When Is Your Brand Ready for Printed Cans?

Most beverage brands start with labeled cans. Labels are flexible, the minimums are low, and when you’re figuring out your beverage lineup, that flexibility matters. Plenty of brands stay with labels for years because labels are the right fit, and that’s a perfectly good decision.

Printed cans are a different approach. They cost more per unit than labels, so it’s not simply a decision about one or the other. It’s more about which one fits your brand right now.

Here’s how to tell when printed cans are worth a look, and when sticking with labels might make more sense.

When Printed Cans Start to Make Sense

Brands usually start considering printed cans at the following times:

Your category leans toward printed cans. In some categories, printed cans are basically the standard. Walk down the energy drink aisle and nearly every can is printed directly on the aluminum. When a whole category looks one way, a labeled can can read as the less established option, even when the product inside is excellent, and it may get less consideration from buyers and retail accounts who are used to the category norm.

Volume is growing, and labeling is eating into production time. If you’re labeling cans internally, there’s a point where the process becomes a real bottleneck. We see this a lot with breweries doing 1,000+ cans per run. Handing label application off to a label converter is a common approach, but that will add cost too, so this can be a good time to compare both options.

You want one less variable in wet, cold conditions. The right label materials handle coolers, ice, and condensation just fine. A quality BOPP label, applied well, holds up well to moisture and cold environments. If you’re seeing wrinkling or peeling, that’s usually a sign the material or application isn’t matched to the conditions, and it’s often fixable by switching materials or label protection. Printed cans, on the other hand, take the question off the table entirely, because the ink is cured directly onto the aluminum and there’s nothing to lift or peel.

You’re moving into distribution with large retailers. Taproom-only brands have more room for a handmade, personal look, and that look often works in their favor. But when your cans sit next to nationally distributed brands in a cooler at large retailers, small differences get noticed.

None of these on its own means you should switch. Labels are often the right call, especially given the lower cost per unit. But if two or three of these line up, printed cans are worth running the numbers on.

Printed cans

What the Switch Actually Looks Like

Moving to printed cans is simpler than most brands expect. Here’s the basic process:

  1. You send us your artwork. If you already have label designs, they’ll need some adjustments for can printing (different dimensions, different bleed areas, barcode placement). We walk you through what needs to change. If you’re curious about the details, our guide to designing for printed cans covers the technical side.
  2. We produce a pilot can. This is a physical prototype of your design, printed on an actual can, so you can hold it, check the colors, and show it to your team before committing to a full run.
  3. Your team approves the pilot. Once you’re happy with how it looks and feels, we move to production.
  4. Production runs in about 10 business days from pilot approval. Your digitally printed cans arrive ready to fill. No separate label order. No applicator setup. No labeling step on your canning line.

What changes in your workflow: You stop ordering labels and brights separately. You stop scheduling labeling time. Your cans arrive finished.

What stays the same: Your filling process, your canning line, your distribution. The cans just arrive ready to go.

Labels vs. Shrink Sleeves vs. Printed Cans

Each option has a place. The right choice depends on where your brand is right now.

Labels Shrink Sleeves Printed Cans
Best for Early-stage brands, high SKU variety, frequent design changes, lower budgets 360-degree coverage, complex graphics Established SKUs, growing volume, retail shelf presence
Minimum order No minimum order quantity No minimum order quantity ~1,600-2,000 cans per SKU
Lead time 5 business days after artwork approval 5 business days after artwork approval 10 business days (after pilot can approval)
Durability Excellent with the right material like BOPP. Matching the stock to the conditions is what matters. Good moisture resistance Excellent. Ink is bonded to the aluminum.
Shelf presence Strong. A well-made label looks great, with a visible edge up close. Smooth, full coverage Premium. No edges, no seams, no peeling.
Sustainability Adds a label layer to the can Plastic sleeve is typically not recyclable with the can Fully recyclable. No extra materials.

 

Pro tip: A lot of brands use a mix. Printed cans for their core lineup (the beers or beverages that sell consistently) and labels for seasonal releases, collaborations, or limited editions where they need design flexibility and lower quantities. This isn’t a transition you have to finish. Plenty of brands run both formats for years because each one earns its place.

Printed beer cans

What Printed Cans Can (and Can’t) Do

Printed cans offer finishes that used to be reserved for big national brands with six-figure order minimums. Until recently, most printed can orders required 100,000+ cans per SKU with 12-week lead times. Digital printing has changed that completely.

Available finishes:

  • Matte and gloss 
  • High build (emboss) for a raised, tactile effect
  • Selective metallic, where the bare aluminum shows through your design for a natural metallic look
  • Spot varnish applied to specific design elements

The selective metallic option is worth calling out. Instead of printing a white layer under your entire design, you can leave parts of the aluminum exposed. It creates a metallic effect that’s built into the can itself, not printed on top of it. We see brands use this for logos, accent details, or background textures.

Limitations to know about:

  • Fine text needs to be 7pt or larger for readability
  • Barcodes work best in vertical orientation on cans
  • Your designer will need to think about the can’s curve, especially near the top and bottom edges where the shape changes

Our designing for printed cans guide covers all of these in detail.

How to Test Printed Cans Without Committing

One of the biggest concerns we hear is: “What if I invest in printed cans and they don’t work for us?”

That’s exactly why the pilot can exists. You can:

  • Check the colors against your existing labels or brand guidelines
  • Show it to your sales team and your retail accounts to get feedback before you commit
  • Test consumer response at a taproom, a market, or an event
  • Confirm the design works on a curved surface before running thousands

Worth knowing: Some brands order pilot cans for 2-3 designs at once to compare finishes (matte vs. gloss, metallic knock-outs vs. full coverage) before choosing their production spec.

Ready to See What Your Brand Looks Like on a Printed Can?

If a few of these signs are lining up for your brand, the easiest next step is a pilot can. It’s a low-risk way to see your actual design on an actual can before making any production decisions. And if labels are still the right fit for where you are, that’s a good answer too.

Check out our printed cans page to see what’s possible, or request a quote and we’ll walk you through the options for your specific brand.

Designing for Printed Cans: What You Need to Know

If this is your first time switching from labels to printed cans, the goal isn’t to redesign everything, it’s to understand how can printing is different from labels or sleeves and how to brief your designer so the final result looks exactly the way you expect.

The biggest difference:

Artwork is printed directly onto the can using high-speed digital inkjet technology with the can rotating while ink is applied. That process changes how fine details, text, color layering, and registration behave compared to pressure-sensitive labels or shrink sleeves.

We’ll walk through the adjustments you need to make to get great looking printed cans without any surprises.

Core Design Differences Your Designer Needs to Know

1. Fine Text and Line Work

Printed can technology uses multiple print heads and layered color separations, and the resolution is lower than what designers are used to with pressure-sensitive labels or shrink sleeves. That means very small text or thin lines can look less crisp than expected.

Our recommendations:

  • Use single-color black for small text, legal copy, and barcodes
  • Avoid rich black (CMYK black) for fine details
  • Avoid thin outlines or drop shadows on small text
  • Keep line weights above recommended minimums (0.1pt for lines; avoid ultra‑fine hairlines), and keep small text above minimums (7pt and up for single‑color text, larger if reversed out or multi‑color)

Printed cans design - fine text and line work

2. Barcodes

Barcode orientation and color matters more on printed cans than it does on labels.

Our recommendations:

  • Barcode print direction should run vertically (bottom to top)
  • Minimum size should be 85% normal size. Some customers do choose to use a reduced barcode size, however, the Bar Code Council and ANSI scanning requirements advise that the code bars should not be truncated (shortened) or reduced, but in full size. 

Printed cans design - barcodes

3. Gradients and Color Blends

Printed cans handle large color fields and imagery very well. Issues tend to appear when gradients are extremely subtle, when many colors are stacked into small areas, or when fine text sits on top of complex blends.

Our recommendations:

  • Use gradients with clear tonal separation and sufficient contrast; avoid ultra‑subtle fades (for example, 1–2% tint steps) and very long, low‑contrast blends that can band or break up at ~900 DPI on a rotating can
  • Avoid placing small text over busy or highly detailed backgrounds
  • Reduce the number of inks used to build text and small graphic elements. Specifically, avoid CMYK or multi‑color builds for typography; use single‑ink colors where possible, and limit text to one color (or two at most) to reduce registration risk across multiple print heads.

Printed cans design - gradients and color blends

Designing for the Can’s Shape

Neck (Top) and Chime (Bottom) Live Areas

With cans, the neck and chime curves matter from a design standpoint.

  • The very top and bottom of the can curve more, which can cause distortion, softening, or loss of clarity in small text and fine details as ink is applied over tighter radii
  • Text and fine details should stay within designated safe zones, typically keeping critical text and thin line work at least 15mm away from the very top flange and bottom of the can, where curvature increases and print clarity is more likely to degrade
  • Many successful designs transition to solid color or simple patterns near the top

We can provide templates, and it also helps to tell designers early that the top and bottom of the can are not ideal places for critical text.

Using the Aluminum Can as a Design Feature

One advantage that often gets overlooked is the metallic nature of the can itself.

Designers can let the natural aluminum show through, use selective white ink to control where metallic effects appear, and create shimmer or depth without foils or specialty materials.

Common ways designers and brands use the aluminum itself as a design feature include:

  • Metallic highlights: Leaving aluminum exposed behind logos, illustrations, or key accents to create natural shine without foil or specialty coatings.
  • Patterned metallic fields: Using repeating patterns or textures with selective white ink to create contrast between matte inked areas and reflective metal.
  • Depth and layering effects: Letting metallic areas sit behind translucent or lightly inked colors to create visual depth and dimensionality.
  • Premium negative space: Intentionally unprinted areas that give the design space.

Embellishments You Can Use Digitally

Digitally printed cans support several embellishments without plates or added materials. Everything is applied inline during printing.

Embellishment What It Does When to Use It
Matte finish Reduces glare and softens the look Premium, modern brands
Gloss finish Adds shine and contrast Bold graphics and shelf impact
Gloss finish Adds extra sheen and depth Highlight areas and logos
High Build/Emboss Creates tactile texture Logos, typography, focal elements

File Preparation

Here are some baseline expectations to communicate with your graphic designer:

  • Fonts outlined (no live fonts in final files)
  • Images embedded, not linked (no external file dependencies)
  • Files must be CMYK (no RGB)
  • Raster images supplied at 300 DPI at final print size; avoid upscaling low‑resolution assets
  • Spot colors used only when explicitly specified and approved for the digital can workflow
  • Create separate layers for selective white/metallic printing or selective varnish

Proofing and Prototyping Options

There are several ways to proof and validate artwork before moving into full production. Depending on the project, proofing options could include:

  • Digital proofs: Used to review layout, copy, color intent, and overall composition before anything is printed.
  • Pilot cans: Physically printed cans that show real color on aluminum, text clarity, embellishment effects, and how the design behaves under lighting, moisture, and handling.

Pre-Flight Checklist: 10 Things to Check

Before finalizing artwork, make sure you can confidently check the following:

  1. Small text is single-color where possible, and meets minimum size guidelines (generally 7pt or larger)
  2. Line weights meet minimum thresholds (generally 0.1pt or heavier)
  3. Barcodes are oriented vertically
  4. Gradients use sufficient contrast and avoid ultra-subtle tint steps
  5. Fine outlines, drop shadows, and multi-color text builds are minimized
  6. Critical text and details stay within top and bottom safe zones (15mm from the neck and chime)
  7. Use of exposed aluminum or metallic effects is planned (if desired)
  8. Embellishments (matte, gloss, high-gloss top coat, raised ink) are clearly defined
  9. Artwork has been reviewed at 100% scale with digital-can resolution expectations in mind (~900 DPI)
  10. A proofing plan is in place

Next Steps

When you (and your designer) understand how the printed can process works, it becomes much easier to provide artwork with confidence and avoid surprises once cans are on the line.

If you’re exploring printed cans and want to learn more, we’re always happy to talk through what’s possible, answer design or production questions, or help you get a quote for your project.