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FLEXO Magazine : July 2011
tion. I feel it may actually be the opposite. The flexo process forces you to carefully consider every aspect of your design. Although it may be somewhat technical, it ultimately improves your on-shelf product communication. Larger fonts, simplified elements and cleaner gradations all add to the design effectiveness at retail. When you really understand what packaging is supposed to do and you really understand the shelf--what I call the natural habitat--many times, your design naturally becomes “flexo friendly.” MAXIMIZE IMPACT Always design for maximum impact in the product’s “ natural habitat.” Evaluate your results by building a physical comp of the package and looking at it on the actual shelf. If that’s not possible, simulate multiple package facings over a photograph of a section of the product’s category. Grabbing the consumer’s attention from a distance and drawing them in to look at the product more closely, is the first step. Getting them to pick it up is the next key interaction with the consumer. At this point, the clean and legible smaller typography is critical in communicating the product’s features and benefits. Ultimately, the design must clearly and effectively answer all of the consumer’s questions and quickly deliver the final motivation to buy. Over the years, I have seen beautiful packaging (in a conference room), that fails to communicate at retail; as well as, average looking packaging (in a confer- ence room), that pops off the shelf at retail. WHY? I submit that, many packages at retail obviously never considered the “ natural habitat.” Many times, less is more. Clean/simple graphics solve communication problems and deliver better final printed Winning entries in FTA’s 2011 Graphic Design Awards Competition and their type treatments. 50 FLEXO july 2011 www.flexography.org