I work with packaging-related design projects, and one thing that can become difficult is keeping track of artwork revisions when a project goes through several rounds of changes.
For example, a box design might have changes to the logo, product information, colors, images, or dieline at different stages. After several revisions, it can become surprisingly easy to open an older file by mistake.
I’m curious how other designers handle this:
Do you use a strict file-naming system for each revision?
Do you keep separate folders for working files, proofs, and approved artwork?
How do you mark the final approved version?
Do you use Illustrator/InDesign version history or an external file-management system?
At what point do you lock the dieline and stop making structural changes?
Do you keep old revisions after the final artwork has been sent to production?
I’m especially interested in simple workflows that work well when several people are reviewing the same packaging project.
When proof 2 comes along make a Proof 2 folder
Move proof 1 into the Previous folder
Proof 2
Artwork
Links
Supplied
Previous
Proof 1
Artwork
Links
Supplied
It could be version 10
so just end with
JobNo_v10
I’ll have
Proof 10
folders as above
Previous folder
and 9 proof folders here
all versions of all proofs are here
Just save as a new file name with the _vX
At the beginning. This should be locked in at first.
Additional changes can be made but that will be documented and stored in the releveant supplied folder for that proof version.
[quote=“sammiller, post:1, topic:34824”]* Do you keep old revisions after the final artwork has been sent to production?
[/quote]
Yes, all revisions are stored in the Previous folders.
all annotations, all requests, all changes and all quality checks are stored in each proof version folder.
Traceability to error is paramount to finding where the error came from, supplied or artwork error, and then being able to build on to the systems in place to ensure those don’t happen.
If it’s client error it’s chargeable, if not then it’s on me.
Inspiration, notes from client, assets, working files, an Indesign package folder of the project that goes to print. I’ve also got an archive with a copy of every proof I’ve sent out for the last 5 years, and then a separate archive that goes back to 2006 or so.
I package in Indesign and include the print date in the folder name: ClientName-Project-Approved-30Sept2026
I send PDFs to my contact using the Share feature in Acrobat, then they forward to their proofing team, which can be up to 30 people. Everything is done in the browser, so they don’t need to install anything. Everyone can see everyone else’s comments and mark ups in real time, and they can respond to each other within the proof. When my contact says they are finished, I Unshare it so they can’t continue with the review. I make changes, then send another proof.
Smurf2’s system above is solid — a few additions from my side that have saved me real headaches on packaging jobs:
Keep a tiny changelog. In every Proof folder, drop a one-paragraph text note listing what changed since the last proof (“v3: fixed barcode size, updated ingredient line, moved nutrition panel 5mm”). When three people are reviewing, nobody remembers what moved — the note settles arguments fast.
One channel for feedback. With multiple reviewers, ask the client to funnel all comments through a single contact who resolves conflicts before sending them to you. Contradictory markups from two departments on the same PDF is the classic cause of “final_v9”.
Lock the dieline in writing. Get a signed-off dieline PDF approved before artwork starts, and state in your quote that structural changes after sign-off are billed separately. Moving a fold after art is done wastes hours.
Preflight the final export. Run a preflight check on the press-ready PDF (missing fonts, low-res images, RGB stragglers) and save the report in the Approved folder — cheap insurance if the printer ever asks questions.