FTA (изд-во). Flexography: Principles And Practices. Vol.1-6

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designer, meeting marketing objectives is the

highest priority. Print parameters are taken

into account only after a comprehensive

proof of a design is approved and the market-

ing objectives are met. Most marketing goals

are oriented toward making the package

more appealing than competing products.

Marketing objectives can also take the

form of helping a consumer product com-

pany solve a particular problem. This could

be a problem with an existing package, a

specific product to be packaged or tight

budget constraints. The services of a design-

er and a structural engineer may be enlisted

to create a package design that solves the

problem, is printable for the specified print

process and meets the allocated budget.

Staying within budget can be a difficult task

and both the design and production costs

must take into consideration. Since the

designer is not always knowledgeable about

all the costs of prepress and print produc-

tion, it is advisable to discuss these issues

with the separator and printer prior to

beginning the package design.

Many consumer product companies devel-

op their packaging using a combination of

gravure, offset, flexo and other print tech-

nologies within one product line. (Figure

)

The customer expects the product line to be

aesthetically cohesive in design and color.

Producing a product line combining differ-

ent print technologies can be difficult, espe-

cially when trying to achieve consistent col-

ors and special effects. When combining

print technologies, it is best to create the

DESIGN 7

One of the advantages

of flexography is

the large variety of

substrates that can

be printed on.

Combination printing

makes use of offset,

flexography and gravure

to maximize the benefits

of each process.

Corrugated Paper Foil Film

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One

Offset

Flexography

Gravure

8 FLEXOGRAPHY: PRINCIPLES & PRACTICES

graphics for each different print type simul-

taneously so the designer can be sure that

the graphics can be reproduced using all

required print types.

DESIGN PERFORMANCE

There are three main elements in develop-

ing a design that works:

• psychology,

• aesthetics and

• functional characteristics.

Psychology

Psychologically, the printed design reflects

the personality of the product and the phi-

losophy and taste of the firm that made it.

With textiles and many paper products,

design sets the mood or complements the

decorative scheme. With gift wraps and

party accessories, it augments the occasion

with complementary subject matter to rein-

force the event’s importance. In packaging

and labeling, it provides the visual essence

of the product’s character and end-use

(Figure

Printed designs can evoke feelings of com-

fort, joy, good taste, excitement, etc. They

can be solutions to household or commer-

cial problems. Designs grab attention and

provoke interest, and they identify and pro-

vide instructions. In all their versatility,

designs are geared to spur a response in peo-

ple by the message that they convey.

Aesthetics

Pleasing aesthetic quality and superior

print quality is a winning combination. There

is, however, little value to creating a fantas-

tic design that is stunning on the proofs but

is economically and mechanically impossi-

ble to recreate in print format. The goal is to

design within the window of opportunity.

This window is continually growing and

changing and therefore, so are the designer’s

challenges and opportunities. The customer

wants the designer to push that creativity

window and explore. It is also the obligation

of the printer to push the limits of produc-

tion and work with the designer to meet the

challenges (requirements) of the consumer

product company.

Aesthetically, whether a design is bold or

delicate, it should be developed in good taste

and with a proper balance of line, mass and

color. Each element of design, such as the

color scheme, typography or subject matter

(in photographic or illustrative form) is part

of the layout and should relate to the others

in overall theme.

Creating a design has often been com-

pared to writing music for the organ. There

are many tonal combinations that can be

produced using stops, keys and controls.

The composer combines talent and under-

standing of these components to blend them

into a satisfying and effective musical com-

position. Likewise, the graphic designer does

the same with visual elements and design

tools to produce an aesthetic composition.

Functional Characteristics

Functionally, the design should meet cer-

tain criteria. Whatever form it takes, the

design has important objectives – whether in

areas of pure decoration or in the precise

details of a small printed label. The function

The label or tag on a

product provides the

visual essence of its

character and end-use.

may be to convey comfort, pleasure or some

other emotional or environmental state. In

packaging, the design, in its broadest sense,

must identify the product, the brand and its

uses. An instructional tag or label should

provide information with accuracy, brevity

and clarity. On shipping cases, the graphics

should instantly identify a product, along

with coded data, to assist warehousemen

and handlers from the packing line to the

final display areas.

It’s important to stress the relationship

between design function, and production

and manufacturing concerns. Designs pre-

pared with knowledge of electronic prepress,

substrates, platemaking, inks, press charac-

terization and press operations will perform

with greater efficiency and profitability.

DESIGN PURPOSE

Generally, designs prepared for flexo-

graphic printing fall into one or more of

these categories:

• decorative,

• visual impact,

• identification and

• information.

Decoration

An important segment of flexo work is the

production of decorative products. These

include printed textiles, gift wrap papers and

foils, party accessories and decorations,

paper cups and other household and com-

mercial products. Although some of these

designs are customized, our primary concern

is with generic designs of different types of

subject matter, techniques, color schemes

and treatments. Many are continuous pat-

terns with multiple units repeated across and

around the substrate (Figure

Subject matter can be taken from nature,

geometric shapes, holidays, seasons or other

themes such as anniversaries and birthdays.

Design approaches to decorative products

are endless. There are many challenges,

especially since the printing has to conform

to the requirements and capabilities of pro-

duction equipment.

Visual Impact

All graphic design is aimed at triggering a

reaction, so visual impact is a major objec-

tive. In the decorative products mentioned

in the last paragraph, the visual impact of

original and consumer-oriented designs

plays an important purpose in highly com-

petitive product lines. In addition to attract-

ing attention when bought, the designs serve

a purpose in home decoration and furnish-

ings. Similarly, in gift wrap and party prod-

ucts, a winning design contributes greatly to

the product’s sale and ultimate success.

Packaging is the “silent salesperson,” the

unending advertisement and the product’s

most conspicuous identifier. Whether the

package figuratively shouts from the store

shelf or quietly taps the consumer on the

shoulder isn’t important; there must be

impact. Without it, the other design purposes

could be seriously impaired or, even worse,

never be given the chance to perform.

Identification

What is it? What does it do? Who makes it?

How does it relate to advertising and promo-

DESIGN 9

Decorative products are

commonly printed with

continuous patterns,

with multiple units

repeated across and

around the substrate.

10 FLEXOGRAPHY: PRINCIPLES & PRACTICES

tional programs? If there is an illustration, is

it a true representation of the contents?

(Figure

)

Depending on the product and its merchan-

dising slant, the identification emphasizes

product name, brand name and manufactur-

er. How these and less tangible identifying

elements are organized depend on the design-

er’s purpose. Established graphically in a visu-

al priority, the viewer’s eye should be carried

from a particular identifying element and con-

tinue around the design in a proper sequence

of dwell spots. In doing so, the viewer takes in

the information of most interest.

Strong identification of a product, package

or label is the basis of advertising programs

in which recall is essential. Often, a properly

identified package design becomes the best

advertisement because the package is as

much a part of the product as the product

itself. Another sought-after advantage of

strong identification is association, in which

confidence already established in one prod-

uct carries over to another with the same

brand identification. This can happen readi-

ly in a family of products with closely relat-

ed designs. This is especially helpful when a

new item joins an established product line.

Information

An additional design purpose is to provide

information about the product. This is espe-

cially true of designs whose purpose is not

strictly decorative. With correct and helpful

information on how the product can be

used, the design’s purpose is fulfilled. Does

the package design show and tell color,

style, size and count? Does it indicate if the

contents have to be assembled? If so, are

assembly instructions clear and complete?

Ingredients, weight, size, price and legal data

all comprise needed information for the pur-

chaser, while exact instructions help ensure

a satisfactory experience. (Figure

)

Learn all about the customer and his prod-

uct: What is it? What does it do? How is it

made? Where will it sell? What are the mar-

keting plans? If the client is presenting a new

line of flexo-printed merchandise, where is it

expected to sell? In stores, on the internet

or by catalog sales? What is the price range?

What are the competitive conditions in the

intended market? What promotional and

advertising programs are planned? Who is

the intended customer?

Before designing a package, data has to be

assembled. This includes:

• product information,

• brand identification,

• merchandising considerations, and

• research.

Product Information

To encourage sales, information about

The illustration or

photograph used on

a label identifies the

product and provides

information or charac-

teristics and end-use.

An important part of

the design of a package,

is it’s ability to quickly

and clearly convey

information relevant to

the consumer.

end-use is necessary to direct the design

theme and the graphic technique.

For example, subject matter for gift wraps

is dictated by the occasion it’s intended for –

birthdays, anniversaries, holidays or other

special events. With the objectives in mind,

product information provides input about

the market, competitive forces, consumer

preferences, design trends and techniques.

Information about the material to be

printed (textile, corrugated, paper, foil, film,

etc.), its texture, ink coverage, design repeat

size and end-use, provide necessary guide-

lines for the designer (Figure

). In a spec-

ulative market, careful research into con-

sumer acceptance and buying habits is

important to the designer and will help pre-

determine if a product will sell.

In designing labels and packages, product

information refers to an actual examination

of the product that the label or package must

identify. It also includes knowledge of the

product source. It helps to know the condi-

tions under which the product evolved; for

example, is it grown, manufactured or

processed from several ingredients? What

are its form, shape, weight and color? What

will it be used for? Answers to these ques-

tions provide early hints about a package’s

final appearance, the materials to be used

and other important characteristics.

Brand Identification

For textile and gift wrap items, input is sel-

dom provided. But for packaging and labels,

data should include examples of registered

brand markings, trademarks, logotypes and

associated color schemes. When any of this

data is included in the graphic design, it is

imperative that it does not deviate from the

original. The product may be one of a family,

and a close match to the other package

designs is essential.

It’s always possible that a totally new

brand-image or mark is called for. If so, the

identifying mark should lend itself to adver-

tising and other promotional programs. It

should also be easily adaptable to any collat-

eral material that’s planned, such as point-of-

purchase (POP) displays at the retail level.

High recall can only add to the design’s

effectiveness at every stage and contribute

to repeat sales.

Merchandising Considerations

What will happen to the product and its

package once the retailer gets it? The pack-

age design is always strengthened by know-

ing how a retailer plans to merchandise the

product. If the package is a printed film bag,

it may be displayed differently from a printed

carton or an item for a point-of-purchase dis-

play. This changes the design’s orientation

and determines the amount of identification

needed for the face, end or side panels.

Positioning factors are helpful in planning

the design. Many products have to shout

from the bottom shelf, “Hey, look down here

at me!”, while others advantageously meet

the consumer at eye level. Ideal display

space is slightly below eye level. The follow-

ing merchandising considerations should be

factored into the package design:

• What kind of store is the product being

displayed?

• Where is the product to be displayed,

and where in relation to eye-level?

DESIGN 11

Necessary guidelines

for the designer to know

prior to the package

design are the material

to be printed, it’s tex-

ture, ink coverage,

repeat size and end-use.

12 FLEXOGRAPHY: PRINCIPLES & PRACTICES

• Can the product, package size and

design be produced to compete for this

display level?

• How can the graphic design contribute

to large-mass displays, to shelf-talkers

and other promotional material?

• Is the package designed for mass-mer-

chandising chains, or is it designed for

bulk-selling through discount outlets,

and if so does it have pallet impact?

• Is it designed and “sized” to fit standard

store counter bins and mass-merchan-

disers’ fixtures?

• Will this product only be sold through

catalogs or on the internet?

• What type of bar code will the package

carry?

• Are shipping cases designed to facilitate

use of pallets and other mechanical and

marking devices?

• Does the shipping case contain an

inventory-related product code?

• Will the product be advertised? If so,

will it appear in print, on television or

on the internet, or perhaps all three?

• Will color-value contrasts allow the

message to come across in the desired

medium?

The more information you gather about

merchandising considerations, the more

effective your designs will be (Figure

Research

Thorough research can only increase the

odds of creating exceptional designs while

Merchandising consid-

erations play a very

important role in how a

package is designed.

A package’s design may

be changed significantly

based on whether it is

to be sold in a store, on

television, in a catalog

or on the internet.

avoiding costly trial-and-error misjudgments.

Although research methods can be simple

or highly sophisticated, a healthy curiosity

and an ability to listen are important attribut-

es. Designers with a knack for research can

gather relevant statistics to guide their

efforts. Visual and psychological testing pro-

vide answers from professionals, including

focus groups, and is an effective way to

obtain good data. Other topics to research:

printing equipment and manufacturing meth-

ods, merchandising systems and industry and

trade customs are vital to the design as well.

In-depth research can result in a more eco-

nomical package. It can reduce the chances

of lowering the value of the merchandise or

creating an inflated price because of under-

or over-designed packaging. On the other

hand, it can also help eliminate exposing

quality merchandise to the risk of slack sales

because of inferior packaging. It’s important

for the designer to always remain alert to cur-

rent techniques designed to hold down per-

unit packaging costs.

Beware of artists/designers who rely only

on their own talents without tapping other

sources for information. Package design is a

logical exercise. It’s also based on a need

and ability to identify problems and provide

solutions. Appropriate research into each

design project helps bring the challenges

into sharper focus. Only then can systematic

solutions be worked out to help the product

function well through each manufacturing

stage and at the point of purchase.

Printing Equipment and Manufacturing Methods.

Without the benefit of research into produc-

tion methods and equipment, an otherwise

simple design for gravure or offset would

pose many printing problems for flexography.

The added cost and delays could be substan-

tial. So far, this chapter has tackled only the

basic requirements of a successful design.

Now we’ll get into the specifics of gearing it

for flexographic printing.

The recommended procedure is to list the

factors the design must achieve (Table 1). In

compiling the list, the designer is forced to

consider all the production and printing pit-

falls while creating the design. In doing so,

the designer can proceed with the knowl-

edge that research has paid off.

The term “design development” is used

because systematic study and hard work

create designs. Unlike fine art, design for the

graphic arts is mainly a means to an end. For

flexography, the design must be a mar-

ketable decoration and identification sys-

tem, whether for a corrugated box, a multi-

wall bag, film and foil packaging or pres-

sure-sensitive tags and labels.

Merchandising Systems. Research into the

proposed merchandising program can only

enhance a designer’s effectiveness. For

packaged and labeled products, the most

important design features are perhaps the

brand name and image. These should adapt

easily to shipping containers for the benefit

of anyone handling the package.

Think about the part of the package design

that cannot be seen by a purchaser. If a sec-

tion isn’t visible, repositioning certain design

DESIGN 13

Table 1

The purpose of the design brief meeting is to

review all aspects of the packaging design

objectives and strategies and to exchange

ideas on anticipated design directions that

should be pursued. All information that is rele-

vant to the listed items must be supplied.

■ Project description

■ Background

■ Product development

■ Product positioning

■ Project timing

■ Target consumer

■ Competition

■ Copy: package messages, legal copy

■ Communication priorties

■ Print specifications and film contacts

DESIGN BRIEF MEETING

14 FLEXOGRAPHY: PRINCIPLES & PRACTICES

elements or adding display-and-sell copy to

the part of the shipping container that

remains with the products can help.

If a product does not have promotional

helpers, it has only its package to help make

the sale. For packaged clothing items that

compete at the purchase point with a com-

petitor’s brand item, differences in the quali-

ty of the package design can influence the

position they get on the display counter.

Research information about merchandising

systems can contribute significantly to the

designer’s success rate.

Industry and Trade Customs. An ongoing sys-

tem of research into industry and trade cus-

toms requires little explanation. The designer

should establish sources from recognized

industry groups to become sufficiently

knowledgeable about the packages and

packing materials used for different prod-

ucts. Legal sources might also be consulted

for current information on acceptable type

sizes, correct location of bar codes and other

legal questions.

THE INTENDED BUYER

Just as a product is created to fill a buyer’s

need or satisfy a desire, the package and its

graphic message must be designed to attract

that particular buyer. Because the package

helps communicate the product’s image and

essence, visual communication should be in

terms people can understand, and such that

the message will prompt a purchase.

It is important for the designer to visualize

the assignment from the consumer’s point of

view and to develop early concepts based on

the intended buyer’s needs, desires and

impressions. Constant research into this

area includes a number of considerations:

• needs and preferences;

• buying habits;

• motivations;

• economic situations;

• the act of buying;

• end-use conditions/applications;

• advertising recall; and

• repeat purchases.

Needs and Preferences

In shopping centers, basic products are

considered staples: food, beverages, cloth-

ing, hardware, condiments and many others.

Packaging for such items should stress prod-

uct identification. But because even pota-

toes, toys and children’s socks compete for

store space and consumer attention, the

package’s graphics should feature prominent

brand identification. If the first try results in

a satisfying experience, the consumer will

probably pick the same brand the next time.

Even more important, a preference has

taken root in the buyer’s mind. Although sales

statistics confirm this, it’s still important for a

retailer to know which products should be

stocked and the amount in the inventory. And

don’t forget that prominent brand name iden-

tity promotes sales to retailers, too.

It is important that the brand identification

of staple products look contemporary. A

product that has been around for generations

must not look out of date in its packaging. In

the consumer’s mind, antiquated package

design can translate as old inventory. This is

not to say that a package can’t have the look

of a particular period: Victorian, Nouveau,

1950s. These periods of graphic design are

well established and effective in commercial

art and can be a product’s single most impor-

tant identifying feature. Changes in package

design of established product lines have been

more successful if they are evolutionary

rather than revolutionary.

Buying Habits

Studied and recorded, buying habits vary

from store to store and from one geographic

or economic situation to another. Age, family

size, dwelling location and income bracket

govern the planned buys of the shopping trip.

By studying the range of buying behavior at

certain stores, the rate of selection and col-

lection of products can be registered to pro-

vide clues for the design elements that

deserve emphasis. Who are the purchasers?

What products do they seek? What specific

information about the product are they look-

ing for, and do they have a hard time finding

or understanding it? Do they ponder or pro-

crastinate? Is the product strictly an impulse

item or is it on people’s shopping lists

(Figure

To fill the shopping cart and stay within

budget, some people may use coupons and

specifically listed brand items. Others may

list only items and wait to decide on the

brand from available choices.

In time, shopping trends, stores and prod-

ucts can be identified and the data turned

into more effective package designs and

labels.

Motivations

Most purchases stem from repeat sales of a

product that has satisfied the buyer in the

past. When a well-planned advertising cam-

paign, samples or in-store promotions help

along new or improved products, the con-

sumer can be motivated to try it. Television

commercials and print ads greatly motivate

consumers to buy another brand or a familiar

product in a new form. Often enough, people

aren’t aware of a need or an additional bene-

fit until an emotional reaction is triggered.

Economic Situations

An overdesigned package, like an over-

packaged product, often causes hesitancy or

a negative reaction by the consumer on a

limited budget. The package and its graphics

are generally regulated by the relative mar-

gins the manufacturer establishes; however,

an effective and hard-working package

design does not have to be elaborate.

Whatever the buyer’s income bracket, you

can bet that he or she will insist on a fair

price. At all income levels, a fluctuating

economy affects purchasing decisions, and

product integrity is important to that deci-

sion. The careful designer is alert to differing

income levels among consumers.

The Act of Buying

The act of making a purchase is, of course,

intertwined with buying habits, but deserves

additional explanation. Perhaps the most crit-

ical time in the life of a package design is the

moment the actual purchase decision is being

made. After all the development, testing,

advertising and promotional hype, the last

few seconds between the product and the

consumer are crucial. The design – with its

elements of impact, identification and infor-

mation, along with its controlled image – was

meant for this moment, and it had better

answer the consumer’s questions: Do I need

it? Will it help me? How can I apply it? Can I

afford it? These and many other thoughts

race through a buyer’s mind. It’s at this point

that the designer’s talents must shine.

End-use Conditions/Applications

What is the life and mission of the package

design after the sale? The longevity of the

design depends on the nature of the product

– whether it’s used up all at once or over

time – and on the package itself. Early graph-

ic planning should consider how and where

DESIGN 15

Studying the shopping

habits of consumers

helps the designer know

which design elements

need the most emphasis

on a package.

BOB

’S

16 FLEXOGRAPHY: PRINCIPLES & PRACTICES

the package will hold the product before it’s

used, and the design should continue its mis-

sion in its new environment.

The “hard-sell” that’s been built into a

product’s package for displaying in the super-

market often becomes offensive in the home.

Consider a giant carton of detergent that

dominates the laundry room, or the coffee

can on the kitchen counter. Many homemak-

ers invest in careful color-coordination for

work areas, but will condone the brash com-

mercialism of a package design there. Most

packages are stored in cabinets anyway. But

because others are mainly designed for coun-

tertops, they are used more often and natu-

rally tend to create higher repeat sales.

Graphic designs that function well after

purchase tend to be compromises between

hard sell and soft sell. This should be given

considerable thought in the early stages of

the design process. There’s an additional,

and quite useful, psychological factor in

graphic design: What can be incorporated

into the design to make consumers pause

during the moment of decision to imagine

the benefits of the product? Can they visual-

ize the package and the product helping to

make their life easier?

This is where the value of product photog-

raphy or illustrations comes into play. From

color photography or simple illustration

techniques that show the product helping

someone, the buyer’s thoughts can flash

from the initial purchase to final use. These

images can be exciting visions of any pleas-

ant experience.

Advertising Recall

Research into planning an advertising

campaign also provides insight for design

planning. Will the graphics be readable when

reduced in size or if reproduced in black &

white? Is there sufficient image-strength to

survive different methods of media repro-

duction? Scale is also important. Does

changing the balance and the elements of a

package alter the brand’s personality? Does

the brand name have enough visual impact

to cause the observer to silently repeat it in

his or her mind? Or is it too dependent on

sound? Because it appeals only visually in

the marketplace, brand and product recall

are generated through graphic design.

Repeat Purchases

Package design recall helps spur repeat

purchases. If the product has been satisfac-

tory, these pleasant experiences are recalled

during the next shopping trip. A well-planned

package design succeeds in presenting the

product or brand. With all the distractions in

today’s marketplace, identification impact is

necessary to generate repeat sales.

THE DESIGNER

To organize and successfully implement

these design factors, the designer must be a

problem solver as well as a skilled artist. He

or she must have a command of graphics,

typography and a good sense of form and

color. A good designer must also be aware

of the client’s concerns, in addition to being

curious and knowledgeable about potential

buyers. Reviewing a designer’s qualifica-

tions and portfolio of previous projects is

the first step toward picking the right

designer for the project.

Visual Communications Specialist

The graphic designer is essentially in the

visual communications business. The es-

sence of graphic design is the translation of

ideas into visual form and the creation of

order from unorganized information. The

story the designer has to tell cannot be heard;

it must be translated into visual elements,

which must be seen to be understood. The

message should be presented so that it regis-

ters quickly and indelibly. At all times, it

should be truthful, informative, exciting and

interesting. Also, a package’s design controls,