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FLEXO Magazine : July 2013
Graphic Imagery & Integrity Designers Manage the Critical Process Over the past 30 years, many conceptual and mechani- cal aspects of design for flexographic printing have changed dramatically. Computer graphics have altered every aspect of production. Design studios, prepress houses, and printers all realize the profit potential and enor- mous power of computer graphic systems now available. Let us suppose that a designer has the title, copy matter and pertinent legal description of a new wine about to debut. The client wants flowers on the label, and market research agrees. The designer pores over a file full of photos, gleaned from many sources, and chooses some. Then, the designer sends an assistant out for a dozen roses. With roses and pictures in hand, the flowers are arranged nicely and some colored paper is set up as a contrasting background. The three-dimensional arrangement is photo- graphed using a digital camera, the scene is captured on the computer screen, and the image is backed-up and stored on a hard drive. The designer’s next step is to put the title and copy into the system. If the copy is somewhere other than in the designer ’s computer, it is transferred directly into the designer ’s workstation over a network with other computers. Because of available resources, via the Internet and other forms of electronic media, experimentation and gathering ref- erence imagery, has become much easier. Access to almost anything is only a few seconds away, and with advancements in mobile device technology, this same information is avail- able anytime and any place. All of this speed, convenience, and inspiration has made the design world very exciting, sometimes to the point of overload. What were separate tasks performed by separately trained individuals (typesetters, photographers, layout artists, production artists, illustrators, etc.) is now sometimes all in the hands of one highly trained and skilled design professional. VISUAL COMMUNICATION SPECIALIST The essence of graphic design is the translation of ideas into visual form and the creation of order from unorganized information. The message must be translated into visual elements, which must be seen to be understood. • Graphically Proficient: A designer with sound training in art and education in design principles is well versed in the terms and tools of the trade • Client Oriented: The more a designer knows about the client, along with product and sales objectives, the easier it will be to organize the design plan • Consumer Savvy: Since the design’s goal is to gain the greatest consumer acceptance of, and preference for, the product, an intimate understanding of the targeted consumer category is essential 38 FLEXO July 2013 www.flexography.org FTA TODAy Th i sa r t i c l e i sanexce r ptf r omthenew l y r e l easedFP&P6.0 Foundation of Flexographic Technical A sso cia tio n Technical Education Services Tea m 3920 Veterans M e m orial Hw ySte9 B ohe m ia N Y 117 16- 1074 Phone: (631) 737-6020 Fax: (631) 737-6813 www .flexography.org FLEXOGRAPHYPrinciplesandPractices6.0