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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 #2 / m ay 2017

Completely In Line

Curves and corners

Much Ado about Smoke

Glitz and glamour for an old girl

where walls speak volumes

A roll to set the stage


e d i t o r i a l

issue #2 © l i n k e d

Dear Reader,

We were delighted with all the interest shown in the first

issue of our customer magazine LINKED, and would like

to say thank you for all your feedback. In this issue, we

once again present you with a variety of topics from our

impressive, and just as colourful, industry.

For over 40 years, Janoschka, with its broad spectrum of

products and services, has been part of the printing and

packaging industry. With our customers and partners, we

are continually developing these products and services

further. Together, we create brands and markets.

LINKED expresses our enthusiasm for this and is a reflection

of this diversity. In the second issue, we talk about the

chequered history of wallpaper and its glittering comeback.

You can travel to India with LINKED this time and be

shown convenience food in a different light. We look at

colours, examine their meanings and messages and provide

you with information about the latest technologies –

in and from Janoschka.

LINKED is a multifaceted combination of information and

entertainment.

So, on that note: happy reading!

Yours,

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 #2

10

16

22

4

insights

4 Where walls speak volumes

A roll to set the stage

10 Much ado about smoke

Glitz and glamour for an old girl

face to face

16 Cross-cultural cook off

Instant soup versus lunch box:

even convenience food has cultural roots

knowledge & competence

22 Like herding cats?

Vegan trends and favourite fodder

How pet food is becoming more like human food

26 Whirlwind in rotogravure printing

New role allocation with Dynacyl

28 Surfaces - anything but superficial

A look with a feeling for furniture surfaces


issue #2 ©

l i n k e d

3

36

30

28

40

network & people

30 Without words – the language of colours

Stop at red but cross at green

36 “The launching of a ship…”

A day checking the proofs of premium,

elaborate cigarette packets

40 Completely in line

Curves and corners

to tell the truth

44 Do you know why …

Swabian monks have it all wrapped up?

How the “Maultasche” got its dough

notes

46 Jaholo – packaging with the wow effect

The magic of apparent visibility

48 Second production site in Vietnam

Janoschka strengthens its presence in Ho Chi Minh City

49 Clear communication with the Cellaxy C500

The decision to purchase – a prima facie case


4

i n s i g h t s

where walls

speak volumes

A roll to set the stage

Anyone who would like to make their walls eye-catching today has a seemingly

endless selection of wallpapers to choose from. Paper wall coverings

originated as a cheap alternative to wickedly expensive tapestries. But, as time

has gone by, they have become luxury items themselves.

Quilted velvet or just paper after all?

“Collection Pleats” from the House of Élitis, France

elitis.fr


issue #2 ©

l i n k e d

5

In 1803, King Ludwig I. of Bavaria did not exactly

move into student digs, in the everyday sense

of the word. At that time, he was still the crown

prince and had gone to study in Landshut. His

accommodation was the previously modernised,

so-called “Birkenfeld Rooms” of the Wittelsbach

family’s town residence, which was a

Renaissance palace. Empire furniture and, above

all, classical French wallpapers made the suite of

rooms the “dernier cri”.

Some of the wallpapers came from the renowned

wallpaper manufacturer, Jean Baptiste Révellion

in Saint-Antoine, near Paris. Révellion was one

of the first craftsmen to be celebrated as an artist.

He took his inspiration from the grotesque

motifs in Raphael’s studios, from frescoed ceilings

and ancient paintings. Exuberant flowers in

streamlined vases adorned his designs, graceful

swans and birds seemed to fly out of a central

medallion motif and swoop up to the ceiling.

He introduced vibrant colours – deep shades of

red, ochre, azure blue and strong green tones.

His workshop developed and produced the most

elegant and beautiful “paper tapestries” for

the French aristocracy and received the title of

“Manufacture Royale” in 1783.

The French wallpapers of this time were, despite

machine production and printing, lucrative

luxury articles. Their manufacture required a high

level of craftsmanship and skill. Their design attained

unimagined artistry. Perfected techniques

afforded a stylistic idiom with many variations.

It stretched from mythological tales, through

hunt settings and on to deceptively realistic reproductions

of architectural elements, such as

columns and capitals, or illusionary, iridescent

silk draperies gathered with golden braids. Finely

elaborated “paysages” opened up the salons

onto seemingly Arcadian vistas, while a crowded

collection of blue chinoiserie appeared between

tendrils that crept from floor to ceiling – and still,

it was all just paper.

The supremacy of France in the design and production

of wallpapers reached its zenith in the

19th century. Over 140 manufacturers employed

around 33,000 workers. Christophe-Philippe

Oberkampf developed the first printing machine

for repeating segments of pattern (rapport) for

his calico fabric. Almost at the same time, in

1799 in fact, his fellow countryman, Nicolas-

Louis Robert, obtained a patent for a method

to manufacture continuous rolls of paper on a

Fourdrinier machine. The way was paved for the

industrial production of printed wall paper rolls

and Révellion understood how to tread this path

with all his skill.

Inspiration for the reception room of the “Birkenfeld Apartments” were draped

wall coverings in sumptuous silk fabrics of intense, vivid colour: these wallpapers

were the result of block printing in seven colours on a blue background.

The sheets of paper would then be pasted together into lengths.


6

i n s i g h t s

On a Roll

In the Middle Ages, tapestries and textile wall coverings,

often in expensive wool or silk, provided insulation

and decoration while showing the prosperity of

the house. Making tapestries was not only extremely

cost-intensive, but also time-intensive too. It was during

the Renaissance that the first paper wall decorations

appeared. Using wooden shapes for printing

and generally coloured by hand, patterned sheets, socalled

“domino papers”, quickly decorated walls and

ceilings or were used to line cupboards and drawers.

Initially, these papers also served as a cheap replacement

for wall textiles, leather fittings or panelling.

The revolutionary development of the printing process

was soon able to serve the increasing demand

of the rich for this alternative to wall decorations: the

use of several wooden blocks enabled the printing of

multicoloured, more complex designs as well as larger

areas with a repeat pattern, too. With the technical

achievements of paper manufacture and printing techniques

in the 18th century and their further developments

in the 19th, wallpaper manufacture blossomed

far beyond the expectations of its pioneers. If the first

designs were valued because of their skilful imitation

of sought-after textiles and other expensive wall

coverings, the later designs incorporated the opportunities

of specific manufacturing methods.

The first wallpapers to be completely machine-printed

came from Lancashire, England, around 1840. Steamdriven

wallpaper machines used paste-based paints to

bring the pattern onto the paper. Many of them could

print up to 18 colours at the same time and already

produced 2,000 rolls per day. The next step in the industrial

surge of wallpaper brought a significant advantage:

rotation printing enabled manufacture “on the

production line”.

Paper was relatively

expensive until the advent

of steam-driven papermaking

processes in the

19th century. Increasing

mechanisation led to

automated lines like this

one, where continuous

production was possible.

France, circa 1880.

As cheap products, wallpapers were accessible to

an ever-widening public. This often resulted in their

design being neglected and increasingly simplified,

almost shoddy. It was for this reason that William

Morris and his “Arts and Crafts Movement” turned

down industrial designs and looked for a return to

the qualities of a particular craftsman’s own art. They

found their own stylistic idiom, even for wallpapers,

and revolutionised the designs with their typical flat,

stylised, naturalistic patterns in deep, but at the same

time, muted colours.

"Whatever you have in your rooms,

think first of the walls, for they

are that which makes your house

and home." William Morris

One of the most beautiful and successful wallpapers was

“Eldorado” from 1848. A total of 1,554 printing blocks

were required to transfer this dreamlike landscape onto paper:

lush gardens with roses, peonies, clematis, pines, palms

and much more. The inspiration and its implementation

were based on botanical studies in the greenhouses belonging

to the wallpaper manufacturer, Zuber.


issue #2 © l i n k e d 7

Modern Objectivity

At the beginning of the 20th century, wallpaper had arrived in

almost every household. It influenced the atmosphere and style

of a room and, quite often, the choice of the other furnishings.

Advances in technology made it possible for wallpapers to be

made of more durable paper and long-lasting colours, while making

hanging and stripping also easier. The aesthetics of classical

modernism, especially the influences of the Bauhaus in Weimar,

were pioneering.

The Bauhaus was dedicated to industrial progress in building and

living, in line with the “New Objectivity”. After some initial hesitation,

wallpapers quickly established themselves as a suitable

and inexpensive wall covering. The first Bauhaus wallpaper pattern

book in 1930 presented 14 patterns on a total of 145 sheets.

The wallpapers showed blurred, diagonal hatching, vertical and

horizontal strokes as well as the most delicate grids and lattice

work. In four years, over six million rolls were sold, with the licensing

revenue from them becoming the most lucrative source

of income for the Bauhaus.

Hermann Fischer,

Bauhaus wallpaper, circa 1932

Pattern book

for Bauhaus wallpaper

from the company, Rasch,

Bramsche near Osnabrück:

Bauhaus, 1930

The German company, Rasch, played a leading role in the

development of these effects and textured wallpapers

and still holds the rights to the brand name “Bauhaus

Wallpapers” today. During the course of this, woodchip

for interior design was discovered, having originally been

developed for window displays and as a base paper for

surface printing.

tapeten.museum-kassel.de

On the one hand, the new style met the need for modern,

stark and functional design, but on the other hand,

due to the Bauhaus, the results were to be exemplary

objects for the society of the future, instead of luxury

goods. However, woodchip shared the same destiny as

many avant-garde trends and it was only with a delay that

it came centre stage in society. As an alternative concept

to the domesticity of the 50s and 60s and the questionable

styles of the 70s, such as photo wallpaper with

motifs of sunsets on palm beaches or psychedelic wall

fantasies in orange and brown, young interior designers

remembered the austerity of woodchip papers and made

them respectable for almost every room.


8 i n s i g h t s

Never too late for new walls

Printed wallpapers are currently experiencing a meteoric

comeback in interior design. New materials let

not only bath and shower rooms be wallpapered, but

also external walls and facades. The latest developments

in printing technology have been calling a new

generation of designers and artists to action. They

present unexpected patterns and materials or create

gigantic, large-scale wall decorations, reminiscent of

murals. With the trompe-l’oeil technique, they show

complete libraries or open shelves with artistically

arranged objects. Many wallpapers pay tribute to their

origins with a likeness to velvety velour, fluffy carpeting

or studded leather coverings. Individually-designed

surface areas, with the different characteristics of their

direct surroundings, show just how far holistic and

creative designs can go.

Modern trompe-l’œil:

“Cabinet of Curious” from Rebel Walls

Shortly before his death, Oscar Wilde is claimed to

have said in a hotel on the Left Bank in Paris:

“Either the wallpaper goes, or I do!”

Just like the attempt to prevent the disappearance

of the art and aphorisms of Oscar Wilde, so is and

remains wallpaper the vivacious embodiment of

changing fashion trends and an eloquent testimony of

individual taste. It is room art made of paper.

Details of an embossing tool,

Sächsische Walzengravur/ SWG

swg-online.de/embossing


issue #2 ©

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9

Clearly defined rolls

Wallpaper manufacture has always required expertise, care and creativity.

Nothing has changed in that respect, even with automated printing technology.

Gravure, letterpress and flexo, as well as rotary silkscreen printing, are

mainly used for wallpaper.

The carrier paper or fleece is laminated with PVC. Embossing cylinders give

the surface texture and emphasise the pattern. Materials such as lacquer,

metallic paints and glass beads give wallpapers glamour and sophistication.

Working closely with the designer, the engraver prepares the separations of

the individual printing inks. These are engraved onto the printing cylinder and

placed perfectly on top of each other. Each colour requires its own printing

tool. As printing is rotative, the repeat of the pattern depends on the

circumference of the printing cylinders. When it comes to hanging the wallpaper

later, the match of the wallpaper can be either free or offset or,

depending on the composition of the pattern, have a repeat that requires

close attention.

as-creation.de


10 i n s i g h t s

Glitz and Glamour for an old Girl

Gold and silver, inks and lacquers, embossing and debossing – there is room for refinements even on

the smallest area. From time immemorial, the barely 8.5 by 5.5 centimetres of a standard

packet of cigarettes have been used perfectly to attract the attention of the buyer, to inspire their

imagination and to promise them unforgettable pleasure. Packets of cigarettes transport the brand

image and are, with that, the key factor in the purchasing decision.


issue #2 © l i n k e d 11

“We sell a lifestyle – the motorbike comes free!”

With this aphorism, Harley Davidson sums up its

own brand history in a nutshell. A principle that applies

to every carefully well-kept brand – and especially

to cigarettes, too. They differ from their competitors

more strongly than most other products

due to their image. Even more: the image is part

of the product, the core business of the marketing.

However, for ten years now, most types of advertising

for tobacco have been banned in the EU. So

what does a marketing department do when it may

no longer advertise? When spots on TV and the

Internet as well as advertisements in print media

are not allowed? Without advertising, they no

longer have the material, out of which they created

their advertising world before. Without advertising,

every cigarette is just the same.


12

i n s i g h t s

a clear statement –

always there

In order to safeguard their market share, tobacco

concerns rely more than ever on the packaging as

the most important component of their marketing

strategy. This means that cigarette packets take

on crucial communication tasks alongside their

packaging function: tobacco manufacturers convey

their essential brand message on the packet.

Colour symbolism and design have a great role to

play. The little box takes on a big task: it expresses

desires and links these to the brand.

Furthermore, the smoker uses them to speak –

without words: whoever smokes, carries a packet

of cigarettes around with them the whole day,

holds it in their hands many times and promotes

the brand constantly. The box is almost a part of

the smoker’s outfit and reflects their personality.

As it flies with a casual flick of the wrist onto the

table of a bar or a club, it emits a visible “statement”

for everyone to see – unmistakably personal

and familiar.

miniature works of

advertising art

The tobacco companies employ the cleverest

designers to fulfil the need for image of as many

and as varied people of different cultures as possible.

The result is appealing designs with a wide

spectrum of motifs: from golden bats to butterflies,

ladies in golf outfits or with rakish feather

hats, from sailors to Flamenco dancers. Indeed,

even skeletons have been seen on cigarette

packets – long before warning labels became

compulsory.

Striking motifs on the smallest of areas require

the designers to be creative. Their application

makes exceptionally high demands on the

printing as on the finishing. They are a driving

force behind innovative developments in the

technology.

Lacquers are currently fashionable and are gaining

increasing importance. Across the partial or

whole surface, they bring subtle contrasts onto

the packaging. Textured lacquers, together with

matt areas and metallic paints, create the impression

and feel of a racing car’s interior, while

others achieve the appearance of elegant snakeskin

leather.

This cigarette packet is a statement of elegance:

as elegant as a lady’s handbag – snakeskin in discreet colours.


issue #2 © l i n k e d 13

James Dean, Yves Montand and John Lennon – yes, even James Bond: they are anchored in our

collective memory with a cigarette in the corner of their mouths. However, they are not just simply

“smokers”: they are closely linked to particular brands.


14 i n s i g h t s

A short history of the cigarette

After their modest beginnings in the late 18th century,

cigarettes enjoyed ever greater popularity very quickly –

worldwide. In the Crimean War, in the 1850s, influenced

by their Turkish allies, the English and French took up

smoking tobacco. The Spanish also did their part: for the

first time, tobacco was not rolled in leaves, but in paper.

Soon, smoking was widespread. Doctors even went as far

as recommending smoking as a therapy for improving

eyesight or calming nerves.

In the 20th century, a change was seen in the way tobacco was consumed

in society: modern life became visibly faster. This meant that the cigar –

which, up till then, had been the first choice of most smokers – could not

keep pace. The cigarette became the symbol of an accelerated consumption

and the new trend. Cigarette smokers were considered urbane, chic

and somewhat reckless.

Smoking cigarettes became a badge of freedom. Women, who were

demanding their rights, demonstrated this most clearly, by taking the

liberty to smoke, for a start. Freedom tasted like Lucky Strike and smelt

of the Gitanes and Gauloises from Saint-Germain-des-Prés.

In the 70s and 80s of the last century, nearly everyone smoked – anytime

and anywhere: television detectives, elegant spies, demonstrating

students, even cartoon characters. To take advantage of the growing

market, new brands were always emerging around the world – each one

with a packet design, just as distinctive as attractive.


issue #2 © l i n k e d 15

Embossing and debossing, along with

hot-foil stamping, emphasise the high

standard of finishing. Extensive knowhow

is required, for the more elements

are embossed, the more the paper

warps. A task which, in view of the size

of the packaging, involves a certain complexity.

And apart from that, filigree lines

and lettering necessitate special laser

technologies, which make these subtle

effects possible.

In the meantime, approximately 100 new developments

have come out of the company’s tobacco

business sector. Because of Janoschka’s global

focus, their prepress experts guarantee innovative

developments as well as consistent results,

regardless of their location.

Without consistency, the painstakingly established

brand image is endangered and the lifestyle

that is associated with a certain cigarette loses its

power to bond. And at the end of the day, that

is what it is all about: with a cigarette, smokers

are, first and foremost, buying themselves an image,

which they think suits them best. And so,

the good old packet of cigarettes is today possibly

just as glamourous as an evening dress from

Gaultier: the design and production complexity

being absolutely comparable.


16 f a c e t o f a c e


issue #2 ©

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17

instant soup versus lunch box

Even convenience food has cultural roots

Convenience food is gaining ground and satisfies the need for quick and simple-to-prepare meals –

not least in the workplace, where time is, literally, money. The packaging design plays an

important role for these effortless meals. Different cultures have completely different ways of seeing

just what convenience food is. A peek into a German and an Indian office shows this.

12:30

CET

12:30

IST

Lunchtime

in Frankfurt

Monika Homburger needs things to go quickly today: she

is presenting her ideas for a new sales strategy to her

colleagues and bosses this afternoon. The concept is

ready, but her presentation still needs a little fine tuning,

so there is not much time for a lunch break. Her hunger

pangs come all the same.

Monika Homburger reaches into her desk drawer and

brings out three ready meals: “Spoilt for choice!

Gourmet goulash soup, tomato sauce all’arrabiata or

something more exotic: a pot of Tom Kha Gai noodles.”

Because she is under a lot of time pressure today,

she takes the Thai noodles. “I just need to heat up some

water, fill up the pot and wait three minutes.

Thank goodness for the food industry,” she says with a

grin and disappears in the direction of the office

kitchen. Eating is something of an aside today, just

taking place at the computer.

Lunchtime

in Mumbai

Sanket Goradia is in just as much of a rush: his boss is

flying to see a customer in the south of India today,

but before that, he still needs a draft contract, and quick.

Even so, Sanket Goradia would never entertain the

idea of skipping his lunch break. “I want to chat with

my colleagues too, for we are a team, after all. At a

push, then even 20 minutes are enough. The food is

already conveniently prepared on the table.”

Beside him on the table stands the Indian version of

a lunch box, a tiffin: four watertight round tins,

stacked on top of each other to create a round, at least

30-centimetre-high metal container, which closes

with a handle. Perfectly suited for holding and transporting

a complete Indian meal. Today, Sanket Goradia

finds a little bowl with flatbread, one with fried rice and

two each with a vegetable curry. The dishes were

prepared by his wife.


18 f a c e t o f a c e

Team effort:

5,000 Dabbawallas

working together

However, Sanket Goradia does not actually lug the

tiffin himself from his home to the office, a good 20

kilometres away. This task is undertaken by a delivery

service, which only exists in this form in India: the cooperatives

of dabbawallas – literally translated as “can

carriers”. In the morning, a dabbawalla cycles past the

house of Sanket Goradia’s family and collects the tiffin.

By 12.30 at the latest, the stacked meal is sitting on

Sanket Goradia’s desk – and that is despite the chaotic

traffic in the metropole of Mumbai with its population

of 12 million.

This is not a direct collection and delivery service by

one and the same dabbawalla, but an ingenious logistical

network: every day, around 5,000 dabbawallas

transport approximately 200,000 tiffins criss-cross

through one of the most populous cities in India. In the

process, each tiffin passes through the hands of four

people, on average.

Both scientists and the managements of large concerns

have already looked into the system, for it achieves

amazing results, of which logistics titans such as

Amazon or DHL can only dream: the error rate is just

one in a million. And customers just pay a few cents for

each delivery. Even more astonishing: the dabbawalla

system manages without any cars or mopeds at all –

and has already been working for more than 125 years.

Dabbawallas are a part of the urban landscape of Mumbai and other Indian metropoles.

They can be recognised by their “topi”, the typical head covering.


issue #2 © l i n k e d 19

200,000 meals

on the table

at 12:30

At about nine in the morning, the first dabbawalla collects the

tiffins from up to 30 different households and brings them to

the nearest railway station by bike. There, a group of dabbawallas

loads the containers onto the right trains – and we

are talking about normal passenger trains, which seldom

stop for longer than 30 seconds. Every hand movement has

to be precise to get the hundreds of tiffins in their wooden

crates onto the trains quickly enough. A third group of dabbawallas

travels with the trains and passes out the meals at

the stations when they arrive. A fourth dabbawalla is waiting

there for the tiffins that are intended for him and takes his

bike to deliver them. By 12.30 at the latest, 200,000 tiffins

are standing on the dining tables for which they are intended.

And so it is for Sanket Goradia in the central business district

of Mumbai. Thanks to an insulated covering, his wife’s dishes

are still warm when he opens the tiffin in the communal

area of his office – just like five other colleagues at the table.

“You simply can’t beat my wife’s home cooking,” he says,

obviously pleased, and bites into his first piece of roti with

vegetable curry. He gives credit to the dabbawallas: “Admittedly,

you do get used to the service. But when I think about

how often I arrive too late for an appointment because of the

traffic chaos in Mumbai! It really is a mystery to me, how the

dabbawallas manage to deliver on time every day.” However,

with the delivery of the food, the work of the dabbawallas is

not yet done: they collect the empty tiffins again in the afternoon

and transport them back to the families.

Around 200,000 tiffins are transported by the dabbawallas in the megacity

of Mumbai everyday – with no cars at all. Longer distances are travelled

by train, while short ones are covered by bike.

And all this effort just because many Indians prefer to

eat dishes prepared at home rather than food prepared

by strangers in a restaurant or canteen? In principle,

yes. But it is not just a matter of taste, even although

homemade cooking tastes better. This is where specifically

Indian perceptions of the purity of their food play

a major role: have the religious food and preparation

requirements been observed? Whose hands prepared

the dishes? Were they made “energetically” unclean by

someone with an impure status? There are also reservations

with regard to the hygiene of street food vendors

and conventional delivery services. Given all these uncertainties,

when in doubt, then food cooked by your

own family is the option about which you can have the

least concerns and, at the same time, the tastiest.

Pureness: the special

aspect of

home cooking

So, in this cultural humus, a very special model of convenience

food for everyday working life has emerged.

That is why it is also not surprising that, despite the food

industry’s temptation of convenience foods, the dabbawalla

system has proven itself to be very resilient:

with the increasing prosperity of the middle class, the

demand for the tiffin delivery service is even growing.

It seems that the food industry still has not been able

to instil into many Indians the required trust in the quality

and the method of preparation of their convenience

products. Creativity is called for, in order to take into

account not only preferences in taste but also cultural

characteristics.


20

f a c e t o f a c e

It´s in the bag

Since 1889, Knorr has been producing the now legendary

“Erbswurst” – literally “pea sausage” as the dehydrated

soup originally came in a sausage casing. The individual portions

of instant soup are rolled together. Keeping for months,

when mixed with water and boiled up, they produce a creamy

pea soup – nutritious and ready-to-eat in no time at all. It has

accompanied expedition teams to the North Pole and generations

of Alpine climbers, hikers and campers. It can be

considered a pioneer of “convenience thinking”.

A product is “convenient” if it is practical and fit-for-purpose.

The manufacturer prepares the product and takes cooking

completely or partly away from the consumer. In general,

five steps of convenience can be identified, describing the

different stages of preparation: from just cutting or chopping

the food, through the preparing, cooking and warming, right

up to ready-to-serve meals.

As traditional in taste as in design:

the “Erbswurst” bears the old brand logo.

knorr.de

Today, Knorr products are simply part of day-to-day cooking

for millions of consumers – whether as a valuable aide

such as the “Fix” products and salad dressings or as soups,

sauces or quick ready-meals. Exotic specialities, bouillons

and classical Italian dishes belong to the variety of products

in the same way as hearty, traditional fare.

The diverse ingredients and preparation stages of convenience

foods make high functional demands on the different

types of packaging. These have to keep the food products

fresh and appetising for months, while some have to be

heat-resistant, so that the snack can be prepared in its own

pot, for example. The widest variety of vastly specialised

materials are used for this, placing a high demand on the

prepress expertise of Janoschka.


issue #2 ©

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21

“It is our task to ensure that the brand identity of

Knorr can be reliably printed on various materials:

sachets, tins, cardboard boxes and the plastic cups of

the current Asia Snack line – all the products should

bear the unmistakable appearance of Knorr products”,

explains Caroline Eiberg, Key Account Manager

for Unilever at Janoschka.

“The great challenge facing us is to print these very

different substrates not only with different inks, but

also at various printers and with different printing

processes. We always have to achieve the same

result: the Knorr logo and the design’s appearance

must always look the same no matter where.”

Janoschka is responsible for the prepress printing

process of Knorr packaging at a total of 120 different

converters at different locations. With its expertise,

the company lends its support to the assured recipe

for success of the Knorr brand which includes the

high-quality and functional packaging as well as the

typical and unmistakable taste.

“the Knorr logo and the design’s

appearance must always look

the same no matter where.”

Caroline Eiberg, who is both the Unilever Key Account Manager

at Janoschka and the mother of children who love alphabet soup.


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

Like Herding

Cats?

How pet food is becoming more like human food

Vegan

Trends

and

Favourite

Fodder


issue #2 © l i n k e d 23

Pumpkin and rosehip refine the salmon, potatoes and wild herbs jazz up the duck, while rice, mango

and lemon grass turn tuna into a culinary delight. Sounds like “Haute Cuisine” – it probably is, too.

Only a very few of us will ever find out whether the consumers of these dishes feel the same way, as these

are the current range of ready meals for our four-legged friends. And it is not just rare and exotic

ingredients, such as fruit, herbs and berries that are becoming increasingly popular in pet food: their

origin of source is arousing interest too. Experts have observed that ever more pet owners are demanding

the same standards of quality in the food for their pets as in their own.

In the past year, the global sales of pet food

have amounted to over 75 billion US dollars,

which is approximately 4.8 per cent more

than in the previous year. Dog food alone,

with 45 billion US dollars, makes up more

than half of this. The growth in this segment

amounts to 5.2 per cent. The most recent

international study by Euromonitor predicts

further market growth for the next five years,

particularly in the Asia-Pacific region. An

increasing number of pet owners here are

choosing industrially manufactured pet food.

blog.euromonitor.com

The buying behaviour observed in the pet food market allows

as many conclusions to be drawn about the person buying it as

about the animal eating it – if not more. Pet owners search for

the perfect food; whereas manufacturers look to defend their

market share in this fast-growing segment, placing their focus

on brand loyalty. This is why the appearance and packaging of

pet food are increasing in importance.

But just what is this packaging like? One that promises not only

perfect food, but also health and well-being for the beloved, little

four-legged friend.


24

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

puristic design

for premium quality

Instead of depicting dogs and cats as energetic with

eye-catching, realistic photo shots or funny and cute

in cartoon drawings as in the past, the trend is clearly

moving towards monochrome, and, in the premium

segment in particular, even black packaging. This corresponds

with the developments in the food market. At

the moment, the supermarket shelves are dominated

by packaging that communicates in a very clear, direct

and tidy way – when it comes to the presentation and

declaration of the ingredients in particular. In keeping

with this, the premium category of pet food adopts

catchwords that are associated with health and wellbeing:

these provide information about the ingredients

– whether they are “organic” or “sustainable”, for example

– or also about their preparation, such as “made

by hand” or “air-dried”. With regard to the sources of

protein, whether it be meat, fish or soya, details about

animal welfare or the freshness of the catch are important

aspects that can be found on the packaging.

It is to be expected that, in the medium term, even detailed

lists which show everything that is not included,

such as “gluten-free”, “no additives” and “reducedcalorie”,

will no longer satisfy the consumer.

The demand for more transparency, which has been

becoming louder in the food industry over the past

few years, has, in the meantime, also reached the pet

food manufacturers. “Clean labels” guarantee, here

just as there, that the product only contains nutritious

ingredients, without any additional and superfluous

extras, such as artificial flavourings and colourings. The

packaging design places the focus increasingly on conveying

the relevant information simply and at a glance:

symbols and icons make it easy for consumers to understand

whether a food is suitable for their pet.

The trend towards simple food has also reached the

pet food market. In particular, the need to deal with or

prevent allergies calls for foodstuffs with hardly any or

hardly processed ingredients: a requirement that can

only be satisfied with certified ingredients. Today, however,

a lot of food packaging already provides the source

of the ingredients: Angus beef as well as French wild

boar can be found in dog food or Scottish salmon in cat

nibbles.


issue #2 © l i n k e d 25

lots of variations:

special packaging

for food specialities

Snacks, such as lollies, crackers and other treats are

the sales boosters in the pet food departments. They

complement the original limited choice of wet or dry

food. Special types of food are continually enlarging

the segment: different food is available both for puppies

and kittens and for elderly four-legged friends.

While discerning food specialities take into consideration

the health of the animal, the special features of

others ensure healthy teeth, a shiny coat or supple

joints. Extras inspired by the finest cuisine, such as a

variety of superfood toppings - chia seeds, algae and

berries - are completely in line with current trends.

Innovative packaging also takes this development

into account. It offers a multitude of variations, from

the individually packaged single meals, easy-to-open

and resealable bags, to portable “to go” containers.

Boxes for dog treats look like chocolate boxes, while

the shape and design of both dog biscuits and their

packaging are evocative of those for our biscuits.

Using the most varied of materials, packaging manufacturers

deal with the consistency of every conceivable

food, without ever losing sight of user convenience.

This often presents them with considerable

challenges. A highly competitive market calls for the

brand identity to be presented consistently whether on

huge 15 kg bags or on small individual portions, and

regardless of whether the packaging is made of a synthetic

material, paper or foil.

Above all however, comprehensive repro know-how

and experience are of invaluable importance for thermoforming.

Janoschka´s expertise helps its clients with

the challenging process of reproducing the design

faithfully on the packaging.

“First, the design is printed on the flat material of the

thermoform mould and only then is it formed into the

desired shape,” explains Rainer Geiger, Managing

Director of Janoschka Deutschland. “Corners, depressions,

rims – all these three-dimensional shaping elements

shift and distort the two-dimensional printed

image. Step by step and in close consultation with our

clients, we work together with the printing company to

achieve the perfect result. Success is precision work.”

With the indispensable know-how of Janoschka´s

experts, lines are straight, writing is legible, colour

gradations are just as stipulated by the artwork – and

cats and dogs keep their shape.

As owners value the nutrition of their four-legged

friends just, or almost, as highly as their own, the differences

between food for pets and food for humans

are becoming smaller and smaller. A good packaging

design and maximum functionality have made an impact

on the image at food retailers and this has established

itself as the standard for pet food shelves – we

are looking forward to the next instalment of this

story.

Aluminium foil is often used for high-quality wet food

due to its extraordinary barrier protection functions. In

the premium segment, individually packaged, portionsized

containers in an elegant design emphasise the

quality. These aluminium containers are manufactured

using thermoforming. The engraver has to ensure

that a good printing result with clear contour definition

is achieved on the low-absorption surface of this

substrate.

terracanis.com/en


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

whirlwind

in rotogravure printing

New role allocation with Dynacyl

Janoschka has developed a new, innovative rotogravure cylinder. With a circumference that can be

varied from 300 to 600 millimetres, Dynacyls have model measurements. Their nine to a maximum

of 25 kilogrammes make them a true featherweight in this sector. With the Dynacyl, Janoschka has

revolutionised rotogravure and promoted its long-term competitiveness.

Approximately 60 per cent of all flexible packaging

worldwide is manufactured using rotogravure printing.

It is the process of choice for large print runs. Rotogravure

achieves excellent results on the most diverse

substrates. The digitalisation of some processes means

that time-saving as well as fine colour gradations and a

better smoothing of the text edges have now become

standard. Precise and reliable print colour management

enables the faithful reproduction of the original material

and colour on the proof – the expert know-how of the

engraver and an in-depth consultation beforehand, preclude

unpleasant surprises.

With this tried and tested, highest-quality printing process,

Dynacyl now makes even short runs efficient and

profitable. For the first time in the printing industry, the

new cylinder concept offers a standard product made

from innovative material. Premanufactured and available

immediately, it can be customised as specified for the

application in just a few steps.

With approximately one tenth of the weight of traditional

steel cylinders, Dynacyl makes life easier in many ways.

This reduction in weight is noticeable in the logistics

and, above all, in the handling in the printing press.

Nevertheless, Dynacyl offers a variable circumference

that can be adapted exactly to the desired format.

The flexibility that had been lacking in this technology so

far, has found its way into rotogravure printing, thanks

to Dynacyl. Heavy materials, protracted manufacturing

processes, expensive machines as well as cumbersome

and cost-intensive logistics were disadvantages all associated

with rotogravure printing.


issue #2 © l i n k e d

27

Renewable

Saves time and material: the image layer of the Dynacyl cylinder can

be removed and the surface re-engraved several times.

Janoschka developed the innovative Dynacyl in partnership

with the machinery manufacturer, Windmüller

& Hölscher. In order to avoid the difficulties of having

many different types of cylinders, particular attention

was paid to standardisation. Small and light, Dynacyl

not only reduces the production, storage and transport

costs, but also introduces new invoicing and business

models. Large runs still remain on the other machines.

Meanwhile, the new, lightweight image carrier expands

the productivity to include short runs that can be produced

on these cylinders efficiently and profitably, without

blocking capacity elsewhere.

At the same time, this new technology maintains the

high print quality we have come to expect from rotogravure,

with the same colour systems for the whole run

achieved on different materials.

For a long time now, Janoschka has been setting new

quality standards for rotogravure cylinders worldwide.

Dynacyl makes rotogravure printing attractive to new

areas of application, opening up new opportunities to

brand owners and printers, while creating flexibility and

brand consistency. This enables Janoschka to meet its

aspiration to offer clients and partners that little bit of

extra added value, repeatedly.

The new printing machine, DYNASTAR

from Windmöller & Hölscher, is an

innovative concept of a narrow web press –

extremely user-friendly with very short

set-up and changeover times.

wuh.com


28

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

Surfaces

anything

but superficial

A look with a feeling for furniture surfaces

Interior design is all about the surfaces. Doors, furniture, walls:

effects and textures give life to them. The surface determines

whether a product meets the current living trend; its look and

feel determine its success.

There is scarcely anything that defines our lives

more than our surroundings. If they suit our lifestyle

and our personality, then they are inspiring,

create places of refuge and a comfortable home.

The topic of living is experiencing a renaissance

at the moment.

The Scandinavian “hygge” trend remains unabated.

Instagram, Pinterest and lifestyle magazines

are making sure of that. Roughly translated into

English with “cosy”, the Danish word “hygge” is

the name given to the need to withdraw from a

world which has become unmanageable through

globalisation and digitalisation, by spinning ever

faster. It is about “slow living”, about a philosophy

of well-being.

What would be better suited for this living trend

than wood? A natural, timeless, raw material,

wood offers countless design possibilities. It

fulfils the desire for uniqueness, for individuality

and authenticity and appears alive, just like the

current living trend. Clear lines and pastel colours

give wood a new nonchalance.

Wood and lacquer – a perfect alliance

As a real alternative to various layerings, Janoschka is helping

lacquer make a comeback in the wood and furniture industry.

The company’s strategic business unit for décor

is developing innovative surfaces for furniture fronts and

doors. Textured paint creates a novel tactile effect, which

is unique in the furniture industry to date. Laser-engraved

rubber rollers, with cells up to 1,000μm deep, apply the

lacquer convexly onto the prepared and primed substrates.

The exquisite special-effect lacquer gives the wooden surfaces

a particular, multi-layered character. This is the way

optical structures are made tactile.


issue #2 © l i n k e d 29

Lacquer outstandingly applied: with each tone,

the relief is built up on the surface of the furniture.

Working closely with furniture and interior designers,

Janoschka produces designs for tactile surfaces that are technically

prepared at their in-house repro. Because of its flexibility,

this new printing technique can adopt new living trends.

Thanks to its in-depth grasp of aesthetic, as well as technological,

aspirations, Janoschka achieves a high potential for

creating value in the wood and furniture industry with this

new technique, while, at the same time, fulfilling the market’s

demands for design, quality and high performance “smart”

surfaces.


20

63

30

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

Authority

Art / Creativity

Anger

Wisdom

Warmth

Virtue

Balance

Bad Luck

1

2

84

Unhappiness

Beauty

83

3

82

Trust

4

Truce

Celebration

81

Calm

5

6

7

8

9

10

11

12

13

14

15

COLOURS

A B C D E F G H I J

IN

CULTURE

80

79

Trouble

Success

Children

78

77

Style

76

Strength

Compassion

Cold

75

74

Self-cultivation

Courage

73

Royalty

Cowardice

72

Respect

Cruelty

71

Repels evil

Danger

70

Religion

Reliable

Death

69

16

Rational

Decadence

68

17

Radicalism

67

Deceit

18

66

Purity

Desire

19

65

Personal power

Earthy

64

Power

Energy

21

Penance

Erotic

22

62 Peace

Eternity

23

61 Passion

Evil

24

60 Nature

25

59

Excitement

Mystery

Family

26

58

27

Mourning

57

Femininity

28

Money

56

Fertility

29

55

Modesty

Flamboyance

30

54

Marriage

Freedom

31

53

Luxury

Friendly

32

52

33

Loyalty

Fun

51

Love

God

34

50

Life

Gods

35

49

Good luck

36

37

38

39 Healing

40 Healthy

41 Heat

42 Heaven

43 Holiness

44 Illness

45 Insight

46 Intelligence

47 Intuition

48 Jealousy

Joy

Learning

Gratitude

Growth

Happiness

A Western America C Hindu

E Chinese G Eastern European I

B Japanese

D Native American F Asian

H Muslim

J

African

South American

source: informationisbeautiful.net


issue #2 © l i n k e d 31

Without Words

the Language

of Colours

Stop at red

cross at green

Meanings are attached to colours, just as they are to words. Colours also have the power to

convey moods. They are the most effective way to establish brands and companies firmly

in the heads of consumers, creating a viable and sustainable brand image. This is what

makes colour selection one of the most significant communication tools for global marketing

and absolutely crucial for commercial success. Choosing them wisely is, therefore, of

inestimable importance for logos and figurative brands, corporate design, packaging and

the product itself, but it is also essential to take cultural aspects into consideration.

The effect of colours can be mesmerising. Whether

we are aware of it or not. Expressive and efficacious,

it is impossible to imagine communication

without them. Throughout the world, traffic lights

and stop signs send clear signals. In many cases

though, the context is important for the message

of the colour: a gathering of people dressed in

black may just as easily be mistaken for a group

of mourners, a graduation ceremony, an exhibition

opening or a punk rock concert.

How long has a pink bow symbolised the birth of

a girl and blue that of a boy? Why is custard not

blue? How did the change from red to green to the

background of the yellow M of McDonalds come

about?

The perception of colours is a cultural thing. The

preference for certain colours is determined by the

meaning that is given to them in a particular culture.

In order to use colours successfully, so that

the messages are correctly understood, it is vital to

scrutinise the cultures of the target markets in this

area. At the same time, neither fashions nor trends

should be disregarded.


32

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

you do not always see red

when you marry

In China, red and black symbolise joy and personal

happiness. They are the preferred colours for wedding

cards. In the USA and Europe, it is quite different:

here, traditionally, you marry in white. However, in

many Asian countries, white is the colour of mourning

and it is not the tradition to appear in white at

weddings. In India, people would even be afraid that

wearing pure white to this occasion would result in

untimely widowhood and misfortune.

In English, Italian, French and German, someone can

be said to be “green” with envy. Not a nice feeling.

This colour only has a positive meaning in the Middle

East and in all Muslim countries. Green is sacred

here. Then again, for Hindus, orange (saffron) is the

holy colour, the Dutch express their reverence for

their royal family in it and in contrast to both of them,

in the USA, it is associated with “cheap”. In each

of these countries, an orange logo would obviously

have a completely different association.

In addition to the traditional connotations of colours,

there are also those levels of meaning, which international

marketing and brand communications bring

with them. Green is the colour of the environmental

parties and their political activities worldwide. Coca-

Cola is red, Puma likewise – both brands go hand

in hand with energy and dynamism. Apple presents

itself in white and black: purist, ingenious, perfect.


issue #2 © l i n k e d 33

pretty in pink –

Football strips and Barbie dolls

A tribute to the days of

its foundation: a Juventus Turin

player in the pink jersey.

In many countries, it is the custom to announce the

birth of a baby with bow on the front door of the

house. Today’s rule: pink for a girl, blue for a boy. In

the past centuries, and even up to the 1940s, it was

the exact opposite. Blue, as the colour of the Virgin

Mary, was seen as particularly delicate and graceful.

It was reserved for little girls. Pink on the other hand

was, at least in Western society, the colour for little

boys. In the Rococo period, pink was even considered

the latest thing in men’s fashion for a while. An

equally very masculine use of colour: when Juventus

Turin was founded in 1897, its first football strips

were pink. The extent to which colour perception

has changed since then could be read in the vilifying

newspaper headlines when the club commemorated

this with its away kit for the 2015 season.

Nowadays, it is seen almost as natural that everything

that is pink should send little girls into a state of

ecstasy. Whether with the market launch of Barbie

in 1959 and since then, the consistent branding in

typical pink have contributed to this, or the phenomenon

just skilfully used it for its own purposes, one

thing is certain: Barbie, with her pink accessories, is

the world-famous role model for every pink fairy and

princess.

Marketing strategies that

hit the right tone

A large-scale international study at the turn of the millennium

provided insights into cross-cultural similarities,

as well as differences, in colour perception.

There was a special focus on the question of which

specific meaning consumers associated with individual

colours and, above all, colour combinations.

Only when this is known, can companies select the

colours which transpose their strategy onto a crosscultural

market in the most appropriate way. If there

are different colour perceptions between the cultures,

then an obvious step would be to adjust the branding,

packaging and products accordingly. A good example

of just such a strategy is McDonald’s: the company

adjusts both its websites and colour selection to suit

different countries.

That the colour pink literally makes hearts beat faster,

is called into question by medical research. It attests,

rather, to its relaxing effect. This was made use of by

some prisons. In a study of inmates in cells painted

pink, a long-term calming influence on anger, rage

and hostile behaviour could be observed.

PANTONE ®

C 219

All over the world, Barbie’s pink logo is the same.

Pantone 219c ensures that, no matter the substrate,

the Barbie pink does not change.


34

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

print colour management

Once the colours have been decided upon, for a coherent

brand identity, it is imperative that these are consistently

repeated in line with the standards of the corporate design:

regardless of what it is printed on, the colour systems

or the finishing processes, and, above all, irrespective of

where in the world it is printed.

With its Print Colour Management, Janoschka defines all

the parameters relevant to this process.

Its experts simulate the specifications and take into consideration

up to 70 variables and the way these interact: for

example, printing inks (manufacturer, solvent, pigment,

suitability for further processing), printing tool (raster

screen, angle, linearisation, process, cutting etc.), printing

press (final proof reading, speed etc.) or substrate (topography,

ink trapping properties, further processing etc.). Only

then can colour-guaranteed proofs be produced. A reliable

process for print colour management is fingerprinting.

Fingerprinting is a very reliable print

colour management process for achieving

consistent results from different printing

processes and printing companies. A

fingerprint is the “snapshot” of distinctive

printing conditions in a specific printing

works, for example.

To produce a fingerprint, a special test

forme is required, on which the appropriate

reference images, test charts and monitoring

controls can be found. Using the

individual standard parameters, the motifs

on this test forme are transferred onto the

various printing tools of the relevant printing

processes.


issue #2 © l i n k e d 35

The Original Neapolitan Wafers from

Manner were invented by the company’s

founder, Josef Manner I, in 1898.

The format and basic recipe have remained

unchanged to this day.

pantone®

striking the right tone

Probably the best-known reference for colours among graphic

designers, designers, publishing houses, printing companies

and in the paint industry, it can distinguish 1,114 nuances.

For over 50 years, the Pantone colour fan has ensured that

printed colours look the same everywhere in the world.

In 1963, Lawrence Herbert used 14 basic colours to develop

a total of 500 variations. He had this printed as a sample

together with a mixture code, so that it is possible to reproduce

every single one exactly.

pantone.com


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

The “barrel proof” process is teamwork: clients, the creative team,

printing experts – together they decide if

the actual execution corresponds with the wishes and expectations.


issue #2 © l i n k e d 37

“The launching

of a ship...”

A day checking the proofs of premium,

elaborate cigarette packets

Proof printing is an important step in the process. Before printing a complete run, the experts

at Janoschka scrutinise the print image on the proof press. Cigarette packets are

intricately designed, printed products, with many elements and very different criteria that have

to be taken into consideration to achieve the perfect result.

We spoke to Sergio Isabel, Operations Manager Tobacco, Janoschka Deutschland about

a special type of proof print: the “barrel proof”.

The “barrel-sized” impression cylinder

gives the process its name.


38

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

The substrate is mounted

onto the “barrel-sized”

impression cylinder.

Various cylinders apply inks

one after the other to achieve

the desired image.

linked:

Mr. Isabel, what is a “barrel proof” exactly?

Sergio Isabel,

Operations Manager Tobacco

at Janoschka Deutschland

Sergio Isabel:

At Janoschka, the production of a

barrel proof has the character of the

launching of a ship. It is an exciting

day: for the first time, we get to

hold a proof in our hands and see the

first “real” version that we have been

working on for quite some time.

This is why our client and every one

of the experts involved in the project

come together in a workshop: the creative

agency, the client´s marketing and

technical support are there, as well as

the ink supplier and the printer.

Printing and embossing experts from

our side are also present. Up until

then, we have only ever seen our

ideas and concepts as drafts, graphic

files, colour proofs or dummies.

Now we can see whether the paper,

colour and refinements actually look

the way we had imagined them and

if we have achieved the desired effect

with the engraving technology.

From the in-house “ink kitchen”:

the actual inks and substrates are used for

the barrel proof.


issue #2 © l i n k e d 39

linked:

It is a complex process that has to take many

aspects into account and that requires a lot of

expertise. For which projects does Janoschka use

barrel proofs?

Sergio Isabel:

Always for complex printing projects. For example,

when particular tactility or refinements for lively

surfaces with metallic and other effects come into

play, then we work with barrel proofs.

For barrel proofs, we use the actual printing cylinders

that have been engraved by us, as well as the

real inks. Then, for the first time, a sheet comes

out of the machine that looks like the one that will

eventually go into production. Before printing a

complete run, we check the printed image directly

on the print proof. Each expert is then able to see

directly how the individual components, such as

paper, colour and the image carrier interact and

what needs to be modified.

Finest embossing:

every detail makes a big impression –

not only under the printer’s loupe.

linked:

What can you find out by doing this and why?

Sergio Isabel:

On the one hand, the barrel proof shows us

whether the drafts and ideas are actually

feasible. And on the other, it is used for colour

matching, as well as the checking of all the

refinements. In addition, we inspect all the

printing formes from the technical content side

– so that all the elements have the right colour

and are in the right place. We also frequently

offer additional graphical options to the desired

one, to give our clients a choice.

Everyone brings their expertise –

for a perfect result.

With the findings we gain, we keep optimising

the interaction of all the parameters in the

printing process until we achieve the desired

result and everyone concerned is happy.

Finally, we accurately keep to this result during

the production run. There are never “too

many cooks” when it comes to the barrel proof

and this guarantees success and a perfect

printing result.


40

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

Completely In Line

Curves and corners

Handwriting is as individual as the

writers themselves. This has been

known since 1622. At that time,

an Italian doctor and philosopher,

Camillo Baldi, looked into how a

person’s handwriting can reveal

their personality. In addition to this,

handwriting is influenced by national

characteristics. This holds true

not only for the different characters

of the alphabet, such as in Japanese,

Hebrew or Cyrillic script, but even

Roman script is written differently

by children in Austria or France

than in Germany or in America.

However, there is one thing that

remains the same all over the world:

generations of primary school pupils

practise lines and lines of curves,

arches and ticks until handwriting

becomes routine. Apart from writing

instruments, more than anything,

paper with lines is indispensable –

and these lines follow their own rules

worldwide.


issue #2 © l i n k e d

41

The pages have four lines per row and a learning

house at the beginning and end of each row.

This helps first graders, in Germany, to assimilate

the ascenders, mid lengths and descenders of letters.

swg-online.de/lineaturen

france

The most popular and widely used format for lines in

France is the “grands carreaux” (large squares) or “réglure

Seyès”. It originated from the paper trader, Jean-Alexandre

Seyès, who developed this system of lines in 1892,

and even had its design registered at a court in Pontoise.

With its large number of horizontal and vertical reference

points, the “réglure Seyès” simplified the teachers’ work

enormously. That is to say that they could now give clear

guidance as to the lengths of the ascenders and descenders,

the size of the letters as well as the right positioning

of the accents, without moving from their own desk. With

the introduction of compulsory schooling in 1882, the

classes had increased up to 50 pupils. It was, therefore, no

longer possible for teachers to check individually how their

pupils were learning to write nor to make adjustments by

guiding their pupils’ hands.

This distinctive arrangement of lines is still used in France

and in North Africa by all grades today. It is only supplemented

by small squares for mathematical subjects. In the

1980s the “grands carreaux” made advances in Germany,

becoming a trendy product with students and yuppies.

germany

Unlike France, German pupils have a total of 34 sets of

lines available to them – not counting the ones for the first

writing and maths exercises. The reason may be that primary

school pupils in Germany learn the 26 letters of the

Roman alphabet in four different writing styles. In the East

German states, the style of writing that is still often taught

is the one that was introduced by the GDR in 1968. In the

West however, many primary schools start with block lettering,

progressing then to cursive script in the second and

third grade. Depending on the teacher’s personal preference,

this is either the Lateinische Ausgangsschrift (LA)

style of writing or the simplified version, Vereinfachte Ausgangsschrift

(VA).

There are exercise books available in all sorts of variations

to make learning and practising easier: there is the extralarge

or seven-line system, exercise books with a colourcontrasted

background, a pronounced middle field or

dotted lines in the middle, ones for left-handed and righthanded

people, punched on both sides, with a margin on

the left or the right or on both sides. The shopping lists at

the beginning of a school year are elaborate and tricky –

regardless of the colour and quality of the cover, which can

also be specified by the teacher.


42

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

japan

It is quite different in Japan. As is typical for this country,

complexity is met with purism. A single line pattern is sufficient

for Japanese children to master the great challenge

of their written language. This is basically made up of four

different systems: the two syllabic scripts of Hiragana and

Katakana, with 46 characters each, the Chinese characters,

Kanji, and from the Latin letters, Romaji.

Kanji mostly express whole words and are correspondingly

complex. They have their origin in Chinese characters, of

which there are between 50,000 and 80,000. The Japanese

adopted around 15,000 of them. To read a simple

newspaper article in Japan requires knowing over 2,000

kanji. In daily life, the characters of these four systems are

all mixed in together, so that Japanese texts make particularly

high demands of the pupils

Such a large number of characters can only be mastered

with constant practice and repetition. Japanese line layout

is a simple but clever tool for this. Squares with sides

of two centimetres are divided into four equal squares by

two lines that cross at the centre. This cross gives those

who are learning an orientation for the correct proportion

of the character and for the positioning of the individual

elements. This can be repeated column by column. At the

next exercise level, the characters can each be written,

substantially smaller, four times in the box.

With pen and paper for more

expression and self-confidence

The skill of handwriting is, meanwhile, regarded almost as

a traditional cultural technology and teaching how to write

is regularly questioned: the digital being swipes, clicks and

types. However, it seems that not only personality can be

inferred from handwriting: studies have shown that people

who have developed a handwriting style, also possess

many abilities and potential; they have better powers of

concentration, can remember and understand texts better,

achieve better academic results and experience an

increase in their self-confidence as well as in their ability

to express themselves creatively. It only remains to hope

that many generations of pupils still learn to write with

classical school exercise books – on whatever manner of

lined page.

Few guide lines – great effect:

all the strokes have their exact

position and proportion.


issue #2 © l i n k e d 43

KANJI

ROMAJI

HIRAGANA

KATAKANA


44 t o t e l l t h e t r u t h

Swabian monks have

it all wrapped up

How the “Maultasche” got its dough

Legend has it that resourceful Cistercian monks from Maulbronn,

Germany thought up this recipe in the 15th century,

and not just because the filling was tastier and they were

easier to prepare this way. The fact is that the inhabitants

of the Swabian monastery were more interested in hiding

the forbidden meat filling from divine eyes during Lent. By

doing this, they believed that their enjoyment of meat dishes,

and therefore the transgressive breaking of their fast,

would go unnoticed.

And today? The cheating monks would not stand a chance.

There is now complete transparency: all the ingredients

are clearly labelled on food packaging. Nutrition tables, information

about the origins of the ingredients and the like,

even tell us today which substances are not to be found in

our food: no fat in gummy bears, no gluten in bread and no

lactose in milk.

Modern, informative packaging gives us important information.

Just imagine the supermarket shelves full of completely

blank food packaging: modern Maultaschen, so to

speak. We can only guess what our monks would have

thought about this. And whether they would have gone as

far in their deception as to label Swabian Maultaschen with

“Suitable for Vegetarians”.


issue #2 © l i n k e d 45

The same principle applies to both Swabian Maultaschen and ravioli:

the pasta dough keeps the filling fresh and aromatic – and protects it from prying eyes.


46

n o t e s

1

s o l u t i o n s j a h o l o

Packaging with

the Wow Effect

The magic of apparent visibility

Together with Amcor, Janoschka has developed Jaholo, an innovative finishing technology.

Jaholo produces unique, prismatic motion effects and puts animated patterns

and sequences three-dimensionally centre stage. Jaholo creates a spatially-dynamic

photographic image. Unlike tactile lacquer, which gives a sense of feeling to the optical,

Jaholo teases the eye with a perfect illusion: seemingly real, three-dimensional objects

appear to float in mid-air.

Janoscka creates this holographic effect by using

the combination of state-of-the-art, micro-embossing

cylinders, specially adapted gravure

cylinders, as well as a UV lacquer that was

produced just for this. A customised workflow

for the manufacture of printing and embossing

tools, as well as an ingenious system for repro

preparation and processing, are the basis of

these innovative refinements for the packaging

industry.

Jaholo enhances packaging with unexpected

eye-catchers. The process introduces consumers

to new visual experiences and actively

involves them: by tilting, rotating and turning,

the consumer can delve into the effect. Jaholo

can be applied both just to parts or to complete

large areas. This new refinement offers a broad

spectrum of application opportunities: on the

one hand, it can be used on any background

colour and can be combined with all prevalent

refinements. On the other, it can be applied to

SBS, FBB, laminated cardboard and other substrates.

Jaholo is introducing unexpected perspectives

to innovative packaging. But one thing

is for sure: while the movement of the objects is

illusory, the client´s enthusiasm is real.


issue #2 © l i n k e d

47

Jaholo

Micro Emboss

UV Varnish

Paperboard

Jaholo turns packaging into eye-catchers and motivates the

consumer to look deeply into the illusion.

There are no limits set for the design:

Jaholo makes shapes float.

amcor.com


48

n o t e s

2

n e t w o r k e x p a n s i o n i n a s i a

second production site in vietnam

Janoschka strengthens its presence in Ho Chi Minh City

The opening of the second production site in

Ho Chi Minh City sees Janoschka extending its

business operations in Asia considerably, with

the joint venture, APE Vietnam. The company

operates other sites in Malaysia and Singapore

and in doing so has already advanced its strategic

focus onto the Far East. This expansion in

Vietnam emphasises the increasing importance

of the Asian market for the consumer goods

industry and the rising demand for high-quality

packaging.

Experts expect that, by the year 2030 at the latest,

Asia will be the predominant production site

and key sales market worldwide. The increase

in the packaging market there is estimated to

be approximately six per cent and in the year

2018 should make up 40 per cent of the global

packaging business.

Janoschka, with its 24 subsidiaries in 14 countries,

has a comprehensive global network. The

prepress provider has had an active presence

in Vietnam since 2010. Together with the established

subsidiary in Malaysia and a service

office in Singapore, the site in Ho Chi Minh

City serves the whole packaging market of the

booming economic community ASEAN (Association

of South-East Asian Nations).

“With our additional site in Ho Chi Minh City,

we are taking into account the positive development

in the region. We intend to focus even

more strongly in the future on the Asian economic

zone and its growing purchasing power,”

explains Rudi Weis-Schiff, Janoschka´s Director

Business Development. “With international

standards, we have aligned our new production

site in Vietnam to our prepress expertise:

a global, complete value chain, which interlinks

all our dynamic manufacturing processes across

different process stages and local sites.”

A team of 230 employees work in Ho Chi Minh

City. They offer the complete production process

for the packaging sector: beginning with

graphic services, such as artwork and repro.

Using modern technology, as the Think laser for

example, they achieve an annual production capacity

of 40,000 rotogravure cylinders, 30,000

steel bases, in addition to artwork and colour

separations for different market segments including

food and non-food, as well as tobacco

products.


issue #2 © l i n k e d 49

3

t e c h n o l o g y i n v e s t m e n t

clear communication with the cellaxy c500

The decision to purchase – a prima facie case

Most people live in towns and cities and, therefore, in a shaped reality. Points of sale

are everywhere. Packaging communicates with consumers. Its messages act as a

significant incentive for buying decisions. Increasingly elaborate, they appeal to the

buyers with their brand promises. The clear trend in the case of consumer products:

the design itself implies every advantage and embodies the brand promise both tacitly,

but, at the same time, with a recognisable overtness.

The quality of the execution must

be excellent: precisely defined

contours and high print density are

essential for designs, whether on

flexible packaging, on cigarette

packets or on packaging for the

cosmetic and pharmaceutical industry.

Fine lines and a wealth of

detail make high demands on the

embossing cylinder.

In order to guarantee the highest

print quality for its clients’ products,

Janoschka invests in the

newest technologies: these include

the latest generation of the

Cellaxy direct laser from Hell Gravure

Systems. The Cellaxy C500 is

the universal high-performance

laser tool for the direct engraving

of rotogravure and embossing cylinders.

2D print or 3D embossing

formes, engraved by the Cellaxy,

give a convincing performance all

along the line: it reproduces text

in high definition with a resolution

of 2540dpi and images in a 90l/cm

screen with soft vignettes. The Cellaxy

provides fully automated multipass

engraving with an engraving

depth of up to 800 µm.

The machine, installed at the Kippenheim

production site at the end

of 2016, is the fifth Cellaxy direct

laser in the Janoschka network.

It complements the company´s

state-of-the-art technology park,

which uses all the relevant laser

techniques on the market: besides

the Cellaxy from Hell, the Laserstar

from Daetwyler, Digilas from

Schepers, Think from Think Lab and

DV Laser from Acigraf are also available

for the manufacture of printing

and embossing tools.


50 i m p r i n t

The next edition of Linked will appear in the spring of 2018.

WE ARE DELIGHTED THAT YOU HAVE BEEN WITH US.

Please let us know what you thought about our magazine

so that we can do what we do EVEN better.

Please give us your opinion:

linked@janoschka.com

LINKED is Janoschka Holding’s customer

magazine and appears annually.

Owned and published by:

Janoschka Holding GmbH

Mattweg 1

77971 Kippenheim

Germany

© 2017 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

www.komm-buero.de

Ideas and Conceptual Design:

Sabine Joachims, Janoschka Holding

das komm.büro, Munich

Art Direction / Layout:

Patrick Brandecker

www.patrick-brandecker.de

Print and Binding:

Druckerei Vogl, Zorneding

www.druckerei-vogl.de

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. 23, 24: Affinity Petcare S.A / p. 2, 3, 9: A. S. Création

Tapeten AG / p. 7: Bauhaus-Archiv e.V. / p. 5: Bayerische

Schlösserverwaltung / cover and graphics:

p. 26, 27, 34, 35, 38, 41, 42, 44: Patrick Brandecker /

p. 4, Élitis / p. 20, 45: Fotolia / p. 2, 3, 13, 14, 16,

17, 18, 19, 29, 32, 33, 40, Getty Images / p. 30:

informationisbeautiful.net / p. 2, 3, 10, 11, 13, 14,17,

22, 24, 28, 33, 43 iStock / p. 1, 3, 12, 15, 21, 34, 35,

36, 37, 38, 39, 46, 47, 48, 49: Janoschka archive /

p. 20, 21: Knorr / p. 6: Museumslandschaft Hessen

Kassel, Deutsches Tapetenmuseum / p. 8: Sächsische

Walzengravur/ SWG / p. 6: Science Photo Library Ltd /

p. 8: Tapeten-Agentur / p. 24, 25: Terra Canis GmbH /

p. 28: Windmöller & Hölscher KG

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i s s u e #2 / may 2017

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