Pre-press

Randomize

Featured article

Short title

Managing a self-adhesive materials inventory

Short summary

Setting up an automated stock management system has become critical as label printers are increasingly asked by brand owners to provide traceability of all self-adhesive materials for every batch

Teaser image

Categories

Display section

Chapter section

CATALOGUE AND SPECIFICATIONS

Each of the three individual components of a self-adhesive laminate – face material, release liner and adhesive – have their own characteristics, and suppliers offer the converter many combinations of these three elements in their product catalogs
(Figure 9.1).

The face material (frontal) is the layer that will be applied on the final product.

During this application the release liner (backing) will be removed and the adhesive (glue) will make the face material stick to the product surface.

The specifications for the face material are obviously related to the appearance and the shelf-conditions of the final product. A label on a wine bottle is often a coated paper, sometimes with an extra finishing like embossing or a soft touch varnish. An oil-can label will require a very resistant material like PE (polyethylene). Sometimes extra variable data will be printed on the label during the application process.

The adhesive will have to meet the customer requirements for storage conditions (eg deep freeze) or end user treatments (removable, permanent).

The liner is often chosen in relation to the adhesive and the application process used, either manual, semi-manual or fully automated (Figure 9.2).

Many more combinations and material characteristics can be found in the product selectors of the different suppliers. Every supplier offers a catalog of set combinations of the three components to avoid an endless list of individual products, while some suppliers allow converters to order almost any combination. The product selector guides the user to the most suitable material for the finished product and its end use conditions.

We will use the word ‘substrate’ here to define a specific combination from one supplier.

The selection process requires specific technical knowledge and because the printer is the one who mostly buys the self-adhesive material, s/he will need to provide this knowledge. The very first dialogue between the printer, the brand owner and the applicator for a new product series is often about the conditions in which the product will be labeled and the usage of the label. This will define the selection criteria.

Because different suppliers do not offer perfectly equal components, it is not easy to create a set of equivalent substrates from different suppliers that can be exchanged in all cases. For this reason, the brand customer’s product specialists will sometimes require one specific substrate from one supplier to be used, or will only allow for one or more specific alternative substrates.

It is advisable for suppliers to supply a set of characteristics in their catalogs that will allow converters to find equivalents for each individual component – for example all permanent adhesives or all PE face materials.

Only when all three components match would alternative substrate choices become available.

In some cases, it can be useful for converters to send substrate specification sheets, as provided by the self-adhesive material supplier, to the customer as soon as possible. One can argue that this will restrict options later, but storing the chosen supplier’s substrate identification code in the customer’s product specifications will avoid trouble later, since more recently produced labels could end up on the shelf next to labels produced earlier. The more sensitive this issue, the less likely are customers to allow for alternatives.

ORDERING AND DELIVERY

By always ordering the same substrate for every re-run job, the converter will not make a mistake. Luckily, the substrate identification codes for self-adhesive materials are independent of the ordered length and size. Using a 180 mm-wide roll on a very narrow press or a 330 mm wide roll on a wider press does not require a change in the substrate’s identification code. Of course, the width and length must be provided upon ordering.

By using a price per sqm, self-adhesive material suppliers allow printers to use one purchase price for one substrate, independent of the width.

This leads to the first two levels of a self-adhesive material catalog : substrate (a specific combination of the three components, independent of width) and material (a specific width of a substrate). At the substrate level, only sqm is relevant; for the material level, the width and length are added.

But this does not mean that ordering is easy. Price tables are related to the quantity ordered and supplementary restrictions can limit the options for ordering.

Sometimes a minimum quantity needs to be ordered and, in some cases, it is necessary to order a predefined length, like 2,000m, or width, say 1,000mm. The purchaser must indicate how this width, far too large for production, will need to be slit by the supplier (for example 1,000mm = 3 x 330 mm + 10 mm) and s/he will need to pay for the complete sqm ordered, even though the supplier can be asked to destroy the left-over width.

This means that in the order process, the user should be able to combine individual material orders into a cut-instruction for the supplier, all for the one substrate-ID.

Almost every self-adhesive material supplier now offers electronic ordering systems, but the more complex the set of limitations, the larger the number of system rejections.

The benefits of electronic ordering are great for both sides. The supplier will not have to retype instructions and can have software handle most orders automatically. The customer will receive an almost immediate order confirmation for delivery quantity, date and price and can schedule accordingly.

When the truck leaves the supplier’s production site, the customer will receive an electronic ASN (advanced shipping note or manifest) with the details of all rolls that are on the truck.

This will allow for a very easy reception procedure at the printer. The packing slip of the truck driver needs to be checked with the goods unloaded from the truck and with the details of the ASN.

No re-identification is necessary, since the supplier’s identification labels on every individual roll will match the roll IDs in the computer’s stock database after processing the original ASN data. The only thing to do is to move the rolls – or pallets with rolls – to the appropriate stock location.

Since the stock locations are identified with a barcode, the operator only needs to scan the supplier’s barcode and the barcode of the stock location (Figure 9.3).

TRACEABILITY AND INVENTORY

Using the supplier’s roll identification for each individual roll is the third level of an adequate self-adhesive material inventory, next to substrate and material (width).

Every complaint about an individual roll, whether it is before or after production, can easily be traced in the supplier’s production database by sending them the original roll ID.

At the same time, a system with perfect in-house traceability of all rolls in stock can be set up. Every roll can be at ‘any’ location in the warehouse or on the shop floor.

No need to book the consumption of a roll when leaving the warehouse and booking it back in on return. The warehouse is everywhere, and all rolls are in stock until all the meters of a roll are consumed. The only thing to do is to scan roll ID and stock location ID upon each roll-stock location change (Figure 9.4).

Rolls can be placed into racks at any height and you do not need to put all rolls from the same substrate together in one area, so less floor space is required. There is no need to use special stock locations for quarantine. A roll can be quarantined by a special scan function and the software will prevent this roll from being used again until it is de-quarantined.

Counting stock is nothing more than scanning all individual rolls. Instead of doing this once per year, this can be organized in groups of stock locations. Every time stock managers have some spare time, they can check one or more stock locations by scanning the rolls in it. The result of these scans will be compared with the information in the rolls database and errors can be corrected immediately.

The disciplined scanning and regular counting of rolls is the foundation of a fully reliable inventory.

Based on this precise data, only the substrates needed for the current and next day’s production needs to be ordered. The only thing to do is estimate exactly what will be needed. This means a solid comparison between a plant’s theoretical and actual consumption must be set up.

Fortunately, the organization of a detailed roll consumption system will, at the same time, deliver all data needed for this kind of detailed traceability.

The warehouse team will put all rolls necessary for the next few hours’ production close to every press. They will, of course, not forget to scan this new stock location, and they will always take the oldest rolls first. The press operators then scan the barcode of the new roll upon every roll change on the press. An automatic counter registers the meters consumed until the roll is switched again.

When a roll is not completely consumed, the remaining meters in stock will be the new stock quantity for this individual roll, and a new identification label with the same roll ID and these remaining meters will be printed. The operator will stick this on the roll for precise re-identification (Figure 9.5).

As well as booking roll changes, the press operator also books each job change on the press. The combination of these two will give a detailed description of material consumption on every job. This information is then compared with the estimated material consumption.

At the same time this system provides a detailed list of all paper roll IDs used for this production job.

The linear meter counter can be a third-party device mounted on the press, but can also be delivered by the computer driving the press.

Roll changes can be booked manually by the press operator, but today’s automatic unwinders can deliver this information electronically (Figure 9.6). The operator will scan every roll loaded onto the unwinder, which sends the new roll ID and the exact timestamp to the MIS system which process the data.

Job changes can of course be booked manually by the press operator, but today more and more presses can deliver this information to the MIS, even if only feeding back job start and end.

All of this gives the converter a precise inventory. The operations team can see which rolls have almost reached their expiration date, based upon the validity date on the original ASN, and can see which alternatives are still in stock.

This does not mean that there is no place for human stock-keeping intelligence. You can limit the widths you buy to avoid roll-width switches when consuming left-overs, for example. Or you can guide customers to order larger quantities where there is a high minimum order quantity to avoid leftovers for less used substrates.

ESTIMATING AND REPORTING

The ultimate key to reducing inventory is precise estimating of substrate quantities needed for production (Figure 9.7).

This will start by breaking down current waste totals in the finest possible detail. According to figures compiled by MIS specialist CERM, in the most extreme cases only half the total material ordered by the converter ends up actually going to the customer as finished labels.

Waste estimation techniques include setting up an average waste per roll and multiplying the number of roll changes required for a given production length.

This can be determined by checking how many meters are thrown away at the end of every roll; how many meters are not used at the beginning of every roll; and how many meters are lost when switching rolls. You can even use two bins to collect this data, one at both ends of the press.

Detailed waste reduction instructions, based on these estimates, should be followed by the press operators. Let us take a practical example.

Suppose you have to run five different products of the same series – same paper, size, shape – on one job on one roll. The printing waste is at the ‘end’ of the roll that enters the first finishing device. But it can be re-used for the setup of the next roll. So the start of the first product and the end of the last product will get the largest production waste quantity. There is no need to waste the same quantity of material for the products in the middle of the roll.

A good shop floor reporting system can help determine the biggest components of your waste. If you measure the length entering every individual machine for one job, you will know how many meters are lost during the different production steps like printing or finishing.

The same reporting system can give you much more useful information. You will be able to set up an OTIF (on time in full) delivery rating for your material suppliers. You will know exactly the total sqm purchased per type of substrate for your annual price negotiations.

Intro section

Setting up an automated stock management system has become particularly critical as label printers are increasingly asked by brand owners to provide traceability of all self-adhesive materials for every batch. Meanwhile, inefficient stock management is now recognized as one of the leading causes of waste and incorrect estimating.

This article examines all the aspects of managing a self-adhesive roll inventory: minimizing the complexities of the ordering process; automated stock control; more effective estimating; and minimizing waste by setting up a detailed shop floor reporting system.

Migrate nid

89694

Migrate path

/label-academy/article/managing-self-adhesive-materials-inventory

Article main topic

Substrates & adhesives

Article slug

/label-academy/article/managing-self-adhesive-materials-inventory

Building the foundations – origination

Feedimporter — Thu, 26 Nov 2020 09:34:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Building the foundations – origination

Short summary

A detailed review of security design for labels and packaging

Teaser image

Display section

Chapter section

Since the space on a product label or packaging is at a premium, it follows that any additional information that may be added to improve authenticity checks and usefully provide supplementary facts such as supply chain channels and product codes should be as functional as possible. This is of course without such data impacting on, or detracting from the primary functionality emphasized above.

It should also be borne in mind that graphical design can be adapted to carry overt, covert and forensically detectable features in a similar manner to those carried in raw materials such as inks and substrates in the form of paper or board.

At this juncture it is necessary to point out that graphical design is constrained firstly by the printing methodology employed by the converter and secondly by the number of colors available to the print process being applied.

In the fast moving consumer goods sectors, which include food and drink products, color is an essential part of communication between brand owners and their consumers. Here then, process color predominates with additional spot colors and often metallic inks being deployed to decorate and attract the buyer’s eye.

With industrial goods and mainstream pharmaceuticals, process color often gives way to graphics that are carried in monotones or duotones, and here a different approach to combining security features with graphic images is required.

Embossing and foiling are also important tools in graphical design and can provide useful security features as well as enhancing the visual appearance of a label or box.

Employing graphical design as a tool to deter and detect product related crime is one of the most economical methods of prevention and detection of fake products, since images and text are key components of brand recognition and information conveyance and are present wherever labels or packaging are deployed.

Whilst adding a security ink or a hologram increases the cost of the pack or label incrementally, design is an unrepeatable charge once created and therefore a highly economic method of authenticity check that is available to the most auspicious of brand owners.

It is of course important to recognize before entering into the design process the objectives you wish to achieve at the conclusion of the project. If there are no perceived product threats, such as tampering or counterfeiting that require countermeasures to be considered then there is little point in developing the security approach further.

Of course, if there is a history of previous counterfeit product attacks or a vulnerability to refilling a pack or bottle with fake product then precautions will be required.

The design stage of any overhauling of the packaging or labeling will then require a degree of evaluation of the threats faced and how to counter these with specific features integrated into the design and production process.

This is because production is crucially linked to design and not every printing process is suitable for the deployment of all the various procedures available to embed the wide range of security features available within a label or pack.

To provide an illustration of this constraint, not all print processes are capable of carrying enough ink weight to provide an effective color change when using optically variable inks. Other processes are not able to deliver the very fine detail that is required in order to embed covert images that can be recognized easily with high magnification and other viewer assisted processes such as smart phone cameras.

More importantly, the move to digital and hybrid printing systems that incorporate inkjet and other variable non-impact processes with conventional printing will require a different approach to design and production methodologies.

The message here then is clear. It is essential to recognize that you research all the relevant facts not only about the materials and print processes involved in delivering an effective design, but also how those procedures will deliver a satisfactory result and provide the brand with a solution that is able to identify as well as deter unwanted criminal attention or fraudulent activity.

DESIGNING TO DETER AND DETECT COPIER AND SCANNER ATTACKS

Today scanners are ubiquitous, with high resolution devices widely available in the home office as well as the workplace.

Previously, scanning attacks designed to copy the existing labels or packaging on products under attack would only be possible in the printer’s origination studio.

Nowadays, most people have access to not only a scanner but also an embedded printer so it even becomes unnecessary to move the scanned image into a publishing program to print it out.

Labels and tags are most at risk from this threat as they are produced on relatively lightweight materials but carton packs too can be copied as many desk top printer/scanners can accommodate paste and pulp-board in their feed mechanisms also.

What needs to be remembered is that scanners can only reproduce material by converting the image to a dot screen and then replicating the dots to recreate an effective copy. Dot size here is important and we refer to this as ‘resolution’ or dots per inch (dpi).

During the scanning process, any color present within the image will be converted to cyan, magenta, yellow and black (CMYK). As we should know, these are the basic colors required in process printing in order to reproduce an image using the conventional printing color separation process.

[There are of course variations to this such as red, green and blue (RGB) used mainly in TV’s, and commercial proofing systems that use hi-resolution inkjet printing that involves extra colors, but let’s ignore that for the moment].

The higher the resolution of a scan, the more dots per inch are required to reproduce an image and therefore the image reproduced attains a better quality.

An understanding of this basic constraint of all scanners provides us with a variety of responses that are available to deter and detect direct copy attacks.

Firstly, the use of continuous lines in the origination process will provide a detection device since any lines copied onto the fake packaging will consist of dots, which can then be easily identified with a loupe or other magnification tool.

Using ‘spot’ color is a further refinement since any scanner attack will convert the spot color into its relevant ‘process colors’ of CMYK and be identifiable again using magnification. Spot colors that are impossible to scan such as day-glow inks, metallic inks and fluorescents are also useful and act as a further deterrent if they can be incorporated within the design artwork.

USING SCREEN ORIGINATION TECHNOLOGY TO DEFEAT COPY ATTACKS

Screen modulation tools are also useful since by controlling and varying the dot size carried by the screen it is possible to leverage on the weaknesses of scanning systems that work on fixed resolutions of say hundredth’s and thousandths of an inch.

By finely tuning dot and line screen origination outside of these scanner threshold’s it is possible to create hidden images within the artwork that are only visible when a label or carton is scanned dishonestly. The hidden image is then highlighted in clear view to deliver a visible message such as ‘VOID’ or ‘COPY’.

For effect then, it is possible to produce what is termed a ‘void pantograph screen’ by creating two thicknesses of lines or sizes of dot within the image to be protected. The thinner lines or smaller dots are set below the finest level of scanner resolution and the larger dots just above this.

Since some loss of quality through dot gain or drop out is inevitable during the scanning process, protected images will display the word or pattern chosen to alert that an illicit scan has taken place.

Since scanners, copiers and computer desk top printers are under continual development the process of embedding a void pantograph image into a label or carton design should undergo testing, evaluation and changes in color to obtain the best results.

Since any scanner or copier can only ‘average out’ images that it can identify, the designer can compensate for this weakness by using subtle pastel shades balanced by stronger denser color at opposing ends of the spectrum to ensure maximum effect from such copy protection screens.

Finally it should always be recognized that depending upon only a single anti-copy feature in any design is in itself a weakness and other complementing copy detection features such as metallic inks provide a good balance of security for little extra investment.

REFINING A LINE SCREEN TO PROVIDE HIGHER LEVELS OF ROBUSTNESS IN ANTI-SCAN SYSTEMS

A further more refined approach to detecting copies of labels and indeed any other form of packaging that carries a printed image is known as hidden image technology (HIT).

HIT involves the use of selectively pitched lines that carry a moiré interference effect and deliver a hidden message when print containing the covert embedded HIT image is viewed through a clear filmic filter. That filter carries a matching series of lines pitched in such a way that they interact with the printed screen to deliver the message.

This system provides an easy to use tool that is both low cost and requires no training for teams involved in brand protection inspection activities.

HIT works through the fineness and quality of the print screens involved in the original print operation and is robust against scanning attacks as any attempt to copy a protected image will involve a certain degree of dot gain in the copy. This superficial dot gain blocks out the image in the viewer, revealing the fake copy.

Further refinement to the system involves a scrambling of the original hidden image (or indicia) in such a way that it can only be viewed through a clear prismatic lens. Both lenses and origination software can be combined to provide an individual system for each user or brand owner. When combined with other overt and covert technology such as a hologram this is seen as the ideal defense against copy and replication attacks.

Alternatives to conventional HIT printing involve the use of polarization filters and specially manufactured foils or filmic materials that carry no visible image but reveal a security message or logo in negative or positive form when viewed through a special filter that acts in a similar manner to polarized sunglasses that remove the glare from the surface of a lake allowing the viewer to observe the fish swimming beneath the surface. This process is tightly controlled and 100% effective against copier and scanner attacks.

ADDITIONAL REFINEMENTS THAT DETER COPIER AND SCANNING THREATS

As has been disclosed in the preceding paragraphs, something that interferes with the fixed resolution of a scanner or color photocopier can be used to protect printed images from such copy assaults. Since some printing technologies can be used to reproduce very small, almost nano-sized images they are ideal for the production of micro-text down to sizes lower than 1/100 of an inch. At this level of microscopic printing a 100 page text book could be fitted on to a sheet of paper 8.5 by 11.0 inches.

Lithography, gravure and intaglio are particularly suitable printing processes for creating micro-text images. Whilst intaglio is not a print procedure that is familiar in the label industry, some suppliers can be found that offer this highly secure process for brand protection applications such as swing tickets, tags and certificates of authenticity.

Litho and gravure are of course recognized as purveyors of high quality images and by using specific fine line micro-text typefaces and spot colors the process renders scanners and copiers useless for reproducing accurate facsimiles.

Finally, the ability to add some form of tactility to an image will result in the negation of copy attacks since they are unable to reproduce the physical properties associated with perspective and depth. Tactility can be introduced to printed paper and board through embossing or by adding a line-work screen from a finely etched plate that transfers a raised ink image to the material.

Such images are termed ‘latent’ (as in hidden) but are observable without any need for a viewer as required in HIT systems. Embossing or etching is used to create a series of micro-grooves that reveal an image when a label or pack is tilted towards or away from the observer.

Light interference patterns created in the artwork result in a clearly observable image that can be ‘flipped’ between positive and negative states when tilted away from or towards a light source.

In order to visualize the effect provided by a latent image it is necessary to envisage a freshly plowed field where the furrows are invisible from high above but become observable at eye level when their peaks and troughs can be seen in high detail.

The effect of a latent image can be seen on the illustration (Figure 5.4) where a combination of fine line embossing and litho-printing has been used to create a leaf symbol that can be tilted to reveal a more complex and markedly different image when observed from different angles.

Such latent images are popular with high security print applications such as banknotes and identity documents such as passports.

These are produced using the intaglio (raised) printing process. The introduction of latent images using the litho process is seen as a very positive development for brand protection applications that rely on labeling and packaging for their success.

DESIGNING TO DETER AND DETECT REPLICATION (RE-ORIGINATION) ATTACKS

With the widespread availability of origination software in all its forms there is also the risk of replication attacks on vulnerable product packaging.

Such occurrences are seen as more serious than copier and scanner attacks since they utilize conventional printing and converting machinery to create fake labels and cartons. This process can deliver more convincing counterfeits since close to original materials are used such as inks, self-adhesive label stock, carton board and the like.

There is no shortage of capacity in the printing industry which can be operated clandestinely by rogue staff during non-working hours in order to produce fake labels or containers. The industry is also defenseless against second hand printing equipment being traded on the open market. Such printing and converting equipment is then used by criminals who employ retired or redundant print staff to manufacture fake labels and packaging on their behalf.

It is not unusual for legitimate converters to be approached by criminal gangs who pose as re-sellers or agents and purchase ‘on-behalf’ of brand owners. Such an underhand approach removes any skill necessary to produce the counterfeit materials themselves. In some parts of the world and in the USA in particular it is an offence to be caught in possession of fake labels and packaging. That’s how seriously the problem of product counterfeiting is being taken by national governments and authorities.

Adding security to the designing process requires special software or at least the inclusion of add-on ‘security’ modules to Adobe or other artwork origination systems. These resources provide the software tools necessary to create a whole range of security features within the artwork that are not available to the commercial printing sector.

Such software is only provided to bona-fide and trusted Protecting against replication converters in order to negate the risks of such design tools falling into the wrong hands.

There are a number of intricate steps that can be taken to secure a design against replication and we will review a few of the most practical for brand protection in the next few paragraphs.

GUILLOCHES

These features are most widely used in banknote design. They consist of geometric patterns of closely packed line-work that involves a number of colors for maximum security although single color printing of a guilloche together with an overprint of a spot color will provide a basic level of security on the simplest of label designs.

VARIABLE LINE THICKNESSES AND LINE MODULATION

This feature allows the designer to change the thickness of intersecting lines within a close screen in order to create an image within the screen that becomes evident when viewed from a distance in much the same way as a half tone made up from dots.

SPECIAL RASTERS

Pictures found on the Web and photos you import from your digital camera are raster graphics.

They are made up of a grid of pixels, commonly referred to as a bitmap. Security designers can design their own individual pixel shapes and then in conjunction with software tools use these pixels to create more complex shapes that can be ‘grown’ like a snowflake into interlinking backgrounds that change in hue as they progress across the design. Without special software these features are difficult to reproduce.

CRYSTAL PATTERNS

This is the creation of complex symmetrical patterns that interlink and form a pleasing aesthetic effect and background upon which other security features can be built.

RELIEF IMAGES

These effects are used to create the illusion that text is embossed or in a 3D font thereby adding a level of security through manipulating line screens into a series of curves and intersections that create the shadows and impression of relief printing.

INTENTIONAL DEFECT

One popular technique that is designed to quickly identify a fake copy that has been re-originated is to introduce an intentional defect into the artwork. This may be as covert as a missing serif on a character in one line of text or a broken or damaged line in a frame around an illustration.

MICRO LOGO SCREENS & MICROTEXT

The introduction of micro-logo’s into a screen of micro-text and the ability to rotate and morph these into a background screen or as use as shading around a central object is also a method of making it very difficult for anyone trying to copy an original design through the use of all-purpose desk top publishing type software packages.

SPLIT DUCT PRINTING

Popular in high security printing applications this skill involves the splitting of a central piece of artwork within the copy into two or more colors, but from a common plate. To achieve this objective it is necessary to add duct dividers to the ink troughs and rollers and add an offset roller to one color unit on the press.

A different color is added to each split off section and when in operation the colors merge (where they intersect) into a pleasing mixture of shades that are unbroken in their hue and impossible to recreate without access to the necessary skill and resource of the original artwork and press used to produce them.

PLATEMAKING/C’THRU DUPLEX PRINTING

Another skill that derives from the security printing preserve is the ability of a plate-maker and printer to co-ordinate impressions on both sides of the sheet in perfect register (perfecting). This requires the capability of in-line duplex printing and the creation of a design or pattern (in two segments – one negative, one positive on alternate sides) that create a complete image that can be viewed when held to light.

VIGNETTES

An alternative to split duct printing that is less secure but offers the designer with the ability to fade a screen from a solid 100% coverage of ink progressively and smoothly through to lower levels of saturation. Also known as gradient or blended screens these features are difficult to scan or copy effectively so that they retain the smooth properties of the original.

Please note that the printing technology used to produce a book is unable to reproduce all the security illustrations in the kind of detail that we would like.

Inevitably some quality is lost during image processing and our references to solid lines and solid spot colors may not always transfer to the illustrations accurately

DESIGNING TO APPLY COVERT AND FORENSIC SECURITY FEATURES FOR TRAINED PRODUCT INSPECTION (DIGITAL WATERMARKS)

With the correct software installed it is possible to store a completely covert mark within any piece of artwork that carries a screen. This mark is secure inasmuch as it can be designed so that it is not possible to transfer the mark from an original to a scanned image. Such marks also protect against replication attacks where re-origination is involved, because any replica images will not carry the covert mark.

Such marks are termed ‘digital watermarks’ and should not be confused with their security paper counterparts. Neither should they be confused with the watermarking software used to embed background images such as ‘confidential’ in word processing documents.

For security and brand protection applications digital watermarking relies on a process that involves steganography. It is a technique designed to secure a message by hiding that message within another object so that it can be kept secret from everyone except the intended recipient.

This is quite different from cryptography that renders the message (which is typically visible or audible) unintelligible to unauthorized viewers to prevent access.

Digital watermarking can be applied to both analogue and digitally printed images, although it delivers different attributes in each procedure.

Digital watermarking is achieved by varying the size and shape of some of the pixels that are used to compile the printed image.

This is achieved by running the pre-press artwork file through a watermarking generator which applies the covert image chosen and invisibly embeds this in the pre-press artwork. When printing occurs the covert mark is replicated in every image produced from the protected printing plate.

The digital watermarks can be extracted from the protected image through the use of a scanner, or the camera on a smartphone equipped with a suitable app.

Both scanner and smartphone need access to the appropriate extraction software that is linked to the original embedding process. Extraction of the authenticated image can take place visually in which case the covert image is converted to an overt form that can be viewed normally, or it may be programed to deliver a message or audio response of recognition to a screen on a laptop, mobile phone or tablet.

Whilst digital watermarks applied to analogue print will always display the same image on every copy reproduced, with digital printing it is possible to embed a watermark that changes with every copy generated.

Therefore, digital watermarking in digital printing applications is an extremely powerful tool; since it can be made to deliver, say, a covert serial number in every piece of print created.

One distinctive benefit of digital watermarking is that it can be utilized to embed valuable supply chain information within the printed artwork on a label or carton. Since space is always at a premium on product packaging such as consumer goods, the availability of a process that allows additional information to be carried on products in this way is seen as a real benefit, since it offers the dual advantage of authentication linked with factual supply chain data.

DESIGN ENCOMPASSES BOTH ‘SYSTEM’ AND CONSUMER ENGAGEMENT TOO AND REQUIRES MAXIMUM ATTENTION TO THE ‘REAL ESTATE’ (SPACE) AVAILABLE ON PACKS AND LABELS (ON-LINE PROTECTION)

The introduction to security and product protection article identified and deliberated on the major tasks of packaging. These were those of protection, containment and as a carrier of information.

Labels too are required to carry information and as has been revealed, both of these components can be exploited to carry evidence of authenticity; evidence that can be tested in real time and if needs be forensically.

The primary task of packaging and labeling is to inform. In most cases where counterfeiting or diversion are considered major threats to a product line, this requirement carries the responsibilities of communicating the brand effectively together with a record of nominal data such as sell-by date, use-by date, identification (universal product code/lot number and source of origin) etc.

Additionally, in some market sectors such as pharmaceuticals there is a requirement to carry a unique serial number in order to identify each product and thereby create a pedigree that allows for provenance to be tested at every stage in the supply chain and again at point of purchase/use.

In applications like these, the informed designer will have to ensure that other important information such as a listing of the contents and directions on product safety and usage are not impacted through space restrictions triggered by the requirement for overt authentication and tracking devices.

Therefore, data carrying systems that require little or even no space, such as digital watermarking, embedded NFC tags and the use of covert inks such as UV for the embedding of tracking data provide a useful compromise to the pressures of real estate on packs and labels.

In future it may well become necessary for each and every product to carry its own unique identity. If the benefit of the Internet of Things (IoT) is to be realized then such technology may well become mandatory from a practical point of view so that each and every item may be identified securely and tracked during its journey to final use.

Intro section

Every one of us is familiar with the functionality of security print design since we come into contact with banknotes and other high security print items on a regular basis. In the arena of labels and packaging however, security design is a relatively new concept to most suppliers in this field, as they are more familiar with designing for physical product protection, together with other functional requirements such as maximum brand recognition and the conveyance of useful information regarding product usage and ingredients.

As has been explained before, labels and packaging provide an ideal platform for the carriage of indicators of provenance as well as tamper evidence and track & trace technology.

Migrate nid

89675

Migrate path

/label-academy/article/building-foundations-%E2%80%93-origination

Article main topic

redirected

Article slug

/label-academy/article/building-foundations-%E2%80%93-origination

Output – producing the components required for print

Feedimporter — Mon, 23 Nov 2020 13:52:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Output – producing the components required for print

Short summary

Pre-press output converts data from the manufacturing specification and digital design files to produce the components required for the manufacture of the labels and packaging

Teaser image

Categories

Display section

Chapter section

Also included in this activity is the accurate mounting of the printing plate and the assembly and checking of the tools and ancillary equipment used for the embellishing and converting processes. All these items are very important factors in the production of high quality print and embellishments and are highlighted in the flow chart below.

PRE-PRESS ELEMENTS

The following list identifies the areas which are Plate mounting important to achieving a fast efficient job change over and press make-ready.

Accurate agreed technical and manufacturing specification

Accurate layouts for the step and repeat process

Imaged film (depending on the process to be used) See Figure 5.2

Conventional plate imaging system (depending on process to be used)

Computer to plate (CtP) imaging for the litho, flexography, silk screen and gravure printing processes (dependent on the process to be used)

Accurately matched inks and ink draw-downs

Print cylinder specifications

Tooling data for embellishing, converting and finishing operations

REASONS FOR LACK OF CONSISTENCY

Within the pre-press arena the following list highlights the main areas that can create production difficulties and therefore additional costs.

Deviation from the manufacturing specification

Use of unapproved suppliers

Image integrity and control

Changes to repro

Incorrect die-cutting profile

Change of specified print processes

Inaccurate press specification

Print/embellishment variables

Color variation

Substrates characteristics

PRE-PRESS AND DOT GAIN CONSIDERATIONS

Before imaging the printing plate, the digital files need to be modified to suit the feedback from the press fingerprinting exercise and therefore make allowances for any variations.

Printing processes tend to have a natural condition where the operation is at its most stable for a given set of solid ink densities. This natural condition may not have the desired dot gain or ink trapping requirements to give a good representation of the desired result. This condition must be compensated for (see the article on dot gain and fingerprinting).

PRE-PRESS LAYOUTS (IMPOSITION)

When the print layout is being planned, due consideration should be given to ensuring that the layout gives optimum production yield and that the amount of substrate that is required for the job is minimised, in order to reduce waste.

Often referred to as imposition, print layout is one of the fundamental steps in the pre-press preparation of a print job. Correct imposition minimises printing time by maximising the number of impressions on a web, thereby reducing cost of press time and materials.

In addition the layout should enable the printing, embellishing and converting operations to be carried out within the parameters of the press and the ancillary equipment being used. For instance consideration should be given to the various inking requirements between one part of a plate and another.

If a design calls for heavy solids together with areas of fine detail it may prove expedient to split the color between two printing stations: one to handle the heavy inking and the other to deal with the fine detail. Alternatively this issue can be overcome by introducing an additional screen tone to print underneath the solid area.

Once the optimum layout has been established the step and repeat data can be generated.

The step and repeat file is then used at the film process and plate imaging stage.

STEP-AND-REPEAT

Step-and-repeat is the action of reproducing a number of design images onto film and subsequently the plate, permitting the label design to be printed as more than one label at a time (Figure 5.3). This speeds up production by reducing press running time. In digital workflows the steps-and-repeat designs are imaged directly to plate.

The step and repeat program determines the number of images to be accurately stepped around the printing cylinder circumference and the number of images across the web width.

This is referred to as the number ‘across’ and the number ‘round’. An example would be 7 labels around and 5 labels across yielding 35 labels per revolution of the print cylinder.

The step and repeat data is used for conventional film imaging and computer-to-plate (CtP) imaging.

ON PRESS CONSIDERATIONS

Modifications to files may need to be made in order to anticipate substrate movement (shrink or stretch) that can occur due to heat, moisture content/humidity (see Figure 5.4)

IMAGING THE PRINTING PLATE

There are two methods used for imaging the printing plate;

Film based imaging where an imaged film is contacted with the plate and exposed

The more commonly used CtP (Computer to Plate), where the digital file is imaged directly onto the plate.

COMPUTER TO PLATE (CTP)

With CtP plate imaging a number of the process operations, that are required when using film imaging are removed.

Printing plates are imaged using digital data direct from a raster image processor (RIP) and the image is created using a laser to write the image onto the printing plate, screen mesh or print cylinder. In this way the image distortion caused by the use of film is eliminated and aspects such as dot gain can be controlled more effectively.

The plate making process for each of the major printing systems used in the manufacture of self-adhesive labels is explained below.

LETTERPRESS

Letterpress plates have a photopolymer layer on a metal or polyester base. The plate making procedure is quick and easy and a plate can be ready for the press within 1 to 1.5 hours depending on plate thickness (see Figure 5.5).

The procedure for most types of plate is as follows:

Exposure to UV light through a matt negative film with a maximum density of 3.5 log density causes the image relief area to polymerise or harden. The log scale refers to the amount of light that can be transmitted through a solid area of exposed film.

The lower the amount of light the better the finished plate will be. Wide exposure latitude is provided in order that reversed out images can be exposed, along with normal type and image matter.

Exposure times may vary from one batch of material to the next, therefore it is always advisable to make a test plate when a new batch of plate material is opened. A standard negative should always be kept for this purpose, so that better control can be exercised over the results obtained.

Exposure units may be flat or rotary. If a plate that is to be run on a rotary press is exposed in the flat, due allowance should be made for the distortion that will be created by the curvature around the printing cylinder (known as dispro). The exposure operation is designed to polymerise or harden the areas of the plate that are required to print the image, which is the reason for using negatives for exposure purposes.

The image appears as clear film allowing direct access of light to the surface of the unexposed plate.

Wash out

The majority of plate materials are now formulated to permit washing out using plain tap water with few additives. However, for materials requiring special wash-out liquids, the manufacturer's instructions should be carefully followed.

The washing action may be achieved with direct sprays, pads, or brushes. Care must be exercised to ensure that the used wash-out fluid is disposed of correctly and the maker's recommendations followed regarding rejuvenating, recycling, or disposal.

After treatment

This process ensures that no trace of water or wash-out solution remains on the plate. Wiping with a sponge followed by blowing with compressed air is a recommended procedure, ensuring that the still soft surface is not damaged.

Plate drying

In order to rid the plate of any liquid absorbed during the wash-out sequence, it must be thoroughly dried. The working life of the plate will, to a large extent, be determined by the effectiveness of this drying sequence.

Drying times may vary according to the type and thickness of plate material and could (subject to the maker's recommendation), be between 30/80 minutes. It is important that adequate amounts of fresh air are circulated over the plate throughout the drying procedure.

Saturated air will adversely affect the quality of drying and extra time will not necessarily compensate for this. Once fully dry the plate is ready for mounting and use on the label press.

FLEXO

Plates versus sleeves

As with letterpress most flexo plates are based on photopolymer material which is sensitive to UV light. There are however, some flexo plates that are made of elastomer, where the image is engraved by laser and not exposed. Both materials are available in flat or cylindrical form (called ‘sleeves’). Sleeves have been successfully used in mid and wide web presses for packaging printing for many years. These systems are now also available for the narrow web presses for label printing.

Plate build up and thickness

The traditional flexo plate has a polyester (PET) carrier film which is very important for the dimensional stability of the plate. The main photopolymer layer is laminated with the PET film. There is a protective film on top of the photopolymer layer called a cover sheet.

The film is removed before exposing the plate. This film protects the photopolymer surface from scratches or other damage during transportation or handling.

Within the next few years this plate will disappear from the market. The new generation of flexo plates are direct imaging plates. The structure is the same as a traditional flexo plate, but it has a black ablative layer, also referred to as a LAMS layer (Laser Ablation Mask) on top of the photopolymer layer. (See section on flexo plate imaging below).

Different plate thicknesses are available on the market depending on applications. The plate thicknesses mainly used for label printing are 1.7mm and 1.14mm.

Flexo plate imaging

Two methods of imaging the flexo plate are available:

Film based imaging

CtP (Computer to Plate) imaging with a laser.

A negative film is required to image the plate without a black ablative layer. On the surface of the black ablative plate the image is created by ablating or erasing the black layer.

Direct imaging eliminates the need for the negative film and also increases the plate quality e.g. fine negative letters and half tone dots of less than 1% can be imaged on the plate, without any problem.

The general plate-making procedure is similar to letterpress (see Figure 5.5) and involves the following:

BACK EXPOSURE (PRE-EXPOSURE)

The back exposure is carried out from the reverse of the plate with no film in place. This exposure creates a platform base by polymerising the monomer* for better anchoring of printing elements. The thickness of the base has an impact on relief height. The lower the relief height the better the anchoring of fine detail and highlight dots.

* Monomer – molecule forming the basic unit for polymer.

It is advisable to set a standard for the relief height and it is therefore essential to measure the base thickness of the plate by regularly testing the back exposure.

Main exposure

Whether it is a conventional flexo plate or a direct imaging plate the main exposure is needed for both. This is the exposure to the face of the plate material, through the negative, which forms the image detail that will appear on the finished plate. The details (lines, letters, halftone dots etc.) are reproduced according to the transparent parts of the negative, and cannot be influenced later on. The quality of the relief image subsequently produced depends on the quality of the film negative, the correct exposure time, the condition of the processing equipment and other factors.

The exposure time depends on the type and technical condition of the exposure unit, on the type and age of the tubes providing the exposure light, and on the transparency of the vacuum foil which holds the negative in position during exposure.

It is essential that regular test exposures are carried out using a test negative. These tests are required to check changes in the working of the equipment, in addition to any possible variation from one batch of plate material to another.

Wash out with solvent and drying

Those parts of the plate which have not polymerised are dissolved and removed using a water-based solution or solvent during the wash-out process. The depth of wash-out will vary with the type of plate material being used and the amount of back exposure. The manufacturer's guidelines should be carefully followed.

The wash-out time should be restricted to the minimum in order to avoid undue swelling of the material. Swelling will intensify according to the time that the plate is in contact with the solvent. If the minimum wash-out time is greatly exceeded, fine relief elements of the plate may become detached or distorted.

Solvent wash-out solution has almost disappeared from the market. Water-based solution does not swell the flexo plates in the same way solvent does and therefore the plate drying time is reduced.

The wash-out solvent, which has penetrated into the relief layer of the plate material, is evaporated during the drying process.

Maintaining specific drying times and a uniform temperature across the whole plate in the drying unit is essential. Deviations in thickness may occur if the resting and air drying period before printing is too short.

Wash-out - dry

Another type of flexo plate is available, where the wash-out process is carried out without any solution/liquid at all - this is called thermal processing.

After final exposure the plate is mounted in a dry processing device. The plate is heated and the monomer from the unexposed area brushed-out. This is a very clean and environmentally sound process, which reduces the make ready time for the plate, because no drying is required.

Post-exposure

At this stage the whole plate is exposed without the film in position. Depending on the image (solids, fine lines, dots) the main exposure will allow more or less light to affect the plate. As a result there will be parts of the relief that are less polymerised than others. Post exposure ensures that the finished plate will possess uniform properties over the whole surface.

AFTER TREATMENT

Having passed through these various processes the plate will appear tacky to the touch. If a satisfactory printing image is to be achieved this tackiness must be removed.

The after treatment is designed to remove this tackiness from the relief image by using UV light treatment i.e. exposure under a high energy light source. UV light treatment requires individual exposure times for different plate materials.

High resolution plate-making

Plate imaging and processing for the label industry has undergone numerous changes over the years, from camera, film and plate processing, to the newer technologies using some form of computerised system. Certainly, both computer-to-film and computer-to-plate technologies have had their devotees in recent years for the production of flexo, letterpress and dry-offset printing plates.

High resolution plate-making is a development in the processing of photopolymer plates. A typical laser dot size for high resolution imaging of a flexo CTP plate is around 6 micron (as opposed to 12 micron in the case of standard CTP imaging). Imaging flexo plates at a lineature of 175 to 200 lpi creates extremely fine detail on the plate. With the latest high resolution plate-making systems exposing resolution can now increase to 4000 lpi.

The main high resolution plate-making technologies used in the label industry are;

Direct imaging on plate by ablating the black layer

Imaging via laser exposed negative film

Computer-to-film systems utilise UV beams passing through a film mask to change the surface characteristics of a plate surface, prior to a mechanical washout process, drying and plate hardening.

Computer-to-plate systems based on laser ablation use a laser beam to write an image on to a pre-coated plate surface and in the process destroying the surface coating of the image areas, again enabling mechanical washout, drying and hardening.

Recently new environmentally friendly, computerised plate-making systems have entered the label market. Typical of these new systems is the DigiFlex inkjet C.T.P system which gives excellent quality and high speed plate processing, allowing fast make-readies.

The DigiFlex system is based on a unique ink technology, which gives a very high quality for flexo, letterpress, dry-offset plates and also rotary screens. Creation of the image area on the plate is achieved using a special reactive ink, which is inkjet-printed to produce a UV opaque mask onto a polyester film substrate. The ink chemically reacts instantly with a second reactant on top of the plate to freeze the ink droplets without any time for ink spread. The outcome is a high resolution dot with zero dot gain on the plate and the capability of achieving a 2% dot on the press.

The reactive layer is then transferred from the polyester substrate to the top of the plate using a lamination process. The primer layer, which has no reaction with the plate surface, is washable during the plate development process and can be used with all standard water-washable plates, solvent washable plates, and with rotary screen plates.

After the image has been created on the plate, the rest of the plate-making process remains unchanged, so an already familiar workflow requires minimal adaption.

In Fig 5.6 the DigiFlex plate dots are flatter than dots produced by computer-to-plate laser ablation, enabling easier set-up on the press and better ink capture. Under magnification, the DigiFlex dots are perceived to be sharper and more solid when compared to laser ablation produced dots, which appear more cloudy and grey. Line edges with the DigiFlex system are clearly superior versus laser ablation systems.

Flexo - sleeve build up

The carrier for the imaging surface is a round cylinder or sleeve made of fibre glass. On top there is either a photopolymer layer or an elastomer layer. The cylindrical flexo sleeve has the major advantage that plate mounting is not needed.

Sleeve imaging and processing

In the case of photopolymer sleeves the imaging and processing is the same as for flexo plates, although rather different equipment is needed for plate making.

Elastomer flexo sleeve engraving

This is a direct engraving method, that means imaging and engraving are done in one step by a high powered laser in an engraving machine.
After engraving, the sleeve surface is rinsed with water to remove the remaining burned elastomer. The sleeve is then ready for printing and no further processing steps are required. With the new generation of laser technology it is possible to engrave 200 lines/inch or more.

Another new development in laser engraving technology is available called 3-D engraving.

With this technology it is possible not only to change the relief angle and its shape, but also to undercut the highlight dots. With this undercut it is possible to print fine lines, text or highlight dots, with negligible dot gain.

OFFSET LITHO

Plate imaging

With litho plate-making it is important to appreciate the structure of the plate itself in order to fully understand the imaging process. Figure 5.7 overleaf shows the make-up of the litho plate.

The litho printing plate has a totally flat surface and this is referred to as planographic.

The modern printing plate is covered with a photo sensitive emulsion. In the illustration below, the aluminum base, the primer layer, and the photo sensitive coating are clearly shown.

Film based imaging

Although most imaging techniques now use CtP, film based imaging is still used. The film negative or positive which is created from the digital file is placed in direct contact with the plate and exposed to a UV light source.

The image from the film is transferred to the printing plates using a photographic process. A measured amount of light is allowed to pass through the film negative thereby exposing the printing plate. On exposure a chemical reaction occurs that activates the ink receptive imaged area. The plate is then is developed and the image is chemically fixed. The plate is then ready for positioning into the press. The film based contact imaging is illustrated in Figure 5.7.

Computer to Plate (CtP)

Offset plates are commonly made without the need for film originals. The digital file to be printed is transferred to a CtP device called a plate setter and the image is created using direct laser imaging (see Figure 5.8). After laser imaging the emulsion that remains in the imaged area is removed, leaving it ink receptive.

The CtP imaged plates do not require any chemical processing.

SCREEN

Screen imaging

The screen imaging process works with a screen mesh of nylon or metal strands stretched over a flat or cylindrical frame. The mesh carries a photo sensitive emulsion or coating, which when exposed and processed, washes out the areas to be printed and hardens the coating left behind to become a barrier in the non-printed areas.

Imaging the flatbed screen

An overall photosensitive polymer emulsion coating is applied to the screen material and then dried before a positive imaged film is placed in contact with the flat screen. The screen is then exposed to a UV light source which hardens the emulsion in the non-image areas thus making it insoluble in water. The emulsion in the image area remains soft and the screen is then pressure washed to remove the emulsion from the image areas, before the screen is then dried.

The stages of flatbed screen imaging are illustrated in Figure 5.9.

Polyester screen mesh is stretched tightly over a frame of wood or metal before it is emulsion coated.

An image is created photographically on the emulsion and the non-image area is hardened.

Emulsion in the unhardened image is then removed by pressure washing.

The Squeeges

The function of the squeegee blade in screen printing is to force the ink film through the parts of the screen mesh that forms the printed image.

Print quality will be affected by the type of blade used and the printer will need to select the most suitable blade type. The edge of the blade which is in contact with the screen can be varied in hardness and profile shape and will vary dependent on the type of job being printed. Any damage to the squeegee will affect the print quality.

Rotary screen

The introduction of steel mesh for screen printing led to an important change within the label industry. It allowed the steel screen material to be formed into a cylindrical shape which meant that screens could be fitted into full rotary presses, which are able to run at much higher speeds than the flatbed screen presses.

Steel mesh screens can be produced with a wide range of screen value options allowing the printer to choose the most suitable mesh for each job. This choice provides more control over the volume of ink being printed and allows for very high coating weights of ink to be printed, way in excess of the other printing processes.

The rotary screen process adopts exactly the same principles as the flatbed system, but with some key differences. The imaged screen is formed into a cylindrical shape whilst the squeegee blade is placed into the screen cylinder in a fixed position. The screen cylinder which then holds the liquid ink rotates at the same speed as the web being printed and the ink is then forced through the imaged area of the rotary screen and onto the substrate (Figure 5.10).

Rotary screen imaging with film

The imaging of a rotary screen cylinder when using a positive film is very similar to the imaging of a flatbed screen. The rotary screens can be supplied to the printer already made up into the cylindrical shape (Stork system) or can be supplied as flat sheets that are then formed into the rotary cylinder by the printer (Gallus ‘Screeny’ system).

With all rotary screen systems an end ring has to be fitted into each end of the screen cylinder. This gives the rotary screen the necessary stability and ensures that the screen rotates evenly during the printing operation.

The procedure for imaging rotary screens used in the label industry is as follows :-

Metal screen formed into cylinder and end rings fitted.
An overall photosensitive polymer emulsion coating is applied to the screen material and then dried.
The positive imaged film is accurately positioned in direct contact with the screen and then secured to allow the screen to spin in the exposure unit.
The screen plus the secured film is placed into the exposure unit and exposed to a timed UV light source whilst the screen is rotating.
The emulsion in the non-image area is hardened and becomes water resistant.
The rotary screen is removed from the exposure unit, the film is removed and the screen placed in the wash out unit, in which the screen is pressure washed to remove the emulsion in the image areas.
The screen is removed from the wash-out unit and dried before making ready for the press.

Rotary and flatbed screen CtP imaging

Computer to screen imaging of both flatbed and rotary screens is now widely used. This method of imaging removes the need for film originals and eliminates the exposure process, power washing and drying of the screens.

The digital file which contains the image to be printed is transferred to the imaging unit.

A high powered laser then ‘burns’ the emulsion away, creating the image directly onto the screen. Laser engraving is a digital method of imaging both flatbed and rotary nickel screens. It involves the removal of the emulsion coating in the image areas (i.e. the open areas of the screen). After this the screen requires no further processing and is ready for fitting into the press. In the case of rotary screens, the screen is imaged using a rotary CtP unit, whereas in flatbed imaging the screen remains flat.

CtP imaging reduces the costs associated with the multiple process operation needed when imaging by the traditional method of film contacting. A direct engraved screen produces excellent quality and consistency, with screen resolution of 2540 dpi being produced, to allow fine line work with high contrast to be delivered.

Screens can typically be imaged in 15-20 minutes and because the lengthy drying process is eliminated productivity can be improved, giving a much faster turn round compared to the conventional screen imaging method. Screen material is expensive, but the ability to re-use and re-image screens, especially the rotary screens, has allowed some printers to include a facility which involves stripping off the unwanted image and recoating the screen.

GRAVURE

Gravure cylinder imaging

Gravure cylinders are made of steel and plated with copper. The image area on a gravure cylinder consists of ‘cells’ that are engraved to differing depths and/or sizes to give the variations in dot size and cell depth. The depth of the cell controls the amount of ink and thereby the strength of color being laid down at a particular part of an image. Very subtle variations in both color strength and fine detail can be achieved.

In the past gravure cylinders were chemically etched, but today the engraving is done using a system which uses a rapidly oscillating diamond tipped stylus. Alternatively the gravure cylinders are imaged using digitally driven lasers to engrave the image.

This system removes the problem of inconsistency of the image when a duplicate cylinder is required. With direct digital engraving the image can be simply created and manipulated via computer software.

Worn or obsolete cylinders can be stripped of their image and the base cylinder reused for other printing jobs.

PLATE MOUNTING

For the purposes of this module certain basic principles that need to be followed when mounting plates will be outlined. The complete detail of actual mounting may be obtained from other publications or from the suppliers of equipment designed for the purpose.

The one rule that must be followed in plate mounting is to ensure that the plate will be in the correct position at the first attempt at mounting.

Figure 5.11 illustrates the correct mounting of a plate by hand using the guidelines engraved on the surface of the print cylinder.

Removal, especially of relatively pliable flexo plates, with the purpose of 'trying again', is very likely to stretch the plate at some point, thus making it almost impossible to place the plate so that it is correctly positioned over the whole of its area.

Figure 5.12 illustrates the optimum method of mounting flexible printing plates around an impression cylinder. The aim should be create a continuous surface that will equalise the pressure across the cylinder. Failure to do this will create an unwanted jarring contact bounce.

A well made plate, correctly mounted on a press which is not regularly maintained, will not provide an accurate printed image. The key areas to check, on a regular basis, in order to achieve accurate printed images throughout a run include bearings, anilox rolls, print cylinders, gears, and of course, general cleanliness. Bearings do wear, in fact wear commences the first time the press is started up - that is the reason why they are fitted in the first place.

They are intended as a tightly fitting, but easily replaceable part that can be changed in order to avoid shafts running out of line. In theory they take up stresses and strains caused in parts of the press by heavy tooling, continuous running, heating up etc. The length of life of a bearing will depend on the type of bearing fitted and the amount of stress applied to it. Under a program of planned maintenance all bearings should be cleaned and checked for wear and effective lubrication.

In the flexo, letterpress and litho print processes the print cylinders carry the printing plate and are required to retain even contact with the ink transfer roller and the surface of the substrate being printed or in the case of litho, the offset blanket. There is very little room for deviation from the perfectly true running of the print cylinder. The aim should be for them to revolve within an accuracy of ±0.025 mm.

This will ensure that the pressure applied to both adjacent rolls is reasonably constant. Any measurement, when checking for such tight tolerances, should be made when the press has been running for around thirty minutes. This will ensure that the running parts have warmed up and that any expansion has been taken into consideration.

Double sided tape is used to hold the printing plate to the surface of the printing cylinder (see Figure 5.13).

Some tape manufacturers have a thin layer of foam within their tape which goes some way to smoothing out small deviations in the revolving plate cylinder. With or without such addition these tapes do vary in thickness between one producer and another.

This variation in thickness must be allowed for when determining the final diameter of the print cylinder. If this is not done accurate register will not prove possible. Also, the same brand of tape should be used on each set of print cylinders, unless the object is to compensate for a slight under or over sized cylinder out of a multi-color set.

Cylinder gears

Gears are required to do more than just transfer power from one point of the press to another. When the gear is manufactured it is intended to be meshed at a certain depth with the gear it is driving. This is called the pitch diameter. When meshing the print cylinder gear with the impression roller this pitch diameter is critical to accurate register (see Figure 5.14).

Too deep or too shallow a mesh will cause loss of register between one color and the next. In process color work, the gear for each color should be set to an identical mesh and checked during a run for deviation, caused through increased temperature or mechanical fault.

Regular lubrication is preferred to intermittent applications as this will maintain a constant film of oil and even out temperature fluctuations.

Gearless printing with direct servo drives is state of the art. It eliminates those problems mentioned above and saves time for plate and cylinder mounting.

Print cylinders

When determining the actual print cylinder size on the basis of repeat length in inches, millimeters or number and size of teeth allowance must be made for the thickness of the printing plate and mounting tape and for the effect of pressure and thermal expansion in the cylinder.

To take an example:

A repeat length of 12 inches (or 96 1/8" teeth) equals an effective circumference of 304.8 mm, but the cylinder itself must have a circumference that is smaller by 3.14 times two thicknesses of plate and mounting tape – say 3.14 x 2 (1.7 + 0.3) mm and a small allowance should be made for the mutually opposing effects of compression and thermal expansion, say 0.01 to 0.03 mm.

Ideally there should be no slack between the print cylinder shaft and gear wheel and also none between the internal diameter of the cylinder bearings and shaft. The whole assembly should fit together snugly.

Any movement between these surfaces will upset the intended pitch diameter and show up as loss of register between one plate and another (Figure 5.15).

On-press controls

A key role of the repro process is to ensure that the press is set–up to the optimum specification and that the correct press settings are maintained throughout the length of the print run.

Although the modern repro process can deliver a highly accurate and consistent reproduction of the original image, factors within each individual printing process and limits on engineering tolerances and wear on the press itself, can adversely affect the desired printed result.
A skilled printer has the facility to make on-press adjustments to vary/improve the printed result to achieve the correct tonal value and color.

These adjustments will vary dependant on the printing process being used.

The following paragraphs highlight the areas where on-press settings and adjustments can be made to assist in overcoming any shortfall that may occur in the printed result.

With all the conventional print processes it is possible to make adjustments to the inks being used in order to achieve the correct match. This is called ink mixing and it allows the printer to make fine alterations to the color and also introduce additives to improve the ink performance.

LETTERPRESS

The most effective method of color adjustment on a letterpress machine is the ability to control the volume of ink delivered to the printing plate. The letterpress ink distribution system has an ink reservoir called an ink duct.

The ink duct allows the printer to adjust the volume of ink being delivered to the distribution rollers thereby controlling the strength of the color. A reduced volume of ink will give a lighter color and a heavier volume will increase the color strength.

There is very little ‘give’ in the letterpress printing plate, so in order to achieve a good ink film transfer and a sharp image, the pressure between the printing plates and the impression cylinder or flatbed requires very careful setting.

A skilled operator will vary the hardness of the impression roll ensuring that the plate to substrate contact is a ‘kiss’ touch. Careful balance of pressure between plate and impression roll is crucial as it determines the print quality (Figure 5.16). Too much impression creates a squashed or halo effect and too little impression creates missing dots and poor print.

Accurate inking roller to printing plate settings is very important and adjustments to the printing pressure should be made throughout the press run, to make sure the correct pressure is maintained.

FLEXO

Flexographic anilox rollers in particular are subjected to considerable abrasive wear and careful monitoring of the ink densities and viscosities delivered by the anilox roller is therefore very important (Figure 5.17). It is strongly recommended that each roller is regularly inspected for any damage or reduction in the cell depth.

The depth and shape of the cells is a key factor in the efficient delivery of a uniform ink film to the printing plate and allows the operator to vary the volume of the ink film by changing the anilox roller, to the achieve the correct color The number of cells on an anilox roller are measured in cells per linear inch (CPI) or the cells per centimeter (CPC).

As the cell count increases the ink film delivered to the printing plate decreases, (Figure 5.18). It is very important that the printer uses thin anilox roller which delivers the correct ink film, which matches the repro specification.

It is recommended that a record of the ink volume of each anilox should be kept to ensure that the anilox specification is correct for the each print job.

Poor quality flexo printing is usually a result of a soft printing plate, too much impression and a low viscosity ink. Flexo plates are relatively soft compared to the much harder letterpress plate and this soft construction can affect the print quality.

A softer plate will transfer the ink film smoother than harder plates, but the likelihood of a squashed effect on the printed dot increases. The squashed dot can easily be identified by a halo effect on the printed dot.

The correct pressures of anilox to plate and plate to substrate must be established at the initial stages of the job make-ready. Incorrect settings will adversely affect the shape and size on the dot.

One of the biggest problems confronting the printer is the problem of dot gain. This effect is created by an ‘increase’ in the specified printed dot size which affects both the tonal values and therefore the color being printed.

Dot gain can be a result of incorrect plate imaging, but is generally a result of incorrect impression settings or poor engineering or wear on the press.

The printer must ensure that the correct settings between the anilox roll, the printing plate and the substrate are set correctly and maintained throughout the print run.

LITHO

The most effective method of color adjustment on a litho press is the ability to control the volume of ink delivered to the printing plate. The litho press ink distribution system has an ink reservoir called an ink duct. The ink duct allows the printer to adjust the volume of ink being delivered to the distribution rollers thereby controlling the strength of the color. A reduced volume of ink will give a lighter color and a heavier volume will increase the color strength.

In the litho process the inked image is transferred from the plate cylinder onto the offset blanket, which in turn transfers the printed image onto the substrate. The pressure settings between the plate, blanket cylinder and the impression cylinder are important and need to be set correctly. The settings will be dependant on the type and thickness of the substrate being printed (Figure 5.19).

Offset blankets are made of synthetic rubber. The shore hardness of the blanket can vary allowing the printer to choose the correct blanket hardness for a particular substrate. It is important that the release factor of the blanket is correct so that the inked image is fully transferred to the substrate on every revolution of the printing cycle. Ink residue and fibres from the substrate surface can contaminate the blanket and regular cleaning throughout the print run is recommended.

The printer must establish the optimum damping settings during the make-ready process and throughout the print run. The control of the damping process is critical in achieving the correct print quality. Any imbalance associated with insufficient damping will allow the ink film to contaminate the non-image area and this will result in ink being deposited in the non-image area, thereby creating scumming or catch-up.

The problem of plate scumming can be affected by an increase in the ambient temperature around the press and also the heat generated when running the press at speed.

SCREEN PRINTING

The size and depth of the mesh material and the viscosity of the ink are the key areas that control the quality of the screen printed image.

It is most important to select the correct material and mesh count to suit the graphic requirement and the thickness of the ink film that is required. Mesh selection will impact on the print detail, the stability of the screen and on print registration (Figure 5.20).

The correct viscosity of the ink is also very important in the screen process.

The ink must be viscous enough to avoid passing through the screen cells until the exact moment of the printing cycle when the ink is forced through the screen cell by the pressure of the squeegee blade.

Inks with thixotropic properties (this is an ink that thickens up and affects the flow properties of the ink) can offer some advantages to the screen printer, as it becomes fluid when agitation takes place or pressure is applied i.e. via the squeegee blade.

The printer must ensure that the ink is adjusted to the optimum viscosity and this must be maintained throughout the print run. Changes in ink viscosity will affect the color strength and the use of a Zhann cup* measurement is recommended to verify this viscosity.

*Zhann cup - dip calibrated viscosity measuring device. A stainless steel cup with a tiny hole drilled in the center of the bottom of the cup.

After lifting the cup out of the ink, the user measures the time until it stops flowing to assess its viscosity.

The type of squeegee blade being used can also affect the print quality and the volume of the ink deposit. A soft squeegee will deposit a thicker layer of ink than a harder squeegee and therefore affect the volume of ink being deposited onto the substrate.

The hardness of the squeegee blade is measured in shore hardness and each type is color coded:-

Yellow has a shore of 55-60 and is suitable for solid work

Red has a shore of 65-70 and is suitable for solid and line work

Green has a shore of 70-75 and is suitable for text and line work

Blue has a shore of 75-80 and is suitable for fine text

The variation in the volume of ink may be small but this can make the difference when matching the exact color specification.

The profile of the squeegee can also affect the ink volume being printed and also the print quality, dependant on the content of the image being printed. Squeegee blades are available with different profiles on the leading edge of the blade, i.e. square edge, round edge and bevelled edge being the profiles in common use (Figure 5.21).

A round edge will give a heavier ink volume, but when printing fine definition work the bevelled edge would be more suitable.

GRAVURE

With gravure printing the adjustments that can be made on the press are limited.

As the gravure process prints directly onto the substrate from an engraved cell, in which the size and depth of the cell have already been predetermined, this means that the volume of ink transferred to the substrate cannot be changed i.e. there is no adjustable ink duct, inking rollers or anilox roller used in the gravure press (see Figure 5.22 and 5.23).

The two areas that can be adjusted by the gravure printer are the ink viscosity and the angle of attack of the doctor blade. The printer can make adjustments to the ink formulation to achieve the correct color match, but it is most important that the correct ink viscosity is
established and maintained throughout the print run.

Any variation in the ink viscosity will result in color variation during the print run.

Changes to the thickness and angle of the doctor blade (‘wipe’) can impact on the ink volume delivered. For example a thicker blade and a shallow wipe will allow a slightly thicker film of ink in the cell, whilst a thinner blade and a steeper angle of wipe will leave slightly less ink in the cell.

SUMMARY OF ON-PRESS SET-UP AND CONTROL FACTORS (BY PRINT PROCESS)

Letterpress

The volume of the Ink film can be controlled by the printer

Inking/forme rollers settings must be correct

The plate to substrate setting needs to be finely set and maintained

The rubber covering on the impression roller can be varied in shore hardness

Ink mix formulation can be adjusted by the printer

Flexo

The anilox roller can be changed to suit the correct volume of ink required

The anilox to printing plate and the plate to substrate/impression roller has to be finely set and this setting must be maintained throughout the print run

The ink mix formulation can be adjusted by the printer

The correct ink viscosity must be established and maintained

Litho

The correct balance between the plate damping and plate inking must be maintained

The settings between the plate cylinder and blanket cylinder must be correct for the substrate being printed

The offset blanket must have the correct release factor for the substrate being printed

The offset blanket has to be washed regularly and be free from debris

The volume of the ink film can be controlled by the printer

Inking/forme rollers settings must be correct

The ink mix formulation can be adjusted by the printer

Screen Printing

The correct mesh for the graphics required has to be established before the screen is imaged

The ink has to be at the correct viscosity

The squeegee blade has to be the correct hardness/softness for the graphics required

The type of profile used on the squeegee leading edge will affect the printed result

The ink mix formulation can be adjusted by the printer

Gravure

The ink mix formulation can be adjusted by the printer

The ink viscosity must be correct, as any fluctuation will result in color variation

Increasing or decreasing the angle of wipe and varying the thickness of the doctor blade will impact on the volume of ink delivered

Intro section

The pre-press output function is the part of the manufacturing process that converts the data from the manufacturing specification and the digital design files, to produce the components required for the manufacture of the labels and packaging, such as the printing plates and cylinders.

PRE-PRESS OUTPUT

At this stage the pre-press output procedures includes the creation of layouts, control and application of the step and repeat data, the imaging of films, the preparation and imaging of the printing plate ready for mounting into the printing press (Figure 5.1).

Migrate nid

89618

Migrate path

/label-academy/article/output-%E2%80%93-producing-components-required-print

Article main topic

redirected

Article slug

/label-academy/article/output-%E2%80%93-producing-components-required-print

Label design and origination: proofing

Feedimporter — Mon, 23 Nov 2020 13:22:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Label design and origination: proofing

Short summary

Proofing is a method of producing either hardcopy or electronic facsimiles suitable for viewing a design before printing and for early, intermediate, or final approval

Teaser image

Categories

Display section

Chapter section

*A color proof is a printed or simulated printed image of each process color using inks, toners or dyes to provide a simulated impression of the final printed reproduction.

In general, proofs will be required at several points throughout the design to print process before the customer signs off a final proof prior to printing.

HISTORY OF PROOFING

Historically press proofing using a rotary or flatbed proofing press was the most commonly adopted method of visualising a design. This method which requires actual printing plates, materials and press time is extremely expensive and time consuming. Although replicating the printing process exactly, this type of wet proof is an inefficient method for initial viewings and for making minor alterations.

Early in the 1970’s film based analog proofing systems emerged, with the development of Cromalin proofing (from DuPont), a toner-based off-press proof. Cromalin proofs are still used today together with dye-sublimation and digital proofing – each of which is described below.

CROMALIN

A Cromalin is an off-press color proof for four color process printing, using separations to construct an image, by the successive exposure and application of adhesive polymer-dry powder toners.

A Cromalin proof is created by exposing a carrier sheet to ultraviolet (UV) light, applying a toner within the cyan, magenta, yellow and black (CMYK) color model and then laminating to a white material.

Cromalins were originally used by the plate-maker to make color adjustments, but are now more widely used by printers, designers and customers as an alternative to mechanical or on-press proofing.

This type of proof will give a close representation of what to expect for color, but it does not replace a press/wet proof. Variations in inks and material substrates used on press will slightly modify the final product (see Figure 4.1).

By the 1980s, film-based analog proofing had largely displaced press proofs. A range of manufacturers besides DuPont further advanced the technology so that matching proofs to press became even more accurate.

In the late 1980’s came the digital revolution, during which digital proofing devices began to appear. At this stage dye-sublimation proofing took hold.

DYE-SUBLIMATION PROOFING

Dye-sublimation proofing uses heat and solid dyes to produce photo quality images. The printers lay down color in continuous tones, one color at a time, instead of dots of ink.

Dye-sublimation printers contain a roll of transparent film made up of panels of color. Solid dyes in CMYK are embedded in the film, whilst the print head heating elements vaporise the inks, which then adhere to a specially-coated paper.

As the color is absorbed into the paper (rather than sitting on the surface), the output is considered more photo-realistic and more durable than other ink technologies.

By the mid to late 1990’s low cost inkjet proofing solutions emerged with both desk-top and large format ink-jet proofing solutions becoming available.

DIGITAL PROOFS

A digital proof is an off-press color proof produced from digital data without the need for color separated films.

Using digital technology the requirement for film to create the image is no longer required. Eliminating the need to make proofs from film was a significant advance for the industry, helping to reduce costs and increase efficiencies.

The job is printed from the digital file using inkjet, color laser, dye sublimation or thermal wax print technologies to give a good approximation of what the final printed piece will look like.

The digital proof is generally less expensive than other proofing methods and can often be produced on the actual face stock of the job thereby adding another element of accuracy.

SUMMARY OF THE ADVANTAGES AND DISADVANTAGES OF DIGITAL PROOFING

The pros and cons of digital proofing are highlighted below;

Advantages

Accuracy

True half-tone reproduction

Consistent results

Fully automatic

Easy use and maintenance

Fast performance

Disadvantages

Not adequate as a contract proof when metallic inks or phosphorescent inks are involved

Screening process - does not show possible moiré problems

Cromalins still have advantages

Availability of substrates limited using digital proofing

WET PROOFING

A “wet proof” is a proof that is produced using the graphic processes, embellishments and conversion methods used in the “actual” print manufacturing process.

There are no “compromised” processes with this type of proofing and it can be used for all methods of packaging and product decoration. The benefit of wet proofing is that it gives a result that is identical to the actual production run and can be used for sheet-fed, web-fed or direct printing operations.

Equally it can include embellishments and can be converted to a profile shape.

Wet proofing is the most expensive method of proofing.

SOFT PROOFING

With improvements in monitor accuracy and monitor-based proofing software, soft proofing first became viable around 2002.

The term soft proofing is used to describe the technique of previewing a page on a monitor, rather than taking a physical hard copy proof.

The challenge is to achieve accurate color representation on the screen proof that will compare with the actual printed job (bearing in mind that print uses additive color and monitors use subtractive color).

Professional monitors and systems are now usually sold with calibration capabilities to improve the color match between the two. When a monitor at the press and another at a remote customer can be verified simultaneously and display exactly the same output as each other, the need for hard copy proofs is potentially eliminated.

STAGES OF PROOFING

The proof stage is arguably the most critical within the pre-press process, since it is at this point that the customer is provided with a visual of how their final printed piece will look and upon which contractual agreement is made.

A comparison of the process steps involved in producing a wet proof versus a digital proof is featured in Figure 4.2 below. With digital proofing no film output or plate making is required, with digital data directly generating the digital proof.

PROOFING SYSTEMS

The proofing system utilises the press characterisation data to build a color profile which is applied to incoming files and to this profile. If generated correctly, it will allow the resultant proof to closely resemble the final printed piece.

As inkjet printing devices are commonly used to produce these final proofs, the original ink sets need to be manipulated to take into account the ink hue, grey balances, dot gain and overprints found on press.

The incoming file format for these proofs should be in a form that will allow the final inkjet proof to accurately represent the final printed piece. It is for this reason that a Raster proof format is favoured.

A dedicated flexo proofing system using raster data* allows the customer to see how the dot structure and appearance can influence the visual effect of the final print. For example it allows the same image printed at 65 lpi, 100 lpi and 150 lpi to be considered and how much of an impact this screening has on the resultant print.

*A raster data structure is based on rectangular or square-based cells.

The proofing system should also faithfully reproduce other elements that may impact the original design: elements such as rosettes in images and other tonal areas, the appearance of trapping and how this affects color and how colors interact when overprinted.

Accurate spot color reproduction is also sought on the final proof. With the latest ink sets available in devices such as the Epson Stylus Pro series with its additional orange and green inks, this is now achievable for the vast majority of target colors.

With the advances made in inkjet technology, proofs can now be created on multiple substrates such as film and metallic media with the added appeal of printing with a white ink, surface or reverse, to further mimic the final printed piece. A control strip printed automatically on each proof allows the operator to monitor and maintain the output quality.

Apart from the final print, the proof is often the only part of the production process that the client will see. Once the final design is agreed, an accurate color proof may be prepared by ink-jet, dye sublimation, or other suitable procedure. This must be as close to the colors that will be produced on the press as possible.

Only after this approval stage has been completed should the final pre-press procedures be carried out either to the plate making or to a digital press.

SUMMARY

The use of press proofing, analog proofing and expensive proprietary digital proofing systems is on the decline.

Inkjet proofing however, operating with high end Raster image processors (RIPs), has become very accurate and flexible and will continue to satisfy those customers who require a hard proof.

Soft proofing, using color management and software clearly represents the future of proofing in the label sector.

The barriers of high prices of soft proofing systems and more complex associated workflows, however, will need to be overcome before it becomes the industry norm.

Intro section

Proofing is a method of producing either hardcopy or electronic facsimiles suitable for viewing a design before printing and for early, intermediate, or final approval.

There are normally two reasons for proofing:

To make sure that the content is correct i.e. the image is the right way round, all the written information is correct, there are no spelling mistakes, the images are in the right place and do not conflict.

To ensure that the colors are correct in the design (color proof*)

Migrate nid

89617

Migrate path

/label-academy/article/label-design-and-origination-proofing

Article main topic

Article slug

/label-academy/article/label-design-and-origination-proofing

Preparation for printing

Feedimporter — Mon, 23 Nov 2020 11:27:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Preparation for printing

Short summary

Repro is the process of finalising the artwork and producing working files from the design to the production specification

Teaser image

Categories

Display section

Chapter section

The repro process will ensure that the reproduction of the original label design, including the correct color meets client expectations, within the tolerances of the chosen print process.

The traditional method of origination was historically very labour intensive, requiring highly developed skills and was very expensive to undertake.

Today almost all repro is carried out using digital procedures which shorten the production chain and permits greater creativity, with a shorter lead-time.

TYPICAL REPRO WORKFLOW

Typical components of a modern repro workflow are illustrated in Figure 3.1.

FILE STORAGE/SERVER

At the core of a typical repro system is a file storage system usually in the form of a server.

A server is a computer which has been set up specifically to store and 'serve' files to other computer users. In a design studio or pre-press environment, this is essential to prevent the duplication of files and to ensure that an effective backup policy can be implemented.

PDF WORKFLOW

All the components of a repro system are typically linked by a PDF workflow.

Adobe's Portable Document Format (PDF) was developed as a data format for the paperless office, but has established a place in the pre-press environment. Unlike other digital document formats, there is no need for separate text files, fonts, image files or vector art. Acrobat can incorporate them all into the file during PDF generation so that the PDF can be used as a "virtual job bag" to which all necessary pre-press ingredients can be added. A key feature of pre-press workflow systems is the initiation of all processing steps without significant operator involvement.

SCANNERS

Most repro workflows feature a high resolution pre-press scanner that uses a high-speed rotating glass drum (known as a drum scanner). These scanners are used to scan transparencies and photographic images.

Drum scanners give a much more detailed reproduction of an original than flatbed desktop scanners and can capture a much greater range of tones. The performance gap between some of the top flatbed scanners and drum scanners is however narrowing.

IMAGE SETTER

An image setter is a high resolution output device that can transfer electronic text and graphics directly to film, plates, or photo-sensitive paper. An image setter uses a laser and a dedicated raster image processor (RIP) and is usually PostScript-compatible, to create the film used in computer-based pre-production work. These films are used to create the plates that go on the printing press.

Image setters are rapidly being replaced by CtP (computer to plate) systems.

RASTER IMAGE PROCESSOR (RIP)

A RIP is a hardware or software tool that processes a digital PostScript file and then converts it (i.e. rasterises it) to a printable format.

CtP

CtP (Computer to Plate) refers to the manufacture of a printing plate from a computer using laser imaging. The CtP process uses a photopolymer plate coated with a black (ablation) layer that is sensitive in the infra-red range. After removal of its protective film, a laser images the information onto the black mask. In the flexo process the black layer evaporates where the laser beam hits this layer and the actual photopolymer is laid bare in these areas, for the main exposure to follow. After the main exposure, the plate is conventionally washed out, dried, post-exposed and after-treated.

The use of CtP introduces digital pre-press into the pressroom, thereby replacing conventional step-and-repeat technology. It requires adequate digital color proofing and tighter process control. Front-end software and workflow tools must also be adapted to the CtP environment.

PLATESETTER

A platesetter is a machine that generates plates for a printing press. It is similar in function to an image setter, except that instead of producing film from which the plates are made, the plates are imaged and processed in the platesetter.

MANAGED CONNECTIVITY

Most repro workflows rely on services that can distribute digital content securely (e.g. WAM!NET, ISDN or WWW. * WAM!NET is a leading provider of secure managed data file delivery and data management.)

Using a dedicated service such as WAM!NET the content may be kept completely secure, the status of the delivery can be tracked and both senders and receivers can be notified by email or SMS when packages have been delivered to their destinations.

PROOFING SYSTEMS

All repro systems will have a proofing capability. These systems are capable of producing either hardcopy or electronic facsimiles suitable for early, intermediate or final approval.

DIGITAL ORIGINATION

The digital production route as illustrated opposite (see Figure 3.2) has eliminated many of the process steps required with conventional production. A comparison of conventional versus digital production, highlighting typical devices used is illustrated in Figure 3.3.

All the elements which make up a design can be presented on a computer monitor.

Alterations in sizes, layout, and content can be programed with a minimum of delay and without leaving the desk top. Once the designer is happy with what is on the screen, a printout can be made for submission to the customer. This proof can be dispatched direct to the customer, via a web based system, and any changes communicated back to the repro house, almost immediately. Where existing photography, such as slides, transparencies or photographs are to be incorporated these can be scanned, changes incorporated, colors manipulated, etc. and the final result downloaded to the screen for incorporation within the overall design.

Computers and computer peripherals handle graphics in two fundamental ways. They either create a list of drawing instructions, or define a two dimensional grid of individual picture elements, or pixels.

SAMPLED IMAGES

Most input and output devices build up graphics in a series of raster scans. Scanners, display monitors, printers, and image-setters are all raster devices and they sample or output graphic objects as a series of separate pixels.

Each pixel is assigned a color value defining the intensities of its primary color components.

Scanned images are therefore referred to as sampled images and their resolution corresponds to the sampling frequency, or distance between individual samples.

If an image needs to be changed in size and it is not practical to re-scan it, pixels must be added or Conventional production route removed in order to maintain the same resolution. This activity is known as re-sampling.

The removal of pixels is a relatively straightforward manipulation, provided that not too many pixels are removed, which would create a 'stepped' effect. This will result in a loss of some detail and parts of the image which will appear out of focus. When the requirement is to enlarge the image the procedure is not quite so straightforward.

Pixels have to be added in order to maintain image quality. This can entail adding just one or more pixels beside existing ones. Once an image has been separated into pixels the color range and the tonal dot size is fixed. The color, or grey scale range, is fixed by the bits allowed per pixel. One bit per pixel will provide either black or white with no grey tones, whilst 8 bits will provide some 256 grades of grey between the black and the white.

The first image will have a posterised* appearance whilst the second will have a photographic look.

The same relationship applies when expressing colors. By increasing the bit value the graduation of colors can be taken into many millions. Far above what is in fact reproducible by conventional four color process printing.

The relationship between halftone, and process color screening should relate to the number of pixels in the final size of the image.

Two pixels per dot is the acceptable ratio which will provide even color graduation. If it becomes necessary to adjust the size of an illustration after it has been bitmapped and toned it is better to follow through the procedure of removing the tonal dots, adjusting the pixels and then reapplying the tonal dots in the correct ratio. This will ensure the best possible reproduction.

If the requirement is to re-size the image out of proportion, it is then necessary to add pixels in one direction and remove them in the other. If this is the ultimate intention it might prove beneficial to re-scan the image, oversize, and crop to the desired dimensions prior to creating the pixelised image.

Image processing which involves calculating new values for each pixel can be performed at high speed regardless of the apparent complexity of the image. Any operation which requires the writing of new values for every pixel, such as scaling and rotating, is performed much slower than it would be using vector based methods.

*Posterisation- occurs when an image's apparent bit depth has been decreased so much that it has a visual impact (resulting in banding). Posterisation occurs more easily in regions of gradual color transitions.

GRAPHIC FILE FORMATS

Numerous file formats have evolved to describe images for different purposes. They are primarily identified by the degree of resolution, the number of bits that are used to describe each pixel, and the information that can be included in the file header or tag. EPS, JPEG, BMP, GIF and TIFF are the main file formats used for color images. Other formats are also available, but in some instances they do not support four color process requirements.

The PostScript page description language (EPS) allows objects to be incorporated into page files. They can also include a low resolution preview of a bitmap image for display on screen, together with a reference to a high resolution PICT or TIFF file. EPS files can also incorporate the halftone parameters for when the image is output, including screen ruling, angle, dot shape, and any transfer functions that may have been applied. Some EPS files incorporate a four color image either as a composite, or as a color separated image, in which each color is saved in a separate file.

Tagged Image File Format (TIFF) can be read by most graphics applications. Adobe Photoshop is capable of reading all the extensions that are relevant to graphic arts applications and can convert images from one format to another.

REPRO SOFTWARE AND GUIDANCE ON FILE PREPARATION

Adobe® Illustrator®, Adobe® InDesign® and Quark XPress® files are all excellent programes for typesetting and building multiple page documents, however, they are not always ideal for packaging design. Placed images within these files often have a low-resolution preview, making exact placement of elements a challenge. Support files therefore must be supplied for all placed images, including those that are embedded.

Photoshop® files should be 300 dpi at the size at which they are placed into the final file. It should be recognised that the resolution of a raster file decreases proportionally when enlarged.

When supplying Photoshop® files it is often preferable not to compress the layers in the file. Equally any fonts that are not compatible with the platform being used must be converted to outlines. (Be aware, however, that converting text to outlines, limits the ability to make any content or layout adjustments).

Before sending fonts, it is important to make sure that the licence allows the fonts to be used by both the designer and those outputting the files. It is therefore recommended that one version of the file with the fonts converted to outlines, and one with live text is supplied.

Always include either a PDF or a hard copy proof of the final file so that when the file has been received it can be verified and that there are no issues with fonts or special effects.

If there is a color target that needs to be matched for a CMYK illustration, these also need to be supplied along with swatches of any special match colors.

DIGITAL PHOTOGRAPHY

Using a scanner, it is possible to incorporate existing illustrations taken with conventional cameras or from a printed document into a file, although this is now rarely the case. The widespread use of digital cameras shortens the chain of procedures.

Digital cameras use a Charge-Coupled Device (CCD), which is a micro-electronic device, to capture the image in pixelised form. The quality of the image varies with the number of pixels that the image is divided into.

This will vary with the quality of the camera from as few as 75,000 and as many as 18 mega pixels or more. The images are downloaded to a computer and relayed onto the screen. When a hard copy (print) is required this may be obtained from a printer linked to the computer.

The imaging method of the printer will dictate the quality of the image produced. Once used the CCD device may be cleared and used again and unused images compressed and stored for future reference. It is necessary to check the amount of memory required with that available, as storage, even in compressed form, can use a considerable amount of space.

FILE TRANSMISSION

One of the many advantages of digital origination rests with the ability to transmit illustrations over the internet with no loss of quality. This may be in the form of bespoke Asset Management Systems of FTP (File Transfer Protocol) methods. Once the illustrations are received they may be manipulated and color adjusted to suit the method of reproduction.

A TYPICAL REPRO CHECKLIST

Some of the aspects which must be considered, irrespective of the repro techniques, are shown in Figure 3.4.

DIMENSIONS CAD

All label and pack dimensions should be checked thoroughly before the repro process commences.

Once dimensions are correct then all bleeds should be checked. Bleed is the area to be trimmed off and is a term that refers to printing that goes beyond the edge of the design outline.

Artwork and background colors can extend into the bleed area and this gives the printer a small amount of space to account for movement of the substrate, and any design inconsistencies.

CAD/Dimensions are separated onto a layer of its own. It is important to set CAD dimensions to a color of their own and ensure it is overprinting.

COLOR SPLIT/ SEPARATION

When required for multi-color process printing a full color picture or illustration is normally first divided into four separate subtractive color components by either electronic/laser scanning or through the use of color filters, in a process camera prior to the production of the printing plate.

The term ‘color separations’ usually refers to the set of four films, one each for the yellow, magenta, cyan and black (CMYK) used for plate production. (Figure 3.5)

Each color on the film is represented as lines of dots set at specific angles which, when overlaid, will combine as layers of dots forming tiny repeat rosette patterns that simulate shades of color when seen at a distance.

If an image is required for line printing only, the separated films still represent each of the colors, (which in some printing processes may be more than four colors), but there is no dot formation or rosette pattern involved.

The print-ready data is streamed to a storage medium for incorporation into a finished assembly at a later stage or exposed directly to film or plate.

There may be circumstances where for cost or other reasons an image has to be created out of 3 rather than 4 colors. The visual impact of this is illustrated in Figure 3.6.

COLOR SPLIT CHECK LIST

Below is a check list of factors to be considered when preparing the color elements of a job for repro:

Determine the number of colors and ensure the palette only contains these colors and that tints are specified correctly.

Minimise the amount of colors where possible without compromising the design/branding

Detect and redefine colors

Spot colors in text - There are times for example, in which color text is supposed to be obtained from 4 color process, however this may not be possible due to register problems. If this is the case then the text has to be redefined as a spot color and approved by the customer

Spot colors in images - if images are required in spot colors, channels need to be generated.

COLOR DENSITY

When printing an image, large areas of flat tone and gradients are often difficult to reproduce. In order to achieve correct color density therefore, it can be beneficial to run a screen tint underneath the solid color.

The effect on color density when using an additional screen tint is illustrated in Figure 3.7.

A typical example when running CMYK would be to introduce a 40% screen tint of cyan underneath a black to increase its density.

TRAPPING

An important aspect of origination is to make sure that it is economically practical for the intended printing process and press to print the image repeatedly, to an agreed quality. The term quality relating to the printed image is wide ranging, but register is a key element and takes the leading position in quality assessment.

With any printing process, misregister or poor print registration is unacceptable.

The output from label printing presses, however superior the engineering, may not be absolutely or consistently precise. Misregister can be caused by mechanical variation within the printing press and also due to temperature changes or movement of the substrate as it progresses through the printing units.

As the printing process is a mechanical process, quality limits should be imposed relative to the complexity of the final result, which would include the economic running speed for the type of label, substrate stability and final application method.

If a label design calls for line colors to butt up to each other (edge to edge) then any movement of the web will cause gaps or unsightly overprinting where the colors meet. The press will not be able to run economically without considering the effect of trapping.

The problem can easily be managed at the repro stage. The basic intent of trapping is to provide an overlay between adjoining colors as a part of the overall design (Figure 3.8).

Trapping usually involves expanding the lighter of the two colors to overlap into the darker one.

Computer generated artwork can be trapped by applying a colored stroke or outline to each of the colors affected.

Half the width of the stroke will fall inside and half will fall outside the element it is placed against. When a stroke is specified to overprint, the adjoining color will be trapped under the outside half (Figure 3.9).

This technique however needs to be used with caution when text is included. Such trapping used with small or fine type could ruin the image by making the type unreadable.

A number of software programes include automatic trapping functions (often referred to as ‘spreads’ and ‘chokes’) that can be applied to any area where two colors butt up.

A “choke” is a specific adjustment or distortion of an image whereby the perimeter, in total or in part, is slightly pulled in (choked) towards the center. Choking of an element is normally used in conjunction with the “spreading” of a neighbouring element to guarantee that there are no color fringes or white borders around the image due to misregister.

Another technique for negating the effects of misregister involves the creation of a black key-line to cover the abutting edges and also form an integral part of the line printed elements of the label.

SUITABILITY FOR THE PRINTING PROCESS

In terms of overall printing quality the various processes are all capable of producing printed images on a variety of substrates to a high standard. Each process requires specific considerations when preparing for plate making. One of the greatest benefits to be derived from computer prepared origination is that adjustments can be made in the software programs and applied automatically during preparation of the color separated film. It is even possible to take this a stage further by incorporating the requirements of an individual press should this be desired.

Automatic controls may include such things as minimum line thickness or dot size, dot gain between what appears on the film and what will appear on the substrate. Variations of ink viscosity (ie the thickness of ink being deposited) will affect the color density of the printed image. Such variations may be allowed for by building the necessary information into the program, to be automatically implemented in the origination.

REGISTRATION MARKS

Typically registration marks are included in the design file of a new label job.

Registration marks used in the label industry are positioned on the edges of the web, in the area that is part of the waste matrix. Each color or embellishment (hot foiling and cold foiling) being printed will have its own register mark which is usually in the form of a cross hair positioned within a circle in the form of a target. The register mark image consists of very fine line work (Fig 3.10).

This technique however needs to be used with caution when text is included. Such trapping used with small or fine type could ruin the image by making the type unreadable.

A number of software programes include automatic trapping functions (often referred to as ‘spreads’ and ‘chokes’) that can be applied to any area where two colors butt up.

SUITABILITY FOR THE PRINTING PROCESS

REGISTRATION MARKS

Typically registration marks are included in the design file of a new label job.

Registration marks are a method of monitoring the “print to print” register whilst the press is running. This facility allows the press operator to make manual adjustments to the print register and is particularly useful during the make-ready phase of the job.

Print register is achieved by moving each plate cylinder circumferentially and also sideways until the register mark of each color falls exactly on top of one another. This is called “in-register" and any movement in an individual color will indicate that the print is in “mis-register” (Fig 3.11).

Once the correct print registration has been established and the press speed is increased a register monitoring system will display the register marks as a fixed image on a monitor. This gives the press operator an instant view of the “print to print” register, thereby allowing manual adjustments to be made to the register during the print run.

Another type of registration mark is the one used when the press is fitted with an automatic print registration system.This mark is usually rectangular in shape approximately 5mm x10mm and is printed in the “key” color.

This is the color to which the other colors are to print in close register. When the auto system is being used each print unit reads the key color and the system moves the circumferential register into the correct position and then holds it “in-register”.

DISPROPORTIONING

More commonly known as “dispro”, disproportioning is the calculation that ensures that a printing plate produced in the flat will print an image of the correct size once it is wrapped around a printing cylinder. It involves reducing a plate-ready film in overall image size to compensate for the known distance that the photopolymer plate will stretch or distort on the cylinder.

The amount of distortion will depend upon which print process is being used. The thickness of the printing plate will vary according to the print process and in the case of the flexo and letterpress processes, the thickness of the tape used to mount it on the plate cylinder will need to be factored in as well. Generally, thicker plates and shorter repeat lengths will increase elongation.

Direct-to-plate imaging on to a curved plate, or to a plate already mounted on the cylinder, avoids the need for disproportioning. As the image is applied to a curved surface, no stretching occurs (Figure 3.12).

IMAGE RESOLUTION

It is important to note that in order to achieve a good printed result, a high quality original is a necessity. Generating a high resolution image in Photoshop from a poor quality original will result in poor print quality (Figure 3.13).

When resizing original images a key factor to remember is that the more dots per square inch the higher the resolution. The fewer dots per square inch the lower the resolution. The optimum image resolution for printing is 150 lpi screen = 300 dpi*.

*dpi - Dots per square inch expresses the number of lines of halftone dots per square inch. Maybe expressed in-lines (lpi, lines per square inch) or dots per square centimeter.

Effective resolution is the resolution of the images with the effect of scaling taken into account. A 300 dpi image at 400% scaling would be 300dpi x 100 /400 = 75dpi dpi effective resolution (Figs 3.13 and 3.14).

IMAGE RESOLUTION CHECKLIST

Ensure an adequate resolution of original images so that the pixels do not show on print
Generating a high resolution image in Photoshop from a poor quality original will result in poor print quality
Optimum image resolution for 150 lpi screen = 300 dpi*
The more dots per square inch the higher the resolution
The less dots per square inch the lower the resolution

DOT GAIN

Dot gain is a characteristic of most printing processes where the size of the half tone dot changes, as a result of plate to substrate pressure, during the printing process (Figure 3.15 and 3.16). Because a conventional printing press is mechanical by nature, the dot gain can vary dependent on the age and condition of the press. Dot gain can make a considerable difference to the final printed result and may result in a complete change in the tonal values of color printing.

Dot gain is most prevalent and visible in the highlight and shadow parts of the tonal reproduction scale, giving unacceptable results especially in four color process printing.

The problem with dot gain is that it is only part of the picture. Each press runs at its own color densities. In order to understand the color effect it is important to understand the effect of these densities. (Figure 3.17 and 3.18).

PRESS FINGERPRINTING

The printing characteristics of an individual press can be measured (via finger printing*) and the results built into the preparation of films and plates to give a predictable printed result.

The established characteristics are only valid if none of the printing parameters change. Any change, be it different plates, inks or substrates requires a new fingerprinting exercise to be undertaken. The same rule applies if the press is modified in any way, or the overall running speed is altered or the anilox changed (in flexo).

Typically a printer will carry out a press fingerprinting exercise in order to obtain, amongst other things, dot gain information. The printed effects of dot gain are illustrated in Figure 3.18 and 3.19.

*The printing of a special test run on a press so as to determine the registration, dot gain, distortion and other characteristics of the press.

Once known, these can be compensated for at the design, film or platemaking stages.

DOT GAIN – A SUMMARY OF KEY POINTS

Dot gain is critical to color management

Dot gain is a method of measuring the dot size variation between digital data and press caused by the mechanical process of printing

Dot gain information is required at the repro stage to compensate for a measured gain

Each press has a unique dot gain percentage

Fingerprint trials must be individual to each press

SCREENING - SOLIDS VERSUS SCREENING

Tint (screen) – is a solid color which has been reduced in shade by applying a screen during the origination process. The resulting tint is specified as a percentage screen of the original solid color.

Tint (solid) – a dense area of color without screening, usually defined as a percentage of a defined solid color, as opposed to a screened tint of a solid color. A solid tint color is obtained by ink mixing, rather than as a pre-press operation.

Halftone screening is a way of splitting tones into separations that can overprint each other to make different colors (see Figure 3.20 and 3.21).

Typically the screens need to be on different angles (Figure 3.22) and a screen’s coarseness can vary dependent upon the quality of the material and print process.

ROSETTE

A rosette pattern that is created when all four color halftone screens are placed at the traditional prescribed angles to each other (see Figure 3.23)

MOIRÉ

A Moiré pattern, found in both black and white or color halftone printing, describes the irregular unwanted interference pattern of screen dots caused by combining one, regular, halftone pattern with another similar one, so causing disturbing patterns or patches - either over the whole image or in certain color combinations (see Figure 3.24). It results from incorrect screen angles being used when overprinting colors or when reproducing from an already printed subject.

STOCHASTIC SCREENING

The use of stochastic screening can avoid the problems of moiré and are ideal for use with Opaltone processes (the Opaltone process is explained below).

Stochastic screening is an alternative to conventional halftone screening in which the image is separated into very fine, randomly-placed microdots (measured in microns), rather than the more conventional grid of geometrically aligned halftone cells. Dots are the same shape and size in most versions, but there is varying spacing between the dots (see Figure 3.25)

Sometimes called frequency modulated or FM screening, stochastic screening eliminates screen angles and the possibility of moiré patterns and provides greater image detail due to the lack of screen rulings and screen angles.

There are no rosette patterns with the process and results are impressive on both coated and uncoated paper and film.

The stochastic screening process involves imaging dots on film using special randomizing software. The software uses mathematical expressions to statistically evaluate and randomly distribute pixels under a fixed set of parameters.

Stochastic screening produces smoother gradations when vignettes, blends and degrades are involved. It enables almost any combination of colors to be used in the creation of subtle or dramatic effects.

The dot size used in stochastic screening is extremely small when compared to the size of the highlight dot in conventional screening. It is recommended that stochastic screening is used for flexography only after the printer and color separator have undertaken press fingerprinting to determine the ideal dot size and accurate compensation for dot gain.

OPALTONE

Opaltone® is a patented imaging technology that digitally mixes CMY+RGB process inks.

The CMYK system can only reproduce a limited color gamut. For example oranges, reds, bright greens and blues are common colors that cannot be faithfully reproduced in CMYK.

The “traditional” way to overcome the CMYK gamut limitations has always been to print expensive spot colors. The Opaltone system is a way of digitally simulating spot colors.

PROOFING

At the latter stages of repro the aim is to help the customer visualise their job as accurately as possible in the form of a proof (Figure 3.26).

Printing proofs are used for checking that all text and graphics and colors come out as expected before going to press. Aside from the finished piece the proof is often the only part of the production process that the client will see.

ADDITIVE AND SUBTRACTED COLOR EXPLAINED

Color makes up the visible light spectrum, which is made up of red, green and blue (known as the additive colors). Red, green and blue are called additive because when you add them together the result is white light (see Figure 3.27).

Cameras take images and scanners scan in RGB. Computer monitors and web based applications are classed as RGB media. RGB images have much more range of brightness than CMYK images.

Printing on the other hand uses ink and uses the subtractive colors (cyan, magenta and yellow or CMY), plus black (abbreviated to K). CMYK color is also called “process color” or “full color.”

The primary colors (hues) used for process color printing subtract light and when overlapped produce other colors and black images. See Figure 3.28.

COLOR CONTROL AND MANAGEMENT

Quite naturally end users expect the color they have seen and approved (via a proof) to be the same as the color they get on the final printed result. All printers will have processes in place (color management systems) to ensure that this is achieved.

Color control and management processes are set out to achieve the following objectives;

Ensuring color consistency amongst different input and output devices so that printed results meet expectations.

To ensure that the colors on the monitor are matched by the finished results on the press

Color matching – the exact matching of a given color sample in terms of hue, value and intensity

Some of the key methods used to ensure good color matching are detailed overleaf;

INK COLOR MATCHING

It is critical in color matching to duplicate the exact hue, value and intensity of the color in the ink blend. Each color should be verified under the correct lighting conditions and the use of appropriate color measurement instruments adopted to ensure an acceptable match.

An instrument known as a colorimeter can be used to measure the spectral reflectance of a color and compute numeric values for color intensity, hue and purity.

COLOR CALIBRATION

Color calibration is the process whereby a series of graphic input and output devices are calibrated, using color profiles, in order to ensure color consistency across the design, pre-press and printing operations.

Input devices, such as scanners and digital cameras and output devices, such as monitors, printers, proofing devices and image-setters are calibrated.

The range of colors available to a specific output device, are typically known as the color gamut. The RGB color range is much broader than the CMYK color gamut (which is what most pre-press output devices use). Colors specified using the RGB gamut will often fall out of the gamut range when output on a CMYK device.

ICC FILE STANDARD

The file standard for describing spaces is called the ICC (International Color Consortium) profile. The ICC framework allows pre-press processes to convert color scientifically.

Most artwork packages and operating systems now offer some sort of color management, but the profiles available are generic printer and monitor profiles.

To be completely accurate individual devices used need to be profiled.

ICC profiles can be used to convert between color spaces maintaining color as close as possible

ICC profile can be used at operating system level or on a document by document basis in Photoshop. See Figure 3.29.

New tools for fine tuning CMYK separations are developing which complete the transformation RGB/CMYK to CMYK in a single step.

COLOR BARS

A series of colored shapes printed outside of the finished print area. These bars are often used to verify the accuracy of the printing job and allow the press operator to calibrate the print job and adjust the press if necessary. (see Figure 3.30)

COLOR CORRECTION

Color correction is the process of adjusting an image so as to correct color errors.

Overall color correction is a basic function of color reproduction. This may be required for any of the following reasons:

Poor scanning

Poor film/print processing

Poor color management

All repro houses perform overall color correction and simple aesthetic retouching to varying standards in order to optimise the printed image (see Figs 3.31 and 3.32 below).

SPOT COLORS

Spot colors printed by CMYK can be a tricky business as there are limitations on the densities and color that can be achieved. Figure 3.33 illustrates the difficulties in reproducing a spot color using 4 color process and variability that can occur if the same job is produced by two different printers.

The left column of each is the spot color which you can see are identical. The right column of each is the process conversions.

These can vary dependent upon the printer their relevant dot gains and densities.

If colors cannot be successfully and consistently reproduced using CMYK then single ‘spot’ colors can be used. This will of course require an extra printing head on the press.

SUBSTRATES CHARACTERISTICS AND EVALUATION

The substrate used will have a distinct influence on the printed result and final color of the job.

There are a range of substrate characteristics that need to be evaluated as part of the specification process.

The image and reproduction will be affected by the following characteristics;

Absorbency

Reflectivity

Color

Smoothness

Materials act like ink pigments and reflect color to varying degrees. Inks are not 100% opaque (they have an element of transparency) so some of the characteristics of the underlying substrate are transmitted through the inks.

The appearance of an image printed on a white substrate for example will differ considerably from one printed on a brown material. The impact of the underlying substrate on the final result must be carefully considered and anticipated at the repro stage (see Figure 3.34).

OPTICAL PROPERTIES

Other optical properties may have an impact on the final printed result and must therefore be carefully considered. These factors include;

Color – Absorption within the object or product
Gloss – Specular reflection at the front surface of the object
Translucency – Transmission through the object
Texture – Spatial variation in reflection / transmission / absorption caused by surface texture

TRANSPARENCY

It is important to note that inks are not 100% opaque - they have an element of transparency and some of the characteristics of the substrate can often be transmitted to the inks.

If a semi transparent substrate or ink is being used on a pack it is important that the impact of container color or product color is anticipated.

For example a dark or strong colored container can have a significant influence on the appearance of the label design. This influence is demonstrated in Figure 3.35 below.

TRANSLUCENCY

The translucency of an ink or material can also have a dramatic impact on appearance.

INK EVALUATION

The type and characteristics of the inks to be used on a job must be considered and their impact evaluated. Surface coatings to provide additional gloss, surface or product resistance for example, must be evaluated and factored into the specification.

Other factors relating to inks and varnishes to be considered include the following;

Light fastness

Rub resistance

Drying

Adhesion

Varnish requirements

Shade and hue

Strength/pigmentation

Taint & odour

Toy Regulations – the labetling of toys and children’s products must comply with the requirements of the relevant national or international safety standards.

Stability on substrate

All of the above ink considerations will be explained in the Inks, Coatings and Varnishes training module.

PRE-FLIGHTING

Once the repro process is completed the job is ready to go to print. There is however a final process called pre-flighting that is often used in order to confirm that the digital files required for the printing process are all present, valid, correctly formatted, and of the desired type.

The files to be used for the printing of the job are checked to make sure they are in a format that can be interpreted by the RIP (raster image processor). Once the incoming files have passed the pre-flight check, they are ready to be put into production. Without this pre-flight check significant and expensive production delays could result.

PDF is the industry standard file type for submitting data to a RIP. Printers will make sure the pre-flight settings match their specific production requirements.

Files are verified by a pre-flight operator for completeness and to confirm the incoming materials meet the production requirements.

The pre-flight process typically checks for:

images and graphics embedded by the client have been provided and are accessible

image files are of formats that the application can process

image files are not corrupt and are of the correct resolution and color format

required color profiles are included

fonts are accessible and compatible to the system and are not corrupt

confirm that the correct separations are being output

Advanced pre-flight steps might also involve the following;

converting fonts to paths

removing hidden objects (i.e. objects outside the printable area and objects on layers below)

flattening transparent objects into a single opaque object

gathering embedded images and graphic files to one location accessible to the system

compressing files into an archive format

ON PRESS CHECK

The on press check takes place after a printing press is set up, but before the print run commences.

While errors should have been corrected during the approval and proofing stages, the main purpose of a press check is to make sure that the color on press comes as close as possible to the agreed color proof.

There can be inherent differences between some color proofing methods (apart from wet proofs) and the printing process itself.

Areas that are commonly evaluated at a press check are as follows;

Flesh tones or corporate logo match colors

Overall color balance across the web

Substrate (checking for correct color, weight or texture).

Content (looking for missing elements and confirming copy changes).

Registration (checking sharpness, color overlapping, edges of images and screened type)

Physical defects (checking for broken type, hickeys*, spots etc)

*Hickey - The effect that occurs when a spec of dust or debris (frequently dried ink) adheres to the printing plate and creates a spot or imperfection in the printing.

In many cases the client will inspect and sign off a job on the printing press and indicate acceptable color variances (if they have not already been specified).

POST PRESS CHECKS

Most printing is usually not complete until it is converted into a "finished" product. Post press activities include various types of finishing work such as slitting, embossing, foiling, die-cutting.

Post press checking therefore can include:

Embossing – Checking for defects such as un-sharp edges, pinholes, ruptures and "halos" (shadows around the emboss).

Foil stamping – Defects to be avoided are feathering, color changes, scuffing, peeling and un-sharp edges.

Die-cutting – Defects that are commonly checked for are clean cutting and correct register.

Intro section

Repro is the process of finalising the artwork and producing working files from the design to the production specification.

A key component of the repro process is to finalise all color from the artwork supplied and there is particular reference during the repro phase to critical factors such as color separation, image quality, dot gain and image overlap (known as ‘trapping’).

Migrate nid

89613

Migrate path

/label-academy/article/preparation-printing

Article main topic

Article slug

/label-academy/article/preparation-printing

Design and origination

Feedimporter — Mon, 23 Nov 2020 11:00:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Design and origination

Short summary

The birth of a label design typically starts in a client’s marketing department

Teaser image

Categories

Display section

Chapter section

How these factors are managed and communicated, is a critical factor in ensuring that each print job meets the expectations of the final customer.

Paying attention to detail in the early stages will reduce the possibility of having to correct costly errors later in the production process.

In this article we will some of the factors that need to be understood and managed during these early stages of a label or a pack’s development.

WORKING WITH DESIGN AGENCIES

A high percentage of new designs emanate from design agencies. Whilst these agencies are very creative, there can be some technical shortcomings and many have limited knowledge of the processes involved in the production of self-adhesive labels.

The implication for any project therefore is that a partnership approach is advocated, which includes technical input from the printer.

A summary of typical design agency strengths and weaknesses are listed below.

Design agency strengths

Visionary

Enthusiastic

Perceptive to global trends

Seek to push printing and conversion technologies to the limit

Design agency weaknesses

Unawareness of graphic limitations

Tendency to stray from the technical brief

Limited knowledge of artwork preparation, repro and print processes

THE INITIAL STAGES OF BRAND/DESIGN DEVELOPMENT

At the outset, design concepts are evolved that take into account a wide range of design and marketing factors.

Relevant information from the list below should be factored into a design brief, which will be used internally or by the appointed design agency.

A well prepared design brief will typically include the following;

Market brief/market overview/competition – Market profile data and assessment of the marketing/competitive landscape.

Product background – Essential background on the product, its characteristics and key objectives.

Brand guidelines – including guidance on logo/corporate colors etc.

Target consumer – consumer profile data and target audiences.

Mandatory elements – obligatory packaging elements including legal copy, barcode data, ingredients, warnings.

Production requirements – technical parameters such as web-widths etc. to be established.

Product aspirations – the positioning or required perception of the brand will impact on the label/pack design and should be communicated in the design brief.

Costings – budget parameters/guidance should be established.

Timings – details of critical dates should be provided e.g. market entry/launch date, production dates etc.

Die-lines/profile – usually an important start point for new designs, as it provides the boundary within which the design is established.

Maximum number of colors – there may be technical/cost reasons for establishing an upper limit on color usage.

Substrate specification – early specification of the material to be used may be critical for technical/design reasons.

All the above points must be considered in order to achieve the design objective.

Consultation between all parties, at all stages in a label project is vitally important in agreeing a detailed specification which contains all the relevant information relating to each part of the project.

The specification must be completely adhered to throughout the design to print process and brand owners must ensure that the specification is available to all parties when multi-site manufacturing is involved.

From the design brief the first stage in the design development process is the generation of initial design roughs/concepts (see Figure 2.1).

The second stage is to refine and create visual form either for internal discussion or for further market research (Figure 2.2).

AESTHETICS VERSUS PRACTICALITY

Often the aspect of aesthetic design is considered in isolation and sometimes overshadows the technical considerations which must be met to achieve an acceptable end result.

In many cases design creativity must be tempered by the more practical aspects such as cost, technical constraints of the printing process and the many mandatory requirements that need to be accommodated within the design.

Whilst the printer/converter may have little or no input at this stage, he should be consulted regarding the practical aspects of producing the job with his existing facilities, before the creative process gets underway.

THE CONCEPT OF TOTAL APPLIED COST (TAC)

It is important to note that the total cost of packaging or labeling may have an important impact on the design brief.

The concept of “total applied cost” will often influence the print specification and the decoration/packaging format selected.

The total cost of a label is not merely the cost of the material and its conversion; there are a much wider range of factors to consider.

In-mold and direct decoration, for example, often requires that the user stores large quantities of pre-labeled containers on-site in order to cope with the flows of demand across a number of variants. Storage, inventory and obsolescence are all part of the labeling cost and have to be considered at the very start, when decisions are being taken as to how a product will be produced, presented and marketed. Likewise the cost of application equipment, manning levels and labeling efficiencies are likely to be key components of the cost equation.

The concept of total applied cost encompasses all costs attributed to the labeling process from start to finish.

Evaluating different decoration methods using this wider definition of costing can dramatically influence the selection process. Some decoration formats may actually be ruled out on the results of a total cost calculation and this may therefore influence the design brief.

A costing model that takes a total applied cost approach offers a new perspective on the cost of decorating a pack. Total applied costing includes a host of factors such as the cost and efficiency of label application, investment in capital equipment and machinery change parts, logistics and inventory control.

Details of those factors that can be included in a total cost model are provided in Figure 2.3

FUNCTIONALITY

Functionality may have an important effect on how a label or pack is produced.

On a self-adhesive label, for example, the function will dictate, to some extent, the materials which will be used, in particular the face material and adhesive. This may limit the type of ink and even the printing process to be used.

An example is scratch-off or temperature sensitive images. These functionalities might be used on a wide variety of substrates, but they both have a specific ink requirement – i.e. they require a thick ink layer. This factor would then limit the choice of printing process to be used. The scratch-off ink (micro encapsulation) will require it to be printed on a press which controls the printed web without applying abrasive pressure to the printed ink film surface. The temperature responsive inks may restrict drying/curing facilities and the restriction of a maximum temperature in any section of the press. In addition the thickness of the ink deposit may limit type size, dot size and general detail which can be printed.

The most effective route to good design practice begins with a comprehensive understanding of the end-use or final function of the product, and then working back through all the converting, printing and origination procedures, in order to ensure that the desired result is going to be a practical and economic proposition.

A good designer will have at least a basic understanding of the effect of each of the components in the production of a label and how they will impact separately and in conjunction with each other. It is important to consult experts at each stage of production in order to ensure a first time, correct result.

PRINTING PROCESS CONSIDERATIONS

With the dramatic changes in printing technologies over the past few years, choosing the correct printing process to achieve a particular effect is becoming more difficult. The wider use of multi-process presses means that it is possible to combine the strongest attributes of each process in one machine pass to achieve a particular and maybe unique result in an economical way.

Offset lithography produces a clear image and fine detail; letterpress a strong color; water-based flexography, high speed and thin ink coverage; UV flexography, controllable ink film thickness and good color coverage; screen printing, high ink film weights and dense color with no show through.

Not to forget the now extensive use of electrophotographic and ink-jet digital technologies which add another dimension to the printing possibilities – including personalisation, adding sequential coding or numbering to the final job.

Finishing processes such as hot or cold foiling, which can produce a true metallic effect, or glossy or matt varnishing, which can add dramatic effects to the end result, should not be overlooked.

DESIGN EVOLUTION

As a project evolves the design visuals become more developed and can accommodate a wider range of factors including;

Mandatory elements e.g. warning messages, barcodes, ingredients etc. (see Figure 2.5)

Die-lines/profiles – will provide the boundary within which the design is to be created

Maximum number of colors – cost or manufacturing limitations may place an upper limit on the number of colors available to the designer

Packaging format - Choice of decoration can influence ability to reproduce a design. For example it may not be possible to include certain decorative effects on particular packaging/labeling formats e.g. hot foil stamping is unsuitable for use on shrink sleeve labeling

Substrates or materials – the choice of materials may impact on design options e.g. metallics

A checklist of critical elements in pack design is provided in Figure 2.4 and will now be explored in greater detail.

MANDATORY ELEMENTS

Mandatory elements that should be factored into the artwork from the outset include – barcodes, ingredients, warning messages, symbols and legal copy.

Compulsory legislation information is the thorn in the side of the designer and can have a dramatic influence on design. More and more information is now mandatory on any type of packaging and labels and the designer is sometimes caught between two opposing requirements - the overall size of the label may be restricted by the size of the package to be labeled, yet legislation might impose a minimum size type to be used to provide certain information. A barcode for example, might have to be printed to certain minimum dimensions. Instructions must be clear and in the language (or languages) required in certain geographical consumer markets.

Hazardous products must be marked very clearly and recycling information is also important. The designer may have to work within exactly defined guidelines and yet must include most or all of these requirements, not forgetting the actual brand or product information, which is the main reason for producing the label in the first place.

Sometimes the sheer amount of information required may dictate that an additional label should be included in the final product labeling.

GUIDANCE ON BARCODES

Barcodes should be of high resolution requiring minimal re-scaling. It is important that the barcode printing is in a scannable color. Since most barcode scanners utilise infrared light, avoid using inks with red or orange pigments.

For best results, barcodes should appear on a white background with a no-print area to the left and right of the code.
If printing on filmics, the code must be positioned so that the bars run through the press in the same direction that the film runs through the press, in order to avoid potential image distortion.

COPYRIGHT

Brand images and the company logo may be protected by copyright. This is of concern to the designer and the product manufacturer, but the label printer also has to be aware. If the printer knowingly prints an image on a label that could reasonably be taken to be that of a competitive product, the printer could be held liable.

CUTTER PROFILE OR DIE-LINES

One of the most important considerations in the design brief for a label or pack is its unique shape.

The graphics will be bounded by the outline and of course the design elements will need to be carefully placed within this boundary, for optimum visual impact (see Figure 2.6).

In the creation of any artwork for packaging design it is vital to start with an accurate template, or cutter die-line.

The die-line clearly defines printable areas, as well as reflecting features such as tear strips, euro slots etc that may need to be taken into consideration when creating artwork. The orientation of text or distortion when a sleeve, for example, is shrunk onto a pack will need to be accommodated within the profile.

Without this information the designer may spend hours laying out the perfect design only to find that it needs to be rearranged to fit a layout with completely different parameters.

Die-lines are typically available from suppliers or can be created in programs such as Adobe® Illustrator.

The die-line may reflect existing cutter stocks available from the converter and will certainly conform to the manufacturing parameters of their equipment.

PRACTICAL CONSIDERATIONS RELATING TO DIE-CUTTING LABELS

The automatic application of the label will run much smoother and quicker if the label profile is kept simple.

There are certain label shapes which can affect the economic running of the press under production conditions.

A few are listed here;

Acutely sharp corners, star points or any dramatic change to the direction of the cutting edge can cause die-cutting speeds to be reduced. (Figure 2.7)

Small or thin projections that create an uneven pull on the waste as it is eased away from the face material often tear and remain on the backing liner.

As with any design, aesthetics must be balanced against economic and efficient running of the press. The accuracy of the die and the die-cutting method must be reflected in the complexity of the outline of a label so that penetration of the silicone coating or backing does not occur.

The shaded areas indicate aspects of the label profile that could slow down the press due to difficult stripping.

Such areas could be printed to blend in with the container color.

DEVELOPMENTS IN LASER CUTTING AND FINISHING

With the increasing use of laser die-cutting more complex label profiles are now possible, along with more opportunities to create cut-out areas within the label design. The laser uses programs developed from the step-and-repeat function of label origination to guide the laser cutting head around each separate label profile.

Laser etching offers possibilities for personalisation, numbering and coding of labels whereby the images are physically etched into the surface of the material.

NUMBER OF COLORS

All designs should be kept to the maximum number of colors of the converter’s printing press that the job will be printed on, including white ink and varnishes.

It is recommended that a color legend is supplied with proofs generated and colors used in a design are best labeled clearly in files.

ECONOMICS

Cost is usually one of the most important factors to be considered in the production of a new label design. The aesthetics of the final design must be balanced against the most economic production method.

The number of colors to be used in the final design will have a huge impact on the cost of production. Many modern label presses, have up to ten color stations, which means that a four color process job can be run in addition to a house or corporate color, plus varnishing and finishing all in one pass.

The printing of very fine detail with small type faces and fine screen rulings can often slow down the running speed of the press and complex cutting, punching and perforating means more units for the press operator to supervise.

Designs incorporating accurate grips between colors or with very fine key lines will also have a negative impact on press speed.

Attention to the detail mentioned here could reduce production costs and if managed correctly may not detract from the overall design.

ARTWORK

The term artwork is defined as the original design, drawings, pictures and text produced by the designer or artist. It comprises all elements of design from which the black-and-white origination and printing plates are made.

The process involves the production of finished material suitable for reproduction by any printing method or media. This may be presented as a black and white art sheet, with color overlays, or in disk or CD format, or even transmitted electronically for computer printout.

Once a design has been conceived and created it progresses to finished artwork and may be further amended before final approval is sought. It is also important that the artwork is subject to rigorous checks to ensure that it conforms to specification before proceeding (See Figure 2.8).

FINALISING ARTWORK AND GRAPHIC CONTENT

Following on from the design brief other information is generally required to finalise the artwork. This information will typically include the following components; See Figure 2.9.

PRINT PROCESS SPECIFICATIONS

At this stage the print processes to be used in the final job are specified. In some cases a combination of printing processes may be required to achieve the desired result.

USING SPOT COLORS

Using CMYK can have its limitations when it comes to color reproduction. If more vibrant colors or an exact color match is required (e.g. for consistent company branding) then spot colors/PMS colors should be identified in the artwork.

USING BLACKS - BLACK VERSUS RICH BLACK

When printing with black color, there are two types of black that can be used.

Black – 100 K: can be used for body copy and barcodes

Rich black – 40 C 40 M 40 Y 100 K: is recommended when printing blocks of black.

Rich black specifications may differ from printer to printer, so it is important to consult with your printer for their advice.

Telling the difference when preparing files on a monitor screen can be difficult since PC screens show richer colors in RGB (red,green and blue).

Therefore, it is recommended to get a press proof when printing blocks of black.

The difference between rich black and black is illustrated in Figure 2.10.

SUBSTRATE SPECIFICATION

At this stage the exact material to be used will be specified along with the supplier details, material grammage/caliper* and the adhesive.

*Caliper or thickness of a paper or film, measured by a dead weight dial micrometer, usually expressed in thousandths of an inch (mils or thou) in the USA, or in one millionth of a meter (microns) in countries using the metric system.

In label printing there is a wide choice of materials available. The more commonly used materials are listed in Figure 2.11;

Vellum* - A strong, tough paper with a high quality appearance, originally made to imitate the fine smooth finish of parchment made from animal skin. No longer noted for its strength, Vellum has become the generic term for very smooth uncoated wood-free paper utilised by label manufacturers for line and solid printing or thermal transfer overprinting.

Machine glazed** – smooth surface achieved using a highly polished steam heated cylinder (not very common)

Machine coated*** – paper coated on the paper making machine

Cast coated ****– clay coating with a high gloss finish

FILMICS

There is an increasing demand for label characteristics that are outside the scope of paper substrates.

Self-adhesive labeling can utilise a wide range of lightweight filmic (plastic) facestocks as shown above in Figure 2.11.

Single layer film***** - mono-layer film

Multi-layer film****** - Films of more than one layer produced extruded with difference performance characteristics in each layer eg printability, dispensability, flexibility, squeezability, stiffness etc

In addition to these filmic materials there is a wide range of other speciality facestocks available including paper/foil laminates, metallised papers/films, synthetic papers.

EMBELLISHMENT DETAILS

Details of surface embellishments for the label or pack are required at this stage and the decoration areas should be specified within the artwork.

Typical decorative effects that can be used include;

Embossing - The process of raising a design or image above the label surface, often through the use of a set of matched male and female dies.

Varnishes - A thin, clear, transparent ink that contains no coloring pigments or dyes. When printed or coated over the top of a substrate and/or printed matter, the varnish provides a protective finish that enhances appearance and increases durability. Varnishes may be glossy or matt.

If a varnish is to be used, the image or text that requires varnishing should be identified in the artwork. Typically a spot color named "varnish/spot" is created within the design file.

Lamination - A clear plastic film applied to a sheet or web of labels by heat or adhesive to provide and enhanced, glossy or matt, appearance or for protection.

Foil stamping - Lacquered aluminium foil placed adhesive down on substrate. A heated patterned die is pressed onto the foil to activate adhesive and transfer the image.

If a varnish, foil or emboss is to be used, the image or text that requires the embellishment should be identified within the artwork. Typically a spot color created within the design file and labeled with the appropriate embellishment description can be used for this purpose.

CUTTER PROFILES

As discussed earlier cutter profiles are typically established at the early stages of design development and provide the boundary within which the design is created.

PARAMETERS ON FONTS AND TEXT

There are a number of factors to be considered when finalising fonts and type as follows;

POSITIVE TEXT SIZING

Minimum type size for positive text is generally 4 point. Type below this point size may not be legible when printed. For best results, small text should be created from one solid color. Screened text can be difficult to read, and slight mis-register on press can affect the legibility of text that is created using more than one color.

Minimum type sizes for particular applications (food or drug labels) are commonly found in the relevant labeling regulations.

REVERSE TEXT

Minimum type size for light-colored text that reverses out of a dark-colored background is 6 point. Type below this point size may fill in and not be legible when printed. Light-style fonts or serifed fonts for reversed-out text are not recommended, as the thinner elements of the letters will have a tendency to fill in.

Type should never reverse out of more than one color and it is recommended that a solid, single-color keyline is used to outline light-colored text.

Printing reversed out text should be avoided below 6 point and the text should be printed directly onto the color (ie not reversed out). See Figure 2.13.

DROP SHADOWS

The use of drop shadows, particularly on small reverse text, is not recommended (Figure 2.14).

The use of a drop shadow introduces an extra color to the background which would have to be printed in perfect register in order to replicate the shape of the letters.

TEXT CREATION IN DESIGN SOFTWARE

Text should always be created in a vector format in design packages. Text created in Adobe® Photoshop® for example, or any other raster-based program, will have jagged, rastered edges, making smaller text particularly difficult to read. Vector based graphics and text will have smooth edges and create a more pleasing result. See Figure 2.15.

RASTER VERSUS VECTOR FORMATS EXPLAINED

Like a photograph raster images are made up of pixels with each piece of visual information represented as a small dot that is set in a specific color.

Vector images on the other hand are not made up of dots at all - they are drawings of lines that are represented in the file as mathematical descriptions.

Common file formats for raster images are TIFF, JPG, or GIF.

Common vector file formats are EPS (Encapsulated PostScript), PNG (portable network graphic) and WMF (Windows Meta File).

SUMMARY OF KEY LABEL DESIGN ELEMENTS

Figure 2.16 summarises how all the design elements involved in the origination of a label come to together.

APPROVAL PROCESS

Throughout the development of a pack or label design there are a number of reasons why changes to artwork may take place.

Potential factors resulting in artwork changes can be summarised as follows;

Change to product specification – re-definitions to the product specification.

Formulation changes - changes to the product formulation or ingredients.

Language interpretation – translation errors or clarifications.

Non-adherence to approval process – issues and errors caused when agreed procedures are bypassed.

QC checks to artwork content that uncover earlier errors.

Checks against artwork checklists that identify elements that are missing or incorrect.

Outstanding information not considered earlier may need to be added now.

Artwork approval by technical, legal, marketing departments or perhaps by the supplier may result in further amendments being required.

After changes to artwork are made, the artwork approval process will need to be conducted again.

PROOFING

Figure 2.17 - Proofs are typically required by technical, legal, marketing and supplier. At this stage they are used to check copy and layout (but not color)

Design data

CAD driven
Laser/resin
Container/mold

Substrate
Decoration
Digital engine

Embellishments

Digital laser
die-cutting

Figure 2.18 - Rapid prototyping described

At the artwork approval stage a soft proof or hard copy digital proof is sufficient to allow interested parties to visualise and make alterations to artwork.
Both these types of proof are termed off-press proofs and are a cost-effective way of providing a visual copy without the expense of creating an actual press proof.
Approved and signed off artwork is now ready to proceed to repro.

PROTOTYPING

Prototyping is important to the packaging market as it allows for the visualisation of products in 3D.

Prototypes are invaluable for retail visualisation and they permit limited-scale test marketing prior to full-scale production.

In the packaging sector short-run prototypes have typically been produced using the same equipment that is used for full-scale production. This however, is an expensive process and it cannot accommodate multiple versions or last minute design changes.

There are a number of prototyping formats on offer.

VIRTUAL PROTOTYPING

A number of suppliers from the pre-press environment have launched systems and services that use digital technology that permits the 3D visualisation of packaging in a virtual retail environment. See Figure 2.19.

PHYSICAL PROTOTYPING

There are many instances where physical examples of a pack are required, perhaps for test marketing. The main requirement for a physical prototype is that it should look and feel like a professionally produced pack.

The emergence of digital printing has delivered significant benefits to the prototyping process as it eliminates the up-front plate production and make-ready costs.

Color management systems are now available that enable color accurate mock-ups on production substrates to be created.

Inkjet technology is commonly used for the printing of prototypes allowing a finished mock-up to be created within a few hours, without stopping a press.

RAPID PROTOTYPING

The term rapid prototyping (RP) refers to a class of technologies that can automatically construct physical models from Computer-Aided Design (CAD) data.

RAPID PROTOTYPING EXPLAINED

Modern rapid prototyping systems for packaging visualisation take design data in order to recreate a 3D model. The digital printing systems generate graphics which are then applied to the object to complete the prototype.

SUBTRACTIVE 3D PROTOTYPING

Systems that use modelling software linked to a CNC (computer numerical control) milling machine is a method often used to create physical prototypes. The process is called subtractive, in that material is removed (subtracted) from a block to create the final model (Figure 2.18).

Compared to a 3D printer, subtractive rapid prototyping machines deliver smooth surface finishes without needing post finishing.

A CAD model is simply exported to drive the milling machine.

3D PRINTING

The introduction of 3D printing, perhaps more correctly called ‘additive’ printing is the latest technology that is enabling packaging designers to take 2D designs and extend them to a three-dimensional format. This method of prototyping is called additive in that material is added to construct the 3D model.

3D printing is based on traditional inkjet printing with shapes constructed layer by layer, in fine droplets using liquid photopolymers and then cured by UV light. Packaging design concepts can be brought to life in a matter of hours, but post finishing maybe required to the model.

Labels can be a cost-effective and convenient way to get graphics onto many different packaging formats. Digital printing in particular, is a low cost way to add branding to a physical prototype which can then be used for consumer feedback and test marketing.

Intro section

The birth of a label design typically starts in a client’s marketing department. At this very early stage packaging concepts are evolved that seek to meet the marketing objectives of the brand.

The translation of these concepts into a successful print job will however rely on many factors being brought together in a controlled manner, to deliver the desired result.

Migrate nid

89611

Migrate path

/label-academy/article/design-and-origination

Article main topic

Article slug

/label-academy/article/design-and-origination

Label design and origination: introduction and overview

Feedimporter — Mon, 23 Nov 2020 10:01:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Label design and origination: introduction

Short summary

An appreciation of the design to print processes is key to ensuring each print job meets expectations

Teaser image

Categories

Display section

Chapter section

The processes involved in pre-press can be very complex and it is at this stage that costly mistakes can be made.

EVOLUTION OF REPRO AND PRE-PRESS PROCESSES

The term pre-press describes all the activities involved in setting up and preparing packaging and labels for printing. The key components that make up pre-press activities can be seen in the flow chart below (Figure 1.1).

Design and origination – includes all aspects of the label/pack design and the creation of the artwork (finalising and converting a design).

Preparation for printing – features all repro activities including the process of finalising and optimising artwork and color from a production brief.

Proofing – occurs throughout design to print as a means of pre-viewing designs before printing and underpins approvals at each phase.

Output – production of films, plates and other components required for the final print stage.

EARLY PRE-PRESS ACTIVITIES

Traditionally most pre-press operations were based on photographic processes and involved highly skilled manual input.

The following processes and activities were typically part of traditional pre-press operations.

Typesetting – the manual arrangement of text elements (often moveable type) completed by typesetters.

Artwork preparation – the manual creation of artwork onto boards using a combination of images and text.

Proof reading – laborious reading of text and content by a proof reader in order to identify and correct any errors.

Copy-editing – a skilled and manual activity that improved the accuracy, structure and style of content often using a system of annotations (mark up language).

Proofing – the time consuming reproduction of the artwork, often using actual materials and production equipment to be used in the actual production of the job.

Screening – the skilled adjustment of continuous-tone images such as photographs.

Separation – separating the original artwork using a filter for each color (CMYK). This required photographing the target for each color using a large format camera. Also the specifying images or text to be put on the printing plates.

Inspection – viewing of films and transparencies with the aid of an illuminated light table.

Retouching – hand retouching of films and plates to rectify imperfections.

Manufacturing – of plates for printing requiring a high level of manual input.

Today most craft based processes in the pre-press arena have been superseded and have dramatically reduced the need for skilled operators.

A key transition occurred in the mid-1980s. The introduction of the Apple Macintosh and PC along with page makeup software (eg Adobe InDesign, QuarkXpress and the Adobe PostScript* page description language) facilitated the digital manipulation of content on-screen, as well as the output of film and proofs.

It is these developments that are largely responsible for the increase of computer-aided pre-press techniques.

By the early 2000s computers became part of the mainstream for pre-press operations with traditional techniques using photographic techniques, dark rooms and light tables overtaken by more efficient digital processes.

More recently, the implementation of page description languages (such as PostScript and Adobe Portable Document Format known as PDF ) has provided a standard for document exchange within the industry.

*Adobe Postscript – A page description language created by Adobe Systems for defining the content and layout of printed documents in precise detail, so enabling a computer to communicate with a printer.

NEW ERA OF DESIGN

Today the combination of the computer, internet, scanners and imaging units, enables the designer to perform the whole operation from a location almost anywhere in the world.

In addition to assembling graphics and text gathered from a wide variety of sources, due allowance can be made via the computer for the printing process to be used and even the individual press.

Proofing by ink-jet, thermal dye sublimation, etc. provides virtually press quality proofs prior to film or plate making, at any remote location away from the design office. Last minute changes in color or layout may be incorporated easily and re-proofed without delay, often at the customer's site.

By using this modern technology, fast job turnarounds, design flexibility and production oriented layouts are now the norm, with the resulting reduction in costs.

The introduction of the digital printing process is having an important impact on the speed, efficiency and management of the design to print process.

The design to print process overall is however still very complex and costly mistakes can be made, if care is not taken at each stage.

OVERVIEW OF THE DESIGN PROCESS

Most of a typical design project’s costs and time are incurred before it enters production. The planning and creative phases of a job are equally as important as its production, as most of the problems can occur during these early stages (see Figure 1.2).

The fundamental need for pre-press is to anticipate the influence of the printing process to be used and to prepare all data so that its appearance, when printed, meets customer needs.

The above diagram shows how a project evolves through the planning, creative and production phases with the key steps involved.

An important part of pre-press activity is to understand, quantify and document customer needs and expectations. This challenge will be explored in some detail in this book.

SUMMARY

The next page shows a more comprehensive overview of the many steps undertaken in the transition from design to print (see Figure 1.3). This chart shows 35 typical steps in the design to print process. It is important that each of these elements is dealt with in the correct way, as it is quite common for considerable costs to be incurred when one of the elements is incorrect.

A thorough understanding of these steps will go a long way to minimising these errors. Most of these steps will be dealt with in this Module.

At this stage it is important to note that it is the printing process which will ultimately determine the detail of the pre-press procedures adopted.

Intro section

This series aims to provide a comprehensive overview of what happens to a label or pack design before it arrives at the press ready for printing.

An appreciation of the design to print processes and related terminology is the key to ensuring that each print job meets expectations and that any problems and inconsistencies are anticipated and eliminated from the value chain.

Migrate nid

89609

Migrate path

/label-academy/article/label-design-and-origination-introduction-and-overview

Article main topic

Article slug

/label-academy/article/label-design-and-origination-introduction-and-overview

Choosing the right MIS system

Feedimporter — Thu, 19 Nov 2020 09:56:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Choosing the right MIS system

Short summary

What to look for in a supplier to get the most out of your MIS system

Teaser image

Display section

Workflow, MIS & inspection

Chapter section

In addition there are now other suppliers that offer software packages that can be added on to existing systems for client relationship management (CRM), quality control, environmental performance, warehouse management, shipping, color management, inspection, pre-press, third party connection, accounting, e-Commerce, EDI and other related areas. Indeed the list of add-on software solutions continues to grow all the time.

Many label and package printing companies may already have standard software packages, such as Sage for their accounting and financial control, before deciding to invest in a more sophisticated MIS system to help them administer and manage their, increasingly sophisticated, administration and production operations. This is particularly true for those that have invested in digital printing and have found they need to handle more and more shorter runs, all kinds of versions and variations, personalization and color management, more invoicing and increased management functions . all of which can cause bottlenecks.

Choosing a Management Information System can therefore be a challenge to any label or package printer that has not really had to think too much in the past about the way they manage their business and may have got by using home grown spreadsheets or custom products, yet now want to provide an increased level of service, reduce turn-around and production times, and manage and analyze a growing volume of sales, production, management and business data.

Few will know initially what they are looking for and what to include in their MIS investment, or really know who to talk to about the challenges and options available. Certainly there will be some soul searching and internal discussions well in advance of actually purchasing a system. Is the company ready for change? Will the staff embrace the change? If not, then it may be advisable to halt the investment process at this stage.

Let’s take this a little further and try and set out some guidelines on how to go about successful MIS investment.

CHOOSING AN MIS SUPPLIER

There can be little doubt that chosing the right MIS supplier is an important decision for any label or package printer, probably alongside decisions like buying a new press or pre-press hardware and software. It is important for the future management and profitability of the business, and has implications regarding employees and training.

It is also important to understand the benefits that a universal industry specific MIS can bring to a company, as opposed to a having a number of different systems. It will undoubtedly bring particular benefits for large businesses with a lot of equipment and processes, but even some of the smaller label and package printers – particularly those that have, or are about to invest . in digital printing.

For those in a label or package printing business that are responsible for sourcing an MIS there will be a need to think carefully about what they want to achieve within a complete business-wide integrated MIS implementation, especially on deciding where to best focus attention and on what areas of the business most require help or support to improve efficiency or performance.

Initially, a wish list of features . defined and written down . will need to be prepared as a starting point for talking with MIS and other specialized industry-related suppliers. This list needs to be broken down into categories (estimating, order processing, production management, inventory control, quality control, costing and accounting) in a way that can be given to potential suppliers. The workflow chart (Figure 10.1) is perhaps an ideal place to start.

Knowing what the company would like under each heading or category, or more precisiely, what they actually need, is therefore a prerequisit. Finding the right solution and supplier can be a challenging and serious business, but the company must clearly define its requirements under each heading before starting the search.

Undoubtedly the most successful installations will be the result of having clearly set-out the company’s requirements and then both sides agreeing on exactly what is being supplied, when and at what cost. However, do not make the mistake of having too big a team to draw up the specifications; everyone will be asking for different (often conflicting) requirements and this can end up delaying implementation and maybe an over-specified and much more costly installation. Perhaps better to concentrate on the basics, but which can be readily upgradable.

Having now mentioned ‘cost’ it should be stated that this is a key factor that needs to be agreed at a very early stage, even before approaching a supplier. The company should certainly have a pretty clear idea of a budget target or cost limitation before talking to any vendors; something that potential suppliers will certainly want to know.

Key people in the company obviously need to be involved in decision making, with the leadership staying involved, rather than looking to delegate the whole project. Also make sure to use the vendor’s experience, use their training services as often as is required, and make sure that the project team meets on a regular basis.

A key point to consider is that with all information management systems it needs to be agreed prior to establishing and implementing that all information assets are corporate assets; that information should be made available and shared (although not all information is available to everyone in the company); and that all information that the company needs to keep and archive is retained and managed corporately.

This can be increasingly important today when internetworked information systems play a vital role in the business success of an enterprise. The Internet/intranet can provide the information infrastructure a business needs for efficient operations, effective management, and competitive advantage.

It perhaps also needs mentioning that is important to choose an MIS supplier that understands the company’s specific industry sector needs (labels, cartons, sleeves, flexible packaging, etc.) and that will support the company’s business through ongoing growth and other changes.

Certainly a close relationship with the MIS supplier will be a vital component in the success of the MIS installation and in the ongoing development of the business.

Probably one of the most common and really expensive mistake company’s make when choosing a MIS solution is when the label or package printer gets sold a system by a supplier that doesn’t really understand the intricacies (tooling, range of substrates, foils, different printing processes, etc.) of their specific business. There are certainly horror stories about label converters and package printers that have purchased generic print MIS solutions that were built for general commercial printers and didn’t fulfill the company’s requirements. Implementing a new MIS is already a major exercise without having to be faced with teaching the supplier about things such as die libraries, unwind directions, foiling and flexography.

Many of the leading label and package printing industry suppliers will advise potential MIS buyers to go and visit some of their MIS customers and discuss the experiences that they have had with sourcing and installing a system before going ahead. Also ask about the quality of vendor support services: maybe they have a ‘User Group,’ and is the vendor prepared to partner with other suppliers used by the business in, say inspection, pre-press, finishing? They may well also advise testing (or demo ‘tasting’) the software before purchasing.

Initial MIS software demonstrations today are frequently carried out Online, which makes them both efficient and cost-effective. More than one general demo may be required before moving to a more detailed and specific demonstration using the printer’s actual shop floor data – which is really the only way to see how the system would handle the work required.

Members of Trade Associations can also talk to other members and to their peers, as well as read the trade press and visit trade shows such as Labelexpo (an ideal way of talking to and reviewing many different suppliers in a relatively short period of time).

Remember, the overall aim with a good management information system should be to end up with a single system that is able to manage the entire business, streamline the administration process and reduce costs, eliminate errors from the re-entry of data and minimize personnel. It should also be label industry specific.

The key benefits that can be achieved with a good MIS include:

The ability to identify the company’s strengths and weaknesses through reports, sales and production records, etc., and so enable the company to make improvements

The ability to provide an overall picture of the company and the way it operates

The opportunity to improve decision making and speed up actions

The capability to better manage customer information and target sales, marketing and promotional activities

The ability to gain a competitive advantage when compared with other label converters

However, even with a dedicated industry specific MIS supplier, it still may need to be decided whether a ‘straight out of the box’ MIS will provide the answers for everything that needs to be achieved, or whether modifications, additions or basic tweaks will be needed so as to get the most out of the system. Sometimes a bespoke system configured to a company’s specific needs maybe a better solution, albeit more expensive. But don’t necessarily believe the sales pitch; the label or package printer knows the business best. What’s needed is a software supplier that knows about the demands and requirements of the label converting or packaging printing business. But try to focus initially on the basics. Complex systems are not always better, and remember too that software and workflow automation equipment is improving rapidly.

Having said that, the ease with which the MIS is able to integrate with other workflows such as those, for example, used by other market leaders that include Heidelberg/Gallus, HP Indigo, Xeikon, Domino, Esko, AVT, ABG, QuadTech, etc., is becoming increasingly important in providing ‘joined-up’ workflow as seamless workflow automation continues to develop.

Ensuring that the MIS supplier chosen is easily contactable is also important. Queries need to be dealt with quickly. Ideally, there should be a direct relationship with senior members of the MIS provider so that communication can be undertaken directly with them. Undoubtedly there will be challenges with an MIS roll-out on such a scale, but then the benefits of the investment are almost certainly going to strongly outweigh these.

Indeed, why not select MIS (as a tool), based upon the improvements it can make to the profitability and performance of the business: achieving significant improvement in quality and lead time and cost?

INITIAL AND ONGOING TRAINING

One of the most important challenges with investing in an MIS is the people. It is frequently said that people are afraid of change. In reality, people are afraid of loss. Loss of control, loss of responsibility and status tend to resonates through their brains.

Education and training for MIS installation and operation is therefore one of the projects that CEOs, VP’s and owners should never look to delegate. Use the investment as a change agent to improve the efficiency, productivity, operation and profitability of the business.

Initially, the MIS team or group will need to meet frequently as a group and discuss ways to improve or modify processes. Meet weekly to begin with, then monthly as the system gets implemented. Involve the software supplier as needed; they have years of experience that the team can take advantage of.

Once the MIS/workflow automation system is up and running it will still probably require modifications to take into account the types of jobs undertaken, new press or finishing equipment being purchased, new people joining the business and a changing customer base. Continuous training at some level will therefore most likely be required.

Equally importantly, with the MIS in operation it will start to generate all kinds of data, reports, dashboards, etc. that can start to be used to make management decisions which, on a daily or pre-determined basis can include:

Evaluating customer profitability

Quoting and costing to standards and actual times

Making process improvement

Monitoring sales, marketing and customer trends

Tracking production improvements.

Examine the procedures in the office

Reviewing who does what and why? Does it bring value?

It is strongly advised that label and package printers should not pursue investment in digital printing without a completely integrated MIS and pre-press system (such as Esko’s Automation Engine) which enables comparison estimating for both digital and conventional presses, eliminates the multiple challenges of being swamped with orders, being even more swamped with artwork, and the requirements of proofing and proof approval.

So what would the summary advice be when looking to invest in and run an MIS?

To begin with:

Invest early and make it a system team effort

Look at a complete solution

Manage the people involved

Switch to the new system sooner than later

Leadership MUST be involved

However, such a short list is probably not enough for label or package printers looking to invest in a streamlined MIS for the first time, or for those upgrading from a simple to a more complex MIS system. It has therefore been decided to provide a guideline checklist as an aid for new project managers and project teams.

Hopefully the checklist on the next page will speed-up the steps that need to be taken when looking to buy a system and then provide for a smooth investment and implementation stage of whatever MIS supplier and system has been chosen. If the homework has been well done and the correct software modules have been carefully chosen, then the printer can look forward to a more efficient, streamlined and successful.

If anything, overbuy the system . that is purchasing and then USING as many modules as possible. Automate and leave as little to human error as possible, and pull the plug on the old system as soon as feasible. If it is desired to keep a copy, have this on the oldest and slowest computer and discourage employees from using it.

Once installed and operating successfully, use the data and reports to become a data-driven business. Use the data in the system to improve processes, productivity, systems and procedures and, above all, use the system to ensure the business becomes more competitive and more profitable.

Intro section

Throughout this series of articles the aim has been to look at management information systems and the software modules that are most commonly available within them, at what the modules offer and how they link together to create sophisticated automated workflows covering everything from administration and business management to production automation.

While there a certainly a handful or so of MIS suppliers that offer dedicated label and/or package printing software . such as Cerm, CRC Information Systems, Edigit, EFI Radius, HYBRID Software, Imprint-MIS, Label Traxx, Tharstern, Theurer and Sistrade . there are probably at least twice that number that offer systems for the more general printing and graphic arts sectors, business forms, stationery, wide format, mail and fulfilment.

Migrate nid

89552

Migrate path

/label-academy/article/choosing-right-mis-system

Article main topic

Article slug

/label-academy/article/choosing-right-mis-system

Workflow automation – today and tomorrow

Feedimporter — Wed, 18 Nov 2020 15:26:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Workflow automation – today and tomorrow

Short summary

The label and package printing sectors have been undergoing fundamental changes in recent years

Teaser image

Display section

Workflow, MIS & inspection

Chapter section

Then of course there has been the introduction of hybrid press technology, bringing analogue and digital print platforms together in one press line and integrating their production, as well as the ongoing growth of quick change slitting and finishing line operations and the use of laser die-cutting.

Add in the developments taking place in integrated production control, cloud computing, WiFi control and robotic handling and the underlying message coming from the most recent label and general printing exhibitions seems to be that the future of label and package printing is undoubtedly going to be very, very, different to that found today.

Already being hinted at during Labelexpo Europe 2015 and followed at Drupa and Labelexpo Americas in 2016, the trend is towards press and finishing line automation, self-managing presses, cloud computing and cloud-based assistants, smart data management and smart printing systems, WiFi control, and even fully hands-free and totally lights-out production, is something that is now being applied across the whole printing press and finishing line community, whether analogue or digital, sheet-fed or web-fed, narrow or wide web, and into all aspects of converting and finishing, from 100% inspection and barcode verification to slitting and die-cutting, cold foiling and spot or gloss varnishing.

No matter whether printers and converters producing labels or printed packaging are looking at printing self-adhesive labels, shrink sleeves, wet-glue labels, flexible packaging, sachets or pouch production, the message from MIS, press, inspection and ancillary suppliers is now pretty-well much the same: responsive and powerful solutions that include full JDF integration across the whole shop floor, ever-more innovative production control tools, the move towards the creation of ‘smart factories’ and more efficient ways of managing resources. An indication of the automated and MIS integrated streamlined factory of the future can be seen in Figure 9.1.

There seems little doubt that automation of both administration and production continues to be the key to reducing company overhead costs and minimizing or eliminating the bottleneck caused by many small jobs in production. Reducing or eliminating unnecessary operator intervention and increasing the reliability of the data flow can only improve the bottom line of a business.

JDF (Job Definition Format) was created by the printing industry to standardize the information flowing between the management information system and pre-press software or equipment.

This standardization provided consistency and reliability from job to job, and has enabled MIS suppliers, including Cerm, Label Traxx and Tharstern to provide a link employing JDF/JMF technology to connect to pre-press software, the first being Esko Automation Engine (formerly BackStage).

This bi-directional communication assures that job status is visible throughout the label or package printing company. File planning tools, coupled with Automation Engine step-and-repeat tools can cut up to 90% of the time from large multi-version orders.

Such bi-directional communication now provides for immediate status updates when files are received and a proof is ready or approved

Simplification and structure for the management of art files for each label or pack.

A complete web-to-print flow with optional human intervention.

Notification to the customer that the proof is ready for viewing when AE has prepared it and uploaded it to the MIS.

More recently, JDF/JMF technology within digital printing has been extended to connect with AVT inspection and ABG finishing line equipment, enabling the transfer of typical JDF functions such as detailed production parameters, including label dimensions, press, finishing instructions, registration marks, color strategy, step-and-repeat details, and more. Typical JMF functions can then be fed back to the MIS from the Automation Engine, inspection or finishing equipment. See Figure 9.2 to view typical JDF/JMF functions.

What is also increasingly evident, is that the label and package printing industry is continually seeking ways to further integrate MIS with increasingly automated pre-press, press set-up and selected finishing operations and to remove the risks of human error, as well as being able to handle an ever increasing number of shorter runs and the challenge of facing a lack of skilled operators.

Such moves have undoubtedly been driven by the impressive rise of digital (and hybrid) print for labels, which has extensively pushed both MIS and pre-press software for new solutions. Quite simply, this pressure has been to integrate and simplify every step of label management, pre-press and production.

To remain profitable today, label printers and converters must ensure their pre-press and production workflows are integrated within their business and management operations and connected with their entire supply chain, 24/7, wherever that may be in the world.

It is these developments and innovations in workflow automation that are explored in here, examining some of the evolutions emanating from key industry suppliers and hinting at where the label and package printing industries industry may be in just the next five to ten years.

PRE-PRESS AUTOMATION

As already mentioned above, integration of MIS and pre-press automation software (such as Enfocus or Esko’s Automation Engine) for example, can now ensure that customer JDF ‘job’ information from estimating files or job tickets is used to automatically create a new pre-press job and deliver new artwork, make it print-ready and prepare proofs – with status updates on everything from plate layout, RIP-ing and plate making being sent back to MIS, or direct to a digital press.

On output of the production job an XML is created detailing all job components.

This collects the submitted job and compares the job properties to the currently supported JDF specification. If the conversion is successfully completed, then a JDF file is submitted to the pre-press or pressroom engine. Additionally, whatever printing process is being used – flexo, offset, letterpress, digital – brand colors can all be controlled, accurately and consistently.

Such workflow automation can now also enable new or reprint jobs to re-use an existing plate set, or an existing cutting die from store, or be used to enable a slitter operator to retrieve previous slitter instructions to automatically re-set the slitting knives.

Other areas of automation co-operation between pre-press and production includes that which is taking place through software and systems integration suppliers such as, Esko, Cerm, Label Traxx, Tharsten, ABG and AVT. Cooperation between Esko and Cerm for example has delivered a seamless integration for product approval and production jobs between the MIS and pre-production environments. Their combined solution ensures the highest levels of efficiency, not only for administration and pre-press functions but also for printing and finishing.
Label Traxx too, have also been developing their MIS system in cooperation with strategic partners including Esko, Rotometrics, HP Indigo, Xeikon, etc., to create a number of tools specifically targeted at streamlining digital workflows, including using JDF to integrate Label Traxx with pre-press to automate step and repeat, generate proofs and other functions.

Certainly, the use of scalable servo drive hardware with intelligent modular design press management software is already increasingly being used to minimize press set-up and make-ready, automate plate or cylinder changes, allow more consistent, repeatable results, and provide converter end-users with greater press flexibility. In-built screens enable all the advanced controls to be visible alongside representative graphics, and provide for easier press commissioning and the simplification of fault finding.

All of this will have an increasing and massive impact on press productivity, freeing up print and label companies to focus on developing their business rather than spending time on managing manufacturing. The use of cloud-based systems, where everything from press performance to planning scheduling is online and instantly available will all be part of the label world of tomorrow.

Pre-press software has certainly made the label printing process much more efficient, as more labels are being ordered through online portals, reducing manual intervention, the time required and the potential for errors. Preflight functionality is seen to be very important for controlling the quality of incoming artwork and this is now highly automated, making it fast and accurate. Automation of trapping, step and repeat, and auto application of marks and bearer bars makes plate preparation of the job much faster and easier, as well.

Customers today undoubtedly require a smoother and more streamlined process from the initial order intake through to production and final delivery. Modern workflows like CloudFlow provide a management ‘dashboard’ across all production facilities and allow load balancing based on capacity and production needs. Integration of pre-press with MIS and eCommerce platforms now makes it much faster to input orders into production and reduce data entry errors due to re-keying production information.

Esko today provides software to serve the entire workflow from content creation to platemaking. Indeed, as users progress downstream from content creation and get closer to the exposure device (typically the plate imaging system), the more specific software gets to flexo. Esko’s Full HD Flexo provides screening algorithms that reproduce more defined highlights and stronger shadows, designed to create the perfect dot on the plate.

For conventional press technology, Esko’s Digital Flexo Suite offers a collection of platemounting software. Automatically and instantly, while a job is sent to the imager, files are created for cutting on a digital cutting table and data files are made for mounting. The flexo plate is cut up into smaller patches to reduce waste, but accurate mounting information is sent to the mounting device. Esko’s PreMount workflow is a mounting technique that allows the user to mount flexo plate slugs on a carrier sheet prior to imaging. According to Esko, customers report an average plate wastage reduction of 15% when using the Digital Flexo Suite.

PROOFING PROFILES FOR FLEXO

Apart from Esko’s offerings that include proofing, GMG, a developer and global supplier of high-end color management software systems, now offers OpenColor as a method of making proofing profiles for flexo. The company also offers ColorProof, DotProof and FlexoProof as industry software solutions. GMG ProfileEditor contains flexo-specific tools for reliable and precise press-to-proof matching.

Color management is undoubtedly a matter of precision. ‘Close enough’ is no longer good enough in the critical color world of packaging. It is a reasonable goal to set the flexo printing process to less than 2 Delta E repeatability. The printer’s color management systems need to operate within half of that. If the separations and proofs have a variability of over 1 Delta E, then the process cannot achieve the desired goal.

GMG mow offers 12 different color management solutions for flexo and packaging, including PDF image processing and color separation; profile creation for color separations; proofing for flexo; and profile creation for proofing.

ANALOGUE PRESS AUTOMATION

For Heidelberg, now incorporating Gallus, their stated aim is to make printing presses completely self-managing units, where everything from production planning, to consumables ordering, to predictive maintenance, etc., are all generated from the press itself. It calls this its ‘Push to Stop’ concept, with the presses themselves taking over all aspects of the production.

Heidelberg claim this will have a massive impact on productivity, taking it far higher, and will free up print businesses to focus on developing their business, rather than spending time managing manufacture. Part of the new driverless push is in the Heidelberg cloud based Assistant, where everything from press performance to planning to scheduling is Online and instantly available to management.

Indeed, according to press supplier Comexi, the future is all about printing plants that work 24 hours a day, seven days a week and which can track the work process in one or more plants every day, at any time, from anywhere in the world since it can be managed through a web environment. In their case using Comexi Cloud, a revolutionary software which they claim is the fastest and easiest way to analyze production, which knows and analyzes the incidents time, establishes productive and non-productive meters, controls the execution time and ensures job traceability.

For press manufacturer Nilpeter, they also see the trend in narrow web printing as moving away from seeing the press as a mechanical piece of machinery and towards perceiving it as software-driven, technological equipment. The pre-press job data file (JDF) is rapidly gaining a footing in the industry. The JDF is sent to the printing press. The file contains the job protocol, in CIP3 or similar format, which will transfer job data, such as pressure accuracy, dot gain, register, web control, and cutting depth.

In a similar vein, MPS fundamentally believe that today’s market place has an intrinsic need to automate press settings in order to drive down the cost per 1,000 labels, especially for short runs. Therefore, MPS talk about their Automated Print Control (APC) which provides automated servo control of all relevant press settings. Thanks to APC, press settings and controls are extremely easy to operate and replicate through job memory, resulting in virtually no set-up waste for repeat jobs.

From the Bobst Group, who acquired a majority stake in Nuova Gidue, there is also a similar message. Their presses are being equipped with smartCHANGE, a front ‘portal’ and 4-axis automation system that completely relieves operators of, say, the strenuous exchange of items such as anilox and print sleeves.

DIGITAL PRESS AUTOMATION

Outside of the more conventional analogue presses, albeit ever-more digitized, the message from the digital press manufacturers and digital press software suppliers is also more of the same automation. HP Indigo’s WS6800 press for example, delivers high productivity for the vast majority of labels and packaging jobs. Advanced color automation and sophisticated color matching tools make it fast and easy to hit brand colors with extreme accuracy, consistency and repeatability from the first print to the last.

Benefit from the HP Indigo workflow ecosystem including the high-automation Workflow Suite Powered by Esko, and an array of integrated MIS, pre-press and converting solutions from partners. Using HP PrintOS, a secure cloud-based platform that can be opened anytime, anywhere, is a print production operating system with apps that help to get more out of HP Indigo presses, and simplify and automate digital production.

Another company developing automated digital label production is German software manufacturer OneVision, which has introduced DigiLabel, a new software program for label printers designed to improve production processes, provide cost savings and enable a larger throughput.

DigiLabel is a 2-in-1 system of automated label production, and is said to ease complex label workflows for digital label printers. It combines print data optimization and label production planning. The system imports production data and then automatically optimizes it, with the benefits of the system including improved transparency, a safe production process and significant improvements in efficiency.

OneVision is already known as a specialist in the commercial printing industry for pre-flighting and the normalization of print data for error-free printing, offering products that include workflow tools that enable the entire production workflow to be integrated, standardized and substantially automated. It also covers quality control, and optimization of print files and images using RIP and Inksave software, as well as individual tools for the imposition of PDF files or flattening of transparencies, all done automatically.

The company has now brought its expertise to label printing, with DigiLabel (Figure 9.3) making use of this expertise in the entire production workflow: print data is automatically subjected to quality control and then optimized. The automated production of die-cutting molds or laser cutting configurations, standard cut lines, a white background and the automatic dispatch of a release PDF to the customer for approval saves labor time and staff resources. DigiLabel also assembles open orders and handles production planning.

Fully automated, cross-customer collect-run production of labels using the new software is 'unique on the market,' according to the company.

DigiLabel assembles open orders and combines labels of various shapes, sizes and print runs to be printed on the same substrate and forwards them to the printers. This reduces production error sources, lowers materials costs by saving on printing and also increases throughput, it is claimed.

Another company working towards full printing process automation is EFI. Working with an AVT solution designed to efficiently support printing process automation and calibration in full synergy with the press’s EFI Fiery® digital front end, EFI claim that in addition to enhancing print quality, their dedicated control solutions will increase press productivity through innovative nozzle performance and color control.

Verification of geometric parameters, such as color-to-color registration, image placement and printing defects detection, are also included.

The solution also will monitor data integrity of static and variable content, classify possible print defects and initiate corrective actions.

In addition, EFI’s latest ERP-based suite of software (Packaging Suite 4.0) provides packaging enterprises with end-to-end workflows that contribute to profitability by increasing efficiencies. The Packaging suite workflow can be configured to address the specific production management needs for products that labels, shrink sleeves, in-mold labels, flexible packaging, blown film extrusion products and folding cartons.

When dealing with digital printing, EFI explains that the printing method has changed pre-press software. Files must be retained in a format that can be easily changed from digital to flexo and back again for versioning or labeling changes. Native PDF is the best format for this since flattened files are normally no longer editable, and proprietary files must be edited in the original system every time. Native PDF provides complete flexibility. Automation of pre-press has allowed digital printing to reach new levels of productivity and turnaround time by modernizing the pre-press workflow to keep pace with digital output.

SHOP FLOOR DATA CAPTURE

Shop Floor Data Capture today can offer more individual and immediate advantages to the label and package printer, in one hit, than probably any other option. Indeed, it should no longer be regarded as an option but as an essential part of a fast moving, accurate and effective, modern Management Information System that offers numerous benefits, including:

Press and ancillary equipment operators no longer having to use their time struggling to complete a manual time sheet every day

Accuracy of the data captured, which exceeds anything collated from manual time sheets

Elimination of the office time wasted each day in keying in the hand written time sheets

The ability to view live on screen the current position of every job, of every data collection point and of every operative (all updated every few seconds). This can be particularly useful for production controller personal and line managers

The latest systems use environmentally protected, diskless, PC’s as terminals, with full-screen color monitoring and a choice of input devices . keyboards, barcode readers, pressure pads, or touch screens. All data is captured live to a central file server so that each individual terminal can be turned off, or temporarily used for other purposes without any loss.

Full screen monitors allows for far better error checking of the input; permits viewing of the Job Instructions and allows alterations to be flagged direct to operators. Production managers can use any terminal to gain access to the Planning Board or any other part of the system (with a password) and do not have to return to the office to find the next job due on press and whether the materials are ready.

INSPECTION AND FINISHING LINE AUTOMATION

Integration with camera inspection systems, such as that being undertaken by AVT with their advanced Helios S automatic inspection solution that delivers 100% quality assurance can now enable zero set camera inspection from, say, a Cerm MIS to create the print frames and inspection files per print frame, then print a barcode of every print frame within the job and for every individual ‘lane.’

An AVT camera then reads the barcode and verifies the printed output. Electronic interface with camera inspection, using a link to the original PDF for image comparison and instructions for step-and-repeat, can reduce the set-up time of the camera to zero.

Helios S is an automatic inspection system has a user-friendly design that deploys dedicated, advanced algorithms designed to detect any type of defect including color mis-register, color variations, misprints, text errors, spots, splashes, die-cut problems, barcode problems and missing labels. The system works seamlessly on any substrate including self-adhesive labels, thick embossed metalized substrates, highly-reflective holographic foils and laminates.

An optional add-on module for Helios S, with WorkFlow Links to Uniprint, utilizes information recorded on the press to integrate with slitter-rewinders to automatically stop a rewinder, thereby avoiding unnecessary stops on non-defective products and significantly improving overall production efficiency.

In terms of slitter set-up, the setting of slitting knives is undoubtedly one of the most time-consuming jobs carried out on a slitter rewinder. Now however, ABG International have introduced an AUTOSLIT system with auto label gap sensor. The operator simply presses a button, a scanner passes across the web identifying where the gaps are and automatically positions the slitting blades, saving hours of make-ready times each week on short run jobs.

Automatic knife positioning, this time controlled by WiFi and which is able to position a full set of shear cut knives within seconds, has also been introduced by Grafotronic. In their case, every top and bottom knife has an independent drive unit, enabling the operator to adjust single knives if needed.

AUTOMATION OF DIGITAL EMBELLISHING

In a recent development Fusion Technology have announced a new concept with Xeikon that combines full color production printing with digital embellishment of labels and packaging in a single, one-pass and fully digital production process.

Over time, Fusion say that this will consist of a series of embellishment modules that are not just put in-line with the press, but are components of an entirely new modular system with the digital front end taking care of the pre-press, data processing, color management and press operation as well as full control and operation of all embellishment modules without manual intervention.

The aim of such developments is to bring closer the reality of fully automated, seamless, unattended, end-to-end production of label and packaging production from customer order to deliver, as already outlined in Figure 9.1. Potential digital embellishment modules include hot/cold foiling, screen prints, matte, gloss and structured flood and spot varnish and a digital braille module.

With Fusion Technology, a print job containing multiple channels defining each aspect of production is dropped into a hot folder and RIP'ed, after which the different channels are sent to the relevant modules including the press – and this without manual intervention. Because every embellishment module is digital, every single design element can be made variable or personalized, which opens up enormous opportunities for new applications.

Depending on the requirements, these digital embellishment modules can be positioned before and/or after a Xeikon digital five-color press. The resulting configuration produces a digitally printed and embellished label or package in one single pass.

The Xeikon X-800, its in-house developed digital front-end, ensures a seamlessly automated digital printing workflow while enabling integration with existing workflows and any market-leading third party applications, such as design packages, web-to-print applications and MIS.

INK FORMULATION SOFTWARE TOOLS

Apart from press and finishing line workflow automation there are other areas of label and package printing that can benefit from software tools, such as ink formulation. Here, X-Rite has introduced its updated InkFormulation software tool (Figure 9.4)for providing professional color formulation to printers, converters and ink manufacturers.

This tool offers improved integration so that ink professionals can quickly compare their formulations to a digital color reference for ink color recipe creation, storage, approval and retrieval for offset, flexo, gravure or screen inks.

Ink formulation issues on press can now be resolved more quickly for flexographic and gravure printers as, when press-side color measurements do not meet tolerances, and quality control software reports that tolerances cannot be met with the existing ink formulation, reformulation data is immediately sent to InkFormulation. The ink room can make appropriate adjustments and dispense the new formula, speeding up the correction process on press. This minimizes press downtime and keeps print quality high without the need for the press operator to be an ink expert.

The latest InkFormulation update also features enhanced management information system (MIS) integration. This simplifies data interchange with MIS systems whereby the MIS system can request from InkFormulation a new material number based on specifications and naming conventions defined in the MIS, or by referencing a multi-color CxF file stored in PantoneLIVE or elsewhere.

This request then appears in the ink kitchen as a job with a target color requiring an ink recipe to be defined. Once the recipe is defined, InkFormulation returns the recipe to the MIS with a bill of materials – a list of ingredients and the percentage for each.

MIS integration helps to close the loop in a production workflow for everything from estimating to invoicing, making it easier to estimate ink consumption by job as well as to reuse existing ink formulations without the need to send a request to the ink kitchen. In addition, all ink recipes required for a given job can be linked to that job, streamlining the workflow even further. This will add significant value at many converter and ink sites.

Additionally, InkFormulation v6.3 allows for the formulation of more than one recipe in the system. The new formulation tab enables formulation and correction of whole jobs coming from quality control software. This new capability will use tags to associate ink recipes to individual jobs.

ROBOTICS

Quite a number of the leading press suppliers are now also readily talking about the greater use of robotics for loading and unloading reels, for bringing reels, inks or cylinders from warehouse storage or pre-production to the press and then after printing taking completed jobs onto finishing or despatch operations, as well as using robotics for on-press handling operations.

It should be noted however, that robotics will ask for better identification of the objects that are being ‘manipulated’. So more digital identification units (small printers) will appear, as well as (bar)code-readers. The instructions will be taken out of the computer, at the moment the object’s code is read. There will no longer be a JDF ‘sending’, but a JDF ‘retrieval’ when needed. This is already the case for example, with the Cerm-ABG-slitter. ABG operators ‘scan’ the job-code and the instructions are exchanged between Cerm-MIS and the slitter at that moment.

This also applies for AVT camera inspection: the barcode on the digital printed frame indicates the frame-number, and this is related to the ‘instruction package’ created by ESKO and already prepared in AVT’s system memory. A further example of this is a code used for digital laser cutting that will link to the exact CAD-instructions. So the crucial role of MIS will be extended to be the identification-source of all production-components.

ONGOING DEVELOPMENTS IN WORKFLOW AUTOMATION

There are other domains that are typically not covered by MIS software. An example would be dedicated software for machine maintenance programs and/or for spare parts management. Erhardt+Leimer for example has developed a web-based management interface for commissioning, operating and servicing complete web guiding systems via an Internet browser.

All of the necessary devices in the network, i.e. sensors, controllers and actuators, are now networked via Ethernet. No external tools or operating units are required any more for commissioning and operation. Instead, all that is needed is an internet browser on a smartphone, tablet PC or other terminal. This means that operators now have wireless access from any location to the graphical user interface of the device in question, so they are no longer tied to the physical location of the machine.

Production management and quality assurance can now access all of the required information at any time and from anywhere in the world via a web browser, allowing them to view production data quickly and easily in real-time.

Increasingly, MIS suppliers are also being asked to provide an interface so that electronic instructions can be sent to transport carriers, such as DHL and UPS, to manage the transport and shipping of finished goods. Cloud-based systems are also being used to automatically save every inbound and outbound e-mail against customer contacts and produce a sorted trail of previous discussions – all available in the right place when needed.

While recent Labelexpo and print shows have given more than a flavour of where pre-press, press and finishing automation – all integrated with ever-more sophisticated MIS – is now rapidly moving, the next few years will undoubtedly see ever more consolidation and cooperation between hardware and software suppliers.

By then Cloud computing, WiFi control, MIS advances and press digitization shown over the past year or so will all have moved on apace.

Indeed, individuals and businesses are already increasingly accessing computing services such as servers, databases, software and storage that are provided over the internet using cloud-based systems.

This growth in Cloud computing will undoubtedly bring particular benefits to smaller label converters who tend not to have sophisticated IT and management information systems of their own.

Using the Cloud, label and package printing companies can access any manor of software solutions that will enhance their business without any need to purchase the necessary software or upgrades, and a world where everyone is working from the same software version, without high IT costs. For a monthly fee, or even on a job-by-job basis, the smaller converter can have all of the benefits afforded by larger printing operations.
There seems little doubt that all these developments will bring increasing benefits to both small and large converters over the next few years. Some will already be moving into fully automated, human-free and robotic production; others will be introducing MIS integrated solutions. No matter the level of implementation, the label industry of tomorrow will most certainly be very different from today.

INTEGRATION WITH CUSTOMER PRODUCTION PLANTS – THE ROLE OF VMI

When looking at the future of MIS, workflow automation and integrated production, the industry also needs to understand and assess the future requirements of the production plants of their end-user customers, whether pre-packers or brand owners.

More and more is heard about ‘vendor managed inventory’ (VMI), a streamlined approach to inventory management and order fulfillment which involves collaboration between suppliers and their customers and which changes the traditional order/supply process.

The end aim of VMI is to align business objectives and streamline the supply chain operations for both suppliers and their customers, so providing an improved service, enhanced inventory turn and increased sales. This will mean that the label or package printer will need to fill the warehouse of the customer, based upon the available stock at the customer, and the production schedule and specific requirements of the customer.

This will be true for both printers and their customers, as well as for substrate and ink suppliers and the stock held at the printer. Related to this will be agreements where the customer will only be charged for what he has consumed. So new systems for inventory and invoicing are becoming increasingly necessary.

This will eventually go even further, with the printer delivering direct to the production, packaging, labeling lines of the customer, a few times per day, pallets of labels, flexibles or cartons, nicely ordered with the first scheduled production on top of the pallet . so maybe no warehouse at all in the future.

WORKING TOWARDS THE SELF-MANAGING PRESS

What now undoubtedly seems to be the aim of most of the leading press manufacturers, is working towards the day when printing presses become completely self-managing units, where everything from production planning, to consumables ordering, to predictive maintenance, etc., are all generated from the press itself, or though integration with MIS systems.

A guide to how this is all coming together can be seen in Figure 9.5. This will have a massive impact on press productivity in the future, taking it far higher, and will free-up print companies to focus on developing their business, rather than spending time managing manufacture.

ROBOTICS

ONGOING DEVELOPMENTS IN WORKFLOW AUTOMATION

By then Cloud computing, WiFi control, MIS advances and press digitization shown over the past year or so will all have moved on apace.

This growth in Cloud computing will undoubtedly bring particular benefits to smaller label converters who tend not to have sophisticated IT and management information systems of their own.

INTEGRATION WITH CUSTOMER PRODUCTION PLANTS – THE ROLE OF VMI

WORKING TOWARDS THE SELF-MANAGING PRESS

Intro section

The label, and more rather more recently, the package printing sectors, have been undergoing some quite fundamental changes in recent years. The introduction of digital printing alone has brought significant change to the way short printing runs are produced, with sophisticated digital front ends, quick job changeovers, the opportunity to easily run multi-versions and variations, the ability to offer personalization or sequential coding and numbering, and much more.

Not surprisingly, the conventional analogue press manufactures have been coming up with their own innovations to reduce set-up and down time using servo drive technology, quick cylinder and die changes, press digitization, the introduction of job data/definition files (JDF) and shop floor data capture to transfer data to presses and, increasingly working with companies such as Esko and the MIS software companies to move towards ever greater pre-press and workflow automation.

Migrate nid

89549

Migrate path

/label-academy/article/workflow-automation-%E2%80%93-today-and-tomorrow

Article main topic

redirected

Article slug

/label-academy/article/workflow-automation-%E2%80%93-today-and-tomorrow

Accounting and financial management

Feedimporter — Wed, 18 Nov 2020 15:17:00 +0000

Posted date

4 years 8 months ago

Publication type

Randomize

Featured article

Short title

Accounting and financial management

Short summary

The accounts operation is at the heart of any label or package printing industry management information system

Teaser image

Display section