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FLEXO Magazine : July 2010
Design in Principle An Inside Look at the Process of Updating FP&P By Tom Newmaster dustry. In conjunction with in-course instruction, FP&P lays out the history of flexography, how the industry has progressed, the equipment used, the advances that have been made, and the techniques that should be used. FIRST, on the other hand, is a more advanced document for someone already in the industry. It would be used by a printer, supervisor, or plant manager as a reference guide to create a consistent and repeatable product. Given that FIRST is designed for professionals already in the industry and FP&P is a sort-of beginners’ guide to the industry, we decided to keep this section about the principles of design, rather than provide technical specifications and tolerances. Leaving these specifics to FIRST, the design sec- tion of FP&P will give special reference to FIRST when more technical understanding and detailed information is called for. With all that in mind, we began updating the content and terminology to reflect current digital advancements. Once the design team had a clear understanding of direc- tion, the next task was obvious: Clean up and reorganize the current design section outline! We felt the fifth edition touched on all the right topics, but just didn’t flow naturally together. We wanted to adjust and simplify the content in such a way that a newcomer to the industry could get a grasp of the concepts clearly. We moved parts around, combined sections, renamed categories, and revamped the overall flow. After several conference calls and numerous drafts outlines, we settled on the following: 1. Introduction 2. Definition of Design 3. Design Psychology and Functional Aesthetics: a. Performance, psychology, aesthetics, functional characteristics, and design purpose 4. Graphics and Communication/Information: a. Visual impact, branded products and identification, graphics objectives, and product information 5. Merchandising Considerations: a. The point of purchase 6. Research - Online and traditional 7. Understanding the Consumer/Buyer: a. The intended consumer, needs and preferences, buying habits, motivations, economic situations, the act of buying, end-use conditions, advertising recall, and repeat purchases 8. The Designer - The Problem Solver: a. Visual communications specialist, graphically profi- cient, client oriented, and consumer knowledge 9. The Design Process for Flexography: a. Sketches and design concepts, presentation and managing client expectations, electronic workflow, and digital graphics 10. Production Art for Flexography: a. Typography, overprints, tapping, die-lines, illustra- tions, vector art, photography, scanning, bar codes, and file formats 11. Printing, Substrates, and Materials: a. Preproduction meeting, press characterization, and substrates/materials 12. Screens and Printing Options: a. Spot colors, CMYK, screens, and color reproduction 13. Color Management and Proofing: a. Electronic workflows, workflow process, and digital graphics 14. Programs/Applications: a. Layers, drawing programs, page layout programs, raster images, vector graphics, special effects, and color management programs Because our team members have different areas of exper- tise, we decided to break off into two groups to write more de- tailed outlines and begin developing content. Alan, Greg, and Kevin, each with a strong background in the production side of flexography, handled the sections related to production art and prepress (sections 10-13). John and myself, who focus more on the design aspect, developed the content for sections related to design and the design process (sections 2-9). Our team really wants the Design Section in the new edition of FP&P to be a teaching tool—one that can last for many years to come. The section content will be revised and developed in a way that someone new to flexography will quickly get an understanding of the printing process, the limitations, the features, and benefits as well as how to design responsibly while maintaining client expectations. These are lofty goals, but the design team’s years of experience should be able to pull together a dynamic teaching document for all designers. n Editor’s Note: Flexographic Technical Association/Founda- tion of FTA and FTA’s Training Education and Services Team (TEST); with the support and commitment of an extensive, highly experienced cadre of expert volunteers, is engaged in a far-reaching and comprehensive update of one of its flag- ship textbooks: Flexography: Principles & Practices. Release of the 6th Edition is set for late 2010. More than 50 people, split into 12 teams are diligently preparing the text and all accompanying worksheets. FLEXO and Sustainable FLEXO, along with the Association’s Inside the FTA Newsletter will present regular updates on work-in- progress. Teams/topics entail: Design, Ink, Substrates, Process Control/Quality, Process Color, Mounting and Proofing, Envi- ronmental Health and Safety, Prepress, Plates/Platemaking, Presses and Press Equipment, Barcodes, and Industry Size, Scope and Historical Perspective. About the Author: Thomas E. Newmaster is vice president of operations and art director for William Fox Munroe Inc. , Shillington, PA . He is a regular judge for the Flexographic Technical Association (FTA) Graphic Design Awards and has been designing for flexo since 1989. FTA TODAY PhotocourtesyEskoArtworktheDif ference! Experience Toll-Free: 866.282.7697 Toll-Free Fax: 800.223.6869 www.AndersonVreeland.com info@AndVre.com Advance to A&V for state-of-the-art flexo prepress. Buy equipment, materials and software from leading-edge manufacturers, backed by almost 50 years of flexo experience and comprehensive technical support. Don’t pass or miss your opportunity. Greater efficiency and better flexo are around the corner. Go Directly to A&V AV 9566 Monopoly Ad.indd 1 4/7/10 6:56:18 AM www.flexography.org jULY 2010 FLEXO 7 FLXO_July10_v2.indd 7 7/16/10 9:35 AM
Sustainable Summer 2010