The Critical Nature of the Prototype

Even with computer renderings aiding in early packaging

evaluations, it's important not to overlook the sense of touch.

YOU ARE PARTICIPATING in a specifications meeting during the early phase of a new package's lifecycle—its birth, from concept to idea. But do ideas always look better on paper? Change the term "paper" to substrate and add a three-dimensional flavor and Rob Wallace, managing partner of New York-based Wallace Church, would say, "absolutely."

Wallace is on the front lines of taking a package concept to maturity—from the glimmering imagination crafted by zealous marketing professionals, to a carefully designed concept that can stand on its own from a production standpoint. Like many leading package designers, Wallace Church acts as the liaison between concept and reality.

• Will that CMYK and two spot-color concept created via offset meet all of the production specifications and product shelf goals plotted by its creators?

• Will the final textures and surface of a shrink film concept move beyond the prototype stage to supermarket glory—or will shrinkage issues put the freeze on a cool packaging concept?

• How can the right use of holographic substrates, hot stamping, and iridescent inks create a shampoo bottle that has both iridescent presence and be durable enough to hit the shower floor, repeatedly?

You're now entering the world of the prototype—not simply the comp of yesteryear.

Production from assumption

Kevin Williams, a packaging concept design expert with Inwork, which partners frequently with the team at Wallace Church in prototype creation, has witnessed many disconnects between the concept and the final design of a packaged product. Inwork is a 20-year-old, New York-based company that tackles the aggressive design issues of the most diverse and varied of packaging concepts.

"Many times, the concept side knows how much they are going to spend on the packaging, they know what they want it to look like, but they know nothing about production, the printing process, ink densities, calibration of printing machines, even substrate understanding," Williams explains. "Once they see what their concept is really calling for from a production standpoint, they realize their initial spending goals may have been false assumptions."

Wallace Church has delivered prototypes for Abreva, Gillette, Kodak, Taylor Made, Polly-O, and other well-known brands. "When dealing with special concepts, new and more unique uses of everything from spot colors to film laminates, the prototype is critical," Wallace reports. "Unless you do a real prototype, and see how the substrate is working, feel the texture, see if the package is accomplishing its goals from an engineering as well as marketing standpoint, you may possibly be setting yourself up for big trouble."

Insight is critical

With today's on-demand digital printing systems, diverse digital file delivery options, and advanced software applications targeting the task of the prototype creation, insight is now more than ever the critical and very human component of the fine art of prototype delivery.

"There is no substitute for experience. A client can give a long list of specifications, goals, and imagery—the feeling and identity they envision for a package—but it's our job to take a step back and make sure we can produce that concept cost efficiently, ensuring the finished product will meet the ultimate goals of those who initiated the concept," Wallace continues. "We push to ensure we are delivering the essence of the brand in the packaging. Yes, advances in digital technologies play a huge role in how prototype work is being done today, but there is no substitute for knowing color intensity and understanding substrates when creating a three-dimensional mock-up."

Keith Beckelheimer, creative director of Coach House Design, a Cincinnati-based packaging design and production art studio serving major consumer products companies (CPCs) like Procter & Gamble and Sara Lee Foods, contends that most CPCs see the value of evaluating new designs on form. "As designers, the greatest value we can provide is to keep our clients' expectations in line with what is possible," he says.

"To keep it real, the closer we can represent how the final product will appear on shelf, the better the process flows for everyone," Beckelheimer continues. "Naturally, not every packaging project requires this level of comprehensive development, but it is a prudent step anytime you change structure, substrate, or printing technology."

Today, new digital proofing devices have made the production of comprehensives more accurate and economical than ever before. Packaging design and production studios, such as Coach House Design, can now electronically image on just about any substrate used in the final production, including flexible packaging films and shrink wraps.

Terry Imergoot, regional sales manager, Watson Label Products of St. Louis, Mo., reports that most of the prototype jobs Watson Label Products takes on require extremely fast turnarounds, often times in one day. Each is distinct—different substrates, different designs, different goals. Short-run digital printing, in the form of two recently installed HP Indigo ws2000 printers, has allowed them to meet the fast turnarounds required, Imergoot said.

Kaleidoscoping the prototype

Kaleidoscope Imaging is a packaging solutions provider that partners with CPCs around the globe. Its involvement in the process begins and ends with prototyping—from color exploration to upstream evaluation of downstream production issues.

Kaleidoscope operates an integrated packaging workflow to streamline the production process, including design implementation, prototyping, and prove-out. Its strategic involvement throughout the process of design approval, execution, and rollout results in faster times to market and ensures brand consistency, while eliminating redundant tasks and the associated costs.

"Our strategy is very different from any other packaging production company. We begin our involvement during the design approval stage of any packaging initiative by addressing all production issues even before going to prototyping," said Gary Chiappetta, president and co-owner. "The new buzz word clients use to describe our role in the process is 'pre-media,' but we look at it as pre-production."

Before a finished comp is produced, Kaleidoscope will have created several variations of color and graphics interacting on a variety of stock options. Kaleidoscope becomes a lab for designers to explore their options beyond traditional desktop color interpretations, while addressing the print issues that will bring their designs all the way to the shelf.

When its clients are looking for new opportunities to reposition their products in other parts of a grocery store, Kaleidoscope can help. "Our industrial design group will create structural wire frame models of the package (cans, pouches, boxes) and digitally map the graphics onto the wire frame and render the image to create a photo-realistic virtual package prototype," Chiappetta explains. "The benefits are huge. For example, if you wanted to see your lemonade brand in a stand-up pouch, and visualize a planogram model for review, we can make that happen."

Prototype evolution

Prototyping, clearly, has evolved from a "comp" courtesy to an elaborate, highly engineered science, relying on human instinct and insight as much as on the latest digital printing and proofing technologies. These capabilities are coming together in package design houses that are developing innovative ways to elevate the prototype to deliver a stronger impact to today's packaging potential.

By Marie Alonso - Prepress Editor

Marie Alonso has been covering the printing industry since 1994 and is the editorial director of PrintWriter.com. She welcomes responses at 856-216-9956 or marie@printwriter.com.