Smart Modeling

Package Design Workflow Goes Virtual with 3D Tools

by Noel Jeffrey

A package, to state the obvious, is a three-dimensional object possessing height,breadth, and depth. An image of a packageon a drafting table or a computer monitorcan create the illusion but not the reality of 3D space.As a consequence, package designers can’t fully evalu-ate the dimensional interplay of planes, shapes, andcontours until a mockup of the package has been fabricated—a limitation that has always tended tomake package design something of a perceptual guessing game.But, thanks to increasingly powerful 3D designsoftware, the guesswork is becoming a good deal moreeducated. Illya Mirman, vice president of marketing package, to state the obvious, is a three-dimensional object possessing height, breadth, and depth.

An image of a package on a drafting table or a computer monitor can create the illusion but not the reality of 3D space. As a consequence, package designers can’t fully evaluate the dimensional interplay of planes, shapes, and contours until a mockup of the package has been fabricated—a limitation that has always tended to make package design something of a perceptual guessing game.

But, thanks to increasingly powerful 3D design software, the guesswork is becoming a good deal more educated. Illya Mirman, vice president of marketing for SolidWorks, notes that people have been attempting to describe the three-dimensional world with two-dimensional tools for centuries. “Nothing much changed until the 1960s with the introduction of electronic drafting,” he says. “It was easier, but it was inherently 2D and fairly tedious. Then, in the 1980s, 3D modeling systems became available. Intelligence was introduced into modeling.”

Patrick Belford, the principal of Product Visualization Services, believes that 3D tools can significantly refine traditional methods of design. “Think of a curved surface,” he says. “Now the designer can see how much will be visible. Packages are just easier to visualize. You can also see the way products set next to each other on a store shelf. You can put the shape into its context.” What this enables is not only more powerful design, but also approvals without the need to construct models—a virtual design workflow.

Still starts out flat

This doesn’t mean that 2D tools have been shelved. Package design workflow typically involves using a manufacturer’s model specifications for a boxes, bottles, and other standard containers, and programs like Adobe Illustrator, Adobe Photoshop, and Macromedia Freehand for labels. Then the artwork is transferred to the 3D program for rendering and display. A uniquely shaped package would first be modeled in a 3D CAD (computer aided design) program and adorned with artwork from one of the graphics applications.

Today, more than two decades since 3D modeling was introduced, there’s such a cornucopia of 3D software that deciding which application offers the most appropriate tools for your package can be daunting. To sort it all out, it’s helpful to think of these offerings in three dimensions as well. Belford divides the market into high-end industrial design and general 3D tools. He also notes that there is a long list of presentation tools for 3D imagery on the Web, although these are not suitable for actual packaging design. Other offerings that are appropriate for packaging fall under “miscellaneous” for lack of a more defined category.

High-end industrial design

According to Belford, industrial design tools offer a wealth of features for design management and productivity. For example:

• the ability to produce mathematically correct surfaces.
• varied toolsets that allows for multiple design approaches. Some people may need to work to a strict set of engineering requirements; others may
  choose a more sculptural approach.
• a well developed connectivity with CAD/CAM standards.
• a host of tools to evaluate volumes and surfaces.
• project management and collaboration tools.

“If engineering accuracy is an absolute must, then one of these tools is essential,” Belford says.

In fact, some of these high-end products are CAD systems with incorporated 3D capabilities or separate 3D modules. SolidWorks Office Professional ($5,495) is an example of a CAD program with incorporated 3D capabilities. SolidWorks 2004 is available now; 2005 will be launched in June of this year.

Merman points out that the number one benefit of 3D modeling is its ability to make “associative models.” For example, with SolidWorks, a product designer can create a toy doll, then create a package or injection mold of the same shape but slightly offset by one or two millimeters. The CAD file can also be used to update a plant’s productive machinery via computer aided manufacturing (CAM) techniques. Changes to the product automatically trigger corresponding adjustments to the package, mold, and tooling.

SolidWorks also is “open” in that it provides a lengthy list of file translators. Merman says that despite all of its power, the product is easy to use. “It brings the power of 3D to anyone involved with product development. Our resellers offer three to five days training and people leave able to design. Many of our customers are not degreed engineers.”

Artios, amigo

Esko-Graphics positions its ArtiosCAD solution as packaging software for converters that encompasses both packaging design and manufacture. With more than 7,000 installations worldwide, the application plays a significant role in packaging, particularly in corrugated and folding cartons.

Account manager Chris Miller explains that the software has been evolving since 1978. Once sold as a single program, it is now offered as a basic system plus modules. “There are 15 different modules that make up the product,” Miller explains. “ Certain customers, for example, die makers, only need certain configurations. It’s a la carte.” Prices range from $4,000 to $12,000 depending on the number of workstations and configurations.

Miller describes the latest version, ArtiosCAD 6.0, as a major upgrade with an enhanced database that can be tightly integrated with business systems such as estimating. He also notes improvements in the 3D and 3D Animation modules. In the 3D piece, there is more capability for solid model work, including the ability to show the container, the product, and even the foam inserts for packing. It also supports inside and outside graphics for projects requiring two-sided printing.

Using the 3D Animation module, the box designer can create a movie clip showing how a box folds or how a point-of-purchase display is assembled. “3D is virtual package design. The virtual package can be used for approvals without making models or making fewer models. The approval process can shorten from seven days to as few as three days,” Miller says.

Another new module, 3D Designer, creates 3D models of products such as cans, bottles, glasses, and bags. 3D Designer supports parametric designs, enabling users to resize a single file to create a wide variety of shapes and sizes. Users also can place labels on the models to create realistic product designs. These product models can be included with other packaging such as corrugated boxes and folding cartons. Now, according to Miller, users can create completely animated presentations that demonstrate products, their packaging, and the assembly of all parts in almost any packaging project. More 3D Designer features are scheduled to debut at drupa 2004.

Plug-ins for productivity

Miller also cites two “red hot” items—free ArtiosCAD plug-ins for Adobe Illustrator enabling data import and export. The first directly imports a native ArtiosCAD Design file into Illustrator, keeping the CAD file layers and providing dedicated tools to preserve CAD information within Illustrator. “ArtiosCAD-aware” Illustrator files are automatically updated whenever the original CAD file is edited.

The second plug-in directly exports graphic information from Illustrator to ArtiosCAD. This plug-in helps structural designers create CAD files that follow graphic outlines. With these two plug-ins, Esko-Graphics—an Adobe Solutions Network Commercial Developer—claims to have created a “round trip” workflow between structural and graphic designers. Miller points out that using native files avoids the potential problem of data transformation that can occur when other files formats are exported and imported.

Multi-purpose 3D tools

Belford describes general 3D tools as multi-purpose tools. “They have a toolset geared more towards animation than design. However, they are all still extremely robust and have excellent rendering abilities. There may be opportunities to use these tools in other aspects of the business,” he says.

Belford’s company, which specializes in virtual product mockups as an alternative to photography and physical prototypes, uses 3dsMax, a solution he describes as “the most broadly used professional 3D application, and a particular favorite for game developers.” Belford likes the fact that “the shallow learning curve of 3dsMax makes it easy to find or train staff.” Priced at $3,495, 3dsMax is from Discreet, owned by AutoDesk, developers of AutoCAD software.

Lightwave 3D from Newtek is another example of a general-purpose, off-the-shelf tool. William Vaughn, Lightwave 3D evangelist, says that the application was originally used by the film and broadcast industry. It then evolved into a solution for gaming and industrial design (including packaging), and has been used heavily in print for the past three or four years as well. “For instance,” he says, “all of the print ads for Chrysler use Lightwave generated imagery as opposed to photography.”

SolidWorks, a CAD program with 3D capabilities, can make “associative models” — for example,
a designer can create a product, then create a package or injection mold of the same shape but
slightly offset by one or two millimeters. Changes to the product automatically trigger corresponding
adjustments to the mold and the package.

He also says that Newtek is “moments away” from releasing version 8.0 of Lightwave. Interestingly, Vaughn and his graphic designer, Red Madden, walked their own talk by designing both the box and print advertising images for this release of Lightwave 3D. “Red built the images and layout in Adobe’s InDesign,” Vaughn recalls. “Then I applied the images to my model of the box in Lightwave. I also sent images for the print ads back to her for our print and multimedia marketing campaign.”

At $1,595, Lightwave is offered as a full program that includes many tools that other programs require to be purchased separately, such as soft-body dynamics, particles, hair and fur, and unlimited render nodes. To see how Lightwave is used for packaging by Brad Krause, a Wisconsin designer, visit http://www.radiance-media.com.

Miscellaneous and unique

Jim Carson, vice president of Product and Operations at Design2Launch, describes his offering as “an overall hosted solution.” The four-year-old company, which uses the applications services provider (ASP) business model, went live in 2003. Fees based upon the number of users include an initial setup and a monthly charge.

D2L’s services consist of Visual Asset Manager (VAM), Reality-Based Rendering (RBR), Supplier Submission Management, Color Management, SNAPhoto, and Collaboration. VAM is the heart of the service—a database of 2D and 3D visual assets that enable clients to store, retrieve, and share graphics, packaging designs, comps, and supporting materials. All major file formats are supported so that files can be saved in their original formats. “VAM is designed and optimized to handle visual assets, especially 3Ds, as opposed to an asset management system designed for flat files,” Carson says. “Therefore, we help companies manage their bandwidth with a minimal use of their own infrastructure.”

The 3D component, RBR, works from a “thin” application on the client’s desktop that sends all of the information back to the VAM server. That way, a designer can use a 2D program like Illustrator and then export that design to a 3D model in the rendering module. “There they can select a material for a bottle, say plastic or glass, then fill that bottle with liquid or try different color glass, and more,” Carson says. “Then you do the final build.”

Carson also says that RBR is “substantially different” from other 3D rendering applications. “Most CAD packages use VRML (virtual reality modeling language). We use an actual CAD file. It’s richer and offers more information. It’s reality-based. If I have a polypropylene item and I change it to polyethylene, the appearance and color will change. We can run through a filter and make VRML, but a VRML file cannot do what we can do.”

D2L works with a number of major graphic arts industry vendors, including Esko-Graphics, for components of its service. “We are working at a number of accounts with Esko,” Carson says. “We are integrating directly so that ArtiosCAD can be seamlessly imported from and exported to the VAM.”

As do other proponents, Carson points out that 3D visualization transcends the creative and is valuable for test marketing and legal approval. “There are a variety of processes that used to be done in serial order than can run in parallel using digital methods,” he says.

Spectacular lenticular

Noteworthy is the fact that none of these devotees mention the 3D look as a selling point. However, an Israeli company, HumanEyes Technologies Ltd., is debuting a patented 3D lenticular software for this purpose at drupa.

HumanEyes is an imaging technology said to enable professionals and consumers to create 3D photography and lenticular effects using digital cameras and other mainstream equipment. It recently was used on the cover of an album by Sharit Hadad, an Israeli pop star.

Lenticular imaging, a technology for creating panoramic pictures with the appearance of depth, was first demonstrated in 1915. It has been an expensive process, however, with considerable limitations on its ability to reproduce stereoscopic and other effects. HumanEyes calls its product an “imaging science breakthrough” that enables professionals and consumers to easily create genuine 3D photography as well as all other lenticular effects (flip, morph, zoom, layered 3D) using digital cameras and other mainstream equipment. The resultant files can then be output on a litho or digital press or on a large-format output device.

HumanEyes applications include large-scale advertising, retail signage, and POP, plus magazine covers, inserts, greeting cards, and more. For packaging, the company suggests using it on everything from food and beverage containers to luxury goods such as perfume and jewelry. Since the lenticular interlacing cannot be copied, it is also appropriate for secure printing of items like CD and DVD covers and labels. As an example, the technique was used to print the latest CD cover for the popular Israeli singer Sharit Hadad and also for the poster display in shops carrying the CD.

“The ability to differentiate, have higher impact, and the innovation appeal to the packaging market,” says Sivan Spieler, the company’s marketing director.

Product and Company

Companies Mentioned
www.design2launch.com - Design2Launch
www.discreet.com/3dsmax/ - Discreet
www.esko-graphics.com - Esko-Graphics
www.humaneyes.com - HumanEyes
www.newtek.com - Newtek
www.solidworks.com - SolidWorks

Other High-End Tools
www.usa.autodesk.com - Mechanical Desktop
www.plm.3ds.com - Catia
www.alias.com - Studio Tools
www.rhino3d.com - Rhino

Other General Tools
www.alias.com - Alias Maya

Noel Jeffrey regularly covers print production, digital imaging, print-on-demand, and related subjects for the graphic trade media. Contact her at noeljeff1@earthlink.net