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FLEXO Magazine : July 2011
july 2011 VOLUME 36, NO. 7 In This Issue REAlITy CHECK: Limit last second surprises. Set realistic expectations. Deliver end- results that adhere to design specifications. Avoid crises at all costs. Match press to proof. Employ a greener process. Prepare designers for the realities of flexography. From creative brand vision to expanded gamut printing, FLEXO delves into the role of the Prepress Trade Shop, particularly its critical relationships with printers, CPCs and the designers. Clean type, critical communication, color engines and the basics of brand building are all addressed. Checklists are presented and intricate guidance is offered. The objective: help you learn how to change your game for the better. FTA TODAy 18 learning Experience Phoenix Challenge College Competition Fosters Creativity, Real-Life Experiences INDuSTRy INDICATORS 24 Top Brands, Sustainable Solutions Responsible sourcing, thoughtful design, functionality and convenience come together in award-winning packages that promote innovation and sustainability. 28 Printing A Rembrandt Tyler Mills A checklist can be the perfect tool for a printer and trade shop to convey intricate guidance on file preparation to the designer and CPC. TECHNOlOGIES & TECHNIQuES 36 Effective Color Management Systems Larry Moore Color helps consumers bond with a brand. Effectively managing color is critical to package design. 42 Adopting Expanded Color Gamut Printing Deploy spot colors that create excitement for your brand and establish ECG standards for those colors. 48 Clean Type & Clear Communication Tom Newmaster Designing type and fonts to smoothly flow through the prepress process is possible. Simple guidelines are necessary. PlANTS & PROCESSES 52 Crunch Time Bob Dauses Limit last second surprises. Set realistic expectations. Deliver end-results that adhere to design specifications. Avoid crises at all costs. Here’s how. 58 Flexible Packaging Converter Takes on Asian Gravure Sunshine Plastics is expanding brand owner ’s expectations and setting new standards. 62 Viable or Volatile? Robert Smithson Printers have long sought answers for two standing questions: When is an in-house prepress department warranted? At what cost would it come? FLEXO® Magazine (ISSN-1051-7324) is published monthly by the Foundation of Flexographic Technical Association. Address all correspondence to FLEXO® Magazine, 3929 Veterans Memorial Highway, Suite 9, Bohemia, NY 11716. Telephone: 631-737-6020. Fax: 631-737-6813. Copyright ©2011. All rights reserved. Subscriptions: 1 year: $55 U.S./$76 foreign; 2 years: $92 U.S./$125 foreign; 3 years: $125 U.S./$170 foreign. Single copies: $7 U.S./$10 foreign. Periodicals postage rates paid at Bohemia, NY 11716, and at additional mailing offices. POSTMASTER: Send address changes to FLEXO® Magazine, 3929 Veterans Memorial Highway, Suite 9, Bohemia, NY 11716, USA. Printed in USA. Publications Mail Sales Agreement No. 1558153. FLEXO® Magazine is the official journal of the Foundation of Flexographic Technical Association, devoted to education, technical and research support to advance flexographic technology. Accep- tance of advertising in FLEXO® Magazine does not imply endorsement of the product or service by the FFTA. Opinions expressed in bylined articles are not necessarily those of the FFTA. FTA HEAdquArTErs & FLEXO EdiTOriAL, AdvErTising, subscribEr sErvicEs 3920 Veterans Memorial Highway Suite 9 Bohemia, NY 11716 Phone: 631-737-6020 Fax: 631-737-6813 PubLisHEr robert Moran, ext. 17 firstname.lastname@example.org dirEcTOr OF businEss dEvELOPMEnT Jay Kaible, ext. 20 email@example.com EducATiOn dirEcTOr Joe Tuccitto Phone: 651-319-5003 firstname.lastname@example.org grAPHic/WEb dEsignEr Katie dubois email@example.com INDUSTRY INDICATORS Printing a Rembrandt Preparing Designers for the Realities of Flexography By Tyler Mills 28 FLEXO JULY 2 011 www.flexography.org ELIMINATINGERRORS • Communication between the printer, the prepress provider, the designer andthe CPCiscritical in order tosuccessfully process work without error and consis- tently across a family ofjobs. • Printing assessments are a cooperative meeting of the minds todiscussdifferent facets of ajob: the best waysto separate ajob, placement and buildof control targets, etc. • Templates shouldinclude dimensions and live print areas. Theprinter, prepress provider or CPCshould provide them tothedesigner as early aspossible in the production process. • When released into the world of flexography and adopted by major CPCs, expanded gamut became a totalgame changer for designers. It eliminated restrictions on the number of colors that a package could have. It made overprinting colors a concern of the past. It alleviated worries over combination colors in printing. More importantly, it introduced a whole new series of design considerations. • It’s a lot to ask of designers because it can be limit- ing to their creativity, but you want them to think like a separator. Members oftheCyber Graphicsdesign teamexamine proofs andanalyzecolor reproduction. TECHNOLOGIES & TECHNIQUES Creating the Most Effective Color Management System for the Job Getting It Right the First Time—Every Time By Larry Moore Onceaweek,mywifewilleithercallortextmetostop by the store and pick something up, take shampoo, for instance. I know I need to buy Nivea. I know what it looks like because I see the bottle every day. Once I’m in the store, I am faced with a number of choices. I remember Nivea, but I don’t remember what kind—the one for a glossy shine, the one for extra volume or the one for no frizz? I do, however, remember the color—peach. That’s why color con- sistency is so important. AllArt:EskoArtwork. 36 FLEXO JULY 2011 www.flexography.org COLOR MANAGEMENT MEANS • Productmakes itto store shelves faster. • Design and production costs are less expensive. • Fewer trial pressruns or press-side color approvals are required. • Less ink and substrate is wasted. • Greener processes are deployed. • Multi-color process printing is explored and the cre- ative brand vision is realized. PLANTS & PROCESSES Crunch Time The Role of the Prepress Provider in the Production Cycle By Bob Dauses Theclockisticking....Timeisrunningout....Thefinal outcome is still uncertain. ... Perhaps, we are experi- encing the dramatic finish to a sporting event? Maybe it’s the end of a suspenseful movie? Or, could it be the end of a packaging project with a press date looming? In this case, it is the latter; this is FLEXO magazine, not ESPN the magazine! The reality is that this is the world that we all operate in today. As expectations increase and timelines for concept to shelf shorten, everyone in the supply chain must work together closely to ensure that a project goes smoothly. Advancements in technology throughout the flexo industry have played a significant role in helping us meet this chal- lenge, but we also need to work on improving our processes. This article will examine the prepress provider’s role in the production cycle and discuss some of the major specifica- tions that need to be followed. Photo:MarkTrecepre-productionteamexaminesaproofforcontent,colorandaccuracy. 52 FLEXO JULY 2011 www.flexography.org LINK & LINGO • The prepress provider acts as the link between the designer’s vision, the customer ’s approved design, and the converter’s capabilities and standard speci- fications. • A prepress provider must understand how to inter- pret the various specifications for each project and be able to communicate these to the designer. This can limit last second surprises and ultimately avoid “crunch time”. • Early collaboration can help set realistic expecta- tions and deliver an end-result that exceeds them. • Prepress for flexographic applications is a very tech- nical process. It requires that all the suppliers follow the various specifications provided to avoid wasted time and costly reworks. Adios, unwieldy anilox inventories. Sayonara, BCM/LPI math. Bon voyage, sleeve and roll changes. So long, pinholes, dot gain, mottling and haloing. See ya later, downtime. 866-APEX-USA gtt@ apexnorthamerica.com www.byebyeanilox.com UniFlexGTT for Wide Web | UniFliGTT for Narrow Web | UniCorrGTT for Corrugated | UniCoatGTT for Coatings/Offset Bye bye, anilox. Hello, GTT When the world’s largest anilox manufacturer rewrites the flexo rulebook with an invention that renders obsolete conventional hexcell anilox technology, you know it’s got to be a pretty big deal. Meet UniFlexGTT for wide web and UniFliGTT for narrow web — the future of flexographic ink-to-plate technology. Imagine requiring just two or three GTT surfaces to replace your entire stockpile of hexcell anilox rolls/sleeves. Imagine: use the same surface for fine screens and stronger solids — on fewer ink stations at higher speeds. Go ahead and streamline your pressroom. Gain unparalleled print quality and consistency. Free your bottom line to soar. And re-imagine your future. Is this an evolution in flexo? More like a revolution. Bold words? You bet. And here’s why: Apex reinvented the very concept of ink-to-plate transfer and, from the ground up, perfected a whole new Slalom Ink Channel surface geometry, a new hybrid ceramic composition and a new laser engraving process. So save time. Save ink. And save money. Let us prove it: download your own GTT brochure online. Or better yet, ask for your GTT quote today. ® GTT Print Ads 8x10.875.indd 4 7/7/11 4:41:47 PM