SLAPSTA provides graphic design, branding, animation, printed labels and stickers, ready-made packaging, custom labelled packaging and custom direct-printed packaging. Packaging is supplied empty. The customer is responsible for the legality and compliance of the product placed inside it.

Design creates the artwork. Print turns approved artwork into a physical label, sticker, wrap or printed surface. Packaging is the physical bag, pouch, jar, bottle, tube, box or accessory. A complete project may use one, two or all three services.

Choose labels for lower quantities, faster launches, frequent strain or flavour changes and economical testing. Choose direct print for a seamless premium result, repeat production and larger quantities. Labelled packaging remains flexible; direct print commits each unit to one design.

Ready-made packaging uses an existing SLAPSTA design on stocked packaging. It is the quickest route when you do not need a fully original identity. Check the individual listing for its capacity, material, finish, features, stock and current dispatch promise.

SLAPSTA prints your design as a label and applies it to a blank bag, jar, bottle, tube or other suitable container. This gives a custom appearance at lower quantities than full direct print.

The design is printed as part of the packaging production process rather than applied later as a separate sticker. It gives edge-to-edge artwork and a cleaner integrated finish, but normally has a higher minimum order and longer lead time.

Send the packaging type, capacity or exact dimensions, quantity, number of designs, desired finish, deadline, delivery country and the artwork you currently have. SLAPSTA can then recommend stocked, labelled, digitally printed or factory-produced packaging.

Often yes, depending on the product. Labelled packaging is usually the practical test route. Direct-print sampling may not perfectly represent a full run and can carry setup or freight costs. Ask for the exact sample options for your product.

Not automatically. A 3.5g pouch, 7g pouch, jar wrap and lid sticker have different proportions, seams and safe zones. The concept can be adapted, but each dieline needs its own production artwork.

Provide product/container, capacity, dimensions if known, quantity, number of artwork variants, finish, front-only or front-and-back print, inside print if required, delivery country, deadline and whether artwork is ready. Photos and references help, but do not replace measurements or editable files.

Use the most specific and current source. For a product question, the live product variant or collection specification takes priority over general FAQ guidance. For a bespoke job, the latest written quotation and approved proof take priority. Stock, prices, lead times, minimums and certifications can change, so ask SLAPSTA when a current source is unclear.

The SLAPSTA website AI can use published storefront content—including this FAQ—alongside current products, policies and order tools when answering questions. This page is written in explicit question-and-answer form so customers, staff and the AI can locate the same general facts. The AI may still make mistakes; verify anything that changes price, legality, production outcome, approval or a fixed delivery date.

1. enquiry or website order; 2) specification check; 3) payment where required; 4) brief and files collected; 5) design or preflight; 6) digital proof; 7) written approval; 8) print or factory production; 9) finishing and quality checks; 10) packing; 11) collection or dispatch; 12) tracking and aftercare.

Unless a product states otherwise, production timing should be treated as starting only when payment, final artwork, all required content and written proof approval have been received. Time spent waiting for customer information or approval is not production time.

Yes. The design is completed and approved first; the print stage follows. Printing cannot safely begin while dimensions, wording or artwork are still changing.

Yes where a proof is included or requested. A proof shows layout, size, spelling, cut line and intended finish. Some checkout routes allow customers to request immediate print, but production files still undergo technical checks.

Reply in writing with an unambiguous approval such as “Approved to print”. Check every word, number, barcode, QR code, warning, size, colour callout and orientation before approving.

The file may be imposed, printed, laminated, cut, weeded, applied, packed or submitted to factory production. Because work moves quickly, cancellation or content changes may no longer be possible once the approved job enters production.

Contact SLAPSTA immediately. If production has not begun, the change may be possible and may incur a revision or setup charge. If plates, print, laminate or cutting have begun, the job may need to be reproduced at additional cost.

Normally not once the approved order is already in the printing or production process. Bespoke products are made specifically for the customer and cannot simply be returned to stock.

Typical blockers are missing back-panel text, missing logo/vector, unclear size, no payment, conflicting instructions across channels, low-resolution files, or an unanswered clarification. Keep one final brief and quote the order number in every message.

Collection may be available from the Midlands operation when the order is confirmed ready. Do not travel before receiving a collection-ready confirmation.

State the fixed in-hand date before ordering. “Urgent” does not override proofing, curing, laminating or factory transit. An express production option may exist for some custom packaging, but must be confirmed in advance.

Use the Track Order page or the Track my order option in website chat. Have the order number and the email used at checkout ready. A shipping-label-created status means the carrier label exists; it does not always mean the parcel has received its first physical scan.

Graphic design communicates information through typography, imagery, colour, layout and visual hierarchy. For packaging, it must also work within a physical structure, production process and real viewing conditions.

A clear hierarchy, consistent branding, legible typography, suitable colour and contrast, deliberate spacing, audience-focused messaging and enough flexibility for warnings, variants and production tolerances.

Services may include label and packaging design, tube or jar wraps, logo design, full brand identity, promotional artwork, menus, signage, social media assets, mockups and animation. The live product page or written quotation is authoritative for scope and price.

Free packaging design means creation or adaptation of artwork for the purchased packaging within the stated scope. It does not automatically include a new logo, full brand identity, unlimited concepts, complex illustration or unrelated marketing assets.

Brand name; product/variant name; exact wording; logo; dimensions or dieline; required icons and warnings; preferred colours/style; reference images; finish; target market; barcode/QR assets; hierarchy; deadline; and anything that must not appear.

Yes. Explain the audience, tone, visual references, colours, central subject, typography direction and required information. More specific briefs reduce revisions, but a designer can help shape an incomplete idea.

Yes. AI images are useful references but may contain malformed text, inconsistent logos, fake details and insufficient resolution. They often need reconstruction, retouching, typography replacement and adaptation to the actual dieline before print.

Often, but “recreate” can mean cleanup, close visual rebuilding or full vector redraw. Exact reconstruction may not be possible if the source is tiny, cropped, compressed or contains proprietary elements. The quote should define the expected fidelity and editable output.

A variant is a materially different artwork version: for example a different strain/flavour name, colourway, character, back panel or size. Simple quantity changes are not variants. The same brand applied to a bag and jar usually requires separate layouts even if the concept is shared.

This depends on the purchased service or quotation. Revisions refine an agreed direction; a completely new direction is a new concept and may be chargeable. Confirm the included allowance before work begins.

A logo is the identifying mark or wordmark. A brand identity adds colour system, typography, supporting graphics, layout rules, tone and usage guidance so every future design stays consistent.

One clear focal point, readable product/variant name, strong contrast, controlled information hierarchy, enough quiet space, consistent brand cues, correct legal area, restrained effects and production choices that reinforce rather than fight the design.

Customers should only supply material they are entitled to use. Referencing a general era, mood or aesthetic is safer than copying protected artwork, packaging, mascots or logos. SLAPSTA may request replacement assets or an original direction.

The customer confirms they have permission to use supplied logos, images, names, claims, barcodes and wording. The customer also gives final approval for accuracy and market compliance.

Vector AI or EPS is preferred for logos and line art. A properly prepared layered PDF is also suitable. High-resolution PSD, TIFF or PNG may be used for raster artwork. Fonts should be outlined or supplied under a suitable licence.

The file is at final size, uses the correct dieline, includes bleed, keeps important content inside the safe zone, has suitable resolution, correct colour setup, linked images embedded, fonts outlined, transparent/white areas defined and special finishes separated as named spot layers.

Yes for review, but it may not be print-ready. JPEG is flattened and lossy; PNG supports transparency but is still raster. Neither preserves editable text, cut paths, white-ink masks or spot-finish separations.

A vector describes shapes mathematically, so logos and text can be scaled without becoming pixelated. AI, EPS and some PDFs/SVGs can contain vectors. File extension alone does not prove the content is vector—a JPEG placed inside an AI file is still raster.

A raster is made of pixels. Photographs and detailed painted artwork are normally raster. It must contain enough pixels at final print size.

Aim for 300 ppi at final printed size for normal close-view packaging and labels. Large-format work may use lower effective resolution because it is viewed farther away. Enlarging a small file without rebuilding it does not create genuine detail.

Effective resolution is the resolution after scaling in the layout. A 300 ppi image enlarged to twice its width and height becomes 150 ppi effective.

Yes for final production files unless editable text is specifically required and the fonts are supplied/licensed. Outlining prevents font substitution and layout changes.

Yes. Missing links can create blank or low-resolution output. Package the original file with links and fonts for archive/editing, and also supply an outlined print PDF.

Small proofs and references can be sent that way. Large originals should use the upload method provided by SLAPSTA. Messaging platforms often compress images, strip filenames and make version control harder.

Use brand_product_size_side_version, for example ACME_Gelato_100x125mm_FRONT_v04.pdf. Avoid names such as final-final-new2. Put the approved version number in the approval message.

It allows clean scaling, text correction, colour separation, exact cut paths and efficient adaptation. Without it, a logo may need to be redrawn and small defects in a screenshot will print visibly.

A dieline is the technical template showing finished edge, cut path, folds, seals, zipper, tear notch, gusset, window and safe zones. Build artwork on the exact supplied dieline without moving or scaling it.

Bleed is artwork extending beyond the final cut edge so small cutting movement does not reveal an unprinted sliver. SLAPSTA commonly requests 3 mm bleed unless the product template states otherwise.

The safe zone is the area inside the cut/fold/seal where essential text, logos, QR codes and borders should remain. Bleed protects the outside edge; the safe zone protects important content.

Even a small cut tolerance is obvious against a thin border. Either place borders well inside the safe zone and make them thick enough, or run the design fully to bleed without a close parallel border.

It is the intended finished edge. It is not a guarantee that every unit will be cut with zero movement. Artwork must be designed to tolerate the specified production variance.

They are functional areas of a pouch. Fine text placed across them can distort, become unreadable or be hidden. Keep critical content away and avoid treating the printable canvas as a completely flat rectangle.

A gusset is the folded base or side that expands to give capacity. Artwork crossing a gusset changes shape when the bag is flat, filled or standing.

A clear window is an unprinted or transparent area that reveals the contents. Its position and white-ink mask must be defined. Fine outlines around windows should allow for registration tolerance.

Usually if exact dimensions or a physical sample are available. For tapered, curved or irregular containers, test fitting is strongly recommended because circumference alone may not describe the usable label area.

Measure both and, ideally, send a sample. The old label reveals working overlap and clearance; the container verifies whether it was correct.

RGB means red, green and blue light. Screens create colour by emitting light, allowing very bright neon, electric blue and luminous green that ordinary print inks cannot always reproduce.

CMYK means cyan, magenta, yellow and black ink. It is the standard four-colour print process. The achievable colour range is generally smaller than RGB, especially for neon and highly saturated tones.

Your phone is backlit, may boost saturation and brightness, and can use a wide colour gamut. Print reflects ambient light and is affected by ink, material, white base, laminate, finish and viewing conditions.

Supply final production artwork in the colour space requested for the process, normally CMYK. If RGB artwork is supplied, it must be converted; out-of-gamut colours may shift or dull.

No. CMYK profiles, printers, inks, substrates and laminates differ. Conversion previews the limitation, but a physical proof, named spot colour or approved production sample is needed for tighter control.

An ICC profile describes how colour values relate to a device or print condition. Embedding the correct profile reduces ambiguity. Do not assign profiles randomly; use the printer specification.

It is the combined CMYK percentage in a dark area. Excess ink can cause drying, set-off or muddy detail. Rich black recipes and coverage limits should match the production process.

Rich black uses black plus supporting CMY for a deeper solid area. Small text and fine lines should normally use 100% K only to avoid coloured registration fringes. Use the production profile’s recommended rich-black build.

Spot colours are named inks or separations used for consistent brand colour or special production layers. Pantone references improve communication but appearance still changes with coated/uncoated, white/clear/metallic material and laminate.

Delta E is a numerical measure of colour difference. It is useful in controlled colour workflows, but a tolerance must be agreed and measured under consistent lighting and substrate conditions.

Standard CMYK can only approximate many neon RGB colours. Fluorescent spot ink, specialty toner, metallic/holographic material or a redesigned palette may produce the intended impact.

High contrast is safest: dark code on a plain light background. Avoid transparency, gradients, holographic interference and busy art behind the code. Always test the final printed sample.

Most process inks are translucent. On clear or metallic stock, colours can look weak or inherit the substrate effect. A white underprint creates an opaque base and more predictable colour.

It is a separate spot layer marking where white ink prints. Full white underprint blocks the substrate effect; selective white lets metallic or holographic areas shine through.

On clear film the colour may become transparent. On silver film it may look metallic and darker. On holographic film the rainbow pattern may show through.

Yes, using selective white and, depending on the process, an additional spot holographic film/foil/varnish layer. Fine registration between colour, white and effect layers has a production tolerance.

Yes if the chosen process supports white ink. White displayed in ordinary artwork may otherwise mean “no ink”, so it must be explicitly separated.

Choke slightly contracts one separation and spread slightly expands another to prevent hairline gaps caused by registration movement, particularly around white underprint and foil.

The terms overlap. “Label” usually describes functional product identification supplied on rolls or sheets; “sticker” often describes promotional or individually cut graphics. Material and adhesive specification matters more than the name.

An economical indoor material with a natural print surface. It is not the best choice for moisture, oils, refrigeration, repeated handling or long outdoor exposure unless specially treated.

A plastic-based face material with better moisture, tear and handling resistance than ordinary paper. It is commonly used for jars, bags, bottles, windows and promotional stickers.

A smooth synthetic film with a white opaque base, good moisture resistance and clean print. It is widely used for premium product labels.

A transparent film used for a no-label look or windows. Adhesive and ink can change clarity; white ink is needed wherever opaque white or solid colour is expected.

A silver or metallic-faced material. CMYK without white becomes metallic; selective white lets the designer control which parts stay metallic.

A film carrying a diffraction pattern that produces rainbow movement. The pattern is inherent to the material, while printed ink and white layers control where it shows.

Cast vinyl is thinner, more conformable and stable for curves and long-term demanding applications. Calendared vinyl is more economical for flat or gently curved surfaces and medium-term use.

“Waterproof” depends on the complete construction: face film, ink, laminate, adhesive, edge exposure and application. Vinyl/PP with suitable ink and laminate is water-resistant, but prolonged submersion, dishwashers, oils or solvents require testing.

Outdoor durability depends on material, ink, laminate, colour and exposure. Ask for the expected environment and service life; do not assume every vinyl label is suitable for years outdoors.

Food contact is different from use on the outside of food packaging. Confirm whether the label, ink or adhesive will directly contact food and request documentation for the exact construction. Do not infer compliance from appearance.

Designed to form a strong lasting bond. “Permanent” does not mean instant maximum strength or suitable for every surface; full bond may build over time.

Designed to peel away more cleanly for temporary promotions or reusable containers. Performance varies with time, heat and surface chemistry.

A more aggressive adhesive for difficult, textured or low-surface-energy plastics. It can be harder to reposition and may leave residue.

An adhesive formulated to apply or remain bonded at low temperature and in condensation. Application-temperature and service-temperature ranges are different and must both be checked.

Common causes are dust, oil, moisture, silicone, low-surface-energy plastic, heavy texture, tight curvature, label stiffness, cold application, touching the adhesive, insufficient pressure or applying before a freshly manufactured plastic has stabilised.

Clean, dry and degrease it using a method compatible with the container. Apply at the recommended temperature, avoid touching the adhesive, use firm even pressure and allow dwell time before chilling, filling or stressing the label.

The second edge may be sticking to laminate rather than the container, or the wrap may be too stiff for the diameter. Use a suitable overlap, adhesive and thin/conformable construction.

It is better to remove the old label and residue. Over-labelling can show edges, trap air, reduce adhesion and create an uneven surface.

Use a clean alignment guide or jig, tack one edge, squeegee progressively and avoid laying the whole label down at once. Clear labels show dust and bubbles more readily.

Gloss reflects more light, increases perceived saturation and contrast, and suits bright photographic or high-impact designs. It shows glare and fingerprints more readily.

Matte reduces glare and gives a softer premium feel. Deep blacks can appear less punchy than gloss and unlaminated matte surfaces may scuff, so the exact construction matters.

A velvety matte film with a tactile premium feel. It can mark from oils, may alter colour density and needs compatibility testing with spot UV, foil and some adhesives.

A matte laminate engineered for better rub and scuff resistance than standard matte. It is useful on dark solid colours where marks are obvious.

A clear glossy film bonded over the print for protection, shine and stronger apparent colour. It adds thickness and may reduce conformability on tight curves.

A clear low-glare protective film. It gives a smoother premium surface and protects ink, while slightly muting contrast.

A clear laminate containing a holographic pattern placed over printed artwork. The effect appears across the laminated area unless selectively controlled by another process.

A geometric diffraction pattern that breaks light into repeated rainbow shapes. Pattern scale and direction matter, especially on small labels.

A high-gloss clear coating applied only to selected artwork over a contrasting matte surface. It creates visual and tactile emphasis on logos, text or patterns.

Metallic or holographic foil is transferred to selected areas using heat/pressure or another foil process. It is more mirror-like than CMYK metallic simulation and requires a clean spot separation.

Alternative foil processes that can support finer or shorter-run effects depending on equipment. The appearance, adhesion and overprint capability differ from traditional hot foil.

A clear coating printed over all or part of the artwork. It can change gloss and add modest protection, but is generally thinner than film lamination.

A metallic base or effect combined with a matte surface. It gives subdued metal rather than a mirror-like shine. Artwork should be designed specifically for it.

No. It improves abrasion, moisture and handling resistance but does not make edges, adhesive or substrate immune to solvents, submersion, extreme heat or repeated flexing.

Gloss for vivid punch; matte for low-glare premium restraint; soft-touch for tactile luxury; holographic/prism for movement and attention; spot UV for selective contrast; foil for true reflective highlights. The artwork and use environment should decide.

Artwork is printed directly from a digital file without conventional plates. It is efficient for short runs, multiple versions and fast changes, with good detail and variable-data capability.

A high-speed relief-plate process commonly used for roll labels and flexible packaging. It is economical at volume and supports process and spot colours, coatings and inline finishing.

An engraved-cylinder process used for high-volume flexible packaging with strong consistency and dense coverage. Setup costs are higher, so it suits larger repeat runs.

A plate-based process common for paperboard, inserts and commercial print. It gives fine quality at medium/high quantity but is not the default for every film label or pouch.

Ink is pushed through a mesh stencil. It can lay down opaque ink and print on unusual objects, but is generally less suitable for photographic multi-colour short runs.

A wide-format inkjet process often used on vinyl. The ink needs appropriate drying/curing before lamination, and durability depends on the exact ink, media and laminate.

UV-curable ink hardens under ultraviolet light. It supports many materials and can create opaque white, clear or textured effects depending on equipment.

A heat-transfer process mainly for polyester textiles and specially coated substrates. It is not the normal process for standard self-adhesive vinyl labels.

A hybrid line combines processes such as flexographic and digital printing, sometimes with inline embellishment. It can mix efficient static elements with changing versions or variable data, but availability depends on the production partner.

Extended-gamut systems add inks such as orange, green and violet to CMYK to reproduce more colours without changing spot ink for every job. It can improve coverage of brand palettes but still requires profiling and does not guarantee every Pantone colour.

Setup, prepress, material loading, plates/cylinders, waste, finishing and quality checks are spread across the run. Unit price usually falls as quantity increases, but the total spend rises.

Often with digital printing, provided size, material and finish match. Factory direct print may apply a minimum to each design or SKU. Always state the exact number of variants before quoting.

The alignment of CMYK, white, foil, varnish and cut. Every physical process has tolerances; artwork should avoid hairline dependencies between layers.

Banding is visible tonal stepping or print-head lines; grain is texture/noise in colour. Smooth gradients and large flat colours reveal process limitations most clearly.

The top label layer is cut while the backing liner remains intact. It is common for sticker sheets and easy-peel labels.

A tool or digital cutter cuts the sticker to its finished shape. Traditional dies may carry a setup charge; digital cutting can avoid a physical die for short runs.

Both face material and liner are cut, producing separate individual stickers.

Multiple kiss-cut stickers sit on one shared backing sheet. It is useful for sets, easy storage and economical hand application.

Labels supplied on a continuous roll for fast hand or machine application. Core size, roll direction, labels across, gap and unwind direction may be critical.

Removing unwanted vinyl around cut graphics, normally for cut-letter or transfer-tape decals rather than printed rectangular product labels.

A carrier placed over cut vinyl lettering to keep all pieces aligned during application. It is removed after the vinyl bonds.

Most simple closed shapes can. Extremely sharp corners, tiny notches, narrow bridges and intricate silhouettes may tear, lift or cut inconsistently.

A tooling or setup charge for creating a custom pouch profile or physical cutting shape. The cost depends on the size, complexity and production method, so it must be confirmed on the current product page or written quote.

Depending on the product: resealable zipper, heat-sealable top, tear notches, standing gusset, clear window, clear front, metallic layers, inside print and child-resistant closure.

Barrier pouches are designed to reduce odour transmission when correctly sealed. Performance depends on construction, zipper condition, heat seal and use; avoid claiming an absolute result in every circumstance.

Many can. Seal temperature, pressure and dwell time vary by construction, so test first. Heat sealing above the zipper provides tamper evidence; the tear notch allows opening.

Ready-made ranges commonly cover 3.5g, 7g, 14g, 28g and 1 lb formats. Exact outer dimensions and usable capacity vary by bag style; use the product specification rather than assuming all bags of one capacity are identical.

The front panel is transparent to display contents, while another panel may be coloured or printed. White ink and window planning determine what remains clear.

Printing on an interior-facing panel, often revealed after opening. It requires a compatible pack construction and an additional production setup. Availability and price depend on the exact pouch, quantity and process, so request a current quote.

Current SLAPSTA direct-print products start at either 500 or 1,000 pieces, depending on the pouch, size and production method. Custom shapes, boxes and some premium formats commonly start at 1,000. The minimum may apply to each size, design or SKU rather than the combined order, so use the exact live variant or written quote before planning a split run.

There is no single direct-print lead time. Current listings range from as little as about 14 days to 3–5 weeks, depending on the product, quantity, finish and production route. Timing starts only after payment, final artwork and proof approval; freight, customs and courier transit can add time. The selected live variant or written quote is authoritative.

Labelled pouches use separately printed adhesive graphics and suit lower quantities. Direct print integrates the design across the pouch and is better for full-coverage premium runs.

Tall, flat pouches are often used for slim products such as tubes, pens, compact devices, samples or accessories. They are less suitable for bulky contents that need a gusset to stand or expand. Check the usable internal area, seal zone and product thickness with a physical fit test before ordering a full run.

Background art may extend through technical zones where allowed, but critical information should not. The seal and hardware can interrupt or distort details.

They may be available on request. “Child-resistant” must refer to tested packaging and the correct standard, not merely a difficult zipper. Request supporting certification for the exact product where required.

Current labelled custom packaging listings typically show 1–4 working days after the artwork and proof are approved. Some product variants list a longer service, so the exact product, quantity, finish, application work and current queue can affect timing. Courier transit is additional.

Many current labelled custom packaging routes start at around 50 pieces, while a few products use different minimums. Check the exact variant because the minimum can apply per container, size or design.

Yes, depending on jar material, shape, quantity and print process. Labels are flexible for shorter runs; direct print can provide a cleaner permanent finish at higher MOQs.

A rectangular label designed around a cylindrical container. It needs the correct height, circumference, overlap and clearance from shoulders, base and lid.

Measure the straight usable height and circumference with a flexible tape or paper strip. Subtract appropriate clearance and include only the intended overlap. A physical test is safer than calculation alone.

The jar may taper or curve in two directions, making a flat rectangular label unable to conform. A shorter label, shaped label, thinner film, stronger adhesive or segmented design may be needed.

A circular or shaped label sized to the flat top of the lid. Confirm the usable flat diameter, not the full outside lid diameter, and leave clearance from bevelled edges.

Yes. For example, a matte wrap can be paired with a holographic cap sticker, or selective holographic detail can be used where the production method supports it.

A compressible liner inside the cap that improves closure contact. It is not automatically a certified induction seal or proof of complete leak resistance.

A foil membrane heat-bonded to the container rim using induction energy. Bottle material, liner and sealing equipment must be compatible.

A feature that visibly changes when first opened, such as shrink band, breakable seal, VOID label or induction foil. Tamper-evident is not the same as child-resistant.

Stop using the affected units, photograph the jar, lid, thread and batch/quantity, and report how many are affected. Do not force mismatched threads. Keep packaging for inspection and resolution.

Usually for label production, but fit and adhesion are the customer’s risk unless SLAPSTA receives and tests a sample. For direct print, compatibility and handling must be quoted specifically.

SLAPSTA can place a supplied barcode and may generate artwork from customer-supplied data, but the customer must obtain and verify the correct identifier and retail registration where required.

The blank margin around the bars that lets a scanner distinguish the code from nearby graphics. Cropping or decorating it can cause failure.

Only within the specification for its symbology. Do not stretch it disproportionately or reduce it below reliable print/scanning size.

Some styling is possible, but contrast, module shape, quiet zone and error correction must be preserved. Test multiple phones and lighting conditions on the finished material.

Reflections and changing contrast can confuse cameras. Put the code on an opaque calm area using a white underprint where needed.

Yes with variable-data printing or a verification platform, depending on product and quantity. The data file, sequence rules, destination URL and duplicate handling must be agreed before print.

A dynamic redirect can be changed if the QR points to a managed short link or verification service. A static QR permanently contains its destination.

Decode the artwork, verify the destination/data, test at printed size, confirm contrast and quiet zone, inspect any white mask, then scan physical samples after print and laminate.

No. Reliable size depends on data density, error correction, print process, viewing distance, camera and surface. Use the code provider’s specification, keep the quiet zone and test a physical sample rather than relying on a generic 20 mm rule.

Verification grades a printed symbol against the relevant standard using calibrated equipment. A phone or checkout scan is a useful functional test but is not the same as formal verification.

GS1 manages global identification standards including GTINs and many retail/logistics barcode rules. The brand owner normally obtains the correct identifiers; SLAPSTA places the supplied code and preserves the required construction.

Possible outputs include animated logos, product reveals, packaging animations, social clips, promotional loops, slideshows, 2D/3D motion and screen content. The exact deliverable is defined in the quote.

Purpose/platform, duration, aspect ratio, resolution, logo/artwork, storyboard or scene list, visual references, required text, product shots, pace, transitions, music/voice requirements, deadline and export formats.

9:16 suits Stories, Reels and TikTok; 1:1 or 4:5 suits feed posts; and 16:9 suits YouTube, websites and landscape displays. Current Motion Studio packages normally include 9:16, 1:1 and 16:9 delivery versions, but confirm the outputs listed on the package you buy.

Vector logo, layered artwork, high-resolution product images, brand fonts/colours and any licensed audio. Flattened artwork limits how separately objects can move.

2D animates flat artwork, typography and compositing. 3D builds or uses models, lighting, materials and cameras for depth and realistic rotation. 3D usually needs more production time.

A sequence of frames showing key shots, text and timing. Approval at storyboard/animatic stage prevents expensive structural changes after animation is polished.

A timed rough video made from storyboard frames. It tests pace, sequence and voice/music timing before final motion.

Yes, especially when layered source files exist. Characters, particles, text, backgrounds and lighting can be separated and animated. A single flattened image may require manual isolation or recreation.

Yes, but unstable details may need cleanup and new areas may need to be generated or painted for camera movement. Logos and text should usually be replaced with clean source artwork.

24, 25 or 30 fps are common. UK broadcast-style work often uses 25 fps; social platforms accept several rates. The intended delivery platform should decide.

MP4/H.264 is common for social and web delivery; MOV/ProRes is used for high-quality masters; GIF suits short silent loops with limited colour; and transparent motion may use ProRes 4444, WebM or an image sequence. The purchased package or written scope confirms the exact formats.

Only if stated. Music, sound effects, voice performance and licensing are separate scope items. The customer must have rights to supplied audio.

Text timing and minor colour adjustments are easier early. Changing scene order, duration, character action, camera movement or 3D model after final animation is a structural revision and may be chargeable.

Current Motion Studio packages range from fast still or animated mockups to larger cinematic projects. Listed production times run from roughly 1–2 working days to 10–12 working days, depending on tier, and normally begin after the storyboard is approved.

The allowance depends on the package. Current Motion Studio guidance ranges from one round on smaller mockup jobs to as many as four rounds on Elite and Signature work. Extra rounds are quoted before they begin.

Current Motion Studio packages include commercial rights to the approved final renders. Source or working files are separate from the final exported masters and should be requested and confirmed in the scope if you need them.

The listed animation turnaround normally starts when the storyboard is approved, not when the first enquiry is sent. Missing assets, feedback or approval pause progress.

Page size, bleed, resolution, colour mode, fonts, transparency, cut paths, spot layers, overprint, white ink, barcode quality, missing links and obvious technical risks.

Every word, spelling, quantity, weight, contact detail, URL, barcode/QR data, warning, icon, variant name, orientation, finish callout and whether the correct version was used.

Not necessarily. Uncalibrated screens differ, and special stock/white/foil/laminate cannot be simulated perfectly. Treat it as a layout proof unless explicitly supplied as a colour-contract proof.

A physical printed proof or sample. It is more representative than a screen, but may use a different machine or finishing route from the production run unless specified as a contract proof.

A proof produced on the intended press/material or as part of the actual setup. It is more expensive but useful for tightly controlled brand colour or complex effects.

Ink batches, material lots, environment, machine calibration, laminate and process tolerances can cause variation. Keep an approved physical sample and use colour targets for repeat work.

Typical checks include quantity, obvious print defects, cut/registration, finish, consistency, label application, packing and order identification. Sampling plans vary by product and run size.

It depends on process and should be specified before production for critical work. Cutting, colour, size and quantity each have different tolerances. Avoid promising “perfectly exact” without a written standard.

For launches, multi-site distribution or machine application, a sensible overs allowance protects against setup, testing and handling. Confirm whether production quantity itself carries an industry over/under tolerance.

The working time needed to design, preflight, print, finish and pack after all prerequisites are complete. It excludes customer approval delays and normally excludes courier transit.

For labelled stock pouches, current collection guidance is commonly 1–4 working days after final approval, although some product variants take longer. Current direct-print listings range from about 14 days to 3–5 weeks. These are production guides rather than guaranteed in-hand dates; the exact selected variant or written quote takes priority and delivery transit is separate.

Stocked, uncustomised products can dispatch quickly and some listings advertise a same-day cut-off. Custom edits, proof approval, label application and combined orders can extend the dispatch time. Use the exact product page and order confirmation for the current promise.

Options can include collection from the Burton-on-Trent studio, UK courier services and international express delivery. The services, prices and estimates shown at checkout or on a current written quote are authoritative. Collection is by confirmation or appointment—do not travel until the order is marked ready.

Only where the carrier service explicitly guarantees them, and carrier terms/exclusions still apply. Production completion and courier collection must occur before transit begins.

Tracked services normally generate tracking after dispatch or carrier scan. A label-created status is not the same as physical carrier acceptance.

Allow for collection scans, weekends and carrier processing, then contact SLAPSTA with the order number. SLAPSTA can check dispatch status and raise an enquiry where appropriate.

Unless a quote explicitly states delivered-duty-paid, the recipient may be responsible for import VAT, duty, brokerage and local clearance. Confirm Incoterms on factory or international orders.

Customs queries, incorrect commodity details, unpaid charges, inspections, remote-area routing, weather, restricted goods, address errors and missed contact attempts.

Photograph the outer box, shipping label, internal packing and affected units immediately. Keep everything, count the damage and report it promptly with the order number.

Quantity, material, adhesive, ink coverage, white ink, lamination, cut shape, variants, application labour, tooling, freight and production method all affect price.

Minimum order quantity: the smallest economical production quantity for a process. It may apply per material, size, design or SKU.

Not necessarily. Direct-print minimums commonly apply to each design, size or SKU, even when several versions share the same material and finish. Digital labels can often combine variants more flexibly. The current product setup or written quote must state the permitted split.

They are physical production tools made for the job. Some can be reused for exact repeat orders, but artwork, size or supplier changes may require new tooling.

Use the validity stated on the quote. Material, freight and exchange-rate changes can affect later orders.

No. Live material, supplier and delivery costs apply. Reusable tooling may reduce setup, but old invoice prices are not guaranteed.

SLAPSTA can reserve space and place wording you supply, but requirements depend on product, claims, ingredients, market and sales channel. The customer must obtain competent compliance advice and approve final wording.

The customer is responsible for product facts, ingredients, allergens, weights, claims, dosage/use instructions, company details, identifiers and legal text. SLAPSTA is responsible for producing the approved artwork to the agreed specification.

Do not assume another product or jurisdiction is equivalent. Verify current requirements for your exact product and market.

Supply the correct declared quantity and unit format. Artwork must leave it legible and in the required location/size for the relevant rules.

Only use marks you are entitled and qualified to display. Some symbols are controlled, licensed or conditional on exact materials.

No. Child-resistant packaging is tested to a standard for opening difficulty. Tamper-evident packaging shows whether first opening may have occurred.

Only with evidence for the complete construction and the target collection system. Multi-layer pouches, laminates, adhesives and labels can change recyclability.

Subject to SLAPSTA policy and applicable law. The customer must ensure the goods, claims and intended use are lawful. Packaging is supplied empty.

The source artwork did not contain enough real resolution at final size, or a low-resolution image was embedded inside a PDF/vector file. Rebuild or replace it; simple upscaling cannot restore missing detail.

Likely causes include RGB-to-CMYK gamut loss, matte laminate, transparent ink over dark/metallic stock, missing white underprint or different viewing light.

It may be too small/thin, reversed out of several inks, placed on texture, or affected by ink spread. Increase size/weight and simplify the colour construction.

The white underprint may extend beyond CMYK because of registration. Apply an appropriate choke and avoid excessively fine boundaries.

Send the ordered size, measured delivered size, container dimensions, photos with a ruler and the approved proof. Confirm whether the issue is artwork scale, cut size or container fit.

Compare it with the stated tolerance and check whether artwork used adequate bleed/safe zone. Photograph several pieces with a ruler and report the affected quantity.

Identify container material, surface texture, cleaning method, application temperature, storage conditions and time before failure. Keep samples so adhesive and construction can be evaluated.

Try several devices under even light, flatten the label, check damage/glare, measure the printed code and verify destination. Provide a close photo and the original QR data.

Dust, rapid application, outgassing plastic, textured surfaces or rigid film can trap air. Clean thoroughly, apply progressively and test material compatibility.

A mockup is a visualisation, not a physical sample. Reflectivity, holographic movement, texture, transparency and curvature cannot be represented exactly on screen.

Order number, item/variant, total quantity, affected quantity, clear overall and close-up photos, ruler measurements, batch labels, packaging condition and a short description of how/when the issue appeared.

Often, but provide order number, customer name/email, approximate date, artwork name and product. For security, SLAPSTA may verify ownership before resending files.

Do not use any supplier's file storage as your only archive. Keep the final artwork, linked images, font and stock licences, dieline and approved proof in your own backed-up records. Ask SLAPSTA whether files from a particular order are still available before relying on a reorder.

Quote the previous order number and ask for an exact repeat. Still confirm quantity, delivery address, material, finish and whether any compliance text has changed.

Files, templates, materials or production setup may have changed, and the customer may have intended an update. A repeat proof confirms the exact version.

Yes, but it must be rebuilt to the new dieline and may need a revised hierarchy. Scaling the old rectangle is rarely enough.

One written message containing order number, filename/version and “Approved to print”. Avoid approvals split across email, WhatsApp and voice calls.

Material composition, recycled-content percentage, certification, chain of custody, end-of-life route, local collection availability, inks/coatings/adhesive and geographic market.

No. Performance, weight, transport, coatings, food/product protection, reuse and waste rates all affect impact. A material that fails early can create more waste.

No. Compostability normally requires defined conditions and certification. “Biodegradable” without conditions or timeframe can mislead.

Sometimes, depending on face, laminate, adhesive, container and local sorting. The label may be too small to recover separately. Confirm the whole-pack system.

Use realistic forecasts, digital short runs, shared-size variants, controlled versioning and reorder points. Avoid hard-coding changeable dates or claims into huge direct-print runs.

An FSC claim relates to forest-based materials and a controlled chain-of-custody system. The exact approved claim and label must match certified sourcing and trademark rules; it cannot be added merely because a carton contains paper.

A pack designed mainly from one material family to simplify recycling. Inks, coatings, closures, barriers, labels and local collection rules still matter, so “mono-material” should not be treated as automatic proof of recyclability.

No. Recycled content describes what went into the material; recyclability describes a potential end-of-life route. Either claim needs evidence for the complete construction and destination market.

Prepress is the controlled preparation of approved artwork for a specific printing and finishing process. It includes size and bleed checks, colour conversion, image resolution, font handling, transparency, overprint, trapping, imposition, cut paths, spot layers and final output validation.

A Raster Image Processor converts page artwork into the screened or raster data a press or printer can output. The RIP interprets transparency, colour separations, overprint, screening and device instructions. A file that looks correct in ordinary PDF software can still behave differently when processed by a RIP.

Imposition arranges one or more designs on the production sheet or roll to use material efficiently and support cutting, finishing and registration. Customers should normally supply one clean final-size design rather than building their own print sheet unless SLAPSTA requests an imposed file.

Trapping creates a very small overlap between adjacent colours to prevent a white hairline if print units register slightly differently. The amount depends on the printing process, substrate and colours, so it should be handled or approved by prepress rather than guessed.

Overprint makes one object print on top of the ink below instead of knocking a hole out of it. It is useful for certain black text, marks and special separations, but an accidental overprint can make light artwork disappear or change colour.

A knockout removes the underlying ink where the top object prints. It usually preserves the intended colour of the top object, but registration movement can reveal gaps unless trapping is applied.

Normal screen view may not show how overprinting separations will combine. Overprint Preview or an output-preview tool can reveal disappearing white objects, unexpected colour mixing and incorrect cut, white or foil layers before production.

TAC is the combined percentage of CMYK ink in one area. Excessive coverage can cause drying, set-off, blocking, muddy shadows or adhesion problems. The allowed maximum varies by profile, process and substrate.

That creates 400% total ink coverage and is unsuitable for many processes. It can print poorly and is not a universal “best black”. Use the production profile or printer-specified rich-black build. Small black text and fine rules are usually safer as black-only.

Grey Component Replacement and Under Colour Removal replace some overlapping cyan, magenta and yellow in neutral or dark areas with black. They can stabilise greys and control ink coverage, but should come from the selected colour-separation profile rather than manual global changes.

Printed dots can appear larger or darker than their digital values because of plate, ink, pressure and substrate behaviour. Profiles and press curves compensate for the intended print condition. Uncoated or absorbent materials generally behave differently from coated film or paper.

There is no single safe value for every process. Minimum positive text, reversed text, line weight, gap and isolated dot depend on press, ink, substrate, colour build and viewing distance. Ask for the production specification when fine detail is important.

PDF/X is a family of ISO-standardised PDF subsets for reliable exchange of print data. It restricts or defines features that can create ambiguity and includes an intended printing condition. A PDF/X badge does not prove that dimensions, spelling, bleed or artwork quality are correct.

PDF/X-1a is a legacy CMYK/spot-colour workflow that does not retain live transparency. PDF/X-4 supports colour-managed content and live transparency. PDF/X-6 is a newer PDF 2.0-based option. Always supply the version requested by the actual printer rather than assuming the newest is automatically best.

No. SVG is useful vector artwork for screens, but it can contain web fonts, filters, clipping, embedded raster images and unsupported colour behaviour. Convert or place it into the requested production workflow and check the result.

Yes. Vector containers can include embedded or linked raster photographs. Check every placed image at its effective final-size resolution.

Flatten only when the printer requests it. Premature flattening can rasterise text, damage transparency and remove editable white, cut or foil layers. A sensible handover includes a clean print PDF plus an archived editable source package.

They are characterisation datasets for particular offset-printing conditions, not universal “quality levels”. FOGRA39 relates to an older coated sheetfed offset condition; FOGRA51 supports PSO Coated v3; FOGRA52 supports PSO Uncoated v3. Flexible packaging, labels, wide-format and digital presses may require different profiles.

No single profile should be assumed. The correct ICC profile depends on the press, ink, material and production route. Ask for the product-specific artwork instruction instead of applying FOGRA39, FOGRA51 or another profile by default.

It is a formula for comparing measured colours in a way intended to track visual perception better than simple older Delta E calculations. A number is only meaningful when the measurement method, illuminant, substrate, instrument conditions, sample and agreed tolerance are defined.

No. Contract proofing, process control and brand spot-colour agreements can use different datasets, instruments and acceptance criteria. Any quoted tolerance must come from the exact production specification rather than a generic number.

It describes how the label faces on the roll and which edge leaves the roll first. Automated applicators may require top, bottom, left or right edge leading, with the print wound inside or outside.

Do not rely on a position number alone. Numbering diagrams can differ between suppliers. Send the co-packer or machine diagram and describe inside/outside wound plus the leading edge in words.

The customer’s co-packer, bottling line operator or applicator supplier. SLAPSTA can reproduce the requested format, but cannot infer a machine feed path from the label artwork.

Finished label width and height, roll core internal diameter, maximum roll outside diameter, web width, gap between labels, labels across, inside/outside wind, leading edge, liner material, splice rules and required quantity per roll.

The internal diameter of the cardboard or plastic tube on which labels are wound. The applicator mandrel must match it.

The largest finished roll the applicator can physically hold. It controls how many labels can be placed on one roll and affects roll weight and change frequency.

The total width of the roll liner. It may be wider than the label because it includes edge waste and may contain more than one label across.

The liner space between successive labels. Applicator sensors use this gap or a registration mark to detect each label. The required gap must match the machine.

The number of label lanes placed across the roll width. A press may print several lanes efficiently, but the final rolls must be slit to the format required by the application equipment.

Slitting cuts a wide printed web into narrower rolls. Rewinding transfers and tensions the labels onto final cores in the specified direction and roll size.

After kiss cutting, the unwanted face material around the labels is removed from the liner. Extremely narrow gaps, sharp corners or weak stock can make matrix removal difficult.

Labels are cut edge-to-edge with no waste gap between them. It can improve material use for simple shapes but is not appropriate for every applicator, laminate or design.

A controlled line of small cuts that allows a section or individual label to tear away. Its strength and spacing must balance handling with easy separation.

A multi-layer label that opens to provide extra information in limited space. It needs specialist materials, construction and usability testing, especially for repeated opening or regulated copy.

Direct-thermal media darkens with heat and needs no ribbon but can be sensitive to heat, light and abrasion. Thermal-transfer printing melts ribbon onto the label and can provide greater durability when ribbon and stock are correctly matched.

Use a clean spreadsheet or CSV with one row per item and stable column headings matching the variable fields. Remove duplicates where they are not intended, define leading zeros and character rules, and approve a data proof before the full run.

A printed paperboard package supplied flat and folded into shape, commonly used for retail products. It can include glue tabs, tuck ends, crash-lock bases, windows, inserts and tamper-evident structures.

A premium box built from thick board that is wrapped rather than folded from one thin sheet. Common forms include lift-off lid, shoulder/neck, book-style and magnetic-closure boxes.

A board structure made from fluted paper between liner sheets. It is used for shipping, ecommerce, display and protective packs where compression and impact performance matter.

A self-locking corrugated or paperboard box often used for ecommerce and presentation. Product weight, postal handling, closures, inserts and empty space determine the correct grade and structure.

A printed band that slides over a tray, box, jar group or other pack. It can add branding with less material than a full printed carton but must fit closely enough not to slip off.

SBS is solid bleached sulphate board with a clean white appearance; FBB is folding boxboard built in layers for stiffness at relatively low weight; kraft board uses brown or bleached kraft fibres for strength and a natural look. Availability and exact performance vary by mill grade.

They describe corrugated flute profiles or combinations. E flute is relatively thin and suited to fine retail print and compact mailers; B and C are thicker protective shipping grades; BC double wall combines two flutes for heavier-duty performance. Final selection must be based on tests, not the letter alone.

The Edge Crush Test measures edgewise compression of corrugated board and helps predict box compression/stacking performance.

It measures the pressure required to rupture or puncture corrugated board. It describes a different failure mode from ECT, so the two ratings should not be treated as identical performance guarantees.

Consider packed weight, dimensions, product support, stacking height, pallet pattern, humidity, courier impacts, storage time, automation and retailer/carrier rules. Physical transit testing is preferable for important launches.

Caliper is material thickness. It affects stiffness, crease setup, fit, print impression and the internal dimensions of a folded pack.

Paperboard fibres have a manufacturing direction. Grain affects stiffness, folding and cracking. Structural dielines should be oriented with grain direction considered before artwork and tooling are finalised.

A controlled channel is pressed into board so it folds accurately. A score line is not a cut line. Coatings, heavy ink and incorrect grain can crack at the fold.

The area bonded to another panel to assemble a carton. Keep important graphics and functional codes away unless the structure specifically allows printing there.

A pre-glued base that opens and locks as the carton is erected. It speeds packing but requires compatible board, tooling and product weight.

A card, corrugated, foam or moulded component that holds the product in position. It should be designed from the real product and tested for fit, presentation and transit protection.

Internal product dimensions and weight, desired internal clearance, packed quantity, box style, quantity, print coverage, board preference, finish, window/insert/closure needs, delivery format, destination and required tests.

Never assume. Structural packaging is usually specified using a stated dimension convention, and board thickness changes the other measurement. The quote and dieline must clearly identify internal versus external dimensions and dimension order.

It checks physical fit, closure, assembly, shelf presence and product protection before money is committed to printed production. It will not prove final colour or finish.

A sample made using intended or closely representative print, board and finishing. It is more informative than a plain sample but can carry tooling, setup, freight and longer lead time.

Embossing physically raises an area of paperboard or suitable stock. It normally uses matched tooling and needs enough space from cuts, folds and very fine detail.

Debossing presses an area into the material. It can be used alone or registered with print or foil, subject to tooling and material limits.

Embossing without printed ink or foil in the raised area. The effect comes from light and shadow on the material itself.

Foil and relief are combined so the reflective element is also raised or pressed. It delivers strong luxury impact but needs accurate registration and dedicated tooling.

A thicker selective clear coating that creates noticeable relief. It is not structurally identical to embossing and can have minimum line, height, flexibility and cracking limits.

A sheen level between gloss and matte. It reduces harsh reflections while retaining more colour punch than many matte finishes. Availability depends on the exact laminate or coating system.

A water-based liquid coating commonly used on printed paper and board to provide sheen, handling protection and faster finishing. It is thinner than film lamination and its resistance depends on formulation and substrate.

A specialty material or coating that creates visible particles or surface texture. It may affect small text, scanning, cleanliness and recyclability, so it must be sampled and quoted specifically.

Fluorescent inks produce colours outside ordinary CMYK, while metallic inks contain reflective particles. Both behave differently across materials and may need dedicated spot separations and physical proofing.

Thermochromic inks change with temperature; photochromic inks react to light. Their colour range, activation conditions, lifespan and regulatory suitability are highly product-specific and must never be promised without supplier confirmation.

An opaque removable coating conceals unique or fixed information until rubbed away. It requires compatible base layers, controlled opacity and testing so the hidden data is not visible or damaged.

Options can include destructible or VOID labels, holograms, microtext, sequential numbers, variable QR codes and tamper-evident seals. “Security” does not automatically mean counterfeit-proof; use layered controls and define the threat being addressed.

No. UV printing describes how the ink cures. Outdoor resistance to sunlight is a separate performance property affected by pigments, substrate, laminate and exposure.

Inline finishing occurs during the same press pass; offline finishing uses a separate machine or operation. Inline can improve speed and registration, while offline can offer specialist effects or flexibility. The best route depends on supplier capability and run size.

Motion design applies animation principles to typography, logos, graphics, illustrations, packaging and interface elements. It is normally a marketing or visualisation deliverable rather than part of physical printing.

Lottie is a JSON-based animation format commonly used in websites and apps. It can be lightweight and scale cleanly when the design uses supported vector features. It is not a universal replacement for video.

Use it for animated icons, logos, interface moments and relatively simple vector scenes that need responsive playback. Confirm the target website/app framework and test the actual export.

Video is better for live action, photorealistic 3D, heavy textures, particles, blur and complex compositing. WebM can support web-focused delivery and, in supported workflows, transparency; MP4/H.264 offers broad compatibility but usually no alpha transparency.

Lottie renderers do not support every After Effects effect, expression, mask, blend mode or third-party plugin. A Lottie deliverable should be designed within the supported feature set and tested on the intended player.

An animation with an alpha channel so the background beneath remains visible. Delivery format must be agreed because GIF has limited transparency, ordinary MP4/H.264 generally has none, and browser support varies for alpha-capable video codecs.

A digital model with artwork, materials, lighting and camera applied to simulate the finished pack. It is useful for marketing and concept approval but does not prove real substrate colour, foil registration, texture or structural fit.

A UV map is the flattened coordinate layout that tells a 3D model where to display artwork and textures. It is unrelated to ultraviolet printing or spot UV coating.

Physically based rendering may use base-colour, roughness, metallic, normal and ambient-occlusion maps to simulate materials. For example, roughness can help distinguish matte areas from glossy or foil-like highlights.

Texture baking transfers lighting or high-detail surface information into image maps used on a simpler 3D model. It can improve real-time web or AR performance, but is unnecessary for many standard product animations.

Usually not directly. The flat production artwork should remain the authoritative source. Renders contain perspective, lighting and shading that are inappropriate for dieline output.

Approve the script, storyboard, duration, aspect ratio, static style frames, product artwork and key claims first. Structural changes become more expensive after rigging, 3D lighting, compositing and sound are complete.

Before production, confirm: correct customer/order/SKU; correct dieline and finished size; bleed and safe zone; suitable effective resolution; requested CMYK/spot setup; fonts outlined and links embedded; white, foil, varnish and cut paths separated; overprint and transparency checked; barcodes/QR codes tested; customer-supplied wording and warnings approved; proof version recorded; and production notes stating material, finish, quantity, variants and orientation.

The physical product or container; capacity and exact dimensions; quantity; number of designs, sizes or SKUs; label-applied or direct print; print sides; material, adhesive and finish; white ink, foil, spot UV or window requirements; artwork condition; in-hand date and delivery country; compliance/code ownership; and whether a physical sample or colour match is required.

Useful primary references include Fogra characterisation data, the International Color Consortium, the PDF Association PDF/X overview and GS1 barcode quality guidance. A reference to a standard does not prove that every SLAPSTA product or supplier is certified to it; confirm the exact job specification.

No. This library explains common design and production practice. The exact live product variant, material data sheet, approved proof and current written quote define your order. Ask before relying on a tolerance, certification, production time, colour target or suitability claim.

Call +44 (0)1283 845 281, email info@slapsta.com, use the website chat, or request a tailored quote. For order support, include the order number. For print issues, include clear photos and the affected quantity.

Published office hours are Monday to Friday, 10:00–18:00 UK time. The live human-chat card on this page checks the current time in Europe/London and is greyed out outside those hours. The website AI can still help when the human team is closed.

The current storefront banner advertises phone lines as open 8:00–22:00 UK time. If the line is busy or unanswered, use email, the website AI or the quote form so the team has a written record of what you need.

Yes. The website AI is intended for 24/7 general product, policy and process questions. You can also use @SLAPSTABOT on Telegram where available. Complex quotes, legal/compliance conclusions, complaints, production exceptions and fixed-date promises still need a human.

Include your order number, the email or name used for the order, the exact item/variant, what happened, when it happened, the quantity affected and the outcome you need. For physical issues, attach overall photos, close-ups, measurements and the shipping label or batch information.

SLAPSTA is based at Unit 3, Steel Fabs Industrial Estate, Victoria Crescent, Burton-on-Trent, DE14 2QD, United Kingdom. The studio is for confirmed appointments and collections only; contact the team before travelling.