Nike using Esko’s Studio to save time and costs in packaging design

Over 80% of time is saved on creating high quality 3D images.
Over 80% of time is saved on creating quality 3D images.

Nike’s Global Football Division is using Esko Studio for its packaging design – leading to considerable improvements in user experience, concept communication and substantial time savings – and therefore cost reduction. Nike was seeking a tool that was compatible with Adobe Illustrator and could save time in creating high quality 3D design images. Esko’s Studio, a unique set of tools for 3D packaging design made specifically for packaging artwork pros, has led to significantly improved efficiency for Nike, with over 80% time saved on creating high quality 3D images. Nike has also seen an increase in team productivity and collaboration. “I realized very quickly that Esko had figured it out – this is something I’ve needed for the last 10 years,” said Matt Maghan, Global Apparel and EQ Packaging Designer at Nike. “We definitely save time and it’s brought a significant increase in our productivity. Something that would have taken two, three or four hours of Photoshop work, now only takes about 10 minutes.”

Esko Studio is a modular solution, a mix of plug-ins and applications that work tightly together and integrate seamlessly with essential design tools such as Adobe Illustrator. Adobe recently launched Creative Cloud 2018, with new Illustrator, Photoshop, InDesign and more. Esko subsequently released new versions of all its plug-ins to support Adobe’s new version of Creative Cloud. All of Esko’s Adobe Photoshop and Illustrator plugins – including Studio – are now completely compatible with the new version, helping designers to accelerate their packaging design. Studio even has support for complex multi-piece structures from Esko’s ArtiosCAD – the world’s most popular structural design software for packaging design – enabling users to place structural design files from ArtiosCAD or from one of the Studio Toolkits. Studio takes care of the technical aspects of packaging, including barcodes, nutrition tables and so on, so that packaging designers can focus on what matters most to them – the creative aspects. It does so in a way that’s very intuitive and user-friendly, said Esko.

“There’s not a large learning curve with Studio,” said Maghan, “especially when you already know Illustrator. I picked it up probably within an hour. What I really enjoyed is the Studio part of it, building the package. In my work, I don’t just deal with one sheet of paper that folds up into a box – they all have trays, lids and everything. So I go into Illustrator, build out my ArtiosCAD files, and build them in Studio (which I always find fun), then load that into Illustrator. I can show my clients my ideas very clearly. Being able to build those scenes of what exactly I’m looking for and then import that back into Illustrator using my flat die-line art, has probably been the biggest game-changer for me,” added Maghan.


Tony Curcio is the editor of Graphic Arts Magazine.