the package. Each package design is unique and has its own set of goals and requirements. The capsule does not stand alone. It must work in harmony with the label design to reinforce and accentuate each particular wine’s unique brand message.”

Moon prefers tin capsules, the most expensive material: “It delivers the best results and reflects the right image of quality wines.” But screwcaps also have earned his approval.

He considers color the most vital element. “Design continuity describes how different graphic elements need to work together on a package. The capsule could and should tie the package together,” he said.

Olsen, too, opts for tin when financially feasible: “It just goes on so much better and is more forgiving when things are a little off, so the package always looks better in the end. Polylam and aluminum come in a close second.” She also considers color the most important design element: “Frequently, it’s a special color I want to complement the label design.”

Parham Design in Napa is relatively new to the field, and Sharon Parham freely admits, “I’m still learning.” Her clients own small, high-end wineries. One challenge she, too, has encountered is obtaining an exact color match for capsules and labels. She resolves this by working closely with local capsule suppliers. “Sometimes you’ll need a double hit (of color) or spot varnish” to achieve perfection.

Sterling agreed on this point: “It’s an ongoing struggle trying to match specific colors. They are not always consistent.” New materials and new processes bring along new baggage. “It’s a challenge dealing with paints and substrates with metallic components,” Sterling said.

“Consumer taste for what wine needs to look like has changed a lot. We used to try to make things look quite traditional, but splashy capsules really work for a certain price point,” she said. Her big-league clientele has afforded her the opportunity to sit in and observe numerous consumer focus groups. “You’d be surprised to know how important the capsule/closure is to consumers.”

For this reason, Sterling said, “We always put graphics on the top of the bottle. It’s important for both end-users and restaurants.” Her clients, she said, use a lot of screwcaps, which offer similar décor options. Aluminum, though, does present one drawback: The raw, shiny metallic capsule can look cheap, so if a client wants a “silver” capsule, Sterling recommends painting the topper with a duller, richer-looking paint.

“From an aesthetic standpoint, I prefer tin capsules or no capsule at all. Sometimes I want the capsule to complement the design of the bottle, and sometimes I just want it to disappear, allowing the label to be the focal point,” said Kevin Cole at Sara Nelson Design in Pasco, Wash.

“I love the look of a dollop of wax atop the cork, and even some wax-dipped closures. However, from a usability/marketing standpoint, screwcaps are a great choice for wines with a lower price point,” Cole said.

Penniman noted the context of aesthetics in wine marketing design. “When the wine consumer sees a fluorescent orange capsule, it is hard for them to take the contents seriously. There are all kinds of attention getting. Some of it can be repulsive. To me, the most important element is appropriateness to the contents. There is a time for a playful design and a time for elegant, arresting and understated design.”

“In a congested market of many options,” Carson said, “differentiation is key. Fine design can translate in target consumers as fine wine.”

Branding inside the bottle
Producers who choose natural, technical or synthetic corks have yet another opportunity to reinforce their brand: imprinting the cork, and/or choosing a standout color of synthetic corks. Designers have their input here as well: 67% said they “sometimes” weigh in on branded stoppers and colors, and 33% said they “always” share their opinions on this topic with clients.

“For on-premise situations it is a good idea to have branding and website information on the cork: something the consumer can take with them to help them remember and ideally lead them to make retail purchases,” Auston recommended.

Penniman encouraged clients to enlist him in this task. “Some don’t want to bother me with what they may consider unnecessary details. I thrive on detail. I like to see what is on the cork when I open a bottle. If I open a bottle and it has a friendly visual ‘thank you,’ I have a good feeling for the group who put the experience together.”

Carson, who collects “interesting” corks for corkboards and vases, said, “Great design on a cork is another differentiation point that should not be overlooked.”

Cole would prefer that none of his clients use synthetic cork stoppers, though. “I think it harms the perceived value of any wine,” he said bluntly.

Who do you trust?
Even if you consider your winery operation or your budget too small to avail yourself of a professional designer, you can take advantage of their vast experience in the field by using the most reputable suppliers for your capsule/closure needs.

Most designers (54%) will work with any supplier to achieve the desired result, but 45% say they recommend specific suppliers: “I’ve worked with these and know they can produce,” this group argued.

Auston said, “I only recommend suppliers if the winery asks, or if I feel the current supplier is unable to achieve the look, feel and quality we are trying to achieve.”

Parham said that for screwcaps, she’ll visit the Amcor showroom to look at samples for inspiration. For the high-end tin capsules her clients demand, she likes working with Ramondin and Rivercap.

MALA USA provides Penniman’s favorite aluminum screwcaps; he also recommends California Capsules. Many of Sterling’s North Coast clients choose Maverick. Maverick’s new rotogravure printing process the permits full-color printing of artwork on capsules.

Moon considers Ramondin and Stelvin “the premium vendors. They know how to nail a design. Gallo’s G3 has done good work, too.” Olsen also likes Ramondin, as well as Lafitte and Rivercap.

The survey results and comments are a mere sampling of the sound advice packaging designers offer to their clients. Their expertise shared here can benefit wineries of any size, in any market.