Janoschka magazine_Linked_V2_2017

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

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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

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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

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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.

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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

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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.

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“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 /
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i s s u e #2 / may 2017