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FLEXO Magazine : July 2009
PLANTS & PROCESSES Things would get tense if the customer had to wait past lunch into early evening. We knew that the client would settle at some point just to get going. I remember one shampoo client who spent the better part of a shift complaining that the roses depicted on his product didn’t look “happy” enough. I don’t make this stuff up. Later in my career, I was fortunate enough to get to sit on the other side of the table as a creative services packaging manager for Snapple Beverage Group and Cadbury Schweppes Americas Beverages. In this role, I have attended hundreds of pressruns over my career. More customers are becoming more comfortable with technologies offered today, such as the use of service bureaus to manage color, remote proofi ng and digital asset management. There are a signifi cant number of printers and industries, (such as the cosmetics industry) that still rely on customer visits to approve fi rst-run jobs. Here are some tips that I have assembled over the years that you are hopefully already doing to make life easier as a fl exo printer. Some of the tips below are taken right out of FIRST 4.0 (Flexographic Image Reproduction Specifi cations and Tolerances) and were covered in more detail by Bill Pope in FLEXO Magazine’s June 2008 issue (page 24). Before going on-press: 1. Manage your color very closely and get approvals in advance of the job. Make sure that every color has a signed drawdown and that they are on-press. Don’t rely on your customer to remember to bring them in with the approved proof. Have an extra set available. Try to avoid, “We’ll match it on press” scenarios as much as possible. 2. Make sure you draw-down your colors using the same kind of plates, anilox rollers, curing process and substrate. If the color will be printed over a silkscreen color, draw it down the same way. If there is going to be a hotstamp used, try to show it over the background color. 3. If your customer has product available, try to get samples. Match the colors and densities with the standards applied to the fi nal bottles. This is a big deal when the bottle has a tint due to product color or material color. (Example: pressure sensitive label applied over amber glass) Even though you may believe that this is the custom- er’s job, having this discussion early on in the process will head-off any surprises on press. Doing this doesn’t cost much and adds value and shows that you care about how the product will look post application. Photo by Ed Freeman. www. f le xography. org JULY 2009 FLEXO 31
Sustainable Spring 2009