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TitleStructural Packaging: Design Your Own Boxes and 3D Forms
Author
File Size2.2 MB
Total Pages129
Table of Contents
                            Structural Packaging
Contents
Introduction
01 Before You Start
	1.1 How to Use the Book
	1.2 How to Cut and Fold
	1.3 Using Software
	1.4 Choosing Card
	1.5 Glossary
02 How to Design the Perfect Net
	Introduction
	2.1 Step 1
	2.2 Step 2
	2.3 Step 3
	2.4 Step 4
	2.5 Step 5
	2.6 Step 6
	2.7 Step 7
	2.8 Step 8
	2.9 Step 9
	2.10 Step 10
	2.11 Step 11
	2.12 Troubleshooting
03 Square-Cornered Boxes
	Introduction
	3.1 Which Net?
	3.2 The Basic Cube Box
	3.3 Square Cuboid Boxes
	3.4 Rectangular Cuboid Boxes
04 Deforming a Cube
	Introduction
	4.1 Shaving a Face
	4.2 Shaving an Edge
	4.3 Shaving a Corner
	4.4 Stretching Edge-to-edge
	4.5 Stretching Corner-to-corner
	4.6 Twisting Opposite Faces
	4.7 Twisting: Faceted Version
	4.8 Compressing Face-to-face
	4.9 Double Curves
	4.10 Single Curves
05 Common Closures
	Introduction
	5.1 Glue Tab
	5.2 Click Lock
	5.3 Tongue Lock
	5.4 Crash Lock
06. Creating with the System
	Introduction
	6.1 Theme and Variation
		6.1.1 Single Deformations
		6.1.2 Multiple Deformations
		6.1.3 Combinational Deformations
	6.2 Creative Examples
How Do I Produce My Box?
Acknowledgements
                        
Document Text Contents
Page 2

STRUCTURAL
PACKAGING
DESIGN YOUR
OWN BOXES
AND 3-D FORMS
Paul Jackson

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: 063

4. DEFORMING
A CUBE

4.9 Double Curves
4.9.3 Step 3
4.9.4 Step 4

4.9.3 Step 3
The solid curved line was made in the previous step.
Now repeat Step 2, but this time to the left of the
chosen line.

4.9.4 Step 4
The double curve is now complete.

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4. DEFORMING
A CUBE

4.9 Double Curves
4.9.5 Step 5
4.9.6 Step 6

4.9.5 Step 5
Three more double curves have been added using the long construction lines.
The two short construction lines have been used to create the four short,
single-curved lines on the four tabs.

4.9.6 Step 6
This is the completed net. If you are making it by
hand, it will be impossible to make perfect curved
creases. The technique is to draw, and then to
accurately cut out from scrap card, a curved
wedge (like a piece of pie – see the drawing below)
which has the same radius as the curve you wish to
draw. Place this template on the net in the correct
position and create the crease in the normal way,
using the curved edge as the guide for your
creasing implement.

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3. Plotters and Laser Cutters
Though still specialist technologies, fl at-bed plotters and laser cutters are
increasingly commonplace. Almost all packaging companies have a plotter
in which the drawing pen is replaced with a knife, which is used to test new
designs and create prototypes for clients. Plotters are amazing, addictive
toys! Some companies will hire theirs out to people who want to make a low
production run. If your design is diffi cult to make by hand and the production
run is too low to justify manufacturing it, consider negotiating with a
packaging company for the use of their plotter.

Laser cutters are also useful for low production runs, but come into their
own for cutting intricate detail into card. The level of detail they can create
is truly extraordinary. The drawbacks with laser cutters are that they can
be expensive to use and they can leave unsightly brown scorch marks along
cut edges.

4. Professional Production
For longer production runs, your design will need to be manufactured.

The fi rst step is to contact local packaging companies and show them your
design. Be prepared to be given advice about how your hard-won design
can be improved for manufacture: how some of the folds must be moved by
fractions of a millimetre to accommodate the thickness of the card when it
is folded through 90°; how tabs must be made longer or shorter, or be given
rounded corners; how a glue line can (or must) be added; how the security
of the lid closure can be improved; which card or board should be used; how
to print the surface graphics; how to cut costs … and a dozen other items
of good advice born of their professional experience. This book would need
to triple in length to include all these fi nesses – and then, to be frank, a
professional packaging engineer would change them all anyway to suit his/
her design idiosyncrasies and the specifi cations of the machinery used at the
production plant. What you have learnt from this book is more than enough for
you to take your design to a professional packaging engineer for completion.

It is well worth approaching several packaging companies for advice. Each
will have its own way of improving a design for manufacture. Some will have
in-house printing facilities and some will welcome innovation, whereas others
will baulk at the thought of producing anything other than a square box from
an existing template.

How Do I
Produce
My Box?

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: 0128

The author would like to thank the many art and design colleges who, over
many years, have allowed him to work with their students to refi ne the system
of net construction presented in this book, and also to thank the many students
who participated.

Extra-special thanks go to Gilad Barkan (CEO) and Behnaz Shamian-
Hershkovitz (Designer) of Gilad Dies Ltd in Holon, Israel ([email protected]
net.il: Tel+972-3-5583728) for their dedication and expert help processing
many net drawings through their plotter. You were amazing and made this
book possible.

Thanks also to Professor Emma Frigerio of Milan University for valuable help
with some of the mathematics. My thanks also to the Rector, Cristina Salerno,
and Professor Peter Stebbing of the Hochschule für Gestaltung, Schwäbisch
Gmünd, Germany, for permitting me to work with their students to create the
work seen in the fi nal chapter, and to the students themselves, who worked
with such dedication and diligence. They are:
Marion Bruells, Christiane Frommelt, Janine Gehl, Thomas Grikschas,
Andreas Hogh, Julian Hölzer, Adrian Jehle, Patrick Klingebiel, Moritz Koehn,
Juliane Lanig, Bernhard Meyer, Jan Michalski, Katja Mollik, Linda Moser,
Christina Müller, Stefanie Nagel, Christine Putz, Olga Rau, Janina Reinhard,
Julius Renz, Robin Ritter, Andrea Schmaderer, Sascha Benjamin Simeth,
Hakon Ullrich and Anna Kubelik.

Acknowledgements

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