Making Mock Ups

By Cassandra Balentine

Presentation is critical when it comes to packaging applications. In addition to appealing shapes and colors, packaging stands out on the shelves through versioning and special effects.

For the creation of packaging applications, digital print comes into the picture in several ways. For one, startups can afford to go to market with custom packaging in small runs. Seasoned brand owners can test new markets and designs with smaller volumes and custom effects.

Phase 1 Prototypes, LLC is a mock-up and prototype packaging company that sets out to combine innovative technology, proprietary substrate development, and printing solutions to offer its clients unique packaging options. These solutions serve a variety of uses, including proof of concept, retail line review, sales samples, design review, color proofing, and trade show and event displays.

Packaging Power
Established in 2006, Phase 1 Prototypes currently operates an office in Dallas, TX, near Las Colinas in an office space that spans about 15,000 square feet. The business works with an efficient staff of approximately 15.

The company offers prototypes including flexible and corrugated samples/displays that range from one to 1,000 in quantity. It can produce all shapes and sizes of custom product packaging prototypes. Solutions include stand-up pouches, shrink sleeves, point of purchase displays and shippers, labels, wrappers, boxes, and bags. In addition to the ability to offer all of these options in runs as low as one, Phase 1 Prototypes offers white and metallic ink as well as effects like embossed text, spot varnishing, and raised edges on packaging products.

“Anything you would see in a grocery store in terms of packaging falls within our capabilities. Foils, embosses, and varnishes are all included in our wheelhouse,” says Kristin Lanoue-Benna, co-owner, Phase 1 Prototypes.

The company treats each job as a custom order, with a goal of utilizing its array of printing and finishing tools, as well as substrates and finishing capabilities to create a unique mock up that comes as close to a final production run as possible.

It also emphasizes its fast service, and says the average turnaround time is about three days, without longer wait times on custom products and unique features.

A Digital Foundation
As a producer of short-run packaging and prototypes, Phase 1 Prototypes has created its output digitally since opening its doors ten years ago. “There isn’t a specific print process we use across the board,” notes Lanoue-Benna. “We have a variety of digital printers ranging from wide format solvent and aqueous printers, flatbed UV printers, digital presses, and even digital foil and cutting equipment that when used in conjunction with one another, allows us to create special print recipes that fit the client’s need for that particular project,” she shares.

Lanoue-Benna suggests that it isn’t just one thing—but rather a number of factors—that set Phase 1 Prototypes apart from the competition. She says that her business partner, Bill Ramirez, is “truly a wizard behind the curtain when it comes to our print processes. He has a huge passion for this industry and never allows us to get complacent with processes and new technologies.”

She says the company is always able to remain one step ahead of the competition by researching and experimenting with various printers, materials, and systems. “By doing so, it allows our clients to stay ahead of the game with new package design and have early exposure to cutting-edge print techniques.”

In addition to this commitment to new technologies and openness to experimentation, the company also offers flexibility when it comes to timing. “We understand time is money and we know that getting our clients their products to market as quickly as possible is key. We do everything in our power to help make that happen.”

Packaging and More
The capabilities that enable Phase 1 Prototypes to produce packaging mock ups and prototypes also enables them to provide a unique spin on other applications.

Lanoue-Benna recalls a recent job for a new client. The customer wanted 100 sales kits produced. The client asked the packaging provider to take a concept sketched by them to produce a structural design. The dielines were taken by the customer who then laid out the artwork and sent the design back to them to create a proof.

The proof kit allowed the client to check color accuracy, product placement, and the overall look of the project. Once approved, the team set out to produce over 800 pieces to make up the 100 kits. This took approximately three to five days including assembly and shipping. “It was a lot of work but they had a tight timeline,” says Lanoue-Benna.

“Collectively, both teams worked together to make it work from a scheduling standpoint. The client had to add product before shipping to the final locations, so we fed them partial shipments daily to keep things moving along,” she explains about the process.

In the end, it was a “beautiful sales kit,” says Lanoue-Benna. “Something both teams were proud to unveil.”

Phase 1 Prototypes happily services its clients with unique, short-run printing and packaging prototypes. “We are always keeping our eyes open for new printing equipment, materials, and systems. Whatever we need to do to continue to bring value to our clients and help their growth is always our primary focus,” she concludes.

Oct2016, Industrial Print

Making a Fluted Living

By Melissa Donovan

Corrugated board printing is driving new business into print service providers (PSPs). For this article, package printing refers to prototypes, packages, and point of purchase (POP) standees—anything structural in nature. There are challenges to printing directly on corrugated board. To address them, manufacturers create flatbeds with features that entice PSPs to utilize the newest digital technologies over traditional analog. These include enhancements to printer temperature, material handling, ink laydown, and productivity.

While challenging, PSPs able to print on corrugated board benefit from its popularity. EFI cited recently that the $130 billion corrugated packaging industry has more than 200 billion square meters of printed output per year—a figure that is more than 25 times greater than the estimated amount of annual signage and graphic output produced.

Understanding Ins and Outs
No substrate is immune to failure, but corrugated board does present its own set of unique challenges. The porousness of the material causes difficulty when it comes to remaining stable on the flatbed and in how ink is laid down.

“Corrugated board is a ‘living’ substrate, it is affected by the environment, manufactured in different conditions by different corrugation machines, it may be transported, and as such is susceptible to deformations,” suggests Amir Shalev, product marketing manager, HP Inc.

The material poses problems that could be foreign to a PSP. “Flutes in the boards create a challenge for digital printers as they don’t restrict the vacuum air flow in order to best hold down the substrate for printing,” says Jay Roberts, product manager, UV printers, Roland DGA Corporation.

“Corners bend easily, boards are very sensitive to temperature and humidity, and, in general, they don’t hold their shape the same way as some traditional rigid graphics materials,” explains G. Scott Wood, senior product manager, EFI. If a board’s corners are bent or the material is warped this increases the risk of printhead strikes.

A board may warp, curl, buckle, or swell due to heat within the printer, or can distort prior to being placed on the flatbed. “While keeping the media flat during printing is crucial, it’s also very important to keep the media flat prior to printing, while it’s in storage. The edges of many substrates can become dinged and bent very easily,” advises Roberts.

The environment the board is stored and/ or printed in plays a role. “An atmosphere where humidity is either too high or too low can cause the board to warp. Most flatbed UV operators are accustom to printing on materials that are not as volatile as corrugated,” suggests Jim Peterson, founding partner, Vanguard Digital Printing Systems.

“The distortion seen on traditional—non-digital grade—corrugated board can be far worse than other media a digital flatbed printer operator would be used to seeing on the substrates that he/she uses,” cautions Becky McConnell, associate product marketing manager, Fujifilm North America, Graphic Systems Division.

How ink is laid down on corrugated board also differs thanks to the absorbent nature of the board and its color. “Corrugated board tends to have a more porous printing surface that can absorb quite a bit of ink. In addition, when printing on a kraft surface the brown color can be quite challenging when trying to match colors,” shares Josh Hope, senior manager, industrial printing, business development and marketing, Mimaki USA, Inc.

Javier Mahmoud, VP of sales and marketing, CET Color, says in most cases the corrugated material isn’t white, which introduces the need for white ink to produce the correct color results.

“Most corrugated cardboard is uncoated and brown, which makes it very difficult to print accurate saturated colors because the pigment sinks into the material. For more money you can get corrugated cardboard with a white clay coat, which improves color reproduction. The other solution would be to put white ink under the colors so the ink cannot sink in and the base is white instead of brown,” recommends Ken Parsley, product manager, Mutoh America, Inc.

“A variety of materials are used for the facestock from raw porous board to white top or kemi board. Porosity varies with temperature and humidity and white top varies in composition. This variance creates a challenge for image quality, relative ink density, and ink finish,” adds Mark Schlimme, director of marketing, Screen Americas.

Carmen Eicher, VP of marketing, swissQprint America, Inc., says the porous nature of corrugated board means it is unsuitable for certain printing processes. “Liquid ink will seep in or spread, creating a blurred image. UV cured ink is the ideal solution, however, if the cured ink is too hard it may crack when the item is processed after printing.”

These issues require manpower to check each sheet to ensure it isn’t damaged prior to print and also during print to avoid any interruptions in the process. Because of this, throughput levels of printing on corrugated board are low.

“Up until now, there has been room for signage and graphics companies to develop a niche in digitally printed corrugated displays and maybe even in very short-run/prototyping packaging, but speed limitations have kept the market from adopting more full-production runs of corrugated packaging in the past,” admits Wood.

One way productivity is limited is when users are forced to combat the curl of corrugated board on a flatbed press by taping around the edges to hold it down, points out Larry D’Amico, director of sales – North America, Durst Image Technology US, LLC.

Digital Dives In
Aware of the potential of digital in the corrugated package segment, multiple flatbed vendors have created new products or enhanced older models to address many of the issues discussed above.

Combating the challenge of the flutes in the boards, which prevent the media from laying flat, flatbed manufacturers have adjusted or enhanced vacuum systems on their tables.

Agfa Graphics’ Anapurna 2540i FB printer incorporates a digitally adjustable vacuum controller for a dual ring blower vacuum system. “Our dual vacuum system on dayto-day normal POP substrates only uses approximately 50 percent of its capacity. This means we have a lot of overhead vacuum suction capabilities that we can ramp up when needed on difficult substrates like corrugated boards,” explains Bill Bouhle, senior application specialist, Agfa Graphics North America.

CET Color’s flatbeds include two vacuums with a four-zone isolation system. This enables the operator to stabilize areas of the corrugated material as it is printed.

The Mimaki JFX500-2131 and JFX2002513 both feature user-adjustable vacuum zones that allow for greater control of the vacuum system by turning off areas of the print bed not being used. This creates a stronger vacuum in the areas where the corrugated board is.

Roland’s VersaUV LEJ-640FT offers a robust vacuum hold down in addition to vacuum zones. These help hold down the media by restricting airflow to specific channels, increasing the suction in those areas.

To address distortion of the board during the print process, manufacturers take into account the temperature of a printer and material handling features.

The Rho P-10 250 series and Rho 1300 series from Durst offer skis to hold corrugated material down. Unique to the ski system are pneumatic pumps and digital movement of the skis for accuracy.

EFI developed cool cure LED technology on its flatbeds, which eliminates the heat component that causes boards to warp. It addition, it now offers a series of material edge guides for its VUTEk GS and HS hybrid printers that hold boards in place as they run through the printer.

Fujifilm’s Onset X series offers three automation choices to help with the handling of corrugated board. For example, a robot automation system uses vacuum-to-vacuum transfer to ensure precision handling starting with a robotic arm pickup, continuing with placement on the print bed, to stacking of the printed board. To avoid crushing the flute and compromising the structure of the corrugated board, the vacuum pickups do not apply pressure.

The corrugated versions of HP’s HDR series—HP Scitex 15500 and 17000 Corrugated Presses—feature the HP Corrugated Grip solution that enhances hold-down power to handle industrial-grade corrugated boards.

Vanguard Digital’s VR5D and VK300D flatbed UV printers include LED curing technology to reduce the heat on the corrugated material during printing. Each Vanguard Digital flatbed is also equipped with PrintGuard crash sensors, which that protect the machine in the unlikely event of a material obstruction.

In regard to challenges with ink laydown, Schlimme says printer and ink manufacturers are teaming up to design and formulate inks targeted specifically for printing to porous corrugated board. He points out that the ability to print a fast and opaque white for image quality critical images is important. Higher end printers can vary ink gloss finish by controlling cure energy and timing.

Mutoh manufactures three LED UV wide format printers—the ValueJet 426UF, ValueJet 1626UH, and ValueJet 1638UH. All of which are equipped with white ink and varnish.

swissQprint ink for its flatbed printers is formulated to be flexible to withstand creasing and folding. CMYK is offered standard on the machines, however up to five additional color channels can be added—white or light colors, orange, violet, and green. Varnish for visual and tactile effects is also an optional feature.

Speed is a concern, especially as digital filters into production-level industrial environments. New printer models offer enhanced production levels.

EFI debuted the EFI Nozomi C18000 1.8-meter corrugated board press at drupa 2016. It runs at speeds of up to 8,100 square meters per hour and can print on boards up to 1.8×3 meters in size. Double-lane printing features increased throughput up to 9,000 80×60-centimeter boards per hour.

A Satisfying Leap
Despite a learning curve, working in the corrugated package printing segment to create anything from prototypes and packages to POP standees is something PSPs should seriously consider. “As best we see it, the corrugated market is about a $120 to $130B market and growing,” cites Deborah Hutcheson, director of marketing, Agfa Graphics North America.

EFI estimates that the total addressable market for inkjet printers and ink in the corrugated board space is north of $9 billion per year. “That makes it one of the largest market segments we reach across the entire company,” shares Wood.

“While outdoor advertising is competing for consumer attention with electronic displays and with multiple other media streams, printing on a corrugated box or merchandising display puts the marketing message as close as possible to the consumer—in the famous last three feet,” explains Shalev.

In regards to corrugated board, Robson Amorim, international sales manager, Ampla Digital, says “it is a versatile and low-cost material, which with the correct printing and eventually decorative finishing, will add value to the final promotional piece.”

The advantages of digital, with cost-effective short runs or larger runs with multiple versions, furthers the appeal of corrugated board.

“The ability to capture local markets in national campaigns has great advantages over traditional printing. I have customers using large run, traditional printing in conjunction with UV digital printing onto pre-printed pieces. Using variable data, they are able to customize these pieces for specific, local markets, allowing for extremely effective, targeted advertising,” says Roberts.

Hutcheson shares that digital corrugated printing is lucrative because PSPs can produce prototypes quickly and efficiently. Or, they can print customized corrugated end caps for one account with hundreds of locations across the country.

“In a world where brands are struggling to be recognized by consumers, direct-to-board digital printing enables endless customizing of print campaigns and eliminates prepress costs, as no plates or pre-coating processes are required,” agrees McConnell.

Risk with Reward
Corrugated board is a tricky material, but the newest digital flatbed devices are designed to handle it—from vacuum hold down to advanced media handling and the correct ink. The growth potential in the packaging segment is high and PSPs willing to learn the nuances of printing to corrugated board are sure to benefit in the long term.

Oct2016, Industrial Print

Visualizing the Product

Visualizing the Product

By Melissa Donovan

Package prototypes and elaborate point of purchase (POP) standees are relatively new to digital wide format. Digital provides a cost-effective way for companies to create life-size one off s of structural designs that customers can then use to visually convey their intended idea to the buyer.

The printing and finishing process may be the easiest part for the print provider tasked with this job. Designing a package or standee is foreign to many wide format print shops accustom to dealing with two dimensional (2D) signs and banners on a daily basis. Constructing a three dimensional (3D) box shape, designing multiple sides, and ensuring the measurements are correct for it to be pieced together can be challenging.

To help alleviate some of the pressure, there are design software programs specifically targeted toward package prototype and POP standee creation. For print service providers (PSPs) committing to this service, it’s important they consider investing in a solution right away. Tools like templates and 3D modeling save in costly errors and minimize mistakes. Programs are user friendly for those familiar with design terminology and help generate a return on investment (ROI).

When to Invest
For a PSP seriously considering getting into this niche, investing in a software solution to help design and measure correctly is a necessity. Ideally, working with a program prior to starting that first job presents a professional look to the customer.

“Designing 3D POP displays from scratch using 2D design software is very difficult and time consuming. When first starting out, it can take days to design a POP display that will correctly fold, stand, and hold products,” cautions John Blundell, product manager, SA International (SAi).

Roberto Rodriguez, president, Digital Graphic Systems Inc. (DGS), suggests that creating structural designs of this nature requires just as much practice as any other new service, so purchasing the software well ahead of a job allows time to play with it and become familiar with the various features.

“With this rush to packaging we fi nd that many printers are playing catch up. Th at is, they purchase a die cutter or other manufacturing equipment and then realize that they need to be able to communicate with their suppliers and customers intelligently about structural design. So, when considering entering packaging and display production the software to design, visualize, and output this information is critical,” shares Jim Silianoff , president/ CEO, Arden Software North America.

Features to Figure Out
A number of features found in these software programs take the guesswork out of structural design. Th is includes 3D modeling, layout, and templates. PSPs designing package prototypes and POP standees not only benefit by saving time and minimizing error, but also enhance the proofing process.

“3D modeling is a must. Th is feature allows a designer to create the structure—or add the graphics—on a 3D model rather than making changes on a 2D fl at. Th at gets us to where designers have the opportunity to add graphics to the structure. A 3D application ensures that graphics are placed as required, and are right reading. They can also send 3D images—with the ability to spin them around to inspect all sides—to all supply chain partners,” explains Stephen Bennett, VP sales central and distribution, Esko.

Silianoff recommends using 3D modeling as more than just a design tool and instead having it act like a close-to-real proof. “PSPs can begin to rely on the software as providing not only a service for their customers but using it as a sales tool by incorporating 3D with the graphics and visualizing the packaging in a number of different environments,” he shares.

“3D proofs not only streamline the job approval process, but also reduce costly post-production rejects. The more realistic the proof is that customers approve, the less chance of surprise when they see the final product,” adds Blundell.

Blundell also believes nesting features are ideal because of how costly cardboard sheets are. He advises using a true-shape nesting feature, where the software nests and arranges all of the print elements efficiently across the print board. “Without this type of nesting, production runs can waste up to 40 percent more material,” he advises.

Design templates are handy for PSPs not familiar with structural work. “I think that the number one feature to look for has to be a templates library, especially for print shops new to this type of application. Professional software will give you a large library, easily modifiable just by changing the measurements and the material thickness, so the structural design—normally the most difficult part—will be smoother in the long run,” says Rodriguez.

Familiarity in Design
Many PSPs familiar with traditional design software should have a relatively easy time learning how use structural design programs. The terminology and even visual icons are not foreign concepts.

“There are solutions in the market to fi t every level of userability. For example, POP display software that operates as a plug-in to Adobe Illustrator requires users to be fluent with Illustrator and off er powerful design capabilities,” recommends Blundell.

However, Bennett says there is a difference in graphic and structural designers. “Structural designers apply the knowledge to ensure that a display will hold all the products without any danger of collapsing. Graphic designers tend to focus on making the design appealing enough for the consumer to respond to it and pick the product up. It’s sort of a left brain and right brain difference,” shares Bennett.

Sometimes it isn’t about the program and adapting prior knowledge, it’s more about the application. “It’s not a question if the user is fluent in design software, the question is how fluent the user is in design. The software is a tool that can be easily learned by a beginner who understands packaging. It can be as easy as point, click, and output assuming the user knows what they are looking for,” suggests Silianoff .

Calculating the Buy
As print buyers become savvy to the package and POP standee world, many will ask their existing PSPs if they can do that work. Jumping at the opportunity could mean outsourcing a large portion of the job if a PSP isn’t experienced with structural design work. Bringing the order in house can be a huge cost saver in the long run, meaning an investment in specific software is worth the initial cost and added labor.

For PSPs questioning the cost of a software product, Silianoff recommends they look at the amount of money they are paying for outsourced design time, which is a rising cost as jobs become more complicated and you lose control of the situation. “When bringing design in house you are greatly reducing the frustration of not getting what you want when you want it, which is directly translated to getting the customers what they want when they want it,” he continues.

“If you are a print buyer and you need to find a designer to create POP, you might also find that the designer has a printing business of his own. Now the print provider has lost the account. The more you keep under your roof, the better off you are for account control, and also for quality and deadline control,” agrees Bennett.

ROI is an important measurement. It can decide whether the service and any new technology—in this case software for package prototypes and POP standees— is worth the investment.

“The two key metrics for ROI are time to design and cost of production. Prospective buyers should get an evaluation version of different software and see how much it reduces their design time and production costs per job. Based on the number of jobs they expect to produce, they can calculate their time to ROI,” suggests Blundell.

Structural Software Options
Here we share some software solutions targeting the package prototype and POP standee space.

Arden’s Impact software solution is an open system built on a fully integrated database. Many configurations are available to work with all business systems. Its capabilities allow it to communicate with anyone in or out of the packaging and graphics communities. Features include 3D modeling and animation, a standard library, layout creator, and in-store visualization.

DGS offers Kasemake V11 software, which guides designers through the creation process. It includes prompts when drawing tools are selected, sharing how the tool works and what the next step would be in the process after use of that tool is completed. The software is based on vector lines, which are compatible with most common design software programs. A template library offers an extensive number of designs, which users can decide to work with or customize based on their requirements. Kasemake also offers a 3D workspace to visualize the finished product.

EngView Systems’ Package & Display Designer Suite is specialized for boxes and POP displays with support for materials like folding carton, corrugated board, and rigid board. It combines a comprehensive library of parametric components and designs with Adobe Illustrator integration. A modular structure, users can customize the software solution to fit their needs.

Esko’s ArtiosCAD is ideal for corrugated, folding carton, and POP display designers. The ArtiosCAD Display Store offers users downloadable templates for a range of POP displays. A material library is also helpful in determining how to build and design with corrugated versus other rigid materials. For graphic designers, all the tools have been embedded as plug-ins to Adobe Illustrator, making it easy to learn.

SAi’s DisplayGenie offers users a selection of 3D templates, simple placement of artwork, and quick 3D viewing. It creates 3D PDFs that PSPs can email to customers to view in Adobe Acrobat. An animated 3D folding preview helps catch mistakes prior to production.

Committing to the Program
Purchasing software for an entirely new service is a commitment, one not to be taken lightly. Prior to adding, it should be determined whether the company is equipped in equipment and staff to handle the additional workload. Structural software designed for package prototypes and POP standees helps alleviate stress related with offering a new service, providing features like 3D modeling, layout, and templates that save both time and money.

Sep2016, Industrial Print

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