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

Подождите немного. Документ загружается.

or should at least influence, the product’s

position in the industry.

A Problem Solver

Training and an interest in problem solving

are both invaluable qualities. Obviously, the

design problem must be identified before it

can be solved. It’s at this point that curiosity

about the product, the marketplace and the

consumer generates the necessary input to

establish the client’s design requirements.

During this process, the designer must

thoughtfully sort the information obtained

from the client, sales and merchandising per-

sonnel, and from research material. Once this

is accomplished, and with visual priorities

established, the designer begins to translate

graphic needs into initial rough concepts.

Graphically Proficient

A designer with sound training in art and

education in design principles is well versed

in the terms and tools of the trade. The

designer must know and use various tech-

niques of artistic rendering, typography,

color theory and effective design concepts.

Today’s designer has many software pro-

grams available as tools to help with the cre-

ation of their ideas. There are programs for

three-dimensional product design, illustrat-

ing, photo retouching, painting and page lay-

out, just to name a few.

As in the past, all work should be pro-

duced with color separation, platemaking,

ink mixing and press operation in mind, if

the production art is to succeed. Familiarity

with all these production areas enables the

designer to intelligently present and discuss

the work with the production artist.

Client Oriented

The more a designer knows about the

client, along with product and sales objec-

tives, the easier it will be to organize the

design plan. Technical data about packaging

and labeling equipment, handling and dis-

play methods cut the time needed to arrive

at the best design solutions. Knowledge of

trade customs and competitive packaging

practices is also helpful in developing an

effective design concept.

Knowledge about the Consumer

Since the design’s goal is to gain the great-

est consumer acceptance of, and preference

for, the product, an intimate understanding

of the targeted consumer category is essen-

tial. Information is often supplemented by

“in-store” studies of behavior patterns and by

the use of focus groups.

DESIGN DEVELOPMENT

It is beneficial to establish ground rules and

procedures for creating and separating

designs before the actual production begins.

These ground rules need to take into account

production issues relating to the complexity

of potential graphics, prepress requirements,

press characteristics and other print methods

besides flexography that will be utilized.

Thorough planning greatly benefits the effi-

ciency, cost, quality and speed of transforming

a product idea into an “on the shelf” product.

Preproduction Meeting

Preproduction meetings should be planned

at the beginning stage of each project, with a

specific list of topics to be discussed. All of

the topics will require decision making at one

time or another during production. The most

productive and cost effective way to make

these decisions is early in the process in the

pre-production meeting. All portions of the

production process are addressed and

planned for during this meeting.

The designer should be thoroughly familiar

with the methods used by the production

artist and learn exactly how he/she plans to

prepare the finished electronic files for the

platemaker. Will the artwork be created in an

illustration program, or will photographic or

DESIGN 17

18 FLEXOGRAPHY: PRINCIPLES & PRACTICES

page layout software be used?

If process color is used, ink and color-

matching methods should be discussed to

avoid problems during the press run. Ask for

suggestions from the printer/converter’s art

and press personnel. Will there be color over-

prints? If tints and/or halftones are involved,

what screen count is the printer able to han-

dle and is his/her equipment outfitted prop-

erly? If tight color-to-color registration is

involved, can the printing presses hold it?

How many print stations and printing plate

cylinders are available (Table 2).

Press Characterization

Press characterization data encompasses

the process capabilities and requirements for

a specific press using certain materials and

settings. This information usually comes

from the printer or separator and varies from

press to press. A press characterization tar-

get can be used to generate this information.

Many times a printer will utilize several

different combinations of materials (e.g. dif-

ferent plates, inks or substrates) on one

press and new press characterization data is

required each time the materials are varied.

The data provides a snapshot of the print

capabilities of the press utilizing those spe-

cific materials (Figure

Once all the input has been evaluated, and

before the first line is drawn, the designer

must remember that the extent of the

design’s creative limits are governed by pro-

duction and equipment capabilities. Some of

these are:

• Print stations available on the flexo

press, which dictate the maximum num-

ber of colors needed to reproduce the

design.

• Effect of special printing procedures

such as web-reversal limits printing to

three-colors face and three-colors back

on a six-color printing press.

• Color sequence, especially when the

usual light-to-dark color progression is

changed for some reason.

• Hold-to-register tolerances that suit the

type of press to be used (CI, stack or

inline).

• Placement of large solid areas and fine

details such as small type, tints, fine fil-

igree or halftones in the same color

which should be avoided.

• Consideration of color-trap tolerances to

minimize color-to-color misregistration.

• If tight-registration is unavoidable, it

should be confined to a limited print

area whenever possible.

• Consideration of ink fill-in and distribu-

tion problems inherent in reverse print-

ing (copy reversed in a solid field).

• Use diagonal lines, curves, wavy and

irregular leading edges to minimize

press vibration and bounce, instead of

straight, hard-edged solids placed hori-

zontally across the web.

Packaging Specifications

Given their influence on the final result,

some other factors have to be taken into

account. These must meet exact specifica-

Table 2

The consumer product company’s representa-

tive usually calls this meeting but the design

firm, prepress provider(s), or the printer(s) can

also intitiate it. The meeting agenda should

include these items for discussion.

■ Design consideration

■ Design review

■ Specifications, dimensions

■ Number of colors

■ Film assembly

■ Trapping

■ Print control targets

■ Contract proof requirements

■ Timetable

■ On-press approvals

PREPRODUCTION MEETING

tions, preferably in a flat layout showing the

following design details:

• Location and size of package face, back,

gussets and/or any other surface to be

printed;

• Size and extent of folds, diecuts, slots,

perforations, seams and other impor-

tant features where they exist;

• Exact print areas;

• Product-fill height and/or contours

whenever they are essential to form;

• Color-matching names or numbers

and/or color swatches related to color

preference or standards where they

exist;

• Accurate package mock-up or complete

prototype; and

• Exact specifications on the size and

DESIGN 19

The use of a characteri-

zation target can provide

a snapshot of the press-

es printing capabilities.

Pictured here is the

FIRST characterization

target available from the

Flexographic Technical

Association.

123456789101112131415161718192021222324252627282930313233343536373839404142

ABCDEFGHI JKLMNOP

3Electronic File Values 5 10 15 20 25 30 35 40

QRSTUVWX

45 50 55 60 70 80 90 100

3Cutback Values (film) 5 10 15 20 25 30 35 40 45 50 55 60 70 80 90 100

Y Z AA BB CC DD EE FF

024686 88 90 92 94 96 98 100 024686 88 90 92 94 96 98 100

20 FLEXOGRAPHY: PRINCIPLES & PRACTICES

location of all design units specified by

Federal Packaging and Labeling Acts

wherever they apply.

Substrates and Materials

Whether or not the design is to be pre-

pared on the actual substrate to be printed, a

sample of the material should be obtained so

colors and techniques can be evaluated

against the substrate. Since flexo printing is

done on paper, board, film, textiles, foil and

many other materials, the comprehensive

roughs can often be prepared on these sur-

faces, although they may require different

rendering techniques and art materials.

As far as substrates are concerned, the

designer must be alert to possible printing

problems. Some common substrate con-

cerns are listed in Table 3.

The designer familiar with the entire man-

ufacturing cycle will be able to use all of the

special features available only with flexo-

graphic printing.

The Point of Purchase

Many flexographic applications are for

consumer products sold at the retail level. A

valuable exercise for a designer, is a trip to a

display and sales area, which can provide

helpful insights. For example, notice the

type of retail outlet, location, the probable

shelf position and its height, lighting condi-

tions, store traffic and competitive practices.

In addition, the designer should sense the

store’s atmosphere, the shoppers’ tempo and

available time, and the benefit of advertising

recall in the area. This is where packaging

impact, identification and information are

measured.

If the package is meant for an industrial

item instead, such as 25- or 50-pound bags to

be packaged palletized and stockpiled in a

warehouse, the designer will benefit by visit-

ing the premises and personally checking

equipment and methods. The designer then

can determine whether product identifica-

tion through the use of names, color or sym-

bol coding should be placed in a conspicu-

ous location on the package so that items

can be more easily located. It also allows the

designer to visualize his or her proposed

design at work and will allow consideration

of intangibles that could give the design sub-

tle advantages.

The Consumer

Who will buy this product? What are the

buyer’s needs and preferences? Clients who

have already targeted a product for a particu-

lar market can provide some of this informa-

tion. But sometimes the designer may want to

go deeper. A natural curiosity about behav-

ioral patterns, buying habits and case histo-

ries from other projects often provides first-

hand information. Designers also can add

value to the design by projecting motivation

to the buyer.

Branded Products

Products are often part of a family of prod-

ucts or brands. If the intended design is sup-

posed to complement other items in the line,

Table 3

■ Images printed on thermoplastics should

usually be kept away from heat-seal areas.

■ Packages for certain food items frequently

require special inks; consider this in the

early stages.

■ Most plastics have a nonabsorbent surface

and may not readily accept and retain

printing ink.

■ Foil substrates present ink problems simi-

lar to those that occur when printing on

plastics.

■ Fine details should overprint solids (usual-

ly white) rather than on the bare plastic

surface. This leads to cleaner and crisper

print results and tends to minimize ink

problems such as fill-in and webbing.

PACKAGING SUBSTRATE

CONSIDERATIONS

or its package is a private label or national

brand, then that design has to be considered

in relation to the other products. Does it look

like another successful product line? Should

the newly designed product establish its own

image and value? The designer and client

must answer these questions together, based

on the overall merchandising program.

Graphic Objectives

After all the research is done, and after

reviewing the list of design requirements, it’s

helpful to think of the design project in

terms of some basic graphic objectives. This

can help to avoid undue concentration on

minor details and allow the designer to focus

attention on the more important principles.

Some objectives are:

Visual Message. At the outset, the designer

should know the primary design objectives.

• What must the design accomplish?

• Does the design motif suggest plea-

sure, excitement, celebration, good

taste, cleanliness, happiness, tradition

or other possible objectives?

• If the design is intended for a package

or label, will it best serve the product

by clearly identifying it?

• Is the design done in a style that will

appeal to the buyer? Is it sincere?

• Will the buyer select and use the prod-

uct with confidence because of the

newly designed package?

• If the design is used for packing cases

and shipping containers, will it function

well and be easy to handle?

• Does the design effectively identify the

manufacturer, producer or packer, and

does it discretely project the image that

this is another quality item from a

well-organized company?

Information and/or instructional copy for

pharmaceutical labels or packages is usually

brief, as is the case with just about any small

item. It’s imperative to keep the small type

legible. The choice of appropriate typefaces,

point sizes and layout can help promote

readable copy.

Product Personality. Projecting the true char-

acteristics and personality of the product

through thoughtful design is closely related

to the art of projecting a visual message.

Employing suitable graphic design, color

schemes, illustration techniques, photogra-

phy, typography and ink coverage in the

right balance and in the proper relationship

to the substrate emphasizes the true nature

of the product and its uses.

The design that takes advantage of all its

different parts can do a lot to help establish,

illustrate and describe the product. Carefully

selected elements can spell the difference

between an ordinary or extraordinary design.

Priority of Elements. Before making a final

choice on the design, the designer should

check the visual priorities of all the ele-

ments. In package, label or carton design, it’s

especially important that the viewer’s eye is

attracted to the most important elements.

There are many ways to emphasize these,

including color, size, space allocation, typog-

raphy, contrasting color values, shapes, illus-

trations, brand names and subject matter.

The ultimate design choice should have

the assurance that the parts are in proper

visual order and relate to each other under a

priority system. Elements should not com-

pete with one another for top billing.

A simple test of visual priority is to put

yourself in the buyer’s position and imagine

what information you most want to see.

Questions such as: What is it? What can it

do? Who makes it? How can I use it? Will it

fill my needs? What does it cost? Is it guar-

anteed or approved? will help establish the

right visual priorities. Of course, these prior-

ities will differ with each project.

DESIGN 21

22 FLEXOGRAPHY: PRINCIPLES & PRACTICES

Mechanics of

Design Preparation

ntil now, planning for the

design has been the main con-

cern. Obviously, the degree and

depth of planning is different

from one flexo application to

another. Some projects may

require less, while others may require more

intense and varied research before the

design concept is decided. The actual steps

in the preparation and presentation of the

design to the client are discussed below.

THUMBNAIL SKETCHES

The designer may start with some simple

thumbnail sketches, either drawn by hand or

done on the computer (Figure

). For the

first time, the design ideas are in visual form.

Revisions and refinements are easily done at

this stage to meet any change in design

requirements. The designer will choose sev-

eral of these thumbnail sketches to work up

into comprehensive roughs (comps).

COMPREHENSIVE ROUGHS

Initial graphics can be roughed-in at low

resolution on the substrate or some similar

material. The roughs are reworked and

refined, until one layout plan emerges that

can be reviewed against the list of design

requirements. As this work continues, many

graphic decisions are made along with those

regarding colors and techniques. The graph-

ic plan is finally checked against specifica-

tions and other technical aspects.

RENDERING (FINISHED COMP)

Designs and comps should be prepared

with inks and color separations in mind and

a concern for line, tints and/or halftone

areas. The converter’s equipment limitation-

sre also has to be considered. If these ele-

ments are incorporated early in design plan-

ning, valuable time is saved in interpretation.

The designer’s first step

after the planning stage

is to do a number of

thumbnail sketches.

The design concept is

finally in a visual form.

A finished comprehen-

sive rendering of the

package is presented

to the client for

approval. It is only

after this approval that

the production stage

can start.

DESIGN 23

Also, problems are reduced for the

platemaker, ink personnel and press people.

The working layout is usually printed on

high-quality computer paper. A rendering, or

finished comp, is generally done on the actu-

al material to be printed or a reasonable sub-

stitute to which the colors can be applied.

How the rendering of the design comp is

handled depends on the substrate and the

proofing equipment to be used (Figure

PRESENTATION

The wide range of methods of preparing

designs for presentation allows the designer

many techniques to work with. He or she has

the option of using a suitable rendering tech-

nique for the design project at hand and,

depending on time and cost, can tailor the

rendering phase to gain the most effective,

efficient and economical result.

To give the design a chance to express

itself, a three-dimensional mock-up should

be made. This ought to be done with care

and concern for ease of printing.

Once accepted, the design is ready for the

production artist. The production artist

needs to follow guidelines set by the client,

art director and printer/converter, in order to

create the electronic files with minimal pos-

sibility of error.

ELECTRONIC IMAGING AND

COMPUTER GRAPHICS

Over the past 20 years, many conceptual

and mechanical aspects of design for flexo-

graphic printing have changed dramatically.

Computer graphics have altered every aspect

of production. Design studios, prepress hous-

es, and printers all realize the profit potential

and enormous power of computer graphic

systems now available. A glance at the com-

puter-oriented environment reveals the many

changes. (Figure

The Work Flow Process

Let’s suppose that a designer has the title,

copy matter and pertinent legal description of

a new wine about to debut. The client wants

flowers on the label, and market research

agrees. The designer pores over a file full of

photos, gleaned from many sources, and

chooses some. Then, the designer sends an

assistant out for a dozen roses.

With roses and pictures in hand, the flow-

ers are arranged nicely and some colored

paper is set up as a contrasting background.

The three-dimensional arrangement is pho-

tographed using a digital camera, and the

scene is captured on the computer screen

and the image is backed-up and stored on a

hard drive.

The designer’s next step is to put the title

and copy into the system. If the copy is some-

where other than in the designer’s computer, it

can be transferred directly into the designer’s

workstation by disk, CD-ROM, over a network

with other computers or by using a modem

(Figure

). A modem receives and trans-

mits data over a telephone line to give the

designer access anywhere.

Experimentation

After gathering the elements of images and

text, the designer is ready to start experi-

menting. What was once a very costly and

There are many types

of removable storage

available today. Be sure

to check compatibility

with your service

bureau.

The Package Publishing Process

Define Project and

Quality Requirements

Choose Prepress Tasks

Select and Consult

Your Vendors

24 FLEXOGRAPHY: PRINCIPLES & PRACTICES

time-consuming ordeal consisting of camera

work, typesetting and art is now quick and

cost-effective. Computer graphics provide

almost immediate and limitless variety. By

using the computer monitor as an electronic

canvas and the mouse as a paintbrush, the

designer can scale, crop or combine the

images and backgrounds in any combina-

tion. Red roses can be made yellow, a moun-

tain scene can be placed behind them or

they can be made to float among the clouds.

At every stage, a new view can be saved for

comparison. Images and type matter can be

twisted, stretched, turned and otherwise

modified in minutes, compared with hours,

perhaps days, using traditional methods.

With the increased control of the design,

the designer’s imagination is now allowed to

move freely and quickly. Essentially, the

designer assumes the role of typesetter, illus-

trator and cameraperson, but without a dis-

jointed sense of separate elements in the

process. Computers enable the designer to

maintain and refine the concept without the

high cost of yesterday’s technology.

Presentation and Approval

When it’s time for the presentation, the

computer allows the client to see the affect

of his/her input quickly and clearly, without

sending the artist back to the drawing board.

The client can decide then and there that

pink roses would add the necessary impact

to the label. Since the designer can make

on-the-spot changes, there’s no need for

another meeting.

Create Your Package

Proof and Hand Off

Your Files

Check and Print

Your Package

If the client would like to see the new

design on the bottle and on the shelf next to

competitors, a trip to the local market to

shoot slides of the wine section is all that is

needed. The slides are scanned into the com-

puter and the new label is electronically

wrapped around one of the bottles by using

a three-dimensional imaging program.

If the client wants to show the designs to the

board of directors for final approval, all the

designer has to do is generate 35mm or 4" x 5"

transparencies from the computer or full-color

paper proofs from either a laser printer or

ink-jet printer of each composition. The

images can also be transferred to videotape.

In the case of our wine label, the client’s

approval simply tells the designer to print

out a final high-resolution set of negatives

from an imagesetter to be delivered to the

printer. This branch of the computer system

usually is at a printing facility. It does all the

color separations, which require only a final

review by the art director.

The growth of this technology has been

incredible and is sure to continue. It’s impor-

tant to remember that, while these tools

spur the creative process and boost produc-

tivity, they can’t replace the human element.

Indeed, people will always be the crucial

investment for any design studio that wants

to stay competitive.

DESIGN 25

Successful packaging

requires several steps

including planning and

organization, design

and production, pre-

press, proofing, and

printing.

26 FLEXOGRAPHY: PRINCIPLES & PRACTICES

Production Art

y establishing a dialogue with

production artists who turn con-

cepts into electronic art files, the

designer can learn about the

flexo tolerances within which

the design must function during

production. This can save time between the

initial concept, the final digital file and the

film from which printing plates will be made.

Interruptions for clarification or revisions

can be costly. To avoid printing problems,

the designer should have a reasonable work-

ing knowledge of flexography’s production

art requirements. Communication with the

plant or production manager regarding the

limitations of the manufacturing equipment

will help the designer develop designs

specifically geared to the situation.

Guidance from the production artist, the

prepress shop and the printer is important.

Methods of producing the finished artwork,

color separation, prepress proofing devices

(digital proofs, color keys, matchprints,

etc.), and any other art preparation data

must be considered.

The production artist’s job is to take the cus-

tomer’s design and turn it into the final art file

from which printing plates can be made. The

finished artwork must, of course, fit the final

package, container or product, with all type

and illustrations properly positioned. The

copy and other design elements must be capa-

ble of clean, crisp reproduction on the sub-

strate being printed. In addition, it must main-

tain registration.

DESIGN ELEMENTS

There are many similar elements that are

included in all designs, including typogra-

phy, contrasting color values, shapes, illus-

trations, photographs, brand names and

descriptive subject matter. The overall

design should have the assurance that the

parts are in proper visual order and relate to

each other under a priority system.

Elements should not compete with one

another for top billing. An easy test of visual

priority is to put yourself in the buyer’s posi-

tion and imagine what information you most

want to see. Of course, these priorities will

differ with each project.

Typography

The length of a line of type is measured in

pica units and there are 12 points to a pica,

and 6 picas to an inch. The type character, or

face height, is measured in point units. A

point size is equal to the distance from the

top of the lower-case ascenders to the bot-

tom of the descenders.

The vertical spacing between lines of type

also is measured in points, but is referred to

as leading, or a given number of lead points.

Multiple lines of copy are expressed as a

combination of the actual point size of the

type and the lead point height. For many

texts, common settings are 9-point type on

11-point leading, or 10-point type on 12-point

leading and is said to be “9 on 11” (9/11) or

“10 on 12” (10 / 12) . Type set without leading

is described as being set “solid.” Although

type is generally designed to provide mini-

mum vertical line spacing when set solid,

there is a chance vertical alignment of low-

ercase ascenders and descenders may

touch. Lateral spacing of type that creates

lines of equal length is called justification.