DESIGN GUIDE

FIRST 7.0
Design Guide

i
INTRODUCTION

Copyright, ©1997, ©1999, ©2003, ©2009, ©2013, ©2014, ©2015, ©2017, ©2022 by the Flexographic
Technical Association, Inc.

All rights reserved, including the right to reproduce this book or portions thereof in any form.

Library of Congress Control Number: 2022914831

Edition 7.0

Published by the
Flexographic Technical Association, Inc.
Printed in the United States of America

Inquires should be addressed to:

FTA
3920 Veterans Memorial Hwy Ste 9
Bohemia NY 11716-1074
www.flexography.org
International Standard Book Number ISBN: 979-8-218-05366-6

Content Notes:
1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information
(including text, charts, and graphics) are repeated in the Communication & Implementation, Design,
Prepress, Print and Measurement & Verification Sections.
2. Registered trademark products are identified for information purposes only. All products mentioned in this
book are trademarks of their respective owner. The author and publisher assume no responsibility for the
efficacy or performance. While every attempt has been made to ensure the details described in this book are
accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of
data which may occur as a result of such errors.

ii Flexographic Image Reproduction Specifications & Tolerances 7.0

INTRODUCTION

A Message from the President

Flexographic Technical Association (FTA) was founded in 1958 by a group of industry professionals the
common interest of improving the flexographic printing process through unification in order to create unique
educational opportunities, forums for the free exchange of information, opportunities to highlight printer
capabilities through quality recognition competitions and, generally, by grasping the concept that, in the words
of Henry Ford, “Coming together is a beginning; keeping together is progress; working together is success.”
Up until then, print quality for packaging produced by this evolving process, which had come to be known as
“flexography,” improved slowly and in isolation. Yet, FTA pioneers knew there were better prospects on the
horizon through this new association.
With a very similar sense of importance and resolve, a progressive group of FTA members came together almost
40 years after the organization’s inception to begin developing the concepts, structure, goals and objectives of a
new doctrine entitled Flexographic Image Reproduction Specifications & Tolerances, prophetically shortened to
FIRST. These innovators envisioned a day when the “progress through unification” development model would
lead to print quality improvements and process workflow enhancements, effectively transitioning flexographic
printing from the stigma of its perception at the time to that of a package printing industry leader. Through
embracing the mission statement established by the original FIRST Committee, “Understand customers’
graphic requirements for reproduction and translate their aesthetic requirements into specifications for each
facet of flexographically-printed graphics,” the diverse group of multitalented individuals set in motion the
progression that only continued to pick up speed over the past two-plus decades.
The road along the way was not always smooth. During the early years, as FIRST principles were woven
into FTA FORUM and conference presentations, articles in FLEXO Magazine and other industry trade
publications, and most importantly, within the bank of training materials produced by the Association to help
printers improve their print quality, industry acceptance and utilization of FIRST were slow to come. The
build was gradual, yet persistent. To gain the buy-in FIRST enthusiasts were so passionately pursuing, it was
imperative that the stakeholders effectively communicate the benefits and predictable outcomes that were not
only feasible, but most definitely achievable, through the unified confirmation of this important grassroots
effort.
With the release of FIRST 7.0, on its Silver Anniversary, I respectfully thank and congratulate every
flexographic industry professional who has had a hand in creating, supporting, promoting and, yes, even
preaching, the “Good Word of FIRST” along the way. It would have been easy to bury the whole program back
in its infancy when success was not instant. To the contrary, the resistance and skepticism encountered only
seemed to drive the enthusiasts all-the-more passionately. “If you really look closely, most overnight successes
took a long time.” So said Apple’s Steve Jobs. What better way to describe the life of FIRST!

Mark Cisternino
FTA President 2001-2022

Introduction iii
When one reflects on the major changes that have transpired in the flexographic industry your
mind jumps to the introduction of anilox rolls, photopolymer plates and digital everything. These
technological leaps have enabled flexography to grow and flourish. What is not so conspicuous are the
gradual changes. It was not that long ago that the mention of ISO-12647 would illicit eye rolls and a
look of bewilderment. You still get the eye rolls, nevertheless, the majority of the industry now aims to
print to standards. Slow, methodical changes transform the industry as much as the radical changes.
FIRST 7.0 reflects both the major and incremental changes that have transpired over the past five years
since the release of FIRST 6.0.

In 2020 CGATS updated the process control, fingerprinting and characterization guide TR012
which is the foundation of the FIRST methodology and this is reflected in the Communication and
Implementation section. The Design section has been completely rewritten. However, unless you are
intimately familiar with the Design section it may appear as a marginal change. Then you will notice a
completely new section; Measurement and Verification. Measurement and verification are important
in every step of the process. Incorporating them into each of the individual sections was redundant and
less straightforward. Prepress and Print have had significant changes as well. One of the most significant
changes has been in Appendix B: Referenced Standards, Specifications and Publications. FIRST
references over 120 different standards, more than half of these standards have undergone revisions
during the past five years.

The FIRST Leadership team hopes you find FIRST 7.0 a valuable resource in your pursuit of
consistently high-quality flexographic print.

Mark R. Mazur Robb Frimming

Eric Ferguson PJ Fronczkiewicz John Gleich Mike Huey

Jean Jackson Bjorn Knutson Michael McGinnis

Dina Vees
Joe Tuccitto Duane Woolbright Dina Vees Bart Wright

iv Flexographic Image Reproduction Specifications & Tolerances 7.0

INTRODUCTION

The Mission of FIRST

FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic
requirements into specifications for each phase of the flexographic printing process including: customers,
designers, prepress providers, raw material & equipment suppliers, and printers.
The intention of FIRST is to provide all participants in the flexographic reproduction process with a common
set of guidelines, tutorials, and data that can be used as communication and production tools.

FIRST Objectives
FIRST is a set of specifications, not standards. When followed, these specifications facilitate producing a
predictable, consistent result. It is the responsibility of the customer to determine where, when, and how
these specifications are implemented. This does not imply that a printer’s capabilities cannot exceed FIRST
specifications, or that the printer is limited to these specifications as a maximum quality level. The process and
specifications supported in FIRST intend:
• To outline key flexographic procedures and guidelines to be used from the beginning of the process to the
end, including the implementation, design, prepress, and print processes.
• To improve quality and consistency through improved communication and measurement procedures.
• To reduce cycle time and minimize rework through improved process control methodology.
• To control production costs through streamlined raw materials and process improvement methodology.
• To enable consumer product companies to obtain optimal flexographic print quality, which equals or
exceeds offset lithography and gravure printing.
• To grow the overall flexographic printing industry through increased market share of an expanding
market.

Historical Perspective of FIRST

Prior to FIRST, many consumer product companies were creating individual package reproduction
specifications. The generation of too many individualized specifications can become overwhelming to an
industry – resulting in manufacturing inefficiencies and confusion. In pursuit of a more universal approach, the
FTA membership partnered with leading consumer product companies to create a universal set of flexographic
specifications.
The resulting premier edition of FIRST (debuting in 1997) and subsequent editions consisted of specifications
and tolerances representing the realistic capabilities of 70% of the industry. Data was derived from three years
of industry input, three industry-wide surveys, and statistically controlled designed experiments. This edition of
FIRST includes technical updates to maintain relevancy with the ever-evolving technology, as well as significant
subject expansion designed to more fully encompass the entire flexographic process and various industry
segments. With hundreds of industry experts, from around the world, contributing to the technical content over
the past decade, FIRST has become the technical resource for the flexographic industry.

FIRST 7.0 CONTRIBUTORS

The Flexographic Technical Association would like to recognize the contributions and dedicated efforts of
those involved in the development, editing, and evaluation of FIRST 7.0. These individuals exhibited tireless
enthusiasm in spearheading the continuous advancement of the flexographic printing process.

Introduction v
INTRODUCTION

FIRST 7.0 LEADERSHIP COMMITTEE

Mark R. Mazur FIRST Chairperson Retired
Robb Frimming FIRST Vice-Chairperson FTA
Joe Tuccitto Implementation Co-Chairperson FTA
Kim Madigan FTA Board Representative Smyth Companies
Michael McGinnis Design Co-Chairperson RR Donnelley
Eric Ferguson Design Co-Chairperson Digimarc
Peter Fronczkiewicz Prepress Co-Chairperson DuPont Cyrel® Solutions
John Gleich Prepress Co-Chairperson We Are Alexander
Mike Huey Print Co-Chairperson Miraclon
Jean Jackson Print Co-Chairperson Retired
Bart Wright Print Co-Chairperson Pacificolor
Dina Vees Measurement & Varification Cal Poly
Duane Woolbright Manager of Training Services FTA
Katie Dubois Manager of Creative Services FTA

ADDITIONAL FIRST 7.0 SECTION CONTRIBUTORS

Michael Bell Rossini
Roy Bohnen Color Onsite
Kevin Bourquin Cyber Graphics
Robert Congdon Clemson University
Nina Davis Olberding Brands
Edward DeBano RR Donnelley
Jason Edelen Swandive
Julian Fernandez Esko
Sinesio Garduno Coating and Adhesives Corporation
Dr. Sam Ingram Clemson University
Emily Kalshoven MacDermid Graphic Solutions
Andrew Knapp XSYS
Bjorn Knutson FTA
Paul Lancelle Miraclon
Karen Mattson Great Lakes Cylinder
Curt Meyer We Are Alexander
Grace Miller Dwell Magazine
Keith Nagle MPS
Eric Nischbach We Are Alexander
Dr. Danny Rich Retired
Scott Rickard DuPont Cyrel® Solutions
Rich Rogals Miraclon
Van Sandstrom Great Lakes Cylinder
Donald Scharenbroch RR Donnelley
Kevin Schilling Miraclon
Steve Smiley SmileyColor & Associates LLC
Sean Teufler Miraclon
Katherine Treadaway All Printing Resources
Katie Tuckwiller DuPont Cyrel® Solutions
Mark Walsch We Are Alexander

vi Flexographic Image Reproduction Specifications & Tolerances 7.0

INTRODUCTION

Previous FIRST CONTRIBUTORS

FIRST 7.0 is the continuation of the work done by all of those involved in previous editions of FIRST. The
Flexographic Technical Association would like to recognize the contributions and dedicated efforts of those
involved in the development, editing, and evaluation of all those previous editions. No attempt has been made
to update company names or company affiliations, which change over time.
Richard Ahlborn National Envelope Corporation Bill Ferguson Cincinnati Precision Plate
Larry Ahleman Western Michigan University Eric Ferguson Esko-Graphics, Inc.
Joe Aker Hood Packaging, Inc. Julian Fernandez Esko
Jeff Albaugh Mastergraphics Michael Ferrari Proctor & Gamble Company
Joseph Ambro Miraclon James Ford Color Resolutions Intl.
Dr. John Anderson FCA Associates Michelle Ford Monarch Color Corp.
Frank Anthony Chattanooga Times/Free Press Robb Frimming SCHAWK!
Roberto Arosemena Grupasa Chad Fulwiler En Point Marketing
John Babl Paper Converting Machine Company John Gaber Flint Group
Steve Balschi Printpack, Inc. Eddie Ghea Bemis Company, Inc.
Jason Barrier Printpack, Inc. Scott Gilbert Smurfit-Stone
Chuck Bell Multi Color Corporation Sam Gilbert Sun Chemical
David Bell Correct-Touch Graphic Arts John Gleich We Are Alexander
Maynard Benjamin Envelope Manufacturers Association Larry Goldberg Beta Industries
Dr. Penny Bennet California Polytechnic State University Steve Goldfarb DuPont Cyrel Packaging Graphics
Brian Berhdt Lauterbach Group Jordan Gorski Flint Group
Michelle Beuscher Independent Consultant Justin Green Anderson & Vreeland, Inc.
Richard Black All Printing Resources, Inc. Larry Haas Alcan Packaging
Denise Bloy OEC Graphics, Inc. Joe Hamilton Stevenson
Dr. Mark Bohan Printing Industries of America Tom Hammer Flint Group Flexographic Products
Roy Bohnen Epson Jessica Harrell A&V
Kevin Bourquin Cyber Graphics Neil Harrelson Schawk, Inc
Bill Bowers Flint Group Flexographic Products Lesley Hide EFTA - United Kingdom
Alfred Bowers RR Donnelley Gary Hillard Hood Packaging, Inc.
Al Brancaccio Overnight Labels Inc Ian Hole Esko-Graphics, Inc.
Jason Cagle MacDermid Graphics Solutions Mike Impastato Flint Group Flexographic Products
Tom Cassano MacDermid, Inc. Dr. Sam Ingram Clemson University
Carl Cecil Color Resolution, Inc. Jean Jackson Praxair, Inc.
Steve Carter Phototype Alexander James Harper Corporation of America
Mark Causey Beck Compression Dr. Malcolm Keif California Polytechnic State University
Ray Cheydleur X-Rite, Inc. Patricia Kent Pamarco Global Graphics
David Chinnis Flint Group Flexographic Products Rob Kidwell National Envelope Corporation
Kevin Chop Diageo Andy Knapp Flint Group
Brian Chwierut Sun Chemical Bjorn Knutson FTA Technical Education Services Team
Tom Cluck Tyson Foods Dick Koslowski OEC Graphics, Inc.
Kern Cox Clemson University Tom Kowalski Eastman Kodak Company
Randy Crutchfield Prairie State Group Jim Kulhanek DuPont Cyrel Packaging Graphics
Sherry Cunningham DuPont Cyrel Packaging Graphics Allison Lakacha Techkon, USA
Edward DeBano RR Donnelley Paul Lancelle All Printing Resources
Raymond Delricki GS1US David Lanska Stork Cellramic, Inc.
Angela Denmon Procter & Gamble Colleen Larkin Twomey California Polytechnic State University
Chris Deye Phototype Dr. Brian Lawler California Polytechnic State University
Patrick Dillon CL&D Graphics Nick Lena GTI Graphic Technology, Inc.
Tony Donato Harper Corporation of America Paul Lodewyck LIG Technology
Dr. Lorraine Donegan California Polytechnic State University Tim Loehrke SCHAWK!
Dr. Martin Dreher DFTA - Germany Bill Malm Flexowash
Rich Emmerling Flint Group Flexographic Products Rory Marsoun Esko
Larry Wm. Evans Clemson University Dan Martinez Matthews International Corp.
Jon Fehrman Scotts Company Darlene Masek Nestle USA, Inc.

Introduction vii
INTRODUCTION

Dr. Mark R. Mazur DuPont Cyrel Packaging Graphics Donald Scharenbroch RR Donnelley
Joe McCarthy Burrows Paper Company Kevin Schilling OEC Graphics, Inc.
Terri McConnell Phototype Andrew Schipke W & D Machinery Company, Inc.
David McDowell NPES/CGATS Jon Schlosser OEC Graphics, Inc.
Michael McGinnis RR Donnelley Mike Shanley National Envelope Corporation
Rose McKernon FTA Marek Skrzynski CSW Graphic Services
David Merkley American Color Graphics Steve Slater X-Rite, Inc.
Steve Molinets tesa tape, inc. Steve Smiley SmileyColor & Associates
Patrick Mollman Siegwerk Bob Smith Great Northern Corporation
Jason Nelson OEC Graphics Herman Spencer The News & Observer
Doug Nelson Water Ink Technologies Jay Sperry Clemson University
Arleen Neustein New Excelsior Packaging Seetharaman Srinivasan Sonoco
Dr. Dieter Niederstadt Asahi Photoproducts David Straten Advanced Packaging Corporation
Randy Nienas Vertis, Inc. John Sweeney IQ Color
Eric Nischbach We Are Alexander Michelle Talko Prairie State Group
Jason Nelson OEC Graphics Brad Taylor DuPont Cyrel Packaging Graphics
Roberto Nunez GIPSA - Mexico Garrett Taylor A&V
David Nunez International Paper Sean Teufler Harper Corporation of America
Robert O’Boyle Sun Chemical Tom Thackeray Weyerhaeuser
Dr. Liam O’Hara Clemson University Shawn Thiessen Fastik Label & Supply
Adina Oree Lohmann Scott Thompson Southern Graphic Systems
Wayne Peachey Keating North America Kevin Trischett National Envelope Corporation
Ted Pech We Are Alexander Katie Tuckwiller DuPont Cyrel Packaging Graphics
Cherie Pierce Printpack, Inc. Kelly VandenBosch ISRA Surface Vision
Bill Pope FTA/FFTA Rebecca Van Handel RR Donnelley
F. Cordes Porcher Packaging Corporation of America Shridhar Varde Agfa Corporation
Todd Pressly We Are Alexander Ryan Vest MacDermid
Lou Prestia Prestia Consulting Inc. Joan Wallace Label Technologies Southeast
Dr. Joseph Rach Chemence, Inc. Melanie Ward Wikoff Color Corporation
Jeffery Randazzo Controlled Displacement Technologies Bill Warner Allsion Systems
Dan Reilly Plastic Packaging Inc. Brian Watkins Burrows Paper Company
Dr. Danny Rich Sun Chemical Corporation David Watson Tesa Tape
John Richardson All Printing Resources, Inc. Phil Wedding Sonoco
Greg Robinson Integrity Engineering, Inc. Torben Wendland Flint Group
Lon Robinson III Tension Envelope Corporation Jarrett Westman Tetra Pak Inc.
Steven Rose National Envelope Corporation Frank Wheeldon Schawk, Inc
Mark Samworth Esko Catherine Whitaker Anderson & Vreeland, Inc.
Pete Santkuyl Kimberly Clark Dr. Nona Woolbright Clemson University

ADDITIONAL CONTENT AND GRAPHICS CONTRIBUTORS

360 Imaging, 3M, AGFA, Asahi Kasei America, Beta Industries, BOBST, BST Pro Mark, CGS Publishing
Technologies International, Color Resolutions International, Clemson University, C-P Flexible Packaging,
DFTA, Dunwoody College of Technology, DuPont Cyrel Packaging Graphics, Eastman Kodak Company, EFI,
E.I du Pont de Nemours & Co., Epson, Esko, Eudes Scarpeta, F. Cordes Porcher, Fischer & Krecke, Flint Group,
FTA/FFTA, FUGIFILM Graphics Systems USA, Gallus, Graymills, Harper Corporation of America, Hood
Packaging Corporation, IDEAlliance, Integrity Engineering, Inc., Interflex Laser Engravers, INX International,
Just Normlicht, Lactalis American Group, Inc., MacDermid Printing Solutions, Mark Andy, Inc., Michelle
Beuscher, OEC Graphics, Opaltone, Inc., Paper Converting Machine Company, Phototype, Praxair Surface
Technologies, Printing Industries of America, RRD, Right Angle Concepts, RIT, Smurfit-Stone Container
Corporation, Spectrum Label Corporation, Sun Chemical Corporation, Smyth Companies, Sun Chemical
Corporation, Techkon, VT Graphics, We Are Alexander, William Fox Munroe, Windmoeller & Hoelscher
Corporation, X-Rite

viii Flexographic Image Reproduction Specifications & Tolerances 7.0

INTRODUCTION

Introduction ix
DESIGN

2.0 DESIGN INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

2.1 Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.2 Responsibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.3 Assumptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
3.0 GETTING STARTED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
3.0.1 General Definition and Outline of a Creative Brief and Style Guide. . . . . . . . . . . . . . . . . . . . . 50
3.1 Attributes of the Flexographic Printing Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3.2 Materials and Information Needed to Begin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3.2.1 Template Layout/Die-Cut Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
3.2.2 Print Substrate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.3 File Naming Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.4 Understanding Color Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.5 Viewing Artwork, Proofs & Printed Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.6 Types of Proofs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
3.7 Process Control Test Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
4.0 TYPE AND DESIGN ELEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
4.1 Typography: Understanding Process Capabilities and Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
4.1.1 Registration Tolerance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
4.1.2 Process Color Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
4.1.3 Process Reverse/Knockout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.1.4 Line Reverse/Knockout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.1.5 Drop Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.1.6 Spaces and Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.1.7 Text Wrap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.1.8 Fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
4.2 Spot and Special Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4.3 Bar Code Design Considerations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
4.3.1 Bar Code Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
4.3.2 Responsibilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
4.3.3 USPS Intelligent Mail Bar Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
4.4 Screen Ruling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
4.5 Tints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
4.6 Ink Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
5.0 DIGITAL PHOTOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
5.1 Additive and Subtractive Color Spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
5.2 Proofs for Digital Photography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
5.3 Camera Setup Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
5.4 File Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
5.5 Unsharp Masking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
5.6 Image Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
5.7 File Transfer Recommendations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

46 Flexographic Image Reproduction Specifications & Tolerances 7.0

DESIGN

6.0 GRAPHIC ARTS SOFTWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

7.0 DOCUMENT STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.1 Naming Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.2 Document Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
7.3 Layers Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
7.4 Appearance Effects & Layer Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
7.5 Transparency Opacity & Blending Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
7.6 Placed or Imported Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
7.7 Image Capture Quality – Scanning Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
7.8 Scaling & Resizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
7.9 Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
7.10 Images with Custom Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
8.0 FILE FORMATS AND USAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
8.1 Specified Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
8.2 Portable Document Format (PDF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
8.3 Clip Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
8.4 FPO Continuous Tone Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
8.5 Documenting Image Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
8.6 Image Substitution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
9.0 HANDING OVER FILES TO PREPRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
9.1 Documenting the Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
DESIGN SECTION SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Some topics in FIRST are referenced in multiple areas,

please refer to the index for complete information on any topic.

DOWNLOAD FIRST 7.0 Extras Referenced in this Section at:

http://www.flexography.org/FIRST_extras

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2.0 DESIGN INTRODUCTION

2.1 Overview
FIRST was created to facilitate communication among participants
involved in the design, preparation, and printing of flexographic
materials. These participants may include: customers, designers,
production artists, prepress providers, raw material and equipment
suppliers, and printers. The intention of FIRST is to provide
all participants with a common set of guidelines, tutorials, and
data that can be used as communication and production tools
throughout the process.
The Design Section of FIRST is a guide for designers and
production artists to understand prepress and flexographic print
considerations. It offers tips for creating executable and efficient
artwork, and additionally describes the requirements of the other
members of a print supply chain.
FIRST recommends establishing good communication, useful
ground rules, and consistent procedures early in the process when
creating artwork for use in the flexographic industry. Doing so can
help minimize the complexity of art files and the potential for print
and converting issues. A dialogue concerning design and production
considerations ought to be initiated among all the supply chain
partners (designer, production artist, consumer product company,
prepress provider and printer). To this end, FIRST provides
guidelines and support documents to facilitate efficient project flow
through the design and manufacturing processes.

2.2 Responsibility
Packaging graphics continue to increase in complexity and
production timelines continue to compress. Because of this, it
is in the downstream partner’s best interest to ensure upstream
partners understand how their responsibilities, tasks, and deadlines
fit into the larger picture. Clear assignment of responsibilities is
necessary to ensure a quality printed product delivered in a timely
manner. This assignment of responsibilities requires planning and
collaboration among all involved parties.
Customer: The customer, often a Consumer Product Company
(CPC), defines expectations and is best positioned to drive the
collaboration process by leading and facilitating communication
between the other members of the supply chain.
Designer/Production: The designer and/or production artist
collaborates with prepress and print to understand what processes are
being utilized downstream, what their capabilities are, and how that
will affect creative intent and art file production. Early interaction

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with the supply chain also allows other members of the team to
prepare for specific requirements of the artist’s design. Additionally,
the designer and/or production artist can help the process by:
• Establishing a color scheme and palette
• Checking copy for spelling and kerning
• Treating common elements consistently
• Consulting printer specifications
• Utilizing position only images when appropriate
Prepress Provider: The prepress provider works with the printer
to understand their capabilities and will synchronize them to an
appropriate standardized color space when possible. The prepress
provider will supply the designer with information regarding print
capabilities as early in the process as possible. Based on these print
capabilities, the prepress provider produces appropriate image
carriers that will help the printer meet the expectations of the
customer. They also develop and maintain control targets that
ensure the consistency and accuracy of supplied media.
Additionally, the prepress provider produces a contract proof
calibrated to accurately represent the agreed-upon color space
and press conditions. Using quality control metrics encouraged
by FIRST, the prepress provider gives the printer, designer, and
customer the ability to objectively confirm the fidelity of image
carriers and accuracy of print results.
Printer: The printer is responsible for consistently reproducing
the design to established tolerances and to the satisfaction of the
customer. To do this, the printer will work with supply chain
partners and vendors to define the capabilities of the printing
process. They will utilize process controls to ensure the accuracy and
consistency of their deliverable and provide feedback back upstream
to fellow supply chain partners through the life cycle of a project.

2.3 Assumptions
In order to keep focused and pertinent content in this guide, the
following assumptions were made:
2.2 Responsibilities: Good planning,
• Our audience consists of professionals who use relevant communication and an understanding of
versions of software and hardware compatible with all responsibilities helps assure a project’s success.
downstream processes.
• The audience is familiar with design terminology and
workflows in a digital environment.
• If you are not familiar with design terminology and/or
workflows in a digital environment, visit www.flexography.org
for more information)
• Technology changes frequently, so the FTA also offers additional
training and support documents at www.flexography.org

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3.0 GETTING STARTED

3.0.1 General Definition and Outline of a Creative Brief

and Style Guide
Creative Briefs and Style Guides play an important role in the
development and ongoing continuity of packaging designs. In
the simplest terms, a Style Guide is a set of standards for a brand
(the dos and don’ts of the brand identity), while a Creative Brief
provides specific details concerning the execution of a single
package design (i.e.: a set of objectives for a package).
Not all projects will be accompanied by either of these documents,
but it is common for larger brands, or the agencies that represent
them, to have both.
Regardless of the size of the brand or project, access to documents
such as these makes things easier for everyone in the supply chain.
The following describes typical information included in both
Creative Briefs and Style Guides respectively.
Creative Brief
• Project Title
• Client: Main Contact and decision maker
• Key Approvers: Brand Owners, Buyers, Engineering, Legal
etc.
• Project Manager: Coordinator/Account Manager
• Objective: Purpose of materials and desired outcome of
project
• Messaging: Supplied copy, priorities/hierarchy, translations/
languages
• Supporting Info: Target audience, market/trend research,
competition, brand/product info
• Budget: Estimated costs with approval
• Project Scope: Services, quantities, exclusions
• Deliverables: PDFs, comps/mockups, presentation boards,
prototype
• Timeline: Concept deadlines, production/delivery schedule
Style Guide
• Overview: Standards
• Building our Brand: Alternate heading
• Mission/Vision: Meaning/purpose of company
• Logo/Identity/Brandmark
• Tagline: With and without

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• Lockup: Spacing/positioning
• Primary Branding: Logo/lockup
• Secondary Branding: Icons/alternate colors
• Full Color Logo: Versions
• One Color Logo: Versions
• Logo Variations: Special usage information
• Proper Usage: Size, clearance
• Improper Usage: Modified logo
3.1 Flexographic Market Segments:
• Color Palettes: Pantone/CMYK
The flexographic printing industry offers
• Secondary Colors: Pantone/CMYK designers and their customers broad choices of
• Specifications: Print vs. web packaging types, substrates, inks and in-line
• Font Usage: Specified converting capabilities.
• Brandmark Placement: Newsletter, blog, website
• Stationery: Collateral
• Signage/Collateral: Logo/color palette/icons
• Apparel: Alternate style
• Proposals/Presentations: Format/medium
• Case Studies: Format/results
• Acquiring/Sending Assets: Login/download

3.1 Attributes of the Flexographic Printing Process

Specialty inks, expanded gamut inks, a wide variety of substrate
and lamination options, and length of print run are a few of
the advantages of the flexographic print process. It is useful for 3.2 Materials & Information Needed to
designers to be aware of the benefits of flexography. Print and Begin: Template layouts along with general
prepress partners in the CPC’s supply chain will help packaging production information and customer
designers and production artists understand the capabilities of the specifications are critical for successful design
process and how they can be best utilized. development.

3.2 Materials and Information Needed to Begin

• Template or Die line
• Production information
• Customer specifications
• Design Brief
• Brand Style Guide and corporate art guidelines
• Legal and Government regulations

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3.2.1 Template Layout/Die-Cut Specifications

Die line
A final die line must be provided with the art prior to final assembly
for all die-cut jobs. All supplied die lines must indicate cuts,
folds, and scores as well as non-print areas. At the direction of the
packaging buyer, the designer or production artist ought to indicate
the area where print control targets can be placed.
Using the Template Layout
A template layout is also referred to as a keyline, die line, or full-
scale drawing. It is the responsibility of the printer and the customer
to provide the design firm with the appropriate template file,
3.2.1 Template Layout: Non-print areas including layout dimensions. The template should include non-
ought to be considered during the design image area, non-print area, print direction, varnish area, seal area,
process. and “inside view” identification. It is the responsibility of the design
firm to consider the non-print areas during the design process. The
designer forwards the final template to the prepress facility where
all job elements are verified and correctly positioned for product
assembly.
Die Origin
Dies are designed using a graphics program or CAD (Computer
Aided Design) software. Files generated from these systems can
be translated into a format recognizable by design and prepress
software. Incorporation of dies, bleeds, or pressmarks (internal
and external) should be determined on a case-by-case basis. Early
communication about who will build a die line and how it will be
used is essential.
Printing Form Layout Considerations
The printing form layout communicates how individual die-cut
units are arranged on a sheet or web. This may influence control
target placement and create additional design considerations. If
certain knives are common, or shared, between individual units,
the design may be affected at the perimeter of the unit. This
information can be obtained from prepress or the printer.
Print-to-print and print-to-cut production tolerances should also be
verified with the printer and/or the customer. These tolerances may
vary depending on several factors, including press width and press
type (e.g.: central impression, stack, in-line). Die position tolerance
is typically smaller for thin board stock and larger for thicker stock.
In general, important elements ought to be placed away from cuts
and scores, but consult the printer for job-specific print-to-print
and print-to-cut production tolerances.
Die Files
Dies should contain information describing the live print area and
artwork should be built to the die intended for use in production.

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However, downstream adjustments to art files may be needed to fit

art to the final die, and this can be done by either production art
or prepress. On occasion, an existing die may be modified to match
graphic elements, such as windows, cutouts, or coupons.
Most modern package design software can convert or import
CAD file formats (e.g.: DXF, DDES2, IGES, PDF). The structural
designer will know which file formats can be exported from their
brand of CAD software.

3.2.2 Print Substrate

An understanding of the whiteness, color, and texture of the
substrate can be useful information for the design process. A sample
of the substrate ought to be sent upstream to the designer as soon
as it is available. Printing on foil or colored paper, or printing white
behind graphics, will influence color results. The white point of the
substrate will be accounted for by prepress in the contract proof,
and prepress can provide the design team with either a substrate-
adjusted proofing profile or a Characterized Reference Printing
Condition (CRPC) in the form of an .icc profile with a white point
similar to production substrate.

3.3 File Naming Conventions

All files and images for a given project ought to use a relational
naming schema that allows for the distinction between originals
and versions and should not use special characters. Suffixes can help
identify and distinguish file formats and variations of working files.
Examples of this by file type are: zombiesquirrel.tif, zombiesquirrel.
eps, zombiesquirrel.psd or by color space as aww_puppy_raw, aww_
puppy_rgb, aww_puppy_cmyk.
In general, a shareable spreadsheet or database is useful for large
projects.

3.4 Understanding Color Management

The number of colors the human eye perceives is larger than the
number of colors that can be reproduced on monitors, proofing
devices, and printing presses. A “color space” is a useful conceptual
tool for understanding the color capabilities of a particular device or
digital file. Digital cameras and scanners capture images in an additive 3.4 Color Management: Color
color space-- some form of Red, Green, and Blue (RGB), while
Management Systems (CMS) are software
proofing devices and presses output or print images in a subtractive
tools that quantify, convert, and reconcile
color space, utilizing Cyan, Magenta, Yellow, and Black (CMYK).
Both proofers and presses often utilize additional colors beyond color differences among monitors, scanners,
CMYK to increase the gamut, or size, of the potential color space. imaging devices, proofers, and printing
presses to ensure consistent color throughout
the reproduction process.

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Color Management Systems (CMS) are software tools that

quantify, convert, and reconcile color differences among monitors,
scanners, imaging devices, proofers, and printing presses to ensure
consistent color throughout the reproduction process. Various
types of ICC (International Color Consortium) profiles are used to
communicate or link different devices to a common color space.
Typically, available color gamut diminishes as a job progresses
through the production cycle. A CMS will map colors from a larger
to a smaller color space using defined rules and indicate which
colors can be output on a device with a smaller gamut and which
cannot. This process allows proofing devices to realistically reflect
press expectations.
Color management software makes the process of converting from
one color space to another predictable. Color space conversion is
often the first place where compromises in color will occur. Some
loss of information (gamut or gray scale steps) is expected when
converting from a larger to a smaller color space and it requires
special training and access to higher end software, normally through
the prepress provider, to minimize color data loss.
Each color output method has limitations based on type and
number of colorants, the imaging engine, colorant delivery
technology and substrate options. If a known output source (a
specific printing press) is identified prior to the creative stage, the
designer may contact the prepress provider and request a proofing
profile for that print condition. If the printer uses inks aligned to
industry standards for printed color, prepress may synchronize press
conditions to a standardized color space like CRPC6, for example.
When properly used, this method of color development establishes
expectations early and maintains a good relationship between the
flexo printed components of a shelf set and those printed with other
methods.

3.5 Viewing Artwork, Proofs & Printed Material

Application: Discrepancies in critical color appearance can
be minimized when all partners utilize standardized viewing
conditions. Accurate and consistent visual perception of color
requires the image to be viewed in a standard, chromatically neutral,
and controlled environment. A color-viewing booth can provide
such a setting and should be used to view printed images, proofs,
and transparencies under a controlled and standard light source.
Standardization: FIRST supports the viewing standards defined in
3.5 Standard Viewing Conditions: ISO 3664:2009. FIRST also recognizes that CIE D50, the reference
Accurate and consistent visual perception illuminant for graphic arts, may not be optimal for all circumstances
of color requires the image to be viewed in and encourages early communication to establish whether this light
a standard, chromatically neutral, and condition or another will be used for color evaluation.
controlled environment.

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ISO 3664:2009 - Viewing Conditions

Parameter Specification
This practice requires judgments by observers with superior color vision as rated with the FM-100 Hue
Observer
Test as specified in ASTM E1499, Guide for Selection, Evaluation, and Training of Observers.
The illuminance should be diffuse and non-directional providing illumination at the center of the viewing
surface (2 000 ± 250) lx, 1500 to 2250 Lux, also known as P1. When viewing a printed image against a
Illuminance
proof the illuminance at the center of the viewing surface should be (500 ± 125) lx for comparing a digital
image to a proof, also know as P2.
The quality of the illumination shall approximate the CIE standard illuminant D50 at 5000K with a color
rendering general index, Ra of 90 or greater with the special indices R1 to R8 in the CRI calculation
greater than 80 as specified CIE 13.3-1995 Method of Measuring and Specifying Colour Rendering
Properties of Light Sources. The target for chromaticity is U’= 0.2102 and V’ =0.4889 both having a
Daylight tolerance of ± 0.005. The daylight simulation should have a minimum quality grade of B for the visible
Quality light and C for the near UV when graded based on ISO 23603:2005/CIE S 012/E:2004. Standard method
of assessing the spectral quality of daylight simulators for visual appraisal and measurement of colour.
This standard method was previously known as CIE Publication 51 and requires measurements made
using a Spectroradiometer with current traceable certification and capable of measuring 300 to 780 nm
in a minimum of 5 nm intervals as specified in ISO 23603/CIE S 012.
The surround should be neutral with diffuse a reflectance of 60% typically Munsell N8/neutral gray.
Viewing
Ambient light should be eliminated from the viewing area which is typically used by using a viewing
Area booth.
Reference standard for more details.

Table 3.5: ISO 3664:2009 – Viewing Conditions

Instrument Agreement: Color measurement equipment and

color viewing equipment ought to use common light condition
settings. For example, if color measurement equipment
(spectrophotometers) for a given project use CIE D50, then
viewing booths ought to use light conditions with a correlated color
temperature of 5000 Kelvin.

3.6 Types of Proofs

It is beneficial to the success of a project if all parties adopt a
common terminology to evaluate color and content, and to
communicate changes. Each proof created during the life cycle of a
project ought to be clearly labeled to communicate:
• The purpose of the proof
• The Raster Image Processor (RIP) and output device used to
create it
• Whether the output device was profiled and which profile
was used
• The proof ’s suitability for judging color

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Creative intent or Concept Proof

A creative intent or concept proof is a tool frequently used in the
early stages of a project. It is used to capture the intentions of the
brand and goals of the design. This type of proof may be output
through a standardized color space such as Fogra, GRACoL,
or one of 7 CRPCs. If it is, many color inferences may be made
and translated into production. If it is not, some color inferences
can still be made, though they may not translate as directly into
production. The proof can also be used to express desired color
breaks and content. Proofs like this ought to be labeled to indicate if
they are color managed and how.
Prototype or Mock-up
This proof is formed and sealed to the shape of the filled package or
container. It is often output on production or similar substrate. In
some cases, it can be color-close, though not color accurate. In other
cases, some prepress providers provide a proof that is color accurate,
3.6a Type of Proofs: Different stages of the separation accurate, show white ink and registered varnish, as well as
process require different types of proofs. Color indicate multiple line screens, multiple dot structures and press gain.
managed devices like monitors, proofers and
Contract Proof
presses should be aligned to the same color
A contract proof is an expression of agreement between the printer
space. and the customer and is the basis for negotiations on project
performance. It describes all aspects of the customers intentions,
predicts the color space the printer has agreed to replicate on press,
and is an important quality control and communication tool.
A contract proof is made using a Raster Image Processor (RIP)
which applies color management to the file before output. It must
exhibit a common visual and measurable appearance to agreed-
upon press conditions, which can be achieved with continuous tone
or screened proofing methods. A Characterized Reference Printing
Condition (CRPC) is a dataset that defines a printing condition.
3.6b Contract Proof: Contract proofs ISO DIS 15339-2:2013, CGATS 21-2 defines 7 of the most
describe all aspects of the customers intentions common. One of these may be the basis of the color space used for
and predicts the color space the printer has contract proofing if the press has been synchronized. If the press has
agreed to replicate on press. not been synchronized a custom proofing condition will be created.
For more information about press profiling and synchronization
consult the Communication and Implementation, Prepress, and
Print sections of the FIRST manual.
A contract proof must contain a control target that is processed
and output as part of the proof. A control target acts as a snapshot
of the proofing color space and is used to verify accuracy and
consistency of the RIP and output device used to make the proof. A
control target and its corresponding verification data must remain
on the proof for the proof to be considered “color managed”. A
control target must conform to ANSI CGATS.21/ISO 12647 (See
Appendix B for all parts).

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Soft Proof
Soft proofs can be used at any stage from concept to contract. Soft
proofs can be as simple as a shared pdf viewed for content and/
or color break. To utilize soft proofs to make color decisions, each
party ought to have access to a monitor that can maintain a high
level of color accuracy when calibrated and depict a controlled color
space when color managed.
If intended for press side use, soft proofs must be viewed on a
calibrated monitor aligned to the same color space used by the
other output devices. Soft Proofing is defined in ISO 14861:2015
Graphic technology — Requirements for color proofing systems
using electronic displays (See Appendix B).

3.7 Process Control Test Elements

Application
Process control test elements allow press rooms to measure and
report the accuracy with which spot colors, gray balance, process
colors, and dot gain expectations are matched during a press run.
Tools like L*a*b*C*hº data, gray balance reports, solid in density
(SID) readings, and tone value increase (TVI) results are used to
help the printer deliver repeatable, consistent, and cost-effective
product.
Test elements used to measure the print characteristics are used to
establish press capabilities, color conformance to standards, and
repeatability of live projects. The test elements included will vary
based on the print characteristics pertinent to the job being printed
and space constraints.
Using process control test elements during trials and production
allows the printer to evaluate and address changes in press
conditions.

3.7 Process Control Test Elements

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Table 3.7 CGATS.5 2009

Contents
The contents of process control test elements ought to encompass
all press to print variables in need of measurement and reporting.
Ideally, these five test elements should be on all process color
designs:
• Registration: color-to-color and print-to-cut
• Color/Solid Ink Density
• Grey Balance
• Ink Trap
• Tone Value Increase (dot gain) scales
Placement
Some packaging lends itself to placing test elements under flaps,
in a glue zone, or on the waste matrix. FIRST recognizes certain
press configurations (narrow web) and product types (e.g.: poly
bags, envelopes, and newsprint) may not have large enough trim
areas or glue zones to maintain all recommended process control
elements. On these products, with approval of the brand, test
elements used to verify color/density, gray balance, and at least one
dot area can be placed in the live area of the product. Different print
applications will have different interests and placement preferences
for test elements. Prepress and/or production art will consult with
the printer on the necessary test elements and, in conjunction
with representatives from the brand, determine placement on the
package/sheet/web when preparing separations.

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Format
The measurement & Verification sections describes the key print
characteristics for both line and process work as well as test elements
used to measure each characteristic. The test elements discussed
are available for use in optimization or fingerprint tests. They are
available to both FTA members and nonmembers and can be found
in the “FIRST Extras Download” folder. Sample run targets are
also included for review, but should not be considered more than
working examples of what can be used.
Test Element Construction and Size
In some circumstances, and with guidance from the brand, room
in the live print area can be allocated for test elements. When this
is the case, consideration needs to be given to space requirements.
ANSI CGATS.5-2009 Graphic Technology – Spectral
measurement and colorimetric computation for graphic arts images
(See Appendix B) provides the minimum and recommended
apertures-- and therefore minimum test element size-- specified by
line screen listed in the following table.
4.1a Typography: As copy is stroked or
While these guidelines are useful, the print application must also bolded the counters (holes in letters such as
be considered. The minimum acceptable aperture may be larger a, d, o, e and R) may begin to fill in during
for some print applications, so the prepress provider will confirm print.
individual test element size with the printer. For direct-print
corrugated, for example, each test patch (solid or tint) should be 2-3
times the flute width.
Imaging
Test elements image with the same line screen, angle, dot shape,
etc. as live work. Surprinting, plate slugs, or plate buildup of the
test elements does not provide an accurate representation of press
conditions.

4.0 TYPE AND DESIGN ELEMENTS

4.1 Typography: Understanding Process Capabilities and

Limitations
The nature of the flexographic print process requires that additional
consideration be given to font selection. Under some circumstances,
copy printing positive may fatten while copy reversing out of a color
or colors may fill in. Bolder versions of a font may be required to
overcome this, though as copy is stroked or bolded the counters
(holes in letters such as a, d, o, e and R) may begin to fill in during
print causing detail to be lost.
Tables 4.1a and 4.1b provide general guidelines sorted by 4.1b Minimum Type Size: Using type sizes
flexographic print segment. Since minimum type size and rule below a printer’s minimum recommended
width are print system dependent, the designer or production artist size can result in type filling in.

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Table 4.1a Minimum Type Size

ought to verify minimum rule widths, type style and minimum

point sizes with their prepress or print provider.
Type Size Considerations
Serif vs. Sans Serif: Sans serif fonts can be printed successfully and
remain more legible at smaller point sizes than serif fonts, as serif
fonts may lose detail and fill in easier when used at smaller point
sizes. Prepress and/or print partners in the supply chain will have
relevant specifications on hand regarding minimum allowable point
size for serif and sans serif fonts.
Positive vs. Reverse: Positive copy will remain legible at smaller
point sizes than reverse type, as press conditions like ink volume and
impression settings can cause reverse type to fill in and loose detail.
Single-Color vs. Multi-Color: Single-color copy can remain
legible at smaller point sizes than multi-color copy. The prepress or
print provider will have information about the minimum allowable
point size of multi-color copy for a given press condition.
Other Factors: Other factors that can influence minimum type size
4.1c Line Weight: Acceptable line thickness for a given press condition include: ink coverage, anilox volume,
will vary depending on whether it is printing substrate treatment, substrate absorbency plate durometer, and
positive or reverse and whether it is made up
of a single or multiple colors.
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Table 4.1b Minimum Rule Width

tape compression. These factors, as well as others, are taken into

consideration when print specifications are compiled, documented,
and published by the print and prepress supplier.

4.1.1 Registration Tolerance

When one word is printed in one color and another word next
to it prints in another, register shifts can cause these two words to
overlap or misalign. Due to this register shift, different color text
should be more than twice the image trap dimension away from
each other. Table 4.1.1 provides general trap guidelines by print
segment. Always confirm the trap tolerance with the print provider.

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4.1.1 Image Trap: When trapping two

colors, FIRST recommends “spreading”
or enlarging the lighter color under the
dominant color.

Table 4.1.1 Total Trap Tolerance

4.1.2 Process Color Type

When identifying colors for text copy, the designer should be aware
which colors will be built from process inks and which will use
dedicated spot colors. In general, text copy should be printed with a
single color or built from no more than two process colors. As text
size increases, a third process color may be introduced. Using more
than one color to create text should be discussed with both the
prepress and print providers to determine capability.

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4.1.3 Process Reverse/Knockout

A holding line should be used when type is reversed and comprised
of more than one color. The holding line should be a single, dark
color to hide any slight misregistration that is likely to occur during
the printing process. The weight of the holding line should be twice
the registration tolerance for the print segment as identified in
Table 4.1.1. Because the values provided are general guidelines, the
designer or production artist should confirm the trap requirements
with the prepress and print providers. If a holding line is not used,
the darkest or predominant color should be made full size and the
remaining color must be choked back the width of one row of dots
as determined by the screen ruling. If possible, the background color
should be limited to one color.

4.1.4 Line Reverse/Knockout

Reverse copy should be limited to one color. If copy is to be reversed
from two or more colors, a hold-back or choke must be created for
register. Refer to Table 4.1.1 and the specific print segment. Because 4.1.3 FIRST Process Reverse Knockout
the values are general guidelines and print system dependent, the Recommendations
designer or production artist should confirm the trap requirement
for reverse text with the prepress and print provider.

4.1.5 Drop Shadow

If a drop shadow is abutting another color, it will need to trap. Be
sure to move the drop shadow by more than twice the specified
image trap for the appropriate print segment.
It is best to use drop shadows only for larger type, unless the
color selected for the type is darker than the color it is abutting as
abutting colors will have to overprint each other to form the image
trap. Drop shadows that fade ought to be limited to a single color to
allow special screening to support the light tones of the gradient.

4.1.6 Spaces and Tabs

Always use tabs rather than multiple spaces to position text. If a font
change is required, the spaces will change size, while tabs will not 4.1.5 Drop Shadow: Trapping drop shadows
change. helps prevent unwanted print results.

4.1.7 Text Wrap

Most graphics programs can wrap text around images. However,
there is potential for text reflow if automatic text wrapping features
are used to define the text wrap area when a position only image is
replaced with its hi-res counterpart during production. This can be
avoided by using another shape that tracks, but is not dependent on,
image contours to define text wrap.

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4.1.8 Fonts
Fonts with the same name can exist in different file formats. Two
companies (foundries) that make the same font may name it the
same way and use the same file format, but build it differently.
Substituting a font file format or a font from a different foundry can
cause unwanted text reflow and alter the design.
It is also possible for a font to vary in appearance or performance in
downstream operations based on its source. For these reasons, it is
good to provide a copy of final files with type converted to outlines
and confirm that prepress has access to the proper font libraries
when delivering files containing active fonts.
PostScript/Type 1
A PostScript font is a Type 1 font and is created from two
components: a printer font and a screen font. The printer font
4.1.8a Font Utilities: There are many
contains the outlines that allow the output device to accurately
render the font in any size. The screen font allows the font to be
applications available to help manage fonts
viewed on a computer screen (monitor). Type 1 fonts require both
effectively.
pieces to work properly.
OpenType and TrueType Fonts
There are several advantages to the OpenType format:
• The entire font is housed in a single file.
• The same file can be used on a Mac or Windows platform.
• An OpenType font can contain either PostScript or TrueType
outline data.
• OpenType can support Unicode information, which can
4.1.8b Outline Effect: To create an outline, contain thousands of characters including high quality
apply a stroke of the desired color to the type ligatures, swash glyphs, and other advanced typographical
with a fill of none or white. The stroke ought features. This is a significant benefit over PostScript Type 1,
to be at least twice the specified image trap for which is limited to 256 characters.
the applicable print segment. Styles of Fonts
In some applications, there is a style menu with type attributes such
as bold, italic, outline, shadow, small caps, and all caps. Do not use
this feature. Use only the actual font, such as Times Bold, rather
than Times with the bold attribute. When using attributes, results
vary depending on the RIP, printer drivers, and application being
used. Selecting style attributes usually creates a pseudo version of
the typeface, which is a degradation from the original font design.
Many newer RIPs, printer drivers, and applications ignore pseudo
commands and simply use the plain printer font.
Proprietary Fonts
Fonts are usually proprietary software. It is not best practice and
often against font foundry guidelines to share fonts without secured

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rights or ownership. A web link to usage seats and rights to fonts is a

more compliant way to distribute fonts among trading partners.
Other Font Architectures
Multiple Master, TrueType GX, and other font architecture ought
to be avoided. If their use is unavoidable, confirm the prepress
provider can work with the required font architecture.
Poorly Written Fonts
Poorly written fonts may be node heavy (built with too many
points), have bad kerning pairs, or incomplete character sets 4.1.8c Converting Type to Outlines: Type
and should be avoided when possible. If there is a typeface that converted to outlines cannot be edited but
absolutely must be used, test it first through an imaging device. If minimizes downstream problems.
using a font that is not available from the output supplier, convert it
to outlines. If the font is public domain, send it with the other files.
Supplying Type Fonts
To avoid copyright infringements or unauthorized use of type fonts,
the licensing responsibility resides with both the creator of the file
and the company outputting the file. The creator must check with
the supplier of the fonts to confirm that the license held allows the
fonts to be used by both the creator and the output supplier.
Converting Type to Outlines
A common practice for handling type is to convert type to outlines.
This prevents font problems downstream while locking content.
When converted to outlines, small type may appear heavier and
should be reviewed prior to the final conversion.

4.2 Spot and Special Colors

Spot colors in the color palette of a file or assigned to graphic
elements in the file should represent only technical and actual
inks, or tints of those inks, that will be printed. Many products
are printed with both spot colors and process colors, and correct
identification of spot colors, versus color areas built from process
inks, can expedite the production process. A planning meeting
with the representatives from the brand, design, prepress, and print
is useful when determining the number of colors available for a
design, since a file containing multiple spot colors may exceed the
number of print stations available. However, prepress may want
to keep multiple spot colors in the file supplied by design so that
properly color managed conversions to 4 color or expanded gamut
process ink set can be applied.
The designer can help prepress by specifying in the file whether a
spot is meant to be created using a CMYK (process color) mix, or
single custom color inks. This can be done in the colors palette or
by indicating build intentions on an annotation layer. Using swatch

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palettes from commonly referenced sources such as Pantone® or

TOYO® fan books will also help downstream partners prepare for
production and understand creative intent.
Differentiating White Ink from Unprinted Areas
When white is a printing ink, a custom color can be created in the
file and used to specify which areas will print white. This color
ought to be named “white ink” or similar in the color palette.
Creating an additional color named “clear” is also a useful way to
distinguish areas that are to be left unprinted. A light percentage of
gray is frequently used to designate clear areas for film printing.
Spot Color Proofing
Spot colors in proofs target, but are not intended to replace,
standards separately established by the customer. Proofing RIPs
use lookup tables to transfer spot color information from a file to
a proof. Color managed proofing RIPs come preloaded with many
standardized spot color lookup table libraries such as those from
Pantone®. Pantone Solid Coated and Pantone Solid Uncoated are
examples of standardized spot color libraries. RIP manufacturers
pay licensing fees for the right to offer these color libraries to their
users and users pay RIP manufacturer for the right to access them.
Companies like Adobe® also pays licensing fees to companies like
Pantone® which gives them the right to offer these color libraries as
well, though the libraries in software like Adobe’s products do not
contain the same level of color data as libraries on proofing RIPs. A
Pantone® spot color in an illustrator file proofs accurately through a
color managed device because the name of that spot color matches a
4.2a Custom Colors: Custom colors used piece of instruction in a color lookup table at the proofing RIP.
in a file will not properly or consistently
reproduce on a physical proof without A spot color that is not part of a standardized spot color library
corresponding color data at the proofing RIP. is considered a custom color. Custom colors used in a file will not
properly or consistently reproduce on a physical proof without
corresponding color data at the proofing RIP. When a file is
delivered to prepress containing custom colors, some form of color
information, from either a physical drawdown or in a digital format
like a .cxf file, will have to be added to the proofing RIP and use
naming protocols that align with those used in the art file. Without
color data, the proof will not output in an accurate way.
Strides have been made towards the inclusion of full spectrum color
data as a rider to, or a part of the file itself, but this data is generally
4.2b Fan books and Swatch Libraries: not added automatically and requires communication between
Using swatch palettes from commonly the file provider and prepress. When vignetted color is critical, an
referenced sources such as Pantone® or TOYO® on-press test of a tint ramp printed over black and over white may
fan books will help downstream partners be necessary to create a full spectrum tint ramp. Alternately, several
prepare for production and understand companies also offer software with the ability to calculate tint ramps
creative intent. of full spectrum color.

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4.3 Bar Code Design Considerations

Formerly, the Uniform Code Council (UCC) was responsible for
managing the bar code system in the USA. The UCC is now the
GS1 US organization. GS1 US manages the GS1 system and assigns
GS1 company prefixes to companies/organizations in the USA. The
most common use of a GS1 assigned company prefix is the creation
of UPCs (Universal Product Codes), which contain a 12-digit
Global Trade Item Number (GTIN). The GS1 US publishes the
following electronic data interchange guidelines based on the ANSI
ASC X12 standard:
• Industrial/Commercial EDI
• Uniform Communication Standard (UCS), used in the
grocery industry
• VICS EDI, used in the general merchandise retail industry
The GS1 US is also the code manager for the United Nations
Standard Products & Services Code (UNSPSC). The UNSPSC
provides an open, global, multi-sector standard for classification
of products and services. Identify applicable commodity codes on
UNSPSC website (www.unspsc.org).
For more information on prepress and print considerations for bar
codes, refer to the Measurement & Verification section. GS1 US
and UNSPSC contact information is included in Appendix A. For
more information regarding 2D Bar Codes reference Appendix E.

4.3.1 Bar Code Specifications

Bar code print specifications are produced by combining three types
of related specifications:
1. Application Standards are published by accredited standards
organizations. Bar codes are used in many different applica-
tions; for example, one bar code application involves bar coding
products for retail checkout lanes while another application is
for bar coding shipments for conveyor lane routing in distribu-
tion centers. The specifications for bar codes used in these two
applications are different because the conditions for scanning
the bar codes are very different. Accredited standards organi-
zations provide specifications in the form of guidelines and
standards to assist in:
• Selecting the bar code type to be used
• Structuring the data inside the bar code
• Defining the printed human-readable information that is
inside the bar code
• Selecting bar code size within the acceptable range

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• Understanding where the bar code should be placed on the

printed product
• Defining the minimum print quality requirements
2. FIRST Print Specifications prescribe a minimal level of capa-
bility for all compliant printers. These specifications fall within
the acceptable limits of the appropriate application standard for
the bar code being printed and will assist in:
• Determining the minimum size for a bar code depending on
the printing press and substrate
• Identifying the preferred bar code orientation given the
direction the web or sheet will travel
3. Job Specifications should be published for film, file or plate
output. This type of specification should assist in:
• Identifying optimum film/file/plate output resolution
• Determining bar width reduction (BWR) required by the
specified print conditions

4.3.2 Responsibilities
All parties in the supply chain bear responsibility for producing
quality bar code symbols. The customer and designer both play an
important role in assuring bar codes are given the proper level of
consideration during design development while the prepress and
print provider will both verify that the final code is created correctly
and scans properly.
When creating an FPO (for position only) symbol, the designer
ought to determine and communicate the symbol type and size, the
color used to print it, as well as the location and orientation on the
printed product. Refer to the Measurement & Verification section
for more information.
It is beneficial for designers to be aware of the criteria for bar code
performance since they are frequently involved in the substrate
and color selection process, bar code placement, orientation, and
size determination, Designers also need to consider if the current
design specifications might create scanning problems. Common
design revisions requested because of the selected substrate or color
include: a larger symbol, a different symbol orientation, an extra
layer of background ink, or a dedicated bar code print station.
1. Selecting the Appropriate Symbology
The type of bar code selected depends on many factors including its
purpose, where it will be scanned, and how it will be printed. The
customer will identify which bar code type(s) to use for a project.

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Some of the common bar code types printed flexographically

include:
• UPC-Version A and Version E (including add-on and
composite component)
• GS1-128 (formerly known as UCC/EAN-128)
• EAN-8 (including composite component)
• EAN-13 (including add-on and composite component)
• ITF-14 (interleaved 2-of-5 also referred to as Code 25)
• Code 128 (full ASCII character set supported)
• Code 93 (full ASCII character set supported)
• Code 39 (supported with and without check code)
• MSI (including option to display data)
• JAN-13 (variation of EAN-13 used in Japan)
• JAN-8 (variation of EAN-8 used in Japan)
• Plessey (hexadecimal character set)
• Telepen (including compressed numeric mode)
• 2D Codes (E.g., Quick Response and DataMatrix codes)
• Digital Watermarks (E.g., Digimarc DWCODE®)
• Codabar (both USS and Traditional format supported)
• USPS 4CB (United States Postal Service Intelligent Mail
Barcode)
2. Designing for Printability and Symbol Contrast
Substrate Considerations 4.3.2a Bar Code Type: The type of bar code
Texture & Porosity: Bars and spaces are most accurately produced depends on many factors including where it
on smooth substrates with high ink holdout. The rougher, more will be scanned and how it will be printed.
textured and more porous a substrate, the greater the potential
for printing bars with voids and/or printing specks in the spaces,
either of which can reduce scanning rates. Textured and more
porous stocks also tend to increase bar edge roughness, bar growth,
and bleeding. Any of these substrate characteristics can negatively
influence scanning rates.
Color & Transparency: Bar codes scan most successfully with an
opaque white background that provides white spaces and quiet
zones with the maximum reflectance possible. When printing on a
transparent or colored substrate, a solid light-colored background
(white is optimum), with maximum opacity, is recommended in
the area where the bar code is to be located. Special consideration
for the background ink formulation and press setup (anilox, double
bumps of background color, mounting material selection, etc.) may
be necessary in order to achieve maximum opacity.

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Color Considerations: The optimum bar code color combination

is opaque black ink for the bars and opaque white substrate or ink
for the background. Bars printed in opaque black, dark blue, or
dark green and backgrounds (spaces and quiet zones) printed on an
opaque white material or on a white, red, orange, pink, peach, or
yellow ink generally scan successfully. It is important to remember
that colors with acceptable ANSI/ISO Symbol Contrast on an
opaque substrate may not be acceptable on an opaque substrate of
another color or on a translucent or transparent substrate.
When printing on a transparent substrate or colored substrate, a
solid light-colored background (white is optimum) with maximum
reflectance is recommended in the area where the bar code is
located. It is recommended that the bar code symbol not be placed
on a printing plate used to print a large solid ink coverage. Printing
plates that print large solid areas typically have requirements for
4.3.2b Color Considerations: The extra impression and higher ink volume, which are not conducive
optimum bar code color combination is to printing bar codes. Ink color specifications should be evaluated
opaque black ink for the bars and opaque individually for different substrates.
white substrate or ink for the background.
Bar codes require bars with sharp edges for the scanner to perform
successfully. Because scanning accuracy is reduced when variation
in register occurs, the bars comprising a bar code must be printed in
one color, using a solid line image on a single print station. Refer to
the Measurement & Verification section for more information.
3. Determining Optimal Size and Location
Location Considerations: Correct placement of the bar code is
crucial to meet regulations and for accurate scanning. Bar codes are
placed in different locations based on the shape of the product and
where the product will be scanned. The designer should check with
the product manufacturer for placement specifications based on
these factors.
The designer or production artist should also consult with the
package engineer to ensure the symbol will not be creased, scored,
sealed or folded since placement of codes in these areas may cause
the ink to crack which could lead to voids in the bars or spots in
the symbol background. Digital watermarks ought to be mapped
into the part of the design that encompasses the largest amount of
surface coverage.
Orientation Considerations: It is strongly recommended that the
bars in a symbol be oriented parallel to the direction the substrate
is moving through the press (around the web direction) to avoid
slurring. In rare situations the bars in a bar code may need to be
oriented perpendicular to the direction the substrate is moving
through the press (across the web direction). In these cases, the

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customer and printer must be consulted since it may be necessary to

use a larger symbol to meet minimum print quality requirements.
If print slur occurs with a bar code oriented around the web
direction, the bars will grow in length only and remain scannable.
When a bar code is oriented across the web direction and print slur
occurs the bars will grow in width, likely causing the code on the
printed product to be unscannable. Printing bar codes across the
web direction is not supported by FIRST.
Size Considerations: The area reserved for a bar code depends
on several interrelated specifications. It is important to know
which symbol type is specified based on where the product will be
scanned. For example, if the product will be scanned at the retail
POS (point of sale), an EAN/UPC symbol is typically specified.
After the symbol type is known, it is important to know the
allowable range of dimensions (height and width) for the symbol,
including the human-readable text associated with it. Certain
symbols have a fixed relationship between their height and width,
while others have minimum heights specified. If necessary, resizing
of codes ought to be done at the point of creation so factors like bar
width reduction, proper scaling, and output resolution can be taken
into consideration.
Bar code truncation is a reduction of a symbol’s height below the 4.3.2c Bar Code Orientation: Bar codes
application standard or symbol specification and is not supported should be oriented so that they print parallel
by FIRST. to the direction the substrate is moving
through the press to avoid slurring and
All compliant printers will be able to meet the minimum bar code ensure the code can be scanned.
sizes (outlined in the table 4.3.2). However, the smaller the symbol’s
size, the tighter the tolerance on bar width growth; therefore, larger
symbols are better. Printing a bar code below the minimum size
specified by the bar code application standards is not acceptable.
Refer to the Measurement & Verification section for more
information.
Quiet Zone Considerations: The quiet zone is the area, free of
printing, that precedes the left bar and follows the right bar in a
bar code symbol. The quiet zones allow scanners to detect when a
bar code starts and stops. Quiet zones are based on multiples of the
symbol’s narrowest element width (X-dimension). Minimum quiet
zone specifications depend on the symbol specified. For example,
the UPC-A symbol requires a quiet zone of 9 times the “X”
dimension on each side, while an ITF-14 symbol requires a quiet
zone of 10 times the “X” dimension on each side.

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Table 4.3.2 Minimum Bar Code Magnification

4.3.3 USPS Intelligent Mail Bar Code
The Intelligent Mail Bar Code (CB4), used by the United States
Postal Service (USPS), is a 4-state bar code that consists of 65 bars.
The information in this section was obtained from the United
States Postal Service Intelligent Mail Bar Code specification
USPS-B-3200C. For additional information, reference the USPS-
B-3200C specification from the US Postal Service. Contact
information is included in Appendix A. Refer to the Measurement
& Verification section for more information.
Dimensional Parameters
Horizontal Dimensions: The overall bar code width must be
within 20-24 bars per inch.
Vertical Dimensions: The overall bar code height must be within
0.134” (3.4mm) and 0.23” (5.84mm).
Quiet Zone: Minimum 0.040” (1.02mm) above and below bar
code. Minimum 0.125” (3.18mm) on either side of bar code.
Specifications for Human-Readable Information
Horizontal Position: The human-readable information, when
required, shall be printed so that the left edge of the leftmost digit
aligns with the leftmost bar of the Intelligent Mail Bar Code.
Vertical Position: When-human-readable information is required,
it shall be printed immediately above or below the bar code but
outside of the quiet zone. The human-readable information shall
be at least 0.04” (1.02mm) above or below the bar code but not
4.3.2d Quiet Zones: Quiet zones allow
more than 0.50” (12.7mm) above or below the bar code. No other
scanners to detect when a bar code starts and
printing is allowed between the bar code and the human-readable
stops. Minimum quiet zone specifications information.
depend on the code and its magnification.

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Content: When human-readable information is required, it shall

consist of the 20-digit tracking code and the 5-, 9-, or 11-digit
routing code, if present. The tracking code shall include a space
between each data field. When the bar code contains a routing code,
the 5-digit ZIP code, the 4-digit add-on and the remaining 2 digits
shall be separated with a space between data fields.
Font Specification: The human-readable information, when
4.4 Screen Ruling: Enlarged example of
required, shall be printed using a Sans Serif font and a minimum 10
three screen rulings.
to 12 point type size.

4.4 Screen Ruling

Screen ruling is determined by the number of dots, on a uniform
grid, that can fit into a square inch. 85-line screen dots are bigger
and fewer than 150-line screen dots. Image 4.4 shows an enlarged
example of this. Screen rulings vary based on print conditions like
press width, anilox configuration, and substrate. The range for both
conventionally and digitally imaged plates is determined by print
and substrate constraints. The screen ruling, set by the printer and
agreed to by the brand, will need to be considered during the design
phase and graphics and images should be selected with screen ruling
in mind. The designer ought to consult the prepress and print
provider to determine the optimum line screen for a specific design.
Table 4.4 provides general line screen guidelines by market segment
and substrate category.

4.5 Tints
Tints are percentages of solid colors. In order to properly reflect
creative intent as much as possible, the percentages of color
often need to be adjusted by prepress using compensation curves
designed to account for tone value increase (TVI) experienced on
press. Some detail can be lost during print; for example, 1% dot
can increase during print between 5% to 25%, and, depending on
print conditions, tint values 80% and above may increase enough
to appear solid. Your prepress partner can provide guidance on dot
gain/TVI compensation considerations.

4.6 Ink Colors

The customer and printer will determine how many colors are
available for each design in a product line. Many products are
printed with additional colors other than CMYK. Additionally,
transparent and/or opaque inks may be used and ought to be
identified and listed in the color palette because the characteristics
and print sequence of inks used may require special considerations
during the prepress phase.

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To improve color matching across the product line, twelve ink

pigments have been identified by color index (C.I.) name and
number and recommended by FIRST. These twelve pigments
are then combined to create common or special spot colors (e.g.,
“PMS 347 green” or “Trisha’s Soda” pink). These pigments are
recommended because they provide the largest color gamut with the
appropriate degree of fade resistance required by most packaging
applications. Standardizing ink pigments improves the consistency
of the color match between press runs and press rooms and makes
for a more cohesive shelf set while minimizing a phenomenon

Table 4.4 Line Screen Guidelines

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known as metamerism, which is the identical visual appearance of

two colors that have different physical or spectral compositions.
Colors inside the gamut created from these twelve pigments are
matchable, but colors falling outside the gamut will not be as
achievable using FIRST pigments. In such cases, the printer may
opt to include additional pigments to expand the color gamut. It is
important to remember, though, that limitations in the pigments
available for a given ink chemistry or application requirement
means it is not always possible to match a color precisely.
Color outcome is also influenced by substrate. When useful,
your print partners can provide drawdowns of relevant colors
on production or similar substrate. In Image 4.6, the FIRST-
recommended pigments for line inks have been proofed and plotted
to create a color gamut (top graph). The bottom graph depicts the
printable gamut using FIRST-recommended process inks. Under
some circumstances, it can be useful if printers’ proof FIRST
pigments on substrates typically printed and plot the color gamut
that will best predict their ability to match color on press.

5.0 DIGITAL PHOTOGRAPHY

In this section, workflows and points of measurement are identified
to help ensure that the aesthetic integrity of a photographer’s
image is maintained throughout the printing process. In addition,
responsibilities for handling, processing, and repurposing are
identified and discussed. 4.6 FIRST Ink Pigments: The top gamut
map illustrates the range of color available
using FIRST recommended line pigments.
5.1 Additive and Subtractive Color Spaces The bottom gamut map illustrates the range
As noted in section 3.4, Digital cameras and scanners capture of color available using FIRST process inks.
images in an additive color space-- some form of Red, Green, and
Blue (RGB), while proofing devices and presses output or print
images in a subtractive color space, utilizing Cyan, Magenta,
Yellow, and Black (CMYK). Both proofers and presses often utilize
additional colors beyond CMYK to increase the gamut, or size, of
the potential color space.
RGB images must be converted to either a 4-color process or
expanded gamut process color space in order to separate, proof,
and print. Photographers often review and retouch images in RGB,
which has a larger gamut than print capabilities. Therefore, data loss
can be managed, but not eliminated, when images are moved from
RGB to CMYK. It is the responsibility of your prepress partner
to retain as much color as possible when performing color space
conversions.

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5.2 Proofs for Digital Photography

A proof representing the creative intentions of the brand can be
useful to your prepress partner as a color target. This type of proof
can be output without consideration for print process or for an
individual press’ ability to match it. Because this proof is just a
target, some of the color in this proof (and corresponding image)
may not be attainable in the final print.
When possible, it is helpful to produce creative intent proofs with
the same or similar conditions the press uses. If this is not yet
known during the design stage, it is useful to provide information
about how the proof was made and if a calibrated output was used
for future reference.
Your prepress provider can be a source for relevant proofing profiles
5.1 Additive and Subtractive Color and special considerations for a given press condition.
Spaces: An RGB image must be converted to
CMYK in order to provide a color proof. FIRST encourages collaboration with your supply chain partners
when determining optimal image capture settings, but the following
setup recommendations are common industry staring points.
• Recommended Computer Settings
» Photoshop Working Space (RGB): Adobe RGB
» Photoshop Color Management Policies: Preserve
embedded profiles
» (Calibrated) Display Settings: Gamma 2.2, White Point
6500K
• Recommended Camera Settings
» Color Space: Adobe RGB
» Capture Settings: Raw or raw + largest TIFF available
• White Settings
» In the RGB color space, a highlight setting that can still
produce a dot structure should be used. The highlight
setting should be between 236 and 240, which typically
translates to a maximum dot of approximately 94% on the
resulting halftone.
• Black Settings
» In the RGB color space, a shadow setting that will still hold
the detail without filling in should be used. The shadow
settings should be between 18 and 22.
Grayscale in Shots
Including a standard photographer’s grayscale test element
positioned within the outline of the frame when capturing images
is a good way to obtain and transfer information about grayscale
conditions at the time of image capture.

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When creating mood images or images where the light is filtered

for an effect, photograph the grayscale with and without the filter
and supply both shots to the prepress provider noting the difference
between the two for color reproduction.
There may be occasions when visually pleasing color may be more
desirable than technically accurate color. In these instances, it
may not be practical to provide a completely color neutral image.
A second image with accurate color for critical subjects within
the shot ought to be provided along with direction as to how the
reference image should be utilized for color correction.
X-Rite’s ColorChecker® product series and Kodak’s Q-14/Q-60
charts are examples of special color and grayscales test elements that
can be used as density and color measurement targets for digital
photograph. Place one of these test elements in the main light
source of the image. If a full test element cannot be used, use patches
of white, black, and a midtone neutral gray for studio photography.
Grayscale Aim Point
The aim point of the shot should be the 40% neutral gray swatch or
the number 3 or 4 block on the photographer’s scale.
Camera capture color should be neutralized (when neutral color
is desired) utilizing either Kodak’s Gray Card (18% reflection) or
X-Rite’s ColorChecker® (24 Patch #22, Neutral 5) or comparable
product. It is recommended that gray reference cards be replaced at
least every two years for consistent color fidelity.

5.3 Camera Setup Recommendations

Photographer’s Recommended Computer (shooting) Settings:
• Photoshop Working Space (RGB): Adobe RGB (1998)
• Photoshop Color Management Policies: Preserve embedded
profiles
• Recommended (Calibrated) Display Settings: Gamma 2.2,
White Point 6500K
Photographer’s Recommended Camera Settings:
• Recommended Color Space: Adobe RGB (1998); many
cameras default space is sRGB
• Recommended Capture Settings: Raw or raw + largest TIFF
available
Black Settings 5.3 Grayscale Aim Point: The aim point
In the RGB color space, a highlight setting that can still produce of the shot should be the 40% neutral gray
a dot structure should be used. The highlight setting should be
swatch or the number 3 or 4 block on the
photographer’s scale.

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between 236 and 240, which typically translates to a maximum dot

of approximately 94% on the resulting halftone.
White Settings
In the RGB color space, a shadow setting that will still hold the
detail without filling in should be used. The shadow setting should
be between 18 and 22.
Grayscale in Photo Shot
It is imperative to use a standard photographer’s grayscale for
setting up any digital shot. The grayscale should be in all shots and
positioned to best capture the scale within the outline of the shot.
If there are several dropout shots and the scale cannot be placed in
the shot, then start with shooting the scale in test shots to obtain
correct grayscale settings.
When creating mood images or images where the light is filtered for
an effect, photograph the grayscale with and without the filter on
the light. Then supply both shots to the prepress provider noting the
difference between the two for color reproduction.
There will be occasions when, for aesthetic reasons, visually pleasing
color may be more desirable than technically accurate color. In these
instances, it may not always be practical to also provide a completely
color neutral reference image. However a second image with
accurate color reference for any color critical subjects within the
shot, should be provided along with clear direction as to how that
reference image should be utilized for color correction.
The X-Rite ColorChecker product series and Kodak Q-14/Q-60
are examples of special color and grayscales that should be used as
grayscale targets for digital photography to measure density and
color. Place this grayscale in the main light source of the image. If
a full grayscale cannot be used, use patches of white, black and a
midtone neutral gray for studio photography.
Grayscale Aim Point
The aim point of the shot should be the 40% neutral gray swatch or
the number 3 or 4 block on the photographer’s scale.
Camera capture color should be neutralized (when neutral color
is desired) utilizing either an industry standard Kodak Gray Card
(18% reflection) or X-Rite ColorChecker (24 Patch #22,
Neutral 5) or comparable product. Gray reference cards should be
replaced at least every two years for consistent color fidelity.

5.4 File Formats

Images sent to the prepress provider ought to be uncompressed
RGB TIFF files. CMYK conversions ought to be done using the

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agreed-upon destination profile and original (or retouched) RGB

file. The prepress provider in the supply chain has the resources and
know-how to make these conversions and can provide color profiles
upstream as needed.

5.5 Unsharp Masking

Unsharp masking is a technique that produces the appearance
of sharpness and detail in an image by accentuating edges where
different densities and contrasting colors meet. Improper use of
unsharp masking can make an image look bad. The amount of
sharpening applied is determined by image quality, content, and
other factors. Prepress is best positioned to make unsharp masking
decisions and has the needed information to make the necessary
unsharp masking determinations for your print partner.
5.5 Unsharp Mask: Unsharp masking
5.6 Image Resolution produces the appearance of sharpness and
The number of pixels in a given area determines the resolution of an detail within an image.
image and is typically specified as number of pixels per linear inch.
300 pixels per inch (ppi) is the typical resolution for color images
at 100% size for a 133–150-line screen. The formula for calculating
the optimum resolution is two times the output screen ruling. Then,
if you need to convert from English measurement (lpi or ppi) to
metric measurement (lpcm or ppcm), divide the number of lines/
pixels per inch by 2.54. Although this is the rule of thumb, the
amount of captured resolution is related to the final image quality.
Enlargement of an image, production screen ruling, and image
content (particularly in detailed content) are considerations when
determining proper image resolution.
For example: Original resolution (1,240ppi) divided by
enlargement (350%) equals (354) lines of resolution at the
reproduction size (pixels per inch) divided by screen ruling (175lpi)
= (2.02). This means, there should be no noticeable loss in detail
when the answer to this formula is approximately 2.0.

5.7 File Transfer Recommendations

File Transfer Protocol (FTP) is a common method of moving
data from one supply chain partner to another. FTP services are
hosted by your prepress and/or print partner, but other sources and
methods of file transfer are available. Customer security policies
ought to be a primary consideration when selecting a means of file
5.6 Image Resolution: Resolution
transfer for a project. Below is a list of items commonly transferred
in support of the project: determines the clarity and smoothness of
printed images. Generally, the optimum
• A list of file names resolution is 2 times the output screen ruling.
300ppi is the typical resolution for images
• Files organized by directories/folders
printed using 133 and 150-line screen.

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6.0 Raster Image Example: Raster images

are made of many rows of small pixels, each
capable of containing its own color data. Table 5.6 Screen Ruling/Resolution
They have a resolution value assigned when
captured, created, or imported and cannot
• High-resolution images
be greatly enlarged without compromises in
detail. • Call out of source and destination profiles used
• A hard copy proof demonstrating creative intent
• Screen and printer fonts (when applicable)

6.0 GRAPHIC ARTS SOFTWARE

Platform: PC or Mac
The packaging industry generally uses the Macintosh platform for
graphics production, though there are Windows versions of many
common applications available.
Applications
Applications used in the design and production art stages of
graphics development can be thought of as serving three distinct
purposes: vector drawing, image editing, and page layout. Adobe
products are used as the default example software throughout the
Design Section of the FIRST manual. The following are a few
examples applications and typical uses:
Vector-based drawing software examples: CorelDRAW® and
Adobe Illustrator®
In vector-based drawing programs, a line is created by defining two
points and instructing the software to connect them. The line can
contain instructions about thickness and color. Shapes have more
points and closed shapes can be filled with color.

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There is no resolution to graphic elements created in a vector-

based drawing program. This means, elements can be scaled up or
down without loss of detail. These types of software can produce
dimensionally accurate, detailed graphic elements at any size,
which makes them useful for creating things that must fit to a
die. Vector-based drawing programs are also useful when creating
gradients, vignettes, and blends. FIRST recommends die-cut items
such as labels, cartons, and, corrugated be produced entirely within
a drawing program. Adobe Illustrator® is used as a reference for
vector-based drawing software in the Design Section of this manual.
Image editing software examples: Aurora HDR® and Adobe
Photoshop®
Photographic images and/or art are edited and/or created in photo
editing programs. They can contain thousands of shades of color
and are referred to as “raster” files. The graphics are made of many
rows of small pixels, each capable of containing its own color data.
Files in these types of software have a resolution value assigned
when captured, created, or imported and cannot be greatly enlarged
without compromises in detail. When enlarging a previously
captured image, check with the prepress provider for input on
maximum enlargement without significant loss of image detail.
Adobe Photoshop® is used as a reference for image editing software
in the Design Section of this manual.
Page layout software examples: QuarkXPress® and Adobe
InDesign®
Page layout programs are not generally used to create packaging
graphics. They are good at handling large numbers of scanned
images and volumes of text in multipage documents like catalogs,
books, and magazines. However, they are less adept at accurate
placement of elements relative to a template. FIRST does not
recommend using page layout programs for package design. Adobe
InDesign® is used as a reference for page layout software in the
Design Section of this manual.

7.0 DOCUMENT STRUCTURE

7.1 Naming Conventions

Identifying a common naming convention is in the best interest of
all parties and can help smooth production. Keep in mind that the
product being developed may be part of a larger project or product
line, so it is important to coordinate a naming convention with the
customer before design and production files are created in case a
common naming convention has previously been established.

7.1 File Names: File names ought to be

concise and meaningful.

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File Names
File names ought to be concise and meaningful: most modern
prepress systems and RIPs can handle longer character counts in
file names, but some older systems may truncate file names. Special
characters such as !, @, #, $, %, /, \, * ought to be avoided. It is also
useful to track the progression of a project by appending file names
with version numbers rather than calling each iteration a completely
new name. For larger or more complex projects, a cross-reference
database can be useful to track naming conventions and current file
names.
Naming for Image Replacement
Low-resolution versions of high-resolution images destined for use
7.3 Layers Palette: Use of separate layers in production are referred to as “For Position Only” (FPO) images.
for variations in designs such as special price These images are used through various stages of concept, design,
banners or line extensions can assure that and approval and are smaller in file size and faster to process than
underlying graphics are identical in content, the actual high-resolution version. With a proper and prearranged
placement, and prepress execution. naming convention, the FPO can be linked to the high-resolution
file and replaced automatically by prepress. Consult your prepress
partner regarding image replacement options.

7.2 Document Size

Designs ought to be built to actual size. When possible, concept
proofs ought to be at output or close to the final size (100%) of the
printed product.

7.3 Layers Palette

The Layers Palette is a good file organization tool. Placing elements
such as the template, marks, white ink, design elements, copy, and
annotations on their own logically-named layers can be useful to
downstream supply chain partners.
Use of separate layers for variations in designs such as special price
banners or line extensions can assure that underlying graphics are
identical in content, placement, and prepress execution. Working in
7.4 Auto-Traced or Revectorized Art: layers also offers the opportunity to share common separations in a
Auto-tracing features ask a program to make family of designs.
decisions about placing nodes or points.
These automatic choices are not the most
efficient choices, producing complex files with 7.4 Appearance Effects & Layer Effects
too many nodes that can slow or stop file There are many ways to produce or introduce transparency into
processing. a design. Opacity, soft shadows, blurs, feather, and glows are all
examples of effects that may add transparency to a design. Most
objects, groups, or even layers can have effects applied to them,
but it is important to only apply effects to the objects needed to
achieve the intended look. Overuse of these methods can create
complications in prepress and can cause files to fail during calibrated
proofing and ripping.

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7.5 Transparency Opacity & Blending Modes

Extraneous elements from pick-up files and left-over design
elements may carry instruction tags such as opacity or transparency
settings, for example. These elements can influence how objects
on layers below them render, producing unintended results during
calibrated proofing and ripping. Covering elements with a white
box does not eliminate this issue. For these reasons, it is always
good to include a “stray element inspection” as part of your final file
review and delete unnecessary elements before releasing files to your
prepress partner.
Transparency and effects are common ways to create design and
production enhancements to vector and raster elements, but
these techniques can often create poor or unexpected results if
not constructed and applied properly. Additionally, the output of
effects are often difficult to predict. On screen, these effects are live
and appear correct, but final output requires flattening, which can
influence underlying object quality and design intent. 7.5a Radial and Linear Vignette
Examples: A holding line around a vignette
Transparency and Effects Best Practices: protects the smallest highlight dots and helps
to prevent hard edges and dirty print.
• Create effects or have software application resolution settings
≥ 300 dpi.
• Vector effects are defined in terms of measurement. Scaling or
change in resolution generally will not affect the design.
• Raster effects are defined in pixel amounts. Remember that
scaling or changes in resolution will have a direct impact on
design.
• Text or artwork not intended to be affected by the
transparency effect should be layered or stacked above the
effect.
• Effect color space ought to be that of underlying objects.
• Avoid fade to zero situations by maintaining printer’s
minimum dot specifications.
Factors influencing banding, hard edges and dirty print
Many factors that influence banding in a vignette relate to the 7.5b Building a Vignette: Factors like
construction of the vignette. The length refers to the physical length Screen Ruling, Range, length, number of
of the vignette. The range refers to the difference in color across steps, and Tone Value Increase influence the
or down the vignette. For example, a vignette of 30% to 50% has final appearance of a vignette.
a range of 20%. There is a mathematical relationship between the
length, range, and number of steps in a vignette.
• The longer the vignette, the more likely it is to show banding
• The shorter the range of the vignette, the more likely it is to
show banding
• The fewer steps used, the greater the potential for banding

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• Banding is more visible with darker inks

• Lower screen rulings are less likely to show banding
• Higher output resolutions help to minimize banding
Your prepress partner can provide information about the printer’s
minimum dot requirements and special highlight screening
treatments available.

7.6 Placed or Imported Images

File names are important connections between linked images and
7.6 Imported Images: File names are the art file. Renaming a placed image will break the connections it
important connections between linked images has with art files. Images placed in an art file must travel with the
and the art file. Renaming a placed image art file if they are to be properly used. Always make certain that all
will break the connections it has with art files. links are updated properly before sending files. Also ensure that any
modifications to placed images have been updated in the art file to
assure proper positioning has been maintained.
Graphic arts applications allow images to be embedded or linked.
Files with images embedded are larger than files with linked images.
Embedding an image within the art makes moving the file from
place to place more convenient, but can restrict editability. Your
downstream prepress partner will prefer to have images linked
rather than embedded and sent along with art the file.

7.7 Image Capture Quality – Scanning Considerations

Though still in practice for some circumstances, traditional drum
scanning of film negatives and line art for packaging has all but been
replaced by digital photography. Many of the considerations present
in conventional scanning are useful to understand as they are still
factors in digital image capture.
7.7 Scan Resolution and Color Space: Scan Resolution
Entry-level scanners are generally not All scanners capture RGB data. Although some scanners can use
adequate for production scans. FIRST hardware and/or software to translate the scanned data to CMYK,
recommends images remain in RGB mode FIRST recommends capturing and supplying the image in the
for delivery to prepress. original RGB format to protect against data loss. Additionally,
entry-level scanners are generally not adequate for production scans.
Such devices use interpolation to achieve production resolution or
size, and real detail cannot be interpolated.
Image Sharpness/Resolution
The most important scanning factor is optical resolution. If the
image is enlarged, it will lower the effective resolution. The objective
is to scan images at a high enough resolution to capture enough data
to achieve the desired detail at the reproduction size.

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A scan at 100% scale should have a minimum sampling of 1.5-2

times over the final halftone line screen. Fine detail images may be
sampled at up to 3 times the output line screen. For example, an
image that will print at 200 line screen may need a scan resolution
of 300 to 600 pixels per inch, depending on the detail required in
the image.
Image Enlargement
Enlarging a scanned image will reduce its effective resolution and
can compromise image appearance. If possible, scan the original
at the correct size and resolution; if rescanning is not possible,
some enlargement may be acceptable depending on the scanned
resolution. Image editing software like Adobe Photoshop® can
enlarge images using interpolation, a mathematical process of
creating new pixels. Depending on the image, some interpolation
may be tolerable. Whenever possible, though, it is always preferable
to rescan the original image at the desired resolution.
Line Art
Theoretically, line art should be scanned at the same resolution
as the output device. However, minimal improvement is visually
apparent on most line art subjects scanned above 1,000 pixels per
inch. Scaling will degrade quality; the best solution is to redraw line
art in an illustration program. This will make for a smaller, more
easily editable file.

7.8 Scaling & Resizing

It is best to place images at the desired reproduction size and
resolution, or larger. If enlarging is required, it should be done
in image editing software like Adobe Photoshop® and not in the
artwork layout. When enlarging an image, be careful to ensure the
image resolution does not fall below the calculated resolution value,
typically twice the halftone frequency.

7.9 Color Space

Images in a design file (whether captured or created) ought to
remain in their native RGB color space. The prepress partner in the
supply chain is best positioned to convert images into the proper
color space. Consult with your prepress partner when images need
to be converted before being released. They can provide the printer’s
color space in the form of an industry standard or custom .icc
profile.
Converted images will generally require work in prepress to assure
they are “flexo friendly” and take all printer specifications into
consideration. Moving an image to a color space other than the one
the press is aligned with can result in detail and data loss.

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7.10 Images with Custom Colors

Many programs will import colors from placed images into the
swatches palette. Custom colors used in a placed image need to
have the same name as the corresponding custom colors in the final
design if the intention is to have them output as part of the same
separation.

8.0 FILE FORMATS AND USAGE

Downstream supply chain partners utilize specialized software to
color correct, separate, trap, and RIP art files in preparation for
plate making. Before using a new version of software, designers
and production artists ought to consult with prepress to ensure
compatibility. In most cases, prepress will already have newer
versions of a particular software even if their vendors have not
released versions of their software that can take advantage of it. In
those cases, it is often possible to save files created in newer versions
of software down to older versions. Remember that there is a chance
that data loss can occur when saving a file from a newer version of
software into an older version.

8.1 Specified Formats

The primary specified formats for vector images are: .ai (Illustrator
native), .pdf (Portable Document Format), and .eps (Encapsulated
Postscript). For continuous tone (raster) images, the primary
specified formats are: .psd (Photoshop native) or .tiff (Tag Image
File Format). Layered .psd files are often preferred and it is good
to coordinate deliverables with your downstream supply chain
partners.
There are numerous types of file formats that can be generated from
drawing, photo editing, and page layout programs that should not
be used. For example, BMP, PICT and JPEG files generally lack
detail due to the way their data is compressed. If other file formats
must be used, it is important that all parties agree to the file formats.
Your prepress provider is in the best position to describe the
advantages and disadvantages of each format for a specific purpose.

8.2 Portable Document Format (PDF)

PDF is an imaging file format used to transport graphically rich
content. It is commonly used in direct-to-plate and digital proofing
technologies. The “creator” of the file (designer, ad agency, prepress
provider) must produce a file that meets the minimum imaging
requirements of the “receiver” (prepress provider, printer). PDF/X
7.10 Images with Custom Colors: Custom is a PDF file with restrictions intended to facilitate the transfer of
colors used in a placed image need to have files from “creator” to “receiver”.
the same name as the corresponding custom
colors in the final design.

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PDF/X is a collection of standards defining several conformance

levels, all of them targeted at ensuring predictable and consistent
printing in a professional print environment. All these standards are
published as parts of ISO 15930, under the general title Graphic
Technology — Prepress digital data exchange — Use of PDF (See
Appendix B).
While the Ghent PDF Workgroup (GWG) Packaging Specification
is largely PDF/X compliant, there are deviations from this rule for
applications that are packaging specific. Section 11.0 summarizes
the rules for an ISO 15930-7:2010 (See Appendix B) compliant
PDF file and identifies the GWG Packaging Specification 2015
exceptions specific for flexography. For additional information, refer 8.2 PDF: Portable Document Format
to the Ghent PDF Workgroup contact information in Appendix A. (PDF) is used to transport graphically rich
content. It is typically used in direct-to-plate
technologies.
8.3 Clip Art
Clip art may come in the form of low-resolution PICTs, TIFFs,
JPEGS, or EPS images. When using clip art, please consider the file
format of the clip art being used with appropriate level of quality
in mind. If the image is a scan, identify the scanning resolution.
If it was scanned at 72 pixels per inch, the clip art piece will be
suitable only for display on a monitor and printing to a low-
resolution printer but may need to be redrawn or reimaged for use
in production.
The selected image may be one of several on a clip art page. Masking
out the other images does not remove them: they will all be
processed. It is better for downstream efficiency to save individual
images under a new name and import the single image into the
document.

8.4 FPO Continuous Tone Images

It is common practice to put the letters “FPO” over a low-resolution
version of a properly cropped and rotated image. These letters let
the downstream partners know that the image needs to be replaced. 8.3 Clip Art: Clip art may come in the form
The FPO (For Position Only) image ought to be created from the of low-resolution PICTs, better-performing
high-resolution original and helps prepress know which images in a TIFFs, or as well-built EPS images.
library are destined for use in a particular location.
These images keep the art file size small throughout the design and
prepress process, and many RIPs employ auto replacement features
to easily update them to their high-quality versions when they’re
ready to go to print.

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8.5 Documenting Image Edits

Sharing image editing work for a common project across multiple
sites can be a complicated process. It can be simplified by
documenting the steps used to achieve the desired results. Action
sets within Adobe’s Creative Suite are a good way to do this in an
interactive setting, as they allow the creator of the original file to
record each step in the sequence. Once the work is complete, the
action set can be saved and shared with the other parties responsible
for replicating the edits.

8.6 Image Substitution

Using Low-Resolution Files for Automatic Image Replacement
Though more common in publication workflows than packaging
workflows, low-resolution images may be provided to the designer
8.4 Creating and Identifying FPO so that automatic image replacement functions can be used in
Images: If an image is not properly later prepress stages. These low-resolution images are links to
identified as a “for position only” image, it the corresponding high-resolution files located on the prepress
may not be replaced. provider’s servers. Do not change the names of these files, as
names are often a part of the connection to their high-resolution
counterparts.
This method allows the designer to move, crop, or resize (within
limitations) low-resolution proxy images as if they were high-
resolution images. It places the control of exact positioning in
the hands of the designer. Resizing a low-resolution image will
cause the high-resolution image to be resized by the same factor,
but remember that excessive enlarging of an image can reduce its
effective resolution and cause a loss of detail. The designer and
prepress provider ought to coordinate the use of automatic image
replacement.

9.0 HANDING OVER FILES TO PREPRESS

When the design has been finalized and files have been completed,
it is time to turn files over to prepress. This section provides
recommendations meant to aid in a smooth transition between the
design and prepress stages.

9.1 Documenting the Design

Design Construction Report
One of the ways to make a design flow smoothly through
production is to provide details about how the file(s) were built.
Some programs have “report” features, which list details about a file.
Comment layers created by the designer within the file itself can be
a great benefit as well.

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A Design Construction Report sent along with the other

components of a project is another useful way to communicate
the kind of details prepress needs. There is an example design
construction report available for download on FTA’s website in the
“FIRST Extras Download” folder.
This list of information and support files ought to be included
when delivering final files separate from, and in support of, a design
construction report:
• Final file name(s)
• Application/version of files 9.1 Release to Prepress: Supply files to
• Placed images as Unflattened .psd prepress in their entirety including all
• Die drawing(s) supporting files.
• Web link to usage seats and rights for active fonts
• A version of the files with outlined fonts
• List of colors used
• Explanation of Common and /or base layers used among
multiple items
• Special instructions for vignettes or effects
• A hard copy proof depicting creative intent.

DESIGN SECTION SUMMARY

Thank you for taking the time to read this document. The Design
Section is a small part of a larger document known as FIRST. Like
the larger document, it is created and maintained by members of
the flexographic print industry and supported by the Flexographic
Technical Association (FTA). The FIRST manual is available for
purchase at the FTA’s website, and the Design Section is available as
a free download at the same website.
The members of the FIRST leadership committee are always
working to maintain the usefulness and relevance of this and all
documents associated with the FIRST manual. We welcome and
encourage feedback and contribution from all stake holders in
the packaging supply chain, and keep the notions of continuous
improvement, technical excellence, and good communication at the
core of our guiding principles.

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90 Flexographic Image Reproduction Specifications & Tolerances 7.0

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