Digital Foiling
traditional foiling methods can now be done far more quickly and cost effectively, giving packaging producers a golden chance to experiment. Andrew Novialdi is an Indonesia-based
graphic designer who frequently uses gold details and other metallics in his packaging work, giving a luxurious, eye-catching appearance to products like wine bottles. He is heavily influenced by illuminated religious manuscripts. “Gold has this glorious quality, an opulent
and alluring quality,” he says. “It gives a radiance to a product, a divine status.” This divinity takes time and effort, as the
designer uses the traditional hot foiling method to create his mock-ups. The design itself, the production of a vector file, making up a plate and producing the signed-off prototype design on paper, using a hot foil machine, typically takes a fortnight. Novialdi usually offers three design
lend a feeling of wealth to a package, but with new digital systems it doesn’t have to be expensive. CON-JUN16-WEBTEK:CON-JUN16-WEBTEK
www.i-subdigital.com
options to his clients, of which one plate is normally made. If changes or alternative designs are required, the lengthy process must be redone. Moreover, the exact metallic shade of the prototype may be very different to that on the finished product.
09/06/2016 16:36 Page 1
Bringing foiling into the 21st century N
ew developments in digital technology mean the glorious metallic effects achieved with
Advancements in printing technology
offer vast improvements. Digi-Foil is i-Sub Digital’s solution that combines a Mimaki digital desktop printer, that lays down a design in primer to which foil material can be adhered, and a heated applicator to fix the foil. Full packaging prototypes can be made using the same foil and substrate as the finished product, and altered and remade in minutes, with the client able to make decisions there and then. “A digital system is certainly exciting,” says
Novialdi. “It means producing prototypes more cheaply and more quickly.” He adds that outsourcing foiling work to
a litho printer would mean minimum run lengths of hundreds, while systems like the Digi-Foil can be used for just one or two designs at a time. “The minimum charge is the downfall of traditional printing processes,” he adds. A digital solution also increases the design space – a standard plate is somewhat small – and can be integrated with cutting and creasing systems to enable the completion of fully complete mock-ups in a single day. The opulence of gold, silver and bronze
www.convertermag.co.uk
October 2016
33
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121