Query: graphic arts innovations, typography, printing, packaging

title: INNOVATIONS IN THE GRAPHIC ARTS, MEDIA AND PACKAGING FIELDS
abstract: In recent years, some have predicted that printing and graphic arts will be eliminated by electronic and digital media. Within these predictions there was no future physical carriers of communication and paper would be replaced by monitors and screens, tablets and mobile devices. Back at DRUPA 1982, the introduction of the so called "Desktop Publishing" has led to an exhibition under the title "Goodbye Gutenberg" predicting also that print was under threat by new electronic technologies. Hence, until today, graphic arts industry, printing and publishing and most of all packaging, present a continuous positive development, together with structural changes in the entire spectrum of research, industry and education. Graphic Arts today is characterized by rapid technological developments, restructuring of design, management and production processes, and the application of various innovations. One of the most important indicators is the integration of basic and applied research in many fields, which leads to a new shape of the sector. In the present paper, issues concerning the following will be addressed (among others) Typography and its importance in the digital media domain Evolution, Innovations and main trends in the graphic arts, printing and packaging industry Digitalization and printing production (Industry 4.0, 3D printing) The concept of Industrial Printing In this keynote paper, effort will be given to illustrate the trends and developments in graphic arts fields. Further, the parameters confirming that printing, paper, typography, bookbinding and packaging will stay alive in the digital era will be analyzed. In addition, the graphic arts sector and its positioning in the so called "post industrial" society, will be investigated and the new directions for the graphic arts research, industry and business as well as the requirements for education will be identified.

title: Entrepreneurial Possibilities in Graphic Arts and Design Education: A Survey on Printing Technology in Akure, Ondo State, Nigeria
abstract: The experiential knowledge graphic arts and design education embrace are many and technologically complex, but it is timely to place a welcome emphasis on the entrepreneurial possibilities it stands to offer. One possibility is the graphic art technology which is often referred to as printing, publishing and packaging industry. A mounting pressure has emerged, according to Perry (2005) that is affecting the total package of education and the economic development of a nation. Acquisition of self reliant skills and competencies should beget the eventual profile of any education goal. In the words of Akhuemonkhan (2005) and Oyetunji (2006) without vision a nation perishes. This presupposes that without entrepreneurship, economies perish. As successive governments in Nigeria are licensing private and public higher institutions for operations, the need for sustainable education continues to be of rapidly increasing economic and socio economic worries. The specific objective of learning outcome should be such that school leavers in a given country are empowered to apply acquired skills and competences productively to fend for life expectancies always at leaving school. The concept of 'sustainability' of livelihood is an essential ballgame noted not only with rising concern but also as a matter of life and death. There is an urgent need to address some harsh realities in the planning, organization and administration of the Nigerian educational curriculum which hitherto has been indirectly responsible for the ailment of the national economy. This issue is global and more relevant to anyone involved in developing or delivering art and design curricular in schools (Hickman, 2005)

title: Analysis of the manufacturing lead time in a Graphic Arts company
abstract: The study was made in a specialized printing folding pharmaceutical and cosmetic packaging company. This study was carried out to identify and propose solutions to the problems that afflict the organization, because, due to the inefficiencies in the delivery time of the work to the customers, they stopped making orders to the company with a direct impact on the revenues of the same. Previously the company had a total of 186 customers, the company has now lost 77% of them, now working only for 62 customers, reducing production demand by 50.2% compared to the same period, but 3 years ago. Therefore, the simulation of the process was carried out to identify the points susceptible to changes and be able to counteract delays and avoid the loss of more customers.

title: CIB 631 Printing and Graphic Arts Apprenticeships and Traineeships
abstract: In this Commissioner Information Bulletin vocations and related trade and traineeship pathways have been repealed, one new traineeship vocation and related pathway has been established and national qualification codes have been updated to align with the ICP Printing and Graphic Arts Training Package. The following vocations have been repealed: Apprenticeship Printing and Graphic Arts (Screen Printing) Traineeships Printing and Graphic Arts (Cartons and Corrugating) Printing and Graphic Arts (Digital Production) Printing and Graphic Arts (Graphic Design Production) Printing and Graphic Arts (Mail House) Printing and Graphic Arts (Management and Sales) Printing and Graphic Arts (Multimedia) Printing and Graphic Arts (Sacks and Bags) Printing and Graphic Arts (Screen Printing) The following vocation and traineeship pathway has been established: Printing and Graphic Arts (ePublishing) ICP40815 Certificate IV in ePublishing

title: Thinking and Exploration on the Construction of Comprehensive Innovation Practice Base of Printing and Packaging
abstract: The comprehensive innovation practice base of printing and packaging is an important training center for compound innovation practice talents with the feature of printing and packaging in Beijing institute of graphic communication. In this paper, the construction achievements of the base in teaching practice were introduced, which included the talent cultivating for printing excellent engineering, the innovative practice team creating for packaging design, the orientation of enterprise participation and the improving on practical quality assurance systems. The innovation practice base will be an open practice platform used for innovation and entrepreneurship teaching and practice, and it can effectively show the characteristics of our school.

title: Major trends and innovations in the history of Indian printmaking from before independence to present times
abstract: In this research paper, the researcher wants to examine the artistic visual language of Indian Graphic Arts, which were conceptualised after independence. The investigator being associated with a concise history of printmaking or graphic arts, is aware of circumstances in which artists of successive generations have struggled for the sociological and formal problems in innovation and art making. This Research Paper is a survey of the history of manual intaglio, relief, other printing processes and major trends of engraving, etching and plate printing techniques by Krishna Reddy and other innovators in the history of Indian Printmaking. The main objective is to present a concise history of pre and post independence printmaking in India, as well as a comprehensive overview of developments in the material aspects of intaglio and other printmaking from its origins in the early 19th century to the present. Both innovations were observed in the light of the continuity between the intaglio printing method, i.e. its materials and methods of production in relation to its' form. In accordance with this study.

title: ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN
abstract: Art, in a way, is a form of communication, which allows the artist to express their view to the world, show their interpretation and let others see the world through the eyes of the artist. Calendars are the most popular and long term means of advertising, which is why their design requires a lot of attention. It is important that it does not only look good, but also provides information, fulfils the function of a promotional souvenir and creates an image throughout the entire year ahead. Graphic design is a form of visual communication whose purpose is to solve visual and graphic problems using artistic approaches provided by typography, different printing technologies, or image processing techniques, mechanical or analogue methods, or digital, with the aim to create a graphic design work or solve a graphic problem. Graphic design is more like a visual intermediary between the message and its recipient and a way of delivering the message to the recipient. The  study graphics as the dominant feature of art in the design of calendars created by modern Latvian artists and analyse expert interviews to find out the opinions of specialists in the field about the significance of the content and design of artistic calendars nowadays. The research results were obtained using theoretical research methods: the study, analysis and evaluation of scientific and journalistic literature and Internet sources, which reveals the essence of the problem in question; expert interviews were carried out as well, which are empirical research methods.

title: 'Une page est une image' Text as Image in Arts et metiers graphiques
abstract: Arts et metiers graphiques (1927 39) was a French graphic arts periodical published by type founder Charles Peignot. It tried to address all aspects of graphic design and the art of the book in articles written by prominent art critics, graphic designers, book historians, and literary authors. These contents were presented curiously: on fine paper with an intricate page layout and multiple fonts, and with offset inserts serving as illustrations or samples of technical innovations such as colour printing, all of which would please the bibliophile readership. Apart from advocating the renaissance of the beau livre and bibliophilism, Arts et metiers graphiques tried to redefine or adjust the traditional view of the literary text. A literary text was not only a thing to be read, it was also a visual and material object, hence the editors' virtually exclusive focus on material aspects of the books they discussed. In doing so, they wanted to broaden the scope of literary criticism to include such aspects. After a historical overview of the magazine and a discussion of the editors' views on bibliophilism, this article aims to investigate the visual and material conception of the text in Arts et metiers graphiques

title: Fogra Roses Developing a colour difference dataset for the graphic arts
abstract: A new colour difference dataset has been developed to address the specific needs of the graphic arts industry. An experiment has been designed with 1288 colour pairs. Concretely 46 colour centres of the Fogra media wedge and 28 randomly intraand supra threshold test colours around each of them have been observed by 32 observers. The pair comparison constant stimuli method has been used by means of three grey reference pairs comprising colour differences of L=1, 3 and 5. The performance of established and modern colour difference formulae has been evaluated with the new dataset. DIN99o and CIEDE2000 outperformed the other tested metrics.  Graphic arts colour appraisal In the past years colour difference metrics has often been used by means of established pass/fail tolerances such as PSO conformance protocols  Hence the lack of perceptual uniformity of the used CIE1976 colour difference was of secondary concern. The same applies for packaging applications however using tighter tolerances. A visual assessment has to be conducted separately in order to express the perceived colour difference. In advent of digital printing and process agnostic standardization, the instrumental evaluation of small colour difference that correlates with the human perception is of great importance. It allows for both the establishment of pass/failtolerances typically used in the industry (to be extended toward a multi tolerance schema) and an associated communication of the perceived colour difference to be expected. That is vital for conveying the concept of "Printing the Expected" which is the basic concept of the newly developed ProcessStandard Digital (PSD) by Fogra  The obvious candidate for a perceptual uniform evaluation would be to use modern colour difference formulas by means of either an approach that weights the pertinent colour difference components or a transformation of the CIELAB colour values into a perceptual uniform colour spaces such as DIN99 or its optimized version DIN99o  Colour difference formulas of the first category are mostly based on the CIELAB colour space while weighting the different colour components namely L* C*ab and H*ab as used in CMC [4] CIE94  "Luebbe" including their corrected version "Luebbe_corr"  CIEDE2000 [7] or modern "upgraded" formulas adding a correction term  However all of these metrics are based on colour difference datasets with the most important being RIT DuPont [9,10] "Witt"  "Leeds"  and "BFD P"  All of these datasets however are based on psychophysical experiments based on the CIE recommendation that deviate from the viewing conditions  used and standardized in the graphic arts for decades [15, 16] The most important differences are the reference illuminant of D65 where the graphic arts used D50 simulators, the illumination level of 1000 lx where typical 2000 lx are used and the sample size its preparation and presentation. While prints often comprise slight halftone structures most of the current datasets are based on (glossy) painted samples. For that reason a psychophysical experiment will be presented that was designed to reflect the graphic arts viewing conditions and sample preparations. It was used to derive a new colour difference dataset that mimics the requirements of the graphic arts and can be used to evaluate the performance of the prescribed colour difference metrics.  In order to represent average graphic arts viewing conditions an ISO 3664:2009 compliant viewing cabinet (Virtual Proof Station from Just Normlicht) was used, see Figure 1. Figure 1. The sample colours are presented on a grey background. The computer on the right allowed for making the pair comparison judgments. The left hand rotates the turning wheel beneath the grey cardboard. Aiming for a dataset that comprises intraand supratreshold colour difference (reflecting small and medium colour differences typically associated with a E*ab 5) 46 colour centres have been selected by using the Fogra Media Wedge CMYK 2 (ps1, ps46) The corresponding CIELAB values have been derived by using the characterization dataset FOGRA39  that allows for an unambiguous transformation from CMYK to CIELAB (e.g. by using the published ISOCoatedV2 profile and its abs. colorimetrical transformation) Presenting representative colour pairs for each colour centre with an angle of subtend of approximately 2 degree (and a viewing distance of ca. 50 cm) it was found that 28 colour samples could be placed on a disc like print. In order to rate the perceived colour differences for each of the j=1,,1288 (46*28) colour pairs the constant stimuli pair comparison method was chosen. The constant stimuli are represented by three neutral grey colours (L 1, 3 and 5) compared against a midgrey L= 50 with CIEab 0. The three Page 1 of 4

title: Effects of Printing and Packaging on Consumers Behaviour
abstract: Printing and Packaging are very important part of the marketing plan for any business that makes or sells products in the market. It affect the consumer behavior directly. They increase the sales of a particular goods directly. Aproduct's package reflecting the product's brand image that can be the selling point for many consumers by delivering a sense of quality also. It is very critical in retail sales, where the right packaging design can attract the consumer's eye and make the product stand out next to arack of the competitor's product.Color and design in print packaging can have a noticeable effect on shopping behaviors, writes Consumer Reports. Color is generally used in packaging to attract attention, but colors also must be taken in the context of the product's marketing goals. For example, children's cereal packaging has many bright colors that attract their eyes; health focused cereals will have more whites and pastels to project a softer, more adult image. Brands with strong color patterns should incorporate them into the packaging design.Need of packaging in many areasBranded Packaging: In the modern society customers will associate a brand's image with how its product is packaged. Technology products often come in sleek and unique packaging to reinforce the image of innovation that the company's brand aims to project. Beverages may have unique bottle designs and the packaging for a food product could feature a design that makes it easier to eat. The brand image that the product's packaging promotes should differentiate it from competitors, which can be difficult when the products are similar.Similar types of products will often adopt similar packaging color and design. Black, silver and gold are often used for luxury products. White is a popular color for packaging cleaning products, and lavender can create the feeling of spiritualism to attract buyers of new age products. Brands that aim to present an edgy look will often pair bright colors with black, which also implies an appearance of energy and sophistication, according to the Design Force website. Packaging can affect the consumer's experience by keeping the product secure. Sturdy, secure packaging can prevent the product from breaking during shipping, which not only will help prevent costly returns, but also boost perceptions of quality in your customers' eyes. Companies with products that target environmentally conscious markets will want to consider sustainability in packaging. Using creative design along with recycled and biodegradable materials in product packaging will reinforce consumers' good feelings about the product. However, it should be an authentic effort, as poor product packaging could create feelings of distrust in consumers over being "green washed. Changing your packaging can have a variety of effects on your sales, costs, brand and retail store placement. Some business changes their packaging as a proactive strategy to increase sales, while others do so to cut costs. Before you make a change in your product's box, can or container, review the various results that might occur and their impact on your bottom line. If your product sits on a shelf with hundreds of other products by changing the color, size, shape or other features of its packaging can make it more attractive that stand out for consumers. Visit retail stores where your product is sold to see how it's displayed and how it competes with other products for attention. Adding temporary messages such as a price discount, contents increase, health benefit or product award inside an attention grabbing graphic can help you send a targeted marketing message. The graphics on your packaging can convey or transfer messages or evoke feelings in consumers, based on the images and colors you use. Different shades of blue are considered cool, relaxing colors, while reds, oranges and yellows are seen as hot or exciting.