The questions.

It all starts with a 30-minute call about your product and your challenges. Then: I challenge your brief, I set the strategy (range, formats, shelf positioning), I get quotes from the printers, and then I create. You receive print-ready files, technically validated. One single contact, from brief to shelf.

Both, and that is exactly where my value lies. A senior graphic designer for 20 years, I draw the packs, the key visuals and the motion design myself: Oikos Chef, Actimel × Pokémon and Vitalinea Skyr came off my table. Strategy isn't an add-on, it's what makes the design right first time. And your marketing manager keeps the brand vision: I translate it into creative work and print-ready files.

A single pack is done in a few weeks. A full range, with variants, multipacks and promotional material, is planned from the brief onwards. My habit of anticipating variants (today's strawberry flavour, tomorrow's multipacks) saves you the months of rework that wreck schedules.

No. I spent 20 years at Danone and Unilever, and that is exactly why SMEs call on me: you get the methods of the biggest brands, adapted to your scale and your budget, from your very first product.

Per project, with a clear quote drawn up after the framing call. You invest in strategy and execution in a single senior engagement. For comparison, a full-time communications manager costs €5,000 a month including charges: you only need the weeks when your product is decided.

The design never comes out of nowhere. The creative direction is approved together upfront, on the basis of a challenged brief and intentions set down in black and white. The rounds of feedback are framed and included in the engagement: we refine a chosen direction, we don't start from scratch.

That is the heart of my method: I reconcile what marketing wants with what sales wants, using shelf mock-ups so decisions are made on something concrete. Oikos Chef, Vitalinea Skyr, Actimel × Pokémon: my packs have been living on the shelf for twenty years, not just in portfolios.

I don't necessarily replace your creatives: I make everyone win. I turn your requests into workable briefs, I keep the guidelines, I cut out the sterile back and forth. At Danone this role was created precisely because it was missing. You keep your teams, and they finally move.

Remotely, most of the time. Briefs are framed over video, proofs circulate by email, and I speak directly to your printers wherever they are. I travel for the moments that deserve it. My clients are in Belgium, France and the Netherlands.

Me, if you wish. I request the quotes, discuss the technical constraints and deliver files already validated on their side. That is where most delays are decided.

The proof is the final version you approve before the printer starts production. Once signed, everything on it goes to the shelf, mistakes included, and at your expense. I always check the legal text and allergens, the ingredient list in both languages, the barcode, the net weight, the Nutri-Score, the position of cutting lines and seals, and the colours against the reference. A proof is checked by two people, never alone, and never in a hurry.

Yes. In Belgium, packaging must be bilingual, and Dutch is not translated French: it runs longer, it breaks layouts, it shifts the balance. I design with both languages from the first sketch, not at proof stage. I also work in English for export markets. That is why this site exists in three languages.

No, quite the opposite: a new flavour has to look new while clearly belonging to the same family. The work is finding what moves (the colour, the fruit, a banner) and what must not move. If a range was planned from the first pot, a new variant takes days, not months.

A pack is one product. A range is a system: rules that set how the next five flavours, the family size, the promotion and the limited edition will behave. Most budgets blow up because someone paid for a pack believing they were buying a range. Setting the system costs once; skipping it costs every time you add a variant.

Regularly. An agency that wins a packaging budget does not always have the technical skills in-house: print constraints, cutting lines, templates, the conversation with the printer. I step in as back-up, as a subcontractor, without coming between the agency and its client. Discreet if needed, credited if you wish.