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FLEXO Magazine : February 2009
PLANTS & PROCESSES "CleanSweep" guaranteed-Jones' proprietary method of ensur- ing that it meets and exceeds the highest industry standards for hygiene, safety and environmental protection. Jones has a full-service graphics and structural design depart- ment with the latest software to create 3D models, proofs and final artwork. Jones has also adopted a sophisticated SAP-driven operations system that ensures efficiency and agility to respond to changing business needs. While Jones creates significant design work from scratch, its clients typically use third-party agencies for its design work. Jones' production artists make the designs it receives printable. "We often receive packaging designs with too many colors and non-printable graphics and essentially turn them into produc- tion files. We work with production-ready specifications required for converting and also work with a local prepress house to as- sist in completing necessary prepress tasks," commented Keith LaBombard, Jones Packaging leader of digital workflows and senior artist. The outside prepress house would take the files and complete the artwork, adding barcodes and trapping, creating proofs and RIPping the files. The prepress house also supplied the flexo and litho plates and films. BRINGING PRE PRESS HOME J ones had been working with structural design software since the early 1990s. They started working with ArtiosCAD structural design software almost a decade ago, using it exclusively to show clients 3D views of its products. Five years ago, the company purchased a complete structural design software suite from EskoArtwork to design pouches, sleeves, flexible packaging and - folding cartons-including die lines. It uses a sophisticated step and repeat tool, as well as a system to add all press controls, regis- ter marks and nesting. In late 2007, Jones decided to in-source prepress tasks. LaBombard's goal was to bring as many services in-house as pos- sible. As all of the company's artwork production was in-house, it was a natural extension to bring the rest of prepress and plating in-house as well. LaBombard decided to complete his workflow with an all-in-one system, from design to printing, offering struc- tural design, graphics review, prepress tools, digital plate imaging and production interfaces. They also added a collaborative tool for communication with its clients. It was important as a com- pany to be able to work in the same format throughout the entire supply chain. TYING IN THE TOOLS LaBombard saw a plug-in for Adobe@ Illustrator@ that puts interactive 3D packaging creation in the hands of the designer, which allowed a CAD file to be imported into Adobe@ Illustrator@. It provided an internal quality check as well as some design en- hancements to make sure a product would look good when as- sembled. For example, once a carton is folded, it could assure that copy would not be hidden. Jones also purchased the plug-ins because it had a multi-person art department working on production artwork. "Because we do our production work in Adobe@ Illustrator@, the learning curve for prepress work is made very easy. We were able to jump right into tasks we did not do before. It was also great for our newer design- ers who have not worked much with prepress," noted LaBombard. FEBRUARY 2009 www.flexography.org FLEXO
Sustainable Winter 2009