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t h e p r e p r e s s m a g a z i n e f r o m y o u r t e a m p r e n e u r

issue #1 / m ay 2016

Quality and brand

awareness at Bahlsen

The long partnership with

Janoschka for more than 20 years

Cognac from Henri Mounier

The well-known distillery

relies on Janoschka prepress

e d i t o r i a l

issue #1 © l i n k e d

Dear Reader,

In your hands, you are holding – straight off the press –

the very first edition of Linked, the Janoschka magazine.

Linked expresses our desire to stay in touch with you,

our customers and partners. For it is this bond and our

daily working together that continually lead to the best


Through Linked, our wish is to deliver valuable information

on new technologies and innovations to you. We would

like to share our 40 years of experience in the packaging

and decor market with you and offer suggestions that can

enhance your day-to-day business.

We also tell stories in this magazine. Stories, which, at

first glance, may seem to have little to do with Janoschka,

but which, on closer inspection, are strongly linked to us.

Linked provides information and entertainment. So, on

that note: enjoy reading our first edition!


Alexander Janoschka

c h i e f e x e c u t i v e o f f i c e r

2 c o n t e n t

index issue #1





4 The snake has gone, but the freshness remains

Quality and brand awareness at Bahlsen

10 No such thing as “no can do”

Digital printing gives creative professionals free rein

in surface design

face to face

14 About paradise and the angels’ share

Savour with all the senses – cognac from the

Henri Mounier distillery

knowledge & competence

20 Strategies for combating product and

brand piracy

Accumulating expertise towards printed functionality

24 Feel with your hands and your eyes

Tactile surfaces in 3D for the packaging and

decor industry

26 Finest line width on the finest paper

The fine art of tipping design

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14 39

network & people

28 Janoschka. your teampreneur

Together for success and quality

32 Chocolate instead of salted dried fruit?

The appetite for its enjoyment in Russia and Asia


36 Online collaboration tools

Prepress – thinking out of the box

37 Network

Service Office in Singapore extends global network

to tell the truth

34 Do you know why yoghurt pots have wraparound


Facts behind environmental protection arguments

38 Janoschka packaging: brands

Packaging Simulation – packshots, mock-ups

and shelf scenarios

39 Janoschka packaging: converters

Expansion of the range of flexographic products

and services


i n s i g h t s

the snake has gone,

but the freshness remains

Quality and brand awareness at Bahlsen

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Dynamic, modern and fresh: this is Bahlsen’s new brand image, which underlines

the company’s tradition as a family-run enterprise at the same time. It is

not just the product images, colours and lettering that create a more emotional

tone, Bahlsen’s brand logo has also been reworked to make it more compelling

and contemporary. The Bahlsen lettering, having stood the test of time over

decades, is used in the logo to form the founder’s signature as a symbol of his

promise of quality. The logo has been refined to its essence and, with that, the

company also took leave of the TET letters, which are replaced by a red dot.

Just who would not recognise it? A white

snake on a red background, along with the

three letters “TET”? This ancient Egyptian

hieroglyph means “everlasting” and

referred to a packaging designed to keep

the biscuits fresh for longer. It is only the

founder’s signature that now remains as

a symbol of the type of baked goods that

found their way onto the German market

at the end of the 19th century.

With his vision of “enduringly fresh biscuits”,

Hermann Bahlsen was making

market and brand history from day one.

And it was not that he just brought biscuits

to Germany, he also gave them their

name. Working as an exporter in the sugar

trade for an English company, he recognised

the potential of high-quality “cakes”

for the German market at the end of the

19th century. In 1889, he established his

Hanoverian factory, the Hannoversche

Cakes-Fabrik H. Bahlsen. In this part of

the world, there were only very simple

types of biscuits – exquisite “cakes” having

neither a name nor a recipe. As a result,

the first butter biscuits, named after

Gottfried Wilhelm Leibniz, the German

mathematician and philosopher, went on

sale as “butter cakes” two years later.

In 1911, Hermann Bahlsen replaced the

cumbersome Anglicism “cakes” with the

Germanised form, “Keks” (meaning biscuit),

which appeared in the Duden, the

dictionary of the German language, for

the first time in 1932.

The branding was developed with a high

level of consistency. Bahlsen biscuits

were to be of high-quality, have a long

shelf life and be affordable for everyone.

Combining winning recipes with effective

packaging that also conveys the right

brand image was an obvious approach.

The fine taste of the first butter “cakes”

was a revolution in the German biscuit

culture, while the paper packaging also

set new standards – considering that until

then, biscuits were only sold loose from

boxes and tins. Shortly after the turn of

the century, Hermann Bahlsen went a

step further and introduced the first TET

packaging. Based on the ancient Egyptian

hieroglyph “dsched”, meaning “everlasting”,

the snake was drawn above a loaf

along with the simplified designation,

TET. In 1904, the first cardboard packaging

that was dust and moisture-resistant

and displayed the letters, TET, was created

to protect the high-quality, delicious



i n s i g h t s

around the world in elegant pack aging

High-quality packaging is as much a part of the Bahlsen

brand as is its great taste. From the tins to the first

thermoplastic rigid packaging, to resealable packaging,

Bahlsen has repeatedly demonstrated an innovative

spirit. As it developed into a global brand, the

issue of branding consistency became ever more important.

“Our whole brand appearance is optimised

to present the products with maximum appeal,”

explains Kamran Wührmann, Bahlsen’s Marketing

Director for Germany.

So, brand-building elements in particular, such as

the logo or large areas of colour, must always look

the same so as to avoid deviations weakening

the persuasive power of the products. “In addition,

consumers of our brand have a certain image

in their head that must be matched. If consumers

cannot find what they are looking for on the shelf,

they buy another product. We cannot take this lightly

because more than 70 percent of purchase decisions

are made at the point of sale,” adds Mr. Wührmann.

This may sound very obvious, but it is actually very

complex to implement. A large number of products

are now produced under the umbrella brands of Bahlsen

and Leibniz and exported to over 55 countries.

Janoschka is responsible for the prepress process of

the printing of Bahlsen’s packaging at a total of 20

different printers at various locations. “Our task is

to ensure the brand identity of Bahlsen and Leibniz

can be reliably printed on a variety of materials: paper

packaging, cardboard boxes, tins and also the outer

corrugated packaging should provide the unmistakable

look and feel. The big challenge is that these

very different materials have to be printed not only at

different printers, but also using different printing processes,”

explains Markus Fautz, Operations Manager

on the Janoschka Brand Team.

issue #1 © l i n k e d 7

print colour management –

the key to branding consistency

In packaging printing, gravure, flexographic and offset printing

are the dominant processes. Up to 70 variables and their interaction

can affect the print results – there are hardly any industry

standards because of the immensely wide range of substrates,

ink systems and finishing processes. To close this gap, Janoschka

has developed a professional print colour management. “Previously,

attempts to compensate for fluctuations in the print results

were made using the printing machine’s settings. This was very

time-con-suming and the results were usually unsatisfactory.

Through the print colour management system, we can shift the

focus to printer-specific conditions already in the digital phase,

thereby avoiding costly mistakes during the production run,”

explains Mr. Fautz. This approach has fundamentally changed

the entire prepress process. Reproduction is now set up not only

according to the printing process, but also depending on the circumstances

at a particular printer.

For Janoschka, this means that it must be clear where Bahlsen

will be printing the packaging before the reproduction stage

commences. The prepress specialists then produce a fingerprint

on-site for each of these printers. That is, they print suitable reference

images, test charts and control elements using a special

test form. So, the settings on the printing machine, the substrate

used, the sequence of colours and the possible finishing are

already matched to the subsequent printing conditions. Based

on the printed fingerprint, using corresponding measurements,

the so-called characterisation data are determined: these data

describe the colour space of precisely this particular printing

condition. The individual colour profile, which enables production

of a printer-specific reproduction, is created on the basis of

precisely these characterisation data.


i n s i g h t s

more brand for the same money

In general, the earlier in the packaging creation process

that you start to think about the production run,

the more cost-efficient and unerringly you can prepare

your way there. “Again and again, we explain to our

customers that you can have more brand for the same

money. To achieve this, we should sit down together

as early as possible in the design phase and then steer

the process, starting from the artwork. In this role, we

can achieve the greatest added value for our customers

because, for one thing, we communicate between

the creative and the industrial pole and, for another, we

can intelligently develop the entire prepress process,”

explains Alexander Janoschka, CEO, in describing

Janoschka’s approach. There is an infinite number of

ways to achieve a particular print result, but the skill is

to prioritise the various interests of the customer correctly

and develop the appropriate prepress solution

for precisely this need. Bahlsen and Janoschka have

been collaborating since the 1990s. “We work very

closely together and have got to know each other so

well that approval is given almost without a spoken

word! This is extremely valuable because, besides

high quality, fast and reliable implementation of our

ideas is crucial for us,” points out Sylvia Balkenholl from

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1891 saw the introduction of the Leibniz “Cake” by Hermann

Bahlsen. Do you know why Hermann Bahlsen gave his biscuit

this name? It was quite commonplace in the 19th century to

name foodstuffs after well-known personalities; it was Gottfried

Wilhelm Leibniz (1646 – 1716), the German mathematician and

philosopher and one of the most famous inhabitant of the city of

Hannover at the time, who gave the butter biscuit its name.

Packaging from 1904

Packaging from 1891

the Packing Materials and Print Services Purchasing

Department at Bahlsen.

One example of a successful balancing act between

cost efficiency, quality and speed is the current relaunch

of the Bahlsen brand. The new look had to be

implemented quickly and with an optimised prepress

process: despite the tight time schedule, Janoschka

was able to reduce the number of cylinders and increase

the quality of the desired colour palette of the

brand. “Essentially, we have developed a special spot

colour for one light and one dark shade of blue, in order

to reach our goal. As a result, the colour meets the

design specifications more accurately and can also be

more easily reproduced with a high level of consistency,”

emphasises Mr Fautz. This enabled Janoschka

to take over some of the cylinders, despite the different

colour schemes designed to distinguish between

different flavours of biscuit. This has allowed Bahlsen,

despite the two special colours, to manage with fewer

cylinders overall since the changeover. This saves

costs and gives the company the freedom to invest in

the brand in other ways.


10 i n s i g h t s




issue #1 ©

l i n k e d


12 i n s i g h t s

no such thing as “no can do”

Digital printing gives creative professionals free rein in surface design

In recent years, digital printing has revolutionised the interior design industry.

Innovative developments have allowed all kinds of decoration to be applied to

materials such as glass, acrylic, wood-based materials, metal and much more.

At first, digital printing was used primarily in the commercial sector where small

runs are often needed. Thanks to this new technology, individually-designed

rooms were no longer reserved for large companies, but had become viable for

smaller construction projects and private homes as well.

The ocean so near – exclusive wall decoration at the Söl’ring Hof Hotel, Sylt

issue #1 © l i n k e d 13

raumProbe Stuttgart – „Quality over Quantity“

Aside from the visual impression, material haptics is also

of great importance to architects and designers. With this

in mind, raumProbe Stuttgart provides a comprehensive

insight into the world of materials. It is a unique combination

of an online database and a materials’ exhibition.

materialWelt is one of the most comprehensive exhibitions

of innovative building materials, with over 50,000 samples.

Since the beginning of May 2016, Janoschka has been

showcasing a variety of digitally-printed material surfaces,

including glass, glass combined with LEDs, acrylics, metal,

melamine and much more.


Whether it is the bakery round the corner, a specially-designed

hotel or a kitchen in a family home – anyone can

now put their own individual mark on their environment

thanks to bespoke interior design. For Janoschka, too, the

appeal of digital printing lies in the ability to combine specific

material requirements with individual design ideas.

But, by developing innovative concepts that make the potential

of this technology attractive for almost any quantity,

the company is going one step further. Digital printing

efficiently consolidates the most varied requirements:

from a single item, through very small ranges that are only

duplicated sporadically, up to actual mass production

The reproduction of decors, including individual custom

design, has been one of Janoschka’s core competencies

since it was established in the 1970s. Whether stone,

wood or fantasy, the company’s design pool includes over

3,000 patterns and textures, leaving next to nothing to be

desired. Using various in-house digital printing technologies,

these decors are applied to high-quality substrates

without difficulty. Since the service life of the interior area

is particularly relevant, special finishing processes ensure

the absolute durability of the print and its resistance to

scratches or other damage. It is particularly interesting

when digital printing penetrates areas where, until now,

special material requirements called for sacrifices in design

or stability. External influences such as temperature

fluctuations and humidity cause major problems for conventional

digital printing.

The new speciality digital printing process is revolutionising

product and design ideas, whether for wet areas or

kitchens, versatile uses of printed glass surfaces, such

as room dividers, or for lighting and accentuated wall

solutions. Combining colour-intensive designs with LED

lighting can provide strong accents not only on kitchen

splashbacks, but, as seen on the German island of Sylt,

can bring the nearby sea directly into the stairwell of an

exclusive hotel. Surprising effects can be created whatever

the approach, with renowned international kitchen

manufacturers and interior designers now able to rely on

Janoschka’s product expertise.

14 f a c e t o f a c e



Savour with all the senses – cognac from the Henri Mounier distillery

In the silence of the cellar, where time is granted for the creation of

elegance, Mikael Bouilly can be found at work. The cellar master

at the Henri Mounier cognac distillery has over 25,000 wooden barrels

in his care. Flank by flank, they are stored in the long, low, cool vault.

He loosens a cork sheathed in hessian and cotton, lowers his topette

deep into the barrel and draws it out, filled.

issue #1 ©

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Henri Mounier, a captain in the merchant

navy, established the distillery

of the same name in 1858. The young

man, born and raised in Cognac, took on

board his father-in-law, as cellar master,

or “Maître de Chai”, and a winemaker. It

turned out that Mounier was in the right

place at the right time, for the second half

of the 19th century became the golden

age of cognac, seeing the start of its triumphant

advance through Europe.

The history of cognac is closely linked

with the characteristics of the region, but

also with the history of wine in France

and – strangely enough – with the shipping


The town of Cognac, on the banks of the

Charente river, is surrounded by beautiful

countryside. And there is wine everywhere

you look! Wine-growing estates

surround the town, almost forming a

circle: Grande Champagne, Petite Champagne,

Borderies, Fin Bois, Bons Bois

and Bois Ordinaires. The wine-growing

area for cognac was determined geographically

by decree in 1909. With over

80,000 hectares, Cognac is the second

largest wine-growing area in France, after

Bordeaux. The spirit that is made from

the white wines of the Cognac region has

made the name famous all over the world

and the town very wealthy.

The tradition of wine-growing in this region

goes way back, right to the Gallo-

Roman period, in fact. In the third century,

the Roman Emperor, Marcus Aurelius

Probus, granted every Gaul the right to

own a vineyard and produce wine. For

all that, there was no significant form of

distribution until the 12th century, when,

along with valuable Atlantic salt, the locals

also began to supply wine to Norway.

Soon the commercial metropolis

was also maintaining flourishing business

relationships with England and the Netherlands.

However, there were problems. The

maritime climate, caused by the Atlantic

in the west, and the chalky soil produce

very acidic and low-alcohol wines which

suffered at the hands of the undulating

seas during transportation. But neither

the sailors nor the exporting countries

wanted to abandon the semi-luxury spirit.

Dutch traders, together with the French

winemakers, developed the idea of distilling

the wine before it was put on board.

For one thing, the volume was considerably

reduced: the wines took up less

space and transport became significantly

cheaper. For another, it made the product

suitable for transport by sea.

Upon arrival at its destination, the distillate

was diluted with water, so as to return

it to wine. It presumably did not take long

before it was discovered that this product

tasted rather nice without the addition of

water. But above all else, the brandy benefits

from being stored in wooden barrels,

as this transforms the harsh distillate into

an excellent spirit. Each hectolitre draws

500 grams of enriching substances from

the wood of the barrels per decade, giving

the cognac its complex aroma and

gentle colour, somewhere between pale

gold and dark amber.


f a c e t o f a c e

between heaven

and cellar

“The barrels have to be made from local

oak on-site by craftsmen,” explains Maître

de Chai, Mikaël Bouilly, while a rich, promising

gurgle can be heard as he fills a slightly

bulbous, tulip-shaped glass with liquid

from his topette. The cognac bestows its

initial bouquet upon the connoisseur immediately:

from earthy notes, spices or gingerbread

to wild flowers, hay or fruity nuances

to tobacco or truffles. The diverse potential

compositions of aromas are the cellar

master’s playground: like an alchemist, the

Maître de Chai mixes the different estates

and vintages. “It is a great profession, a

vocation that knows no bounds,” enthuses

Mr Bouilly, “Not even between heaven and

earth!” /

Meanwhile, the strong vapours nourish yet

another, much more profane entity: the Torula

fungus. This is a dark mould that grows

wherever brandy is stored. It blackens the

facades of the houses and castles and

gives them their patina that is so typical of

the region.

Before the angels can feast on their share,

several things have to happen. Ugni blanc,

better known as “Trebbiano”, is the name

of the grape that grows on approximately

90 percent of the vineyard acreage in the

Cognac region. What originally hampered

trade proves advantageous for the production

of spirits: the pressed, light wine, with

a pronounced acidity and eight percent

alcohol by volume, is the perfect wine for

distillation. Following fermentation, the fermented

grape juice is distilled twice.

the middle portion, “le coeur” (the heart),

with an alcohol content of between 72 and

60 percent by volume, is used. But even

this fine distillate still cannot be called

“cognac” yet. The crystal clear result of

both distillation procedures is the “eau de

vie”, or water of life. Only after approximately

24 hours, is the highly sensitive

distillation process finished. Every step

determines whether this water of life has

the makings of a good cognac.

He refers to “La Part des Anges” – “the

angels’ share” – the name given by winemakers

in southwest France to the approximately

20 million litres of cognac that literally

vanish into thin air through the pores of

the barrels, year upon year.

These evaporations are a blessing for ageing

the cognac: they draw the less fine

substances from the brandy and help it

achieve its superior quality. That is why,

the brandy-makers in Cognac are happy

to accept the loss of the equivalent of 23

million bottles. Incidentally, this is roughly

the amount that is exported to Germany

every year and enjoyed by earthly beings.

Only these two distillation processes, in

accordance with strict legal guidelines,

can transform sour grapes into an alcoholic

beverage. The distilling is a complex art,

passed on, unaltered, from generation to

generation over hundreds of years. And it

must take place in the region.

Also, for the spirit to be called “cognac”,

the wine must be distilled in a still which

is typical of the region: the traditional, copper

Charente alembic – “alembic charentais”.

This vessel can hold a maximum of

30 hectolitres. The first distillation produces

the “brouillis”, a liquid that has approximately

24 to 30 percent alcohol by volume.

From this, the second distillation produces

the “bonne chauffe”, of which, only


issue #1 © l i n k e d 17

blending and ageing –

a perfect alliance

After the required years maturing in barrels,

the time has now come for the craft

of the Maître de Chai. To create the right

composition of estates and vintages, as

well as having good instincts, the cellar

master also needs a good nose. And, curiously,

what is considered more as indicative

of lower quality for whisky, is the rule

for cognac, for blending the individual waters

of life into the right composition is the

art of the Maître de Chai. The result is a sequence

of complementary aromas that are

as multifaceted as they are unforgettable.

A good deal of patience is also required,

because, while still young, a cognac is not

worth much. Experts say a cognac is at

its best when it is between thirty and seventy

years old. Only then does it shimmer

golden brown and develop the scent of nutmeg,

orange blossom and exotic fruit. So,

having achieved everything a brandy can,

it is moved from the barrel into the “Dame

Jeanne”, a bulbous glass bottle inside a


But let us not get ahead of ourselves: it

is precisely these years in the barrels that

allow the cognac to mellow into maturity.

The various quality labels provide information

about this. Again here, strict rules apply.

The minimum period a distillate has to

remain in a barrel before it can leave it as

cognac is two years. Then it can be marketed

as three stars or V.S. quality. A V.S.O.P.

(Very Superior Old Pale) has at least four

years aging behind it, while an X.O. (Extra

Old), Napoleon or D’Or has been aged for

six years. Knowing how beneficial time in

the barrel is for this spirit, almost all producers

exceed this legally prescribed minimum

aging period.

While it is always the youngest cognac

used in a composition that determines its

vintage, it is the oldest that determines its

character. Based on their long aging period,

the latter acquire aromas that a younger

distillate will not have. On the question of

age, they chivalrously yield to the young



f a c e t o f a c e

The packaging is very often refined with tactile or varnish elements.

issue #1 © l i n k e d 19

the moment

of truth

With small movements, cellar master

Bouilly makes the “eau de vie” swirl in his

tulip-shaped glass. He holds the glass up to

the light and examines the behaviour of the

“tears” on the side of the glass: are they

quite watery, syrupy or even oily? Again and

again he draws the aromas up into his nostrils

then looks, swirls and sniffs. Only then

does he take his first sip, then chews and

presses the liquid with his tongue against

the roof of his mouth. This allows the many

different flavours to develop properly in his

mouth and throat area. Eyes, nose, tongue

and palate – cognac is to be savoured with

all the senses. /

The cellars storing the most valuable treasures

- the cognacs that are several decades

old - are particularly impressive. In the sheltered

rear corner of the cellar, there is an

almost solemn atmosphere: here, in “paradise”,

is where the most valuable cognacs

are kept. After many years in the cellar, the

cognac will eventually see daylight. Once it

is poured into a bottle, the maturation period

ends and it will no longer age.

In line with its innovative spirit, Henri

Mounier applies creativity and care in developing

bottles and packaging designs

that emphasise the exclusivity of their

high-quality products. Bulbous or teardropshaped

bottles, or even carafes made from

hand-cut crystal, reminiscent of perfume

bottles, present the colour as well as the

elegance of the exquisite cognacs in the

best light. The greatest artistic craftsmanship

is also required for the packaging that

protects these works of art. The box itself,

in an exclusive colour and with elegant lettering,

makes a promise, which the contents,

created with artistic passion, are

only too happy to keep. What continues in

the nose and palate, should first be caught

by the eye.

Heritage, regional traditions and modern

developments – the history of cognac is

full of sensuality and poetry. The angels’

cloud – who would have thought it would

be in a cellar? But, if this is paradise, then

there is no better place for it.



k n o w l e d g e & c o m p e t e n c e

strategies for combating

product and brand piracy

Accumulating expertise for printed functionality

Watches, cameras, designer furniture, prescription drugs, software, cigarettes, jeans – the

global economic losses to counterfeit goods is currently estimated at more than 300 billion

euros a year. There are hardly any products these days that cannot be counterfeited.

It used to be consumer goods mainly, but nowadays capital goods are increasingly being

targeted. High-margin spare parts and components are very popular with counterfeiters,

but even copying entire machinery and equipment is now on the agenda.

The opening up of the markets and rising global competition

have increased the risk of products being

illegally copied and distributed. So, for brand manufacturers

in various industries, using security technologies is

essential. The main solution, especially in the consumer

goods sector, is to apply security features to the

packaging. This can be achieved with a wide variety

of technologies and objectives. Should you use obvious

security solutions visibly incorporated as a regular

feature of an exclusive brand image or do you protect

your brand using hidden codes? What level of product

protection is actually required? How can the security

features be integrated into the production process and

how will the code be decrypted? What soon becomes

clear is that any brand needs its own individual security

solution in order to reconcile the desired level of protection

with the production, marketing and distribution



issue #1 © l i n k e d 21

Brand piracy with health risks

In the pharmaceutical industry, brand protection becomes even more

of a sensitive issue. The global health system suffers massively from

counterfeit and substandard medicines. According to the World Health

Organisation (WHO), about one tenth of the world’s medicines are

counterfeit – and in some regions in developing countries, this figure

can be a third or more. Counterfeit drugs pose serious health risks for

patients and cause pharmaceutical companies significant losses leading

to a correspondingly great interest in effective brand protection.

To ensure authenticity, it has to be possible to trace the products back

over the entire supply chain and this makes the packaging process more

complex. All the relevant information has to be provided on the individual

components of the packaging, recognised accordingly as well as being

verifiable. Major machinery manufacturers like Bosch Packaging Technology

have aligned their packaging machines with this need in order

to guarantee smooth line production and centralised data management

in spite of these specific requirements. Special labels, embossing or security

seals need to be visible at first glance to both the pharmacists and

the consumers. In this case, visibility is a huge plus because it has

a confidence-building effect for the brand.


k n o w l e d g e & c o m p e t e n c e

Cryptoglyphs: invisible and therefore all the more effective

Things may be very different for an exclusive cosmetics brand. Here, the minimalist design of the

packaging, for example, may play an important role and therefore the security features have to be

invisible. For this purpose, the Swiss company AlpVision has developed a process that uses cryptoglyphs.

It involves micro-dots that can be printed using standard inks or varnishes in flexographic,

rotogravure and offset printing processes. The dots are invisible to the human eye and are distributed

all over the product, but can be easily identified using a smartphone or scanner. By processing

the photos on your smartphone or sending the scans to a secure server, it is easy to check whether

the product is genuine or counterfeit. This covert solution can be implemented without having to

alter the printing process, does not affect the design at all and enables uncomplicated authenticity

checks in shops. What more could you want?

issue #1 © l i n k e d 23

The use of microprinting, for example

on packaging or documents,

makes counterfeiting extremely

difficult because font sizes of

4 points or less can only be printed

in a gravure printing process.

Printed functionalities – a challenge in the smallest of spaces

Apart from the answer to something being genuine

or counterfeit, there are further ground-breaking hightech

solutions being developed: the printable data

storage solutions from Certego for instance, which

are made from writeable high-tech polymers, offer

secure storage of megabytes of data. The optical system

also makes it possible to store encrypted holographic

data in photopolymer materials. An important

component of this has been developed by the Fraunhofer

Institute: using an ultra-fast laser, data can be

stored simultaneously, ensuring an extremely high

level of protection against it being read without authorisation.

But the potential of printed functionalities

is far from exhausted.

One key focus of Janoschka’s R&D is in the field of

printed electronics. This is a very challenging field,

partly because of the extremely fine line widths compared

with graphic printing and partly because of the

generally paste-like consistency of electronic print

media. Nevertheless, the manufacturing process, designed

for mass production, offers huge potential for

opening up new fields of application beyond conventional

electronics. Printed OLEDs (organic light-emitting

diodes) are already being used in the displays of

mobile phones and car radios. Illuminated wallpaper

or solar cells printed on film can also be made this

way. The only problem that remains in this context is

the high sensitivity to moisture.

Janoschka Innovation Day: transferring knowledge into the future

Janoschka Academy holds its “Innovation Days” in order to showcase real-life applications as well as future

trends. The Innovation Day is a series of events where high-profile speakers from science and industry give

talks on selected topics. The main focus of the event are ground-breaking developments in the high-tech

arena. Active dialogue with players from the respective target markets also plays a significant role. “We want

to demonstrate technological trends and developments, but we also want to identify the needs of market

participants at an early stage,” explains Falko Klein, Product Manager for Training and Education at Janoschka.

He manages the Janoschka Academy, which organises the Innovation Day and offers a wide variety of formats

for personal development for customers, marketing personnel, converters, students and employees.

September 2016

Janoschka Innovation Day Asia: Brand consistency and the importance of colour



k n o w l e d g e & c o m p e t e n c e


with your hands


your eyes

Tactile surfaces in 3D for the packaging and decor industry

Be it flooring, furniture, wallpaper or bathroom fittings, tactile

effects are all the rage. In the decor sector in particular, tactile

perception plays a major role. The surfaces around us should be

tactile as a way to create value and perceived authenticity. As we

know from nature, imperfections can both fascinate and entice.

And in the packaging market too, tactile surfaces are gaining importance.

The route that tobacco companies have been taking

for a long time, with the use of special varnishes and embossing

dies, is now being explored by an increasing number of brand

owners. There is now an innovative system that can provide tactile

experiences of a whole new dimension.

The Janoschka Innovation Centre has its finger right on the pulse.

Here, tactile and semi-tactile structures are produced by combining

the latest direct laser engraving, topographic scan technology

and the use of 3D Rapid Prototyping. A specially-developed workflow

for the engraving of printing and embossing forms, based

on digital 3D data (hapticCell) throughout, provides the basis for

the new system for the packaging and decor industry.

The innovation of the system lies in the fact that congruent printing

data with a spatial effect are combined with high-definition

embossing data. This significantly enhances the visual effect of

the embossing and gives the printing data a more “alive” appearance

through the embossing. Using special software and a

topographical scan system, the data for shape and colour are

created separately and then combined on the computer to form

an image. When viewed, the spatial effect of the image corresponds

to the original.

issue #1 © l i n k e d 25

So-called semi-tactile surfaces provide

a spatial impression without actually

being three-dimensional.

Thanks to the high quality of the 3D effect, this process is suitable for use

in proofing. This means the customer can test and validate the tactile and

visual properties of his product as early as during the design and development

process of a packaging or decor application. The time saved and the

competitive advantages gained are invaluable. Through the innovative use

of the technologies of Rapid Prototyping / 3D Printing, the data can then

easily be used to create the real tactile surfaces.

Final production of the embossing and gravure cylinders is achieved using

the latest direct laser engraving systems. A laser beam with a diameter of

approximately 1/100mm engraves the data directly into the surface of the

cylinder. Through very precise control of the laser intensity, the motif can

be reproduced accurately down to the finest detail in practically all threedimensional

structure variants.

The Janoschka Innovation Centre developed the system in cooperation

with the Institute for Printing, Processing and Packaging (iP3 Leipzig) at the

Leipzig University of Applied Science (HTWK Leipzig). With findings from

several academic papers from iP3 Leipzig, the entire process is constantly

being developed and optimised. The goal is to transfer the high engraving

resolution and the data’s detail accuracy onto very different substrates

(cartons, foil, etc.) with as few errors or rejects as possible.


k n o w l e d g e & c o m p e t e n c e




on the



issue #1 © l i n k e d 27

The fine art of tipping design

The tobacco market is highly competitive and brand loyalty is no longer an unwritten rule.

Especially in Eastern Europe and Asia, as well as in Central and Southern America,

people tend to smoke whatever is currently in fashion. Tobacco companies are coming up

with increasingly diverse ways to make their brands attractive. Brand identity is no longer

limited to the packaging, it involves the cigarettes themselves too. The classic cork-coloured

design on the filter is progressively being replaced with multicoloured tipping paper with

brand-consistent designs.

Take, for example, a cigarette pack that looks and feels like a

ladies’ crocodile handbag. The brand experience is only complete

when the cigarettes also have an appearance to match. A touch

of metallic colour for the gently cursive lettering combined with a

discreet pattern would provide the necessary elegance on the tipping.

However, the substrate is porous and the colour spectrum

of food-safe colours is restricted. The task involves a certain level

of complexity.

Electromechanical engraving in

the standard screen (left) and

in the fine screen (right)

So, the greatest challenge lies in reproducing the line work in this

size with the maximum edge sharpness. Both in electromechanical

engraving and in direct laser engraving, you are restricted to

a regular screen because the cells are transferred linearly to the

cylinder. If you are working with half cells, these are always

located at a certain distance from the whole cells.

To get around this problem, laser etching is used exclusively for

tippings at Janoschka. Only this technology offers the ability to

set a special screen manually and achieve high contour sharpness

both with or without an outline. Smaller and larger cells come

together seamlessly to reproduce a specific design accurately.

Different cell shapes, sizes and angles can be created within one

printing form as required.

Direct laser engraving in the dot

screen (left) and in master screen

with and without outline (right)

Laser etching with standard screen

with and without outline (left)

Special laser etching screen in detail

Laser etching with fine screen with

and without outline (right)


n e t w o r k & p e o p l e



Janoschka Holding











strategy & organization

mergers & acquisitions




marketing & communications

business development




process & technology


supply chain management

capacit y management

1.200 employeeS – 23 subsidiaries – 14 countries – 92 Mio Euro total revenue 2015

issue #1 © l i n k e d 29

Janoschka. your teampreneur

together for success

and quality

For Janoschka, people are the central focus. Products

and services aim to meet customers’ needs;

solutions are developed by employees working in

teams. Since a new generation took over the management,

Janoschka has been pursuing this maxim

even more than ever. The new Janoschka generation

is striving to become the most customer-oriented

company in the industry.


Strategic business units




“We want to grow further together on a global basis

in order to grow – together” is how CEO Alexander

Janoschka explains a key aspect of the “teampreneur”

concept. The tagline “Janoschka. your teampreneur”

acknowledges the fact that Janoschka’s decades of

success have been shaped primarily by personal

customer relationships and the close collaboration of

highly-qualified staff.

Alexander Janoschka, along with his brother Michael

Janoschka as COO and Fabian Naudascher as CFO,

took over the management of the global corporation

and its approximately 1,200 employees. The size

of the prepress supplier, with 23 subsidiaries in 14

countries, was a key factor that necessitated an extension

in the leadership. But it also expresses the

idea behind “teampreneur”: “Management is a team

task where everyone pursues a common goal”, explains

Alexander Janoschka.

Modular structures that

reflect customer needs

The completed change in generation is not only seen

with the new people in the senior management team.

The company is also structurally preparing for the future,

in order to adapt to customer requirements even

more and meet market demands.

The Strategic Business Units are organised by market

sector, covering brands, tobacco, decor and converters.

In order to do justice to customers’ complexities

and their requirements, Janoschka created new interfaces

within the Strategic Business Units, such as the

Global Account Manager.

janoschka. your teampreneur

Perfectly combining the ideas of individuals with the strengths of a team in order to adapt

to customer, as well as product, requirements: that is the spirit of teampreneur, Janoschka’s

new concept. Janoschka encourages its employees to think in terms of customer benefits,

to act as a communicative team member as well as an independent entrepreneur at the same

time, recognising customer needs and market opportunities.


n e t w o r k & p e o p l e

Strategic Business Unit

The newly-created product management is market

independent. It supports the sales team with its

technical expertise across all products and services

within Janoschka’s portfolio.

product manager

We spoke to Stefan Hilss, Director of the Strategic

Business Unit Brands since April 2016.

sales manager

global account manager

Stefan Hilss, Director Business Unit Brands

linked: Mr. Hilss, what is

the key benefit of these new structures?

Stefan Hilss: Our new organisational

structure is adapted

to a customer’s real-life situation.

It provides customers with precisely

the right points of contact

they need – no more, no less. Our

new, highly flexible structure increases

our internal process controllability.

A modular approach

allows us to adapt our processes

based on a customer’s size and

specific requirements.

linked: A flexible, lean system.

Hilss: That was our goal.

Our customer composition is very

heterogeneous: they are of varying

sizes, with regional and global

set-ups – not to mention the

completely different markets they

serve. Customers from the tobacco

industry have different needs from

those from the decor and brands

sectors; converters, i.e. printers,

have other needs again. The new

structure acknowledges this heterogeneous


linked: What are the effects

of this?

Hilss: Global customers previously

had dealings with a number

of Janoschkas. Depending on their

locations and desired products

and services from our portfolio,

customers used to have different

points of contact at Janoschka.

We now provide them with a single

point of contact who looks after

them across all regions. For those

customers who operate on a regional

level, for example, who have

a reliable one-to-one relationship

with a single Janoschka site in their

region, nothing will change, so long

as their needs remain unchanged.

Modular organisation means Janoschka

adapts to the needs of its


As director of the Strategic Business

Unit Brands, I keep an eye on

all of Janoschka’s locations operating

within the strategic brands

sector, across all customers. Our

response to customer needs does

not depend on the location, but it is

rather an inclusive, total Janoschka


issue #1 © l i n k e d 31

Thierry Muller, Head of Product Management

linked: This portfolio provides Janoschka’s

customers with comprehensive product support.

How do you ensure that Janoschka is aware of each

customer’s needs and able to assess it accordingly

for each phase?

Muller: The sales team knows its customers

and all of their specific demands. On the product

management side, we support our colleagues primarily

from a technical perspective. During the

prepress process, we not only ensure a smooth process

by setting the right course at the right time, we

can also hugely increase the added value for our

customers from phase to phase.

Working towards the future

In order to improve process controls, product managers

have been supporting the sales team since the beginning

of 2016. Acting as a link between product strategy

and operations, Head of Product Management, Thierry

Muller, and his team support customer projects.

linked: As Head of Product Management,

where do you see the key focus of your role?

Thierry Muller: We offer our customers

a vast range of products and services. Janoschka

serves all of the prepress phases spanning the entire

process: design and artwork, repro and proofing,

right up to the production of printing tools. The interaction

between the individual phases is rather

complex. The results of each and every phase are

hugely significant for the remaining process. It is

my job to realise customer demands exactly, using

the best possible technology.

linked: What is the deciding factor for this


Muller: In-depth knowledge across all technologies

is a prerequisite for a perfect result. As

a first step, we analyse the precise requirements.

The specific demands of the respective target market

play an important role here. We configure all

our products and services from our portfolio accordingly.

We then plan the entire process flow so

that products and services work together in perfect


linked: What if a customer needs a product

or service not available in Janoschka’s portfolio?

Muller: Each Janoschka prepress solution

ultimately reflects a customer’s need relating to

one very specific project. Thanks to our close customer

contact, we keep a close watch on the market

and specific projects, allowing us to recognise

problems and develop new solutions. Together,

we develop approaches that do not yet exist. This

is how we underline our commitment to being

“100% Janoschka”.


n e t w o r k & p e o p l e



The appetite for its enjoyment in Russia and Asia

On average, a Swiss person consumes over ten kilos of chocolate a year, similar to

the per-capita consumption in both Germany and Great Britain. In Russia however,

chocolate consumption is less than half this amount, while in Asia, this sweet, dark

treat is still considered something of an expensive curiosity. But this perception will

soon be a thing of the past. International chocolate manufacturers, as well as familyrun

chocolatiers, are pushing into new markets to interest the wealthy classes in this

cocoa-based, semi-luxury food from the West.

After all, unlike in the saturated markets in the USA and Europe,

where annual growth is only one or two percent, market researchers

at management consultancy firm KPMG have been

forecasting far greater potential growth in the Russian market.

In China too, it is worth pursuing business involving chocolate:

the market here is expected to grow by ten to fifteen per cent

a year. However, this trend is barely perceptible in Asian households.

Families there tend to eat lots of wasabi nuts, crab

crisps, dried mango strips or grilled insects rather than

chocolate – per-capita consumption is just 100 grams

a year. And what is more, 90 per cent of Asians

suffer from lactose intolerance.

This calls for creativity!

10,000 g

Switzerland / Ø p.a.

100 g

China / Ø p.a.

issue #1 © l i n k e d 33

The strategies of the chocolate industry are as varied

as their product range. Major corporations such as

Mars invest in expensive advertising campaigns to

establish their brands locally. Having built a chocolate

factory near Shanghai back in 2008, the world’s

largest chocolate producer, Barry Callebaut, established

a few sweet facts: with a production capacity

of 25,000 tons of chocolate and an associated

“Chocolate Academy” for training industry professionals

to Western standards, a piece of Belgian

chocolate culture has found a home in China. By

contrast, in the same year, Alfred Ritter dissolved its

production facility in Moscow again because of the

poor quality of raw materials and high import duties.

Instead, the company prefers to export the popular

chocolate bars from its Swabian production site and

is pleased with the good sales figures from afar.

From a cultural point of view, in Asia, as in Russia,

chocolate is seen as a luxury item. For the Russians,

as a “nation of connoisseurs”, taste and quality are

hugely important. In particular, exquisite chocolates

tailored to regional preferences and practical pocketsized

formats are expected to enjoy great popularity

in the coming years. In Asia, on the other hand, it

would be wise to focus on the gift culture, which is

very evident there. For example, in China, special gift

packages celebrating Chinese New Year and Western

Christmas make up well over half the total consumption.

Toblerone, the triangular chocolate from

Switzerland, which is now well-known in over 120

countries and sold at all the major airports around

the world, fares well in precisely this segment. In

China, this chocolate speciality, which has been

around for a hundred years, is predominantly bought

as a gift for friends, colleagues or family members.

One can only wonder whether the chocolate industry

will revolutionise the Asian and Russian snack

culture or remain an exclusive, yet still somewhat

exotic food in the long term. In any case, the packaging

of these sweet treats is on its way to playing an

important role in Far Eastern and Russian hearts.

34 t o t e l l t h e t r u t h

issue #1 © l i n k e d 35

do you know why yoghurt pots

have wrap-around labels ?

Facts behind environmental protection arguments

Standing in front of the yoghurt chiller cabinets, we are

spoiled for choice. Yoghurt manufacturers have come up

with a number of ideas to maximise the persuasive power

of these little pots. The most appetising fruits, advertising

messages promising therapeutic properties, extravagant

flavours and rich colours make the decision difficult. And if

you thought the wrap-around labels on the wafer-thin plastic

pots are only used for environmental reasons, you would

be mistaken.

The vibrant messages in the chilled products section could

not be portrayed to this extent on good old plastic pots

because, as a printing process, direct pot printing is associated

with serious limitations. For example, only highlyschematised

images can be printed; even colour gradations

and basic tones below 30 and over 70 percent are problematic.

Barcodes can only be printed vertically, with horizontal

bars, and the font size has to be at least eight points.

So, if yoghurt manufacturers want to win us over with juicy

citrus fruits or plump cherries, the best way for them to do

this is to use wrap-around labels. After all, in offset printing,

designs that reflect individual brand identities can be faithfully

reproduced by using the finest line widths and colour

gradations. In terms of colour accuracy, no wish remains

unfulfilled either. So there is nothing to prevent consumers

choosing the yoghurt they prefer each and every time, and,

in addition to enjoying the great taste, they can have a clear

conscience when they dispose of the paper and the plastic

separately. Long live the wrap-around label!


n o t e s


s o l u t i o n s : o n l i n e c o m m u n i c a t i o n t o o l s e n s u r e s t r e a m l i n e d w o r k i n g t o g e t h e r

prepress –

thinking out of the box

Broad colour palettes, varying substrates

and finishing processes – the printing

process is as unique and complex as the

finished product itself. Design, artwork

and repro require just as detailed adjustments

as the proof and the form.






Countless factors need to come together to create

a perfect result. To meet this requirement

at every step in the process with its variety of

specific methods, Janoschka is offering its customers

various online tools that co-ordinate the

entire process, as well as the time and schedule

management. All project participants have access

to this system 24/7. Central data storage ensures

that versions, corrections and adaptations

are saved to provide a discerning and continually

traceable approval process, even for several

users. Detail views provide visual comparison

methods, enabling reliable control of tonal values

and other print-related factors at any time.

Transparency is also a top priority for cylinder

production. Janoschka customers can see in real

time where their cylinders currently are in the

production process and obtain an accurate delivery

date estimate.

“By offering our customers an effective way of

working together and smooth, sound communication

in addition to all our products and services,

we are making a contribution to their success”,

explains Thierry Muller, Head of Product Management

at Janoschka. “Janoschka places great

emphasis on workflow tools that guarantee the

highest level of security.”

Optimised production cycles simplify processes

and deliver high quality. Accelerated processes

mean a faster time to market, which creates cost

savings. Janoschka thinks out of the box: in packaging

as well as in communications.

issue #1 © l i n k e d 37


n e t w o r k : t h i r d s u b s i d i a r y o p e n s i n a s i a

service office in singapore

extends global network

Beyond Central Europe and North America, the consumer goods business

is booming – a complex market in which packaging plays a key role.

Innovative solutions and fast, high-quality implementation are crucial

for success. That is precisely why Janoschka is focusing on its global

presence in order to guarantee consistently high standards in quality.

The prepress provider has a comprehensive global

network with representation in 14 countries,

through 25 subsidiaries. The new service office

in Singapore is the third location in Asia, where,

alongside the established subsidiaries in Malaysia

and Vietnam, it services the entire packaging market

of the booming Association of South East Asian

Nations (ASEAN) economic community. ASEAN

covers more than 150 million consumers and is the

third-largest trading bloc after the European Union

and the North American Free Trade Agreement

(NAFTA). ASEAN has become a free trade zone for

all member states and concluded a number of additional

agreements with further countries in Asia.

This radically alters the production landscape in

Asia along with the global supply situation.

650 million people in South East Asia, China and

India are currently considered middle-class. If the

region continues to grow as forecast in terms of

population and spending power, it will encompass

around 40 percent of this consumer segment globally

by 2030.

Janoschka has its finger on the pulse, thanks to

its facilities in Asia. Janoschka Singapore supports

global as well as local brand owners in developing

their brands and presenting their products. The

most important factor next to quality and costeffectiveness

is consistency. Interested buyers

around the world are waiting to be impressed by

ever more new surface textures, tactile effects and

colour combinations. This is an absolute must – especially

in Asia.


n o t e s


j a n o s c h k a p a c k a g i n g : b r a n d s

packaging simulation – packshots,

mock-ups and shelf scenarios

Simulation is of huge importance during the packaging development process.

With its subsidiary Packpool, Janoschka has had a leading provider in the field

of packaging simulation on board for many years. The Janoschka network

also owns a graphic centre in India, which supplies solutions to the individual

subsidiaries in this segment as required.

When reproducing an impression of the

finished packaging as realistically as possible,

two-dimensional design options are

fairly limited. With a packshot, however,

you can simulate all possible perspectives

of the packaging on a screen, and a

virtual shelf scenario can be used to

show the on-shelf effect. If, additionally,

you want to hold the finished packaging in

your hands to assess the feel, colours and

sounds, you will need a mock-up that corresponds

1:1 to the resultant packaging.

There are many different kinds of packaging

simulation, but they all have one goal:

to correct miscalculations or false expectations

at an early stage. This makes it

invaluable for the subsequent prepress

process, since it can be adjusted towards

the desired result from the outset without

costly modifications at later stages of the

production process.

www.janoschka.com / know-how/ videos/packshot

issue #1 ©

l i n k e d



j a n o s c h k a p a c k a g i n g : c o n v e r t e r s

expansion of the range of flexographic

products and services

In decorative as in packaging printing, the flexographic process is growing in importance.

Innovative technologies such as Flexo HD and Flexo HD Advanced enable the production

of extremely consistent, high-resolution printing forms that achieve high-quality print

results on a range of different substrates. Overall, there are now five Janoschka sites that

include the production of flexographic printing forms as a specialisation, with Flexo

HD Advanced technology, developed in Barcelona, offered at two sites. This technology

achieves results that were only possible with gravure printing before.

Flexo HD Advanced takes expertise:

Janoschka’s knowledge, along with the selection

and combination of individual components

from high-quality technologies

and materials, raise flexography to a whole

new level. High-resolution optics of 4,000

ppi with the latest screen technology guarantee

exceptional print quality and stability.

With Flexo HD Advanced, excellent

print quality can be obtained with glossy

highlights, consistent halftones, even full

tones and higher full tone densities across

the entire tonal value spectrum.

Flexo HD Advanced is the latest technological

standard in operation in Spain and

at Janoschka in Germany. In addition to

conventional technology, the subsidiaries

in Argentina and Portugal are equipped to

produce flexographic plates with the highquality

Flexcel NX-System (Argentina) and

FAST technology (Portugal).

The subsidiary, Sächsische Walzengravur

(SWG), produces flexographic printing

forms for making wrapping paper, napkins

or lined paper which are sold worldwide.

Here, for decor, elastomer printing forms

are used, which are imaged using the direct

laser method. The sleeves boast high

life spans and better ink transfer. By investing

in the latest laser technology from

Kodak, the high-quality packaging market

will be exploited with elastomer printing

forms in future, too.

40 i m p r i n t

The next edition of Linked will appear in the spring of 2017.

We are delighted that you have been with us up till now.

Please let us know what you thought about our magazine

so that we can do what we do better.

Please give us your opinion:


LINKED is Janoschka Holding GmbH’s

customer magazine and appears annually.

Owned and published by:

Janoschka Holding GmbH

Mattweg 1

77971 Kippenheim


© 2016 Janoschka Holding GmbH

All rights reserved. Reprint or electronic

distribution, including in extracts, is

subject to the publisher’s approval.

Editor-in-Chief (with responsibility

according to German press law)

Corina Prutti, das komm.büro, Munich;


The information contained within this

magazine has been prepared with the utmost

diligence and verified for accuracy.

However, Janoschka does not assume

any liability for inaccurate or incomplete

information. Any liability claim against the

organisation due to inaccurate or incomplete

information is excluded.

Image and content copyright:

p. 4, 9: Bahlsen; cover, p. 6, 7, 8, 18 and

graphics: p. 16, 24, 29, 30, 36, 38: Patrick

Brandecker; p. 14, 15, 19, 34, 37: Fotolia;

p. 32, 33: Getty Images; p. 1, 21, 22, 23,

25, 26, 27, 28, 30, 31, 35, 39 Janoschka

archive; p. 12: Köster Möbelwerkstätten;

p. 10/11: Leicht Küchen; p. 17, 19: Prince

Polignac; p. 13 Raumprobe Stuttgart

Ideas and conceptual design:

Sabine Joachims, Janoschka Holding

and das komm.büro, Munich

Art Direction / Layout:

Patrick Brandecker


Print and binding:

Druckerei Vogl GmbH & Co. KG;



If you would like to be added

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please email us: linked@janoschka.com

Please inform us of any change of

address or if you no longer wish to

receive Linked.

i s s u e #1 / may 2016

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