Lenticular 101

The lenticular printing process allows us to achieve the illusion of animation or three-dimensional
depth using a two dimensional medium.
This is accomplished by means of a lenticular lens that is positioned above a series of images. For
animation, these images are sliced apart and interlaced or interleaved together in such a way thatthe viewer’s eyes are focused only on the slices of one of the individual images at a time. In 3-D,
each eye is focused on elements of two different images, thus sending two signals to the brain
creating a parallax view.
As the lenticular lens, or screen as it is sometimes referred, is rotated, the curvature of theindividual lenses that together form the screen, plays back the successive images recreating ascene, animation or three-dimensional picture.
Animated images may be created in a number of different formats including traditional reflective orcomputer art, computer generated animations, or video or cine film formats. Animated lenticulars
are normally created using the lenticular screen in a horizontal format but may also be done
vertically. However, when using vertical lenticules or side to side animation as it is referred, thechances of seeing portions of two different frames or phases is increased dramatically due to theparallax of the viewer.
Three-dimensional pictures must be created using special multi-lensed cameras; cameras fitted
to specially designed moving tracks or from computer rendered 3-D images. Two dimensional orflat artwork may be sliced up and converted to give the impression of depth. Three-dimensional
lenticulars are always constructed with the lenticules running vertically so that the parallax ordistance between the eyes guarantees that each eye sees a different image.
3D backgrounds should be nondescript but feature some sort of texture or pattern. Plain coloredbackgrounds will diminish the amount of viewable depth. Items, which are showcased and havetext, which must be clearly read, should be featured on the aim point or middle plane of depth(perceived as the surface of the lens). Similarly, objects that protrude into the background andabove the surface of the lens will appear less in focus.
For the most effective flip images or animations, backgrounds should always remain constant.
Localized flip or animated elements will feature the most convincing effects. For flip or animatedimages within a 3D environment, place active elements on the “key” plane only. Stay away fromhorizontal or vertical lines running in the same direction as the lens. Use text and lines, which arelarge enough that they will not be distorted by the texture of the lens itself.

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Lenticular 101

Colors are not necessarily an issue on 3D production. However, it is best to stay away fromblacks and stark whites. It is also important to note that warm colors tend to come forward, andcool colors tend to recede.
Forced perspective will enhance the 3D image also, diminishing sizes in the back layers, andincreasing sizes in the forefront layers. 3D tends to work best if you are able to see around andthrough the objects. (i.e.; the aim point layer should not be totally on top of the mid-rear layer).
A comp, whether built in Illustrator or Quark, is necessary to relay the desired effects. Supply
layered documents, along with any and all support documents.
Optimally, the file will be built in layers (such as with Photoshop for raster images, and Illustrator
for vector images). Type can be converted to paths in Illustrator, but type is not to be rastered,as it would be in Photoshop, unless of course, this is the desired effect of the design.
We are able to separate composite images if that is all that is available, however additionalcosts will be incurred. (A quote would be available after the art is viewed).

Lenticular 101

Optigraphics Lenticular Art Creation Tips
Ghosting

One of the most common obstacles we face in producing lenticular animation is ghosting. We
define ghosting as the ability to detect a latent image of one phase while viewing an image inanother phase. Although we have made technical improvements to alleviate this problem, minorchanges in artwork can greatly reduce the amount of ghosting perceived. Following are some
practical tips for preparing art for lenticular animation.
1. Do not use light or neutral colored backgrounds or fields.
2. Make contrast levels the same in all phases. Avoid animating images with		high contrast such as changing white type on a black background to black		type on a white background.
3 Perfectly align type or logos that do not animate. (i.e.- remains visible during		all phases)
4 Replace animating copy or elements in phase I with similar elements in		
phase 2 in corresponding positions. Flips or animations work best if		
something within the picture changes rather than changing totally from one		
picture to another completely different picture.
5. Avoid using side-to-side animation. Side to side animation is created using a		lenticular lens in a vertical position. The flip or animation takes place when		the viewer walks past the lenticular piece or the lenticular piece is rocked left		to right. This creates the possibility of seeing a different phase with each eye,		thus sending a mixed signal to the brain. When side-to-side animation is		necessary, try to follow the above suggestions to help eliminate the ghosting		problem.

3-D
Art preparation for three dimensional lenticular is similar to creation of art for any high quality
printing project. There are however, some techniques unique to the process. Images intended for
3-D should be prepared in a layered CMYK Photoshop file of at least 300 dpi. Each desired levelof depth should be on its own individual layer. Following, is one example of different distributionof levels.
I. Aim Point Layer - This layer will be the primary focal point of the piece. It will		be the sharpest point on the 3-D composition and is usually reserved for the		key element of the design. A bleed of 1/8” is required for this layer on all		sides.
2. Rear Layer - This layer will be the background portion of the 3-D piece. Some		detail should be included on this layer to enhance depth. This detail will be2017

Lenticular 101		
used as a reference to the other layers. This layer will appear soft in		
comparison to the aim point layer. Items on the rear layer may move beyond		the trim of the final image. In most case this will enhance the effectiveness of		the 3-D. Bleed requirements for this layer are 1/8” on top and bottom and		1/2” on the sides. Failure to include this additional bleed will result in added		
cloning or distortion of the image, which could create an unnatural look or		feel as well as additional cost.
3. Mid Rear Layer - This layer will be used to add an additional layer of depth		
perception and will appear sharper than the front and rear layers. Elements		
included on this layer should have some forced perspective such as items		
smaller in relative size to the aim point or converging lines or patterns. This		will result in a more natural look to the final composition. An object floating by		
itself does not provide the viewer with an idea of perspective as much as an		object that partially blocks another object that must be looked around. Bleed		
requirements for this layer are 1/8” on the top and bottom and 3/8” on the		sides.
4. Front layer - This layer will be used to show forward projection on the 3-D		piece. Items on this layer will appear to project out of the picture toward the		viewer. Front layer elements that appear to the left or right of aim point		
elements will intensify depth perception. Image elements should not trim off		the left or right sides, as this will destroy the effectiveness of the forward		
projection. The further forward items appear, the softer the focus will		
become. Elements on the front layer should be made larger relative to items		
on the aim point to help augment the 3-D effect. The rule of thumb for		
forward projection is 1/3 the amount of depth as the rear layer. Elements on		the front layer should be non obtrusive but should be placed to be “looked		around”. Items on this layer should not be key to the message such as		product shots or logos. Bleed for this layer is the same as the mid rear.
5. Animations or flips can be incorporated into a 3-D view. Animated art should		
only be included on the aim point layer and should be limited to minor actions		
of one or two elements. Extreme movement will detract from the 3-D effect		and could create a ghosting problem.
6. Keep in mind that all lenticular 3-D images are created by moving elements		
within an image in relation to other elements within that image. This is what		
creates the illusion of depth. Rotating elements around a focal point creates a		series of different “views” of the same image. The lenticular lens allows us to		see two of those views at a time creating a parallax image in our mind.		
Motion = Depth. The more you move the elements the more depth you can		achieve. However, we are limited by the lobe angle of the lens as to how		much we are able to move the image. If the background moves too much it		will begin to jump and will not look natural.

Lenticular 101

These tips should be used as a reference guide. Other combinations of layers or additional
layers can be utilized. This describes a 2-D to 3-D conversion. Other formats such as computer
generated 3-D images or other sequential imagery may be combined to utilize the 3-D lenticular
process with dramatic effect. Proper virtual camera and lighting techniques should be used tobest incorporate the use of highlight and shadow. Our lenticular specialists are ready to answer
any questions related to the process.
Spot Colors
Avoid using a 5th or spot color included in a four-color process animation. PMS colors may beused on static images or background designs that do not come in contact with changing or flip
images. Up to 4 spot colors can be used in place of process colors at any time.
TypeAvoid using type fonts that include serifs. Try to use bolder faced fonts of at least 12 points, which
will not break up under the lenticular lens. Italic type fonts should also not be used, as the angleof the type tends to create a stair step or saw tooth pattern when viewed through the lens. Typecan be converted to paths using Illustrator or Freehand but should not be rastered as it would
be in Photoshop, unless of course this is the desired effect. Please include all type fonts whensending electronic files.
General InfoPeople have come to expect sophisticated, life-like visuals. They have grown accustomed to video
games with realistic graphics and animation, and to computer generated special effects for films.
Lenticular images can also create dramatic effects, however, some limitations can be expectedcompared to a backlit computer or video screen. Lenticular animation can only capture a small sliceof time whereas when watching a movie or television one can witness all of the action that takes
place up to and after that slice. This can limit the amount of “storytelling” that a flat 2 dimensional
lenticular will achieve. Lenticular animation is at its best when used to demonstrate “before andafter” or “cause and effect” illustrations. It can also be used to communicate several messages inthe same space. 3-D lenticular continues to be an attractive alternative to flat 2-D printed
matter without the use of special electronic goggles or funny glasses..

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