see PDF file - Komori

ate, cost is the limiting factor in a great deal of
ordinary work.
The critical question in packaging is indisputable.
Amid a huge variety of products in the store, how
does the package communicate to the consumer?
How does it motivate the consumer to find it,
hold it and remember it? In supermarkets and
convenience stores, the consumer decides
whether or not he wants the product within
five seconds. That is a very narrow window to
communicate a message.
Could you outline the process up to the
completion of the package?
Although each assignment is different, the
process begins with analysis to determine the
brand strategy, which is sometimes done by the
client and sometimes done by us. Work on the
design strategy is then initiated, and the structural
design proceeds parallel to and entwined with
the graphic design. Then, for example, when we
propose a structural design, it must be compatible
with the client’s production line, so the work
proceeds with the involvement of the relevant
departments in the company. In some cases, the
production line must be changed to produce the
new container. Not every proposal is accepted, but
for every project we indicate what we think is the
best solution for making the product successful.
As far as the process is concerned, I think that we
are able to cope with the many different ways
clients use to advance their projects. Finally, the
graphic design goes through validation studies
before final approval is given.
You worked with a printing director last year in
Toppan’s Graphic Trial. What role does the printing
director have and how did you collaborate?
An art director for a printing company has
printing director (PD) type skills, but this was my
first experience of collaborating with a printing
director who is working in a different stage. In
last year’s Graphic Trial I learned a great deal
about printing and also had some misconceptions
dispelled. Typically my contact with the pressroom
team is to give directions regarding what I aim to
achieve. And sometimes the pressroom tells me
that my proposal is not feasible for mechanical
reasons. But the printing director understands the
language and intentions of both the designers and
the pressroom team, so it was a great opportunity.
He offered many ideas, and his advice was based
on a clear understanding of the design, so the
collaboration was very instructive.
The PD’s knowledge and experience are a
wellspring of ideas for creating expressions and this made a great
difference. I believe that Toppan was the pioneer in developing
this profession. I hope that there are more opportunities to work
with a printing director. Generally the PD looks at things from
the pressroom side rather than the creative side, but his ideas
are extremely stimulating and he is also capable of channeling
the best efforts of photographers and graphic designers in ways
that can be appreciated.
What sort of added value printing are you interested in?
I am interested in many different added value applications and
approaches. There are many things that I would like to try which
are not usually a part of my job. I am particularly interested in
expressions that are not restricted by costs and regulations.
I would like to work with fluorescent inks, which cannot be
used with foods. Many inks and papers cannot be used in food
packaging, so I hope that these materials are improved. There
are not only migration issues but also functional problems,
such as the performance of the materials during transport
and when displayed in stores. Added value printing is often
very well received by the client but the project then stumbles
because it cannot be performed at the speed required by the
production line. Nonetheless, many customers are trying to
decommodify their products and are looking to better materials
or stronger creative expression to achieve this.
What are some of the ways that package design differs from
other fields of design?
The main differences are that packaging stands close to
everyday life and reflects the times, such as social trends
and changes in the law, and also it must accommodate mass
production. As an aspect related to mass production, for
example, when using gravure printing, if the design incorporates
12 Komori On Press