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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<br />
issue #3 / m ay <strong>2018</strong><br />
The "King of the World"<br />
Is from Cuba<br />
How readers, professional smokers<br />
and colour experts became legendary<br />
An i for an aye<br />
How writing manipulates<br />
Lasting Impressions<br />
How three-dimensionally formed material<br />
writes palpable success stories
e d i t o r i a l<br />
issue #3 ©<br />
l i n k e d<br />
3<br />
Dear Reader,<br />
Our industry is as multifaceted as it is innovative – and also<br />
boasts a centuries-old tradition.<br />
The invention of printing more than 500 years ago led to a<br />
revolution in cultural history. In LINKED, we sketch the<br />
moving and impressive story that has marked our profession<br />
right up to the present day. We are committed to upholding<br />
this tradition and are proud that together we contribute<br />
every day to the further growth and development of our<br />
industry through our love for detail, our comprehensive<br />
know-how and our innovations.<br />
Paper, typography and various types of three-dimensional<br />
forming are other fundamental aspects of the printing<br />
and packaging industries. LINKED sheds light on their<br />
impact on and major contributions to branding.<br />
In this issue of LINKED, we invite you to accompany us to<br />
Cuba, where we explore another unbroken tradition:<br />
the art of manufacturing the incomparable Havanna cigar.<br />
LINKED#3 combines a panoply of information and entertainment<br />
– from and in part about the <strong>Janoschka</strong> company.<br />
With this in mind, we wish you an enjoyable read!<br />
Yours,<br />
Alexander <strong>Janoschka</strong><br />
c h i e f e x e c u t i v e o f f i c e r
4 c o n t e n t<br />
index issue #3<br />
12<br />
30<br />
6<br />
20<br />
insights<br />
6 From Gutenberg to Glossy Packaging<br />
A brief history of a media revolution<br />
12 Palpable Truth<br />
Paper convinces<br />
knowledge & competence<br />
30 An I for an Aye<br />
How writing manipulates<br />
36 Lasting Impressions<br />
How three-dimensionally formed material<br />
writes palpable success stories<br />
face to face<br />
20 The "King of the World" is from Cuba<br />
How readers, professional smokers and<br />
colour experts became legendary
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5<br />
46<br />
36<br />
42<br />
network & people<br />
40 Between Micrometres and Hair-Splitting<br />
Why brand management depends on<br />
a few millionths of a millimetre<br />
42 The Secret of Successful Business Relations<br />
Listening – Analysing – Understanding<br />
to tell the truth<br />
46 Do You Know Why ...<br />
Six dots change the world for millions of people<br />
notes<br />
48 Facts<br />
Paper production and flexible packaging<br />
51 Image-To-Print since 2009<br />
The decision to purchase – a prima facie case
6 i n s i g h t s<br />
From Gutenberg<br />
to<br />
glossy<br />
packaging<br />
A brief history of a<br />
media revolution<br />
When Johannes Gutenberg invented the printing press, he revolutionised<br />
the communication system of his time. While media experts have<br />
long been predicting the “end of the Gutenberg galaxy”, printing technology<br />
has in fact never been more multifaceted or more ubiquitous than it<br />
is today, with poster hoardings, <strong>magazine</strong>s and newspapers – and of course<br />
product packaging – all vying for our attention.<br />
Gutenberg statue, Mainz
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But let us begin with the goldsmith from Mainz, Johannes Gutenberg. The year is 1450;<br />
we are at the threshold between the Middle Ages and the modern age. Only about five per cent<br />
of the population of Central Europe can read. The monasteries are the administrators of<br />
knowledge. It is the monks who expend considerable physical effort reproducing existing texts<br />
– by hand. Scribes spend three years copying a single Bible, writing with a quill pen on<br />
parchment. It is no wonder that books and reading are the exclusive province of the wealthy<br />
clergy and a few noble families.<br />
A black art:<br />
moveable letters take<br />
the world by storm<br />
What was revolutionary about Gutenberg’s idea was its simplicity.<br />
Instead of cutting an entire wood block for each page,<br />
Gutenberg broke texts down into their smallest components:<br />
mirror-image letters made of lead. Using a novel manual casting<br />
instrument, he was able to produce letters of extraordinary clarity,<br />
legibility and beauty. The lead letters could be combined at<br />
will to produce an infinite variety of texts, and additional letters<br />
could be produced as required. Modular, flexible and simple –<br />
Gutenberg’s invention could not have been more modern.<br />
From woodcuts to<br />
playing cards<br />
Woodcut printing was already<br />
known in Europe in Gutenberg’s<br />
time. Originating from China,<br />
this printing method involved<br />
scoring a mirror image of the<br />
design to be printed into a slab<br />
of wood. It was then inked and<br />
stamped. This printing method<br />
was mainly used to reproduce<br />
images, such as those on playing<br />
cards. Letters were only incidental<br />
to the work as a whole.<br />
Typesetting using lead letters has long since yielded to digital data processing.
8 i n s i g h t s<br />
Gutenberg’s first book printed using this method, the<br />
famous forty-two line Bible, was published around 1460<br />
in an edition of 180 copies. It sold out even before the<br />
ink was dry on the last pages. In less than twenty-five<br />
years, the new printing method spread all over Europe.<br />
In the 1470s, book prices began to fall rapidly and by<br />
1490, more than 200 printers had set up business.<br />
Knowledge formerly concealed behind monastery walls<br />
began to reach an unprecedented number of people.<br />
People’s thirst for knowledge was fired by their growing<br />
opportunities to acquire it. As they strove for information<br />
and enlightenment, the mounting market demand broke<br />
the former monopoly of Latin. The number of texts printed<br />
in the vernacular increased seven-fold between 1519<br />
and 1522 alone. This development led to both the consolidation<br />
of national languages and the Reformation.<br />
What is more, printing changed the whole way people<br />
thought. While the oral tradition of the Middle Ages was<br />
based on imagery and metaphors, the printed word<br />
ushered in a more linear, rational way of thinking – analogous<br />
to the rows of letters arrayed on a printing block.<br />
The central idea of Gutenberg’s technology, namely<br />
breaking down a text into its constituent parts, proved<br />
to be an engine for scientific thinking and thus a cornerstone<br />
of the Enlightenment. Book printing then took on<br />
a pioneering role in the commercial sphere, too, where<br />
this complex craft underwent an unprecedented degree<br />
of mechanisation, becoming a prototype for industrial<br />
production. Books became the first mass-produced consumer<br />
good.<br />
Full steam ahead:<br />
large print<br />
runs for newspapers<br />
The first broadsheets, known as “newe Zeytungen”,<br />
appeared while Gutenberg was still alive. During the<br />
Reformation, such pamphlets provided a discussion<br />
forum for questions of religious faith. For the first<br />
time, public opinion was formed indirectly through<br />
the media rather than through verbal exchange, the<br />
first step towards our modern media society. In the<br />
course of the seventeenth century, the broadsheets<br />
gave way to the first periodically published newspapers,<br />
further expanding citizens’ opportunities to<br />
inform themselves about topics of current interest<br />
and to discuss them publicly.<br />
The first best-seller in<br />
world history: the “B42”<br />
It was a newspaper, namely, The Times of London,<br />
that wrote the next step in printing history in 1814.<br />
Gutenberg’s basic principles had remained unchanged<br />
for 350 years, but as the print runs of books<br />
and newspapers increased, the book printer Friedrich<br />
Koenig (co-founder of Koenig & Bauer, Würzburg,<br />
Germany) built the first cylinder printing machine,<br />
which was no longer manually operated but steamdriven.<br />
The speed of printing increased dramatically<br />
to 1,000 printed pages per hour, and by the end of<br />
the nineteenth century, the first rotary presses were<br />
printing 20,000 sheets per hour.
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There are still forty-nine copies of the<br />
Gutenberg Bible extant today.<br />
Two of them belong to the<br />
Gutenberg Museum in Mainz,<br />
Germany.<br />
Book production in Europe<br />
from ca. 1450 to 1800*<br />
1 000 000 000<br />
800 000 000<br />
600 000 000<br />
400 000 000<br />
200 000 000<br />
0<br />
15 th century 16 th century 17 th century 18 th century<br />
* Not including Eastern Europe, i.e. parts of the Ottoman Empire and Russia
10 i n s i g h t s<br />
Lithography<br />
The principle of this early, flat-bed<br />
printing method was developed by the<br />
artist and composer Alois Senefelder<br />
in the early nineteenth century. Areas<br />
of the printing plate where nothing is<br />
to be printed are chemically treated<br />
to ensure that they do not absorb any<br />
ink and thus do not print.<br />
This method underwent further<br />
development to become offset printing<br />
after 1900. The term<br />
Offset<br />
denotes an indirect printing method<br />
whereby, instead of being printed<br />
directly from the printing plate onto<br />
the paper, the ink is first “transferred”<br />
via an additional roller.<br />
Gravure printing<br />
based on the old copperplate engraving<br />
technology, also caught on and<br />
was used to print textiles, wallpapers<br />
and school exercise books even<br />
before 1900. A few newspapers and<br />
<strong>magazine</strong>s began using this method<br />
of printing from 1910 onwards.<br />
printing cylinder with<br />
printing plate<br />
blanket cylinder<br />
impression cylinder
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A 400-year-old tradition comes<br />
to an end: goodbye to classical<br />
book printing<br />
Comparable to the printing press in terms of revolutionary impact:<br />
Steve Jobs presents the first Macintosh 128k in January 1984.<br />
Model: Apple M000<br />
Price: US$ 2,495.<br />
CPU: Motorola 68000, 7.83 MHz<br />
RAM: 128k<br />
Display: 9-inch monochrome screen with 512x342 pixels<br />
Storage: internal 400k SSDD floppy<br />
OS: Macintosh GUI (graphical user interface)<br />
The advent of phototypesetting brought the “era of<br />
lead” finally to an end. Offset and gravure printing<br />
came to dominate newspaper and <strong>magazine</strong><br />
production from the 1970s onwards, changing print<br />
and pre-print operations dramatically. This was<br />
especially true for typesetting.<br />
Since the 1990s, the method of choice has been desktop<br />
publishing, in which text and images are processed<br />
using computer software. Digital data have<br />
replaced the analogue print templates. The printing<br />
plate is created directly from computer data.<br />
Colourful images:<br />
the beginning<br />
of the visual age<br />
As industrialisation advanced, the visual stimuli<br />
to which the residents of rapidly growing cities<br />
were exposed multiplied exponentially within a<br />
few decades. A growing selection of consumer<br />
articles and luxury goods increasingly turned the<br />
market into a buyers’ market.<br />
Printing took on a new role as lavishly designed,<br />
brightly coloured posters with scandalous motifs<br />
sought to attract potential buyers. Whether the<br />
advertisements were for the theatre, absinthe or<br />
lady’s hats, the printing technology of choice was<br />
the then new colour lithography. Never before had<br />
the world seemed so colourful.<br />
Packaging was no longer merely wrapping, but<br />
the quintessential new “print medium”. Printing<br />
allowed product brands to expand their role from a<br />
purely functional one to arousers of emotions that<br />
lent products an image and revealed much about<br />
the people who purchased them.<br />
Whereas in the early phases, printing was closely<br />
connected with people’s thirst for knowledge,<br />
today its main function is to sell, advertise and<br />
enhance the attractiveness of goods.<br />
Thus, rather ironically, things have come full<br />
circle. The new media speak to us in colours,<br />
shapes and images, conjure up associations and<br />
appeal to the subconscious in a manner similar to<br />
the way people used to communicate before book<br />
printing taught them rational, linear thinking. Is this<br />
the final end of the Gutenberg galaxy? Gutenberg<br />
would certainly be astonished.<br />
Shops and department stores were increasingly<br />
organised according to the self-service principle.<br />
As a result, the role formerly played by market criers<br />
and sales staff fell to packaging as a carrier of<br />
information and advertising.<br />
Books, <strong>magazine</strong>s and newspapers<br />
now account for little more than<br />
20 per cent of all printed materials
12 i n s i g h t s<br />
Palpable truth<br />
Paper Convinces<br />
Printed materials and packaging for a customer<br />
dialogue beyond clicks and likes<br />
With a soft rustling sound, the newspaper opens itself and reports – a little more loudly – what is going<br />
on in the world, while the reader enjoys his cappuccino to-go. The packaging of a cream seduces<br />
us with the luxuriously silky feel of its surface. A ticket promises to reveal the adventures of the last Jedi.<br />
Flyers invite us to concerts, urge us to take part in demos. Even though we live in a digital world,<br />
it is more like a forest of paper.
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14 i n s i g h t s<br />
Printed media, packaging and other physical formats<br />
continue to be important elements in branding. Materials,<br />
forms, refined surfaces speak to customers<br />
and make product quality palpable. That is why the<br />
paper needs to be selected to suit the brand or product<br />
just as the logo or the colour do.<br />
Every time we open a package, every time we turn<br />
a page, it is sensual pleasure: we see and smell the<br />
paper, we hear it when we touch it – and we feel it.<br />
Our brains categorise everything we perceive with<br />
two or more senses simultaneously as more credible<br />
and more relevant than things we perceive with<br />
only a single sense. What is more, our subconscious<br />
processes these “multi-sense” data hundreds of<br />
thousands of times more rapidly than our rational<br />
consciousness.<br />
By touching something, we are in part checking<br />
what we have perceived through our other senses.<br />
Touching a thing gives us a feeling of truth – “grasping”<br />
it in the literal sense. Also, our brains translate<br />
these haptic stimuli into mental concepts in a flash:<br />
the velvety, matte-finish surface of a box makes the<br />
melt-in-your-mouth pleasure of the chocolate believable.<br />
Paper convinces.<br />
And paper is simple. Produced for centuries from<br />
the simplest raw materials, it can be endowed with<br />
more diverse properties and characteristics than any<br />
other material.<br />
In operation since 1886: the first papermaking machine of the Büttenpapierfabrik Gmund (Bavaria, Germany).
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Simplicity convinces<br />
Until the industrial revolution, paper was a highly prized material. It was manufactured<br />
by beating plants and textiles (rags) to separate their fibres. Paper<br />
was durable, rare and precious. This changed fundamentally when a method<br />
was discovered for using wood as a raw material to manufacture paper.<br />
Produced in large quantities and at ever lower cost, paper has been adapted<br />
to an incredible variety of uses around the globe.<br />
Over the centuries, the basic principle of paper production has remained nearly<br />
unchanged: a slurry of fibres, fillers, bonding agents and dyes is distributed<br />
evenly over a wire screen to allow the water to drain away. The fibres form a<br />
cohesive web. Various processing stages press, dry and smooth the web until<br />
it becomes a firm sheet of paper.<br />
Nowadays 95 per cent of all paper is made from wood. Fibre type and hardness<br />
are decisive criteria in selecting various woods as raw materials for paper<br />
production. Relatively long fibres form a web more easily and endow the<br />
paper with greater strength. That is why paper manufacturers use mostly<br />
the wood of conifers such as spruce, fir, pine and larch, which generally has<br />
longer fibres than the wood of broadleaf trees.<br />
Direction of web travel,<br />
paper grain<br />
The direction of web travel or paper grain is the direction in<br />
which the solidifying paper mass is conveyed through the<br />
machine. During the process of draining on the wire, the fibres<br />
are oriented mainly parallel to the direction of web travel<br />
(fibre orientation). The web width corresponds to the reel width,<br />
i.e. the width of the rollers through which the paper is to be<br />
passed for further processing. The rollers are arrayed at a<br />
ninety-degree angle to the direction of web travel.<br />
Another important source of raw material is recyclable paper. While the paper<br />
recycling ratio was no more than 45 per cent in the 1960s, Europe as a whole<br />
now recycles 72 per cent of its paper, and Germany, Austria and Switzerland<br />
even manage to reuse 74 per cent. Theoretically, a paper fibre can be recycled<br />
four to six times, but each time it is recycled, the quality of the fibrous material<br />
inevitably decreases. The fibres become shorter, the strength of the paper<br />
diminishes, and fresh, new fibres have to be added.
16 i n s i g h t s<br />
Further processing<br />
steps lend refinement<br />
and sensuousness<br />
Producing good base paper is only the first step, however,<br />
and is often followed by surface processing designed<br />
to adapt the paper precisely to its intended purpose. Art<br />
books and glossy <strong>magazine</strong>s require paper with a surface<br />
quality capable of brilliantly reproducing the original<br />
images. Well-designed and refined packaging reflects its<br />
contents, conveys a brand image, awakens desires. For<br />
newspapers, mass-produced articles that often lose their<br />
relevance after a single day, simple paper is just right.<br />
Surface processing determines the degree of whiteness,<br />
the ability to absorb ink, smoothness and strength, printability,<br />
readability, print image reproducibility, texture and<br />
much more. Papermaking machines can perform all the<br />
steps required for these properties in a single process.<br />
Sizing<br />
As a rule, sizing is effected through the use<br />
of starch, which enhances surface strength<br />
and resistance to moisture. The sizing press<br />
is integrated in the drying section of the<br />
paper machine.<br />
Coating<br />
Coating is an important refining process<br />
that gives paper a lighter, smoother<br />
and closed surface. The coating material,<br />
which consists of pigments such<br />
as chalk, starch or casein, can make the<br />
paper’s surface either glossier or more<br />
matte and improve its printability.<br />
Calendering<br />
To lend paper a glossy finish, it is passed<br />
through a series of calenders, i.e. smoothly polished<br />
stainless-steel cylinders or rollers. Varying<br />
amounts of heat, pressure and friction are used<br />
to lend the paper a matte, semi-matte or glossy<br />
surface. This process also makes the paper thinner,<br />
more flexible and more translucent.<br />
SEE ARTICLE ON PAGE – SEE ARTICLE ON PAGE –<br />
p.38<br />
Embossing<br />
Forming processes can create special haptic<br />
stimuli. Leather, wood, or stone structures refine<br />
paper surfaces and lend them vivid individuality<br />
and authenticity.
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INFO ON –<br />
SEE FURTHER INFO ON PAGE<br />
p.48<br />
SEE FURTHER<br />
–<br />
Papermaking machines contain more complex technology than a jumbo jet.<br />
They can produce up to 1,400 metres of paper per minute,<br />
can be more than 10 metres wide and up to 120 metres long.<br />
Cutting<br />
At the dry end of the papermaking<br />
machine, the finished paper<br />
web is wound onto a tambour, i.e.<br />
a reel that can weigh as much as a<br />
hundred tonnes.<br />
Depending on what customers<br />
want, the paper may be cut into rolls<br />
or sheets, parallel or at right angles<br />
to the grain. Secure packaging and<br />
a few further steps will ensure that<br />
the paper arrives in perfect condition<br />
wherever it is to undergo further<br />
processing.<br />
Paper cannot only be endowed with the most diverse properties, but<br />
also offers the broadest range of options for further processing. It can be<br />
printed, cut, folded, creased and/or embossed. An extremely wide range<br />
of technologies can transform a humble sheet of paper into a spectacular<br />
product that will stimulate our senses and lend wings to our minds.
18 i n s i g h t s<br />
The important<br />
thing is<br />
what comes out<br />
the back<br />
A daring team of visionaries set out to make paper out of<br />
animal droppings, initially only those of elephants.<br />
The experiment was a success, yielding a wood-free, handmade,<br />
recycled (or even upcycled), odour-free, entirely<br />
natural and unique paper and stationery made out of poo.<br />
Herbivores other than elephants can meanwhile also<br />
boast of producing more than manure. To be precise, rather<br />
than contributing to a problem, they contribute to a<br />
solution and actively support a social and environmentally<br />
conscious project.<br />
Elephants, cows, horses, elks, panda bears and donkeys<br />
have one thing in common: they eat a lot, digest a lot<br />
and leave large quantities of (fibre-rich) manure behind<br />
everywhere they go. This can be used to create a cellulose<br />
slurry, which is then processed in the traditional manner<br />
to produce unbleached, chlorine-free and chemical-free paper.<br />
An average pile of elephant droppings is enough to produce<br />
25 large sheets of paper or 25 small notebooks, all of<br />
which goes to show that, ultimately, the only important<br />
thing is what comes out the back.
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Gmund beer paper – with real spent grains.<br />
An affirmation of nature: earthy, alive and authentic.<br />
Prize-winning design: for its “Materica”<br />
book of patterns, Fedrigoni won the<br />
“German Design Award 2014” in gold.<br />
Through-dyed natural paper and cardboard<br />
packaging with 15 per cent cotton<br />
and 1.8-fold volume.<br />
By Hahnemühle: Extremely smooth to the touch, this thick, fine paper made of cotton has its own<br />
distinctive glossiness. Refinements such as foil stamping and heavy deposit printing take advantage<br />
of the paper’s thickness, producing delightful results with a three-dimensional feel.<br />
If you have leafed through <strong>Linked</strong> to this point, you are now familiar with the following papers:<br />
Cover: Igepa Muskat brown, 350 gr / Inner section: Munken Kristall Rough, 120 gr, 1.4-fold volume
20<br />
f a c e t o f a c e<br />
Never Mind Socialism:<br />
the<br />
"King of the World"<br />
is from Cuba<br />
How readers, professional<br />
smokers and colour<br />
experts became legendary<br />
Think of Cuba and you see the spray crashing onto the seawall of the<br />
Malécon, the pastel-coloured Cadillacs with tail fins, the time-worn<br />
patrician houses in the Spanish Baroque style, the colourful washing<br />
fluttering in the wind, salsa and son – and, of course, cigars.<br />
Cuba and the cigar are inextricably linked; indeed, Havana, the capital,<br />
has become a synonym for cigars. The Habano (Havana) is one of the<br />
best, igniting (not only proverbially) the fire and passion of any aficionado.<br />
The country’s unique tobacco and the roughly 300 steps<br />
required to make a Havana cigar account for its unrivalled quality.
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22 f a c e t o f a c e<br />
Havana is already bathed in glistening light when Olivia López threads her way through the maze of narrow streets and<br />
turns into Calle Agramonte. Passing through a wrought-iron gate adorned with tendrils, she enters a hall. Here it<br />
already feels humid, despite the early hour. Decrepit fans rattle on the ceiling, and there is a smell of fresh, aromatic tobacco<br />
in the air. The 120 or so workers are preparing for their shift. Olivia López walks to her platform at the end of the<br />
hall and takes her place behind her microphone. Hers is a unique profession found nowhere else in the world and is part<br />
of Cuba’s cultural heritage. She is a lectora de tabaquería, a reader in one of Cuba’s famous tobacco factories.<br />
Totalmente a mano<br />
Not until three years after they have been harvested<br />
does the moment come for tobacco leaves to be made<br />
into a Havana. In the so-called galera, the heart of the<br />
cigar factory, torcedores and torcedoras (cigar rollers)<br />
make Havanas entirely by hand – totalmente a mano.<br />
Even for the largest and most demanding cigars, the<br />
torcedor requires only a few simple tools: a wooden<br />
board (tabla), a knife (chaveta), a disc-cutter (casquillo),<br />
vegetable gum (goma) and a guillotine.<br />
With great dexterity and the skill borne of years of practice,<br />
the torcedor makes between 60 and 120 cigars a<br />
day, depending on their size and shape. To reach the<br />
peak of this traditional craft, and hence to be able to<br />
make the larger and more complicated Habanos, a roller<br />
must also have natural talent. Nowadays, it is mainly<br />
women who roll cigars, but otherwise the work of the<br />
roller has not changed in more than a hundred years.<br />
The torcedora starts by laying two or three half leaves<br />
that she wants to use as binders (capote) in front of<br />
her on her tabla. She then groups the filler leaves (tripa).<br />
These are the source of the exquisite taste and<br />
the unique range of aromas that distinguish a Habano<br />
from all other cigars.<br />
She folds up each of these leaves in a special way and<br />
arranges them to allow a clear passage for the smoke<br />
to be drawn through the finished Habano. She lays<br />
the strongest-tasting and slowest-burning leaf in the<br />
middle. The ends of all these leaves have a less intensive<br />
taste and are laid at the foot of the cigar, i.e. the<br />
end that is to be lighted. The taste therefore becomes<br />
gradually more intense as the cigar is smoked.
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By rolling these filler leaves into the binder leaves, the<br />
torcedora forms the bunch (bonche). Here she must be<br />
careful to adhere precisely to the prescribed diameter<br />
of the cigar format that she is producing. Keeping the<br />
pressure even, she begins to roll up the cigar at what<br />
will later be the foot. The head – or mouth end (boquilla)<br />
– is cut using the guillotine. Then the bunch is pressed<br />
in a wooden mould for at least thirty minutes in order<br />
to set the shape.<br />
As the next step, the cigar roller prepares her wrapper<br />
leaf (capa) out of half of one of the leaves. This is a key<br />
carrier of flavour in the cigar, but also influences the<br />
appearance of the cigar and its ability to burn uniformly.<br />
The torcedora moistens this leaf a little so as to be able<br />
to fit it perfectly to the form of the bunch.<br />
She lays it on the board with the leaf veins facing<br />
upwards, so that the smooth, unblemished side of<br />
the leaf will later form the outer skin of the Habano.<br />
The tip of the wrapper forms the mouthpiece of the<br />
cigar. With a light incision of her curved blade she<br />
cuts the wrapper to size, paying particular attention<br />
to the edge which will later be visible on the cigar.<br />
As she wraps the bunch with the wrapper, her fingers<br />
stretch the leaf taut and straighten it with great<br />
skill. The leaf must be stretched perfectly in order to<br />
give the cigar a flawless, silky shimmering skin. The<br />
velvety, matte-finish surface embodies the perfection<br />
of a Habano.
24 f a c e t o f a c e<br />
“Compagñeras y compagñeros, I’m reading from today’s edition<br />
of Granma: the news...”. Speaking through her microphone,<br />
Olivia López informs the torcedores of the latest news.<br />
Although the tradition of the lectores de tabaquería has existed<br />
for more than 150 years, since the Revolution the day has been<br />
divided into two: in the mornings, López reads from the<br />
state communist newspaper, while the afternoons are reserved<br />
for literature.<br />
The founder of the reading tradition in the Cuban galeras de<br />
torcido is no less a person than the legendary Don Jaime<br />
Partagás Ravelo. In 1865, the founder of the “Real Fabricas<br />
de Tabaco Partagás”, the “Royal Partagás Tobacco Factory”,<br />
had the idea of relieving the monotony of rolling cigars in<br />
his production halls with entertainment and education.<br />
Perhaps that is why the cigar rollers in Cuba became known<br />
as “the intellectuals of the proletariat”.<br />
Free to choose what they read, but taking the wishes of the<br />
torcedores into account, the lectores de tabaquería read<br />
thrillers, love stories, gems of worldly wisdom and the world’s<br />
great literature: Shakespeare, Alexandre Dumas, Gabriel<br />
García Márquez or Cuba’s great writer, José Lezama Lima.<br />
In the heyday of the lectores, in the late nineteenth and early<br />
twentieth century, both classical dramas and the great<br />
adventure novels were very popular. The torcedores liked some<br />
works so much that brands of cigars were named after them:<br />
Romeo y Julieta, Sancho Pansa and (the Count of) Montecristo.
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Passion, meticulousness<br />
and an unfailing eye are<br />
what it takes to create<br />
true legends<br />
Alongside flawless work by the torcedores, a<br />
cigar can only be classified as a Habano after<br />
meeting the most stringent quality standards.<br />
As cigar rollers with years of experience, the<br />
supervisores know their trade inside out and<br />
are highly skilled. They continuously monitor<br />
the work of their torcedores subordinates in the<br />
galera, checking the techniques used, the quality<br />
of production and the dimensional accuracy.<br />
In a second step, the cigars are passed on to<br />
the experts in the quality control department,<br />
who check the weight, the length, the diameter,<br />
the firmness and the production quality.<br />
They are particularly fussy about the cigars’<br />
external appearance: the wrapper must exhibit<br />
an even tension, and the head of the cigar<br />
must be exactly the right shape.<br />
Cigars that fall short of the mark will never be<br />
classified as Habanos.<br />
Every factory also has a number of employees<br />
with other peculiar professions: take the<br />
tasters (catadores), for example, whom one<br />
might call professional smokers. They try several<br />
cigars a day and grade them according<br />
to fixed criteria: aroma, taste, strength, draw,<br />
uniformity of burn and overall quality. They<br />
sample between three and five different cigar<br />
formats (vitolas) at each sitting. If the cigars<br />
deviate from the character of the brand or the<br />
format, the taster recommends adjustments.<br />
Once Habanos have passed quality control,<br />
they are placed in a cedar-lined conditioning<br />
room (escaparate), which is often also referred<br />
to as the “treasury” of the cigar factory.
26 f a c e t o f a c e<br />
Some wrapper leaves are cured in the farmers’ traditional drying<br />
barns (casas de tabaco) in natural climate. The leaves are threaded<br />
in pairs and hung side by side over wooden rods (cujes), which<br />
“wander” progressively higher and higher with the drying process.<br />
At the end they are located directly under the roof of the casas de<br />
tabaco. This process lasts for around 50 days.
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Wrapper<br />
Binder<br />
Filler<br />
double claro<br />
The colour of the wrapper leaf is a good indication of<br />
a cigar’s strength. The green Candela (double claro)<br />
is one of the mildest cigars, whereas blackish-brown<br />
Oscuro cigars contain more oil and sugar and develop<br />
a strong or even very strong taste.<br />
torpedo<br />
parejo<br />
chisel<br />
perfecto<br />
presidente<br />
pyramid<br />
claro<br />
colorado claro<br />
colorado<br />
colorado maduro<br />
maduro<br />
oscuro<br />
A feast for<br />
the eyes as well<br />
Every Cuban cigar manufacturer carefully and<br />
conscientiously ensures that this exemplary<br />
natural product fulfils the highest expectations<br />
of connoisseurs and aficionados the world<br />
over. Their very first impression is the harmony<br />
of colour presented by the cigars in the box:<br />
all the cigars are exactly the same colour, but<br />
in evenly graded shades, starting with the<br />
darkest on the far left and gradually becoming<br />
lighter towards the right.<br />
This elegant appearance is guaranteed by the<br />
colour graders (escogedores), who always<br />
work in pairs and with the naked eye can<br />
distinguish more than sixty different shades<br />
of the basic colours. The graders decide not<br />
only the order in which the cigars are to be<br />
placed in the box, but also which side of the<br />
cigar is to face upwards.
28 f a c e t o f a c e<br />
Semi Vuelta<br />
Partido<br />
Cuba offers optimal soil and climate for growing tobacco and produces some<br />
of the world’s finest. Of the four growing regions: Vuelto Ariba, Partido,<br />
Semi Vuelta and Vuelto Abajo, the last, situated in the southwest of the island,<br />
is considered one of the best tobacco-growing areas in the world. This is also<br />
the location of Pinar del Rio, a tobacco region with a registered trademark.<br />
Vuelto Abajo<br />
Vuelto ARriba<br />
Once the cigars have been arranged according to<br />
colour, the anilladoras give each cigar a band (anilla).<br />
In determining where the band goes, they adhere<br />
precisely to the position allocated to each cigar<br />
in the box by the escogedores and also the side<br />
selected to face upwards. The cigar band is a distinguishing<br />
feature first introduced in 1860. It carries<br />
the trademark of the Habanos and is a sought-after<br />
collector’s item among many cigar smokers.<br />
Naturally, the cigar boxes are decorated by hand as<br />
well. Each label has its own name and is a superb<br />
identifying mark. Before each box is closed, the<br />
revisador carries out a final quality check. Boxes are<br />
provided with various seals and marks to guarantee<br />
that the contents are indeed of the trademarked<br />
provenance and production method, and since<br />
2000, each box has also been furnished with a<br />
serial number.<br />
“Wait! Wait! Confound it!”, Bertuccio let out a scream,<br />
which died away on his lips under Monte Christo’s gaze.<br />
“Benedetto”, he murmured, “Oh, we’re doomed...”<br />
Olivia López’s melodious voice has the torcedores captivated.<br />
With her unerring sense of suspense, she ends<br />
today’s shift with this cliff-hanger and closes the book.
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Montecristo: the brand with the six<br />
crossed swords and the Fleur-de-Lys,<br />
the French royal lily, in its coat of arms.<br />
Cohiba Behike is one of the world’s most<br />
expensive cigars, and its band is the<br />
first to sport two separate holograms to<br />
protect the brand against counterfeiting<br />
and make it easier for aficionados to<br />
identify it as genuine.<br />
Together with the Romeo y Julieta, these<br />
brands are known as the "Holy Trinity"<br />
of Cuban cigar art.<br />
Famous cigars and their aficionados<br />
Iconised by Che Guevara, Winston Churchill,<br />
Ernest Hemingway, Marlene Dietrich,<br />
Arnold Schwarzenegger, Madonna and<br />
many others, the Habano is a unique luxury<br />
of this Caribbean island.<br />
By selecting Cohiba as his favourite brand,<br />
Fidel Castro not only made it Cuba’s<br />
most famous cigar, but also prompted so<br />
much demand that it was at times a scarce<br />
commodity.<br />
The great cigar brand Romeo y Julieta has been around<br />
for almost 150 years. Created by Don Jaime Partagás<br />
Ravelo, it survived a war of independence, the US<br />
occupation, a revolution and Soviet advisers; the<br />
company has been both privately owned and nationalised.<br />
Its most famous product is probably Julieta No. 2:<br />
seven inches (17.8 centimetres) long and with a band<br />
circumference of forty-seven (18.65 millimetres), this<br />
format was named Churchill after its famous fan.<br />
The factory continues to exist to this day and, in spite<br />
of all the political turbulence, has never interrupted production.<br />
Every Churchill made represents a victory over<br />
the inclemency of the tropical climate, fuel shortages,<br />
politically motivated flight and the ubiquitous tobacco<br />
thieves.
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30 k n o w l e d g e & c o m p e t e n c e<br />
An I fOr<br />
An<br />
Aye<br />
How<br />
writing<br />
manipulates They are called Tiffany, Gotham or Utopia. Sometimes<br />
there are widows and orphans. Some feature serifs<br />
and some many aspects of a good western. On paper,<br />
they tell us great stories – on film screens, they open<br />
and end the film. But here we're not talking about<br />
films, their titles, their fictional towns or their plots,<br />
but about typography.<br />
Ty·pog·ra·phy as a technology<br />
deals with the creation and representation<br />
of text information by<br />
means of pre-made symbols.<br />
Typography as a science deals<br />
with knowledge regarding the<br />
use of lettering. This ranges from<br />
historical and cultural aspects<br />
to the theoretical and practical<br />
foundations of the present-day<br />
design and application of typefaces<br />
and fonts.
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Typography is body language. Typefaces awaken emotions, influence us subconsciously, and<br />
can be either helpful or obstructive. Typography contributes substantially to our decisions to<br />
buy a product, to lose ourselves in reading a book or, conversely, to put a <strong>magazine</strong> back down<br />
again immediately.<br />
Why? Because readers always look at a text before deciding whether or not to read it. Like an<br />
image, lettering has a visual effect. In its specific form, lettering imbues texts with meanings<br />
that are not explicitly written. Lettering lends contents a voice, as it were, interprets them and<br />
brings out nuances according to the “tone”, and may under certain circumstances even alter<br />
the meaning of the text. Subtly and indelibly, typography conveys the character of a company,<br />
the quality of a product, the lifestyle conveyed by a brand image. In short, typography is about<br />
finding the right “character” to express individual character.<br />
Typography is what<br />
language looks like<br />
Is a Porsche really the car for me? Am I more the Prada<br />
or the Tommy Hilfiger type? Will a soft drink provide<br />
the energy that I expect? In cases where the qualitative<br />
differences between products are minimal, brand<br />
is everything.<br />
To define their brands, designers use sets of images,<br />
forms, colours and letters. Of all the elements utilised to<br />
compose a brand, lettering is the least noticeable. That<br />
is why it takes a lot of know-how to select an appropriate<br />
font and layout to convey a specific message which<br />
the recipient will not only absorb subconsciously, but<br />
also evaluate positively.<br />
Legibility –<br />
by no means trivial<br />
Since the appearance of a text is perceived before its<br />
content, the former determines whether or not we even<br />
take the next step and delve into what is written there.<br />
If the typeface used makes a text less than optimally<br />
legible, the eyes and brain have to work harder to read<br />
it. Our natural response to hard-to-read lettering is to<br />
stop reading. This physical unease also elicits negative<br />
emotions towards the as yet unknown content. Instead<br />
of recognizing that lettering is hard to read, we put the<br />
product down with the feeling that it is uninteresting,<br />
irrelevant or even useless.<br />
A study entitled “If it’s Hard to Read, it’s Hard to Do”*<br />
shows how far this response goes: based solely on the<br />
lettering used to print a recipe, participants assessed<br />
the difficulty level and the time required for its preparation<br />
as greater or lesser; indeed, they even judged how<br />
well trained a restaurant chef needed to be to prepare it.<br />
The impact of lettering on the subconscious mind of<br />
readers who are constantly being inundated with images<br />
makes legibility the key criterion: easily readable lettering<br />
not only attracts and retains readers’ attention, but<br />
also awakens positive emotions.<br />
Legibility as a positive outcome of typeface selection<br />
may sound trivial initially, but it has occupied script<br />
designers and typographers since ancient times, when<br />
they first started to combine basic geometric elements<br />
such as arches, circles and lines to form unambiguous<br />
letters and ultimately unmistakeable word images.<br />
Proportion and size, suitable spacing and tracking play<br />
a decisive role in guiding the eyes.<br />
* Hyunjin Song and Norbert Schwarz,<br />
University of Michigan, 2008
32 k n o w l e d g e & c o m p e t e n c e<br />
Rome<br />
and the<br />
universe<br />
One of the oldest examples of a typographical script is<br />
Capitalis Monumentalis. In ancient Rome, its clear,<br />
majestic capital letters with their elegant serifs were<br />
literally carved in stone and had an exclusive, prestigeconferring<br />
function: as inscriptions for triumphal arches,<br />
magnificent buildings and monuments.<br />
The design of these letters was consistently oriented<br />
along the lines of the basic form of a square. Despite its<br />
venerable age, this script is clearly legible even for modern<br />
eyes, as anyone taking a walk in the Roman Forum<br />
can confirm. This script served as the basis not only for<br />
modern newspaper fonts, but in many cases also for<br />
their titles, such as “The Times” (London) or “Die Zeit”<br />
(Hamburg).<br />
Named after the Venetian humanist, publisher and<br />
typographer Aldus Manutius (1449–1515), the<br />
“Aldusblatt” (floral heart) belongs typographically<br />
to the fleurons, flower-like ornaments used in books<br />
and other printed works as decorative, separating<br />
and/or concluding symbols.<br />
About 2000 years later, Adrian Frutiger, a master of<br />
space, proportion and order, realised that the primary<br />
function of any typeface is legibility and made this the<br />
premise of all his creative work. According to the renowned<br />
typeface designer, script has a very keen edge,<br />
but is also sensual, as is evidenced by the harmonious<br />
forms of his alphabets.<br />
He was on the threshold of the digital age, when type<br />
was no longer set using lead characters, but with beams<br />
of light. Accordingly, his Univers marked a turning point<br />
in the 500-year history of typesetting. This typeface,<br />
designed by Frutiger in 1953, represents the end of one<br />
era and the beginning of a completely new one. For the<br />
first time, he developed an entire family of typefaces, for<br />
each of which he designed italic, narrow, semi-bold and<br />
bold forms. From mammoth billboards to the smallest<br />
labels, one of the twenty-one members of the Univers<br />
family always fits perfectly.<br />
Arabic script also has many different forms and types, but<br />
all of them have one thing in common: they are all ligature<br />
scripts, i.e. italics. In contrast to Latin script (see Capitalis<br />
Monumentalis), Arabic has no capital letters (versals).<br />
Arabic is written from right to left. It spread rapidly with<br />
Islam from one people to the next and in some cases supplanted<br />
the native script, while in others (e.g. among some<br />
African peoples), it was the first system of writing to be<br />
adopted at all.<br />
The Univers typeface family was a resounding success:<br />
it was the official typeface of the Summer Olympic<br />
Games in Munich in 1972, and its simple elegance was<br />
chosen to speak for BP, Esso, FedEx, the Frankfurt Trade<br />
Fair and the Deutsche Bank. Its italic variant adorned<br />
every Apple keyboard around the world for decades.<br />
In addition to the Arabic language, Arabic<br />
script has been used to write Persian<br />
(Farsi), Kurdish, Turkish, Tatar (earlier),<br />
Malay, Pashtun, Urdu, Somali, Swahili,<br />
Hausa and some Berber languages.<br />
<strong>Linked</strong> pays tribute to Adrian Frutiger’s idea of sensual functionality.<br />
It is set in Univers 45 light.
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ABCDEFGHI<br />
JKLMNOPQ<br />
RSTUVWXYZ<br />
1234567890<br />
Trajan Pro Regular<br />
ABCDEFGHI<br />
JKLMNOPQ<br />
RSTUVWXYZ<br />
1234567890<br />
Times Regular<br />
Even though it is nearly 2000 years<br />
old, we can read the inscription on the<br />
Trajan Column in Rome just as if it<br />
were a recent newspaper headline.
34<br />
k n o w l e d g e & c o m p e t e n c e<br />
Writing makes up the interior furnishings of<br />
our mental world. In itself, its strokes,<br />
its structure and in its application is hidden<br />
the spirit of the time – and that can<br />
be read as well – like the façades<br />
and interiors of houses, not to mention their<br />
inhabitants.<br />
a d r fr ut<br />
i a i<br />
n<br />
g<br />
er<br />
55<br />
Roman<br />
a bcd<br />
e fgh<br />
ij kl<br />
mn<br />
C65<br />
Bold<br />
o pq<br />
r stu<br />
v w<br />
xyz<br />
123<br />
456<br />
789<br />
0
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Carpe diem<br />
Companies that fail to take advantage<br />
of the associative effect of typefaces<br />
give up immense added value. Never<br />
before have businesses communicated<br />
so much and through so many channels<br />
as they do today. That is why it is<br />
more vital than ever to select an easily<br />
legible, unmistakeable typeface to<br />
represent a brand promise and a<br />
brand message.<br />
Chanel No. 5, Lufthansa, Coca Cola:<br />
all of these name brands have remained<br />
unchanged for decades and<br />
play expertly with the interaction of<br />
message and form. Their worlds of<br />
colour and images would hardly be<br />
imaginable without their succinct<br />
typography. Most importantly, their<br />
effect would never be the same.<br />
Casting<br />
– the mother of all brands<br />
This is probably the only international brand whose recognition<br />
and success is based on a logo that has been in use for more than<br />
100 years. The logo was created around 1890 in a font that is<br />
referred to in the United States as "Spencerian Script".<br />
This sweeping script was the standard for business correspondence<br />
between 1850 and 1925. Then came the typewriter.<br />
Widow – an instance when only the last line of a paragraph<br />
is at the top of the next page or column.<br />
Virgin – refers to a finished page that is free of errors.<br />
Serif – the final stroke of a letter that closes the letter at right<br />
angles to its basic orientation.<br />
Orphan – an instance when only the first line of a paragraph<br />
is at the end of a page or column, while the remaining<br />
lines are at the top of the following page or column.
36 k n o w l e d g e & c o m p e t e n c e
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Lasting Impressions<br />
How three-dimensionally formed material<br />
writes palpable success stories<br />
People like to be touched – and to touch beautiful things. No medium appeals to the senses in<br />
the same way as a highly refined print product, be it a package featuring gloss and structures,<br />
"outstanding" graphics on labels, "impressed" elements on calling cards or the play of light and<br />
shadow on a title page. Forming processes open up an additional dimension, and with it, the<br />
means of producing things that catch the eye and flatter the hand.<br />
Products have to set themselves apart from their<br />
competitors. A package that can convey the quality<br />
of its contents for more than a literal blink of an eye<br />
affords decisive advantages in highly competitive<br />
markets. Formed surfaces combine visual effects<br />
with haptic stimuli. That is why formed elements<br />
attract buyers' attention, lend wings to their imagination,<br />
give expression to their longings and make an<br />
impression that ties them to a brand. Car interiors,<br />
flooring, wallpapers and furniture sell themselves<br />
through their textures and effects. With threedimensional<br />
forming, these surfaces make a lasting<br />
impression that is anything but superficial.<br />
Three-dimensional elements make print products<br />
unmistakable, with contrasts of flatness and relief,<br />
matt finish and gloss, harmonies and dissonances,<br />
light and shadow, consistency and change.
38 k n o w l e d g e & c o m p e t e n c e<br />
The haut-relief embossing tool (left) shows<br />
clearly the fine lines that produce the characteristic<br />
features of the eagle in the embossed result.<br />
When texture<br />
echoes appearance<br />
Three-dimensional forming processes can be<br />
designed to modify only part or all of a product's<br />
surface. Producing three-dimensional<br />
design elements may involve using two<br />
different basic techniques: embossing or<br />
debossing, or a third variant: blind embossing.<br />
Whichever process is used, the result is a<br />
well-defined, lasting relief. Embossing forms<br />
haut-relief, i.e. a pattern that is raised above<br />
the surrounding material, while debossing<br />
forms bas-relief, i.e. a pattern that is pressed<br />
below the surrounding material.<br />
These designs create added functional value<br />
in the details of package designs such as<br />
creases and folds and in the production of<br />
mock-ups and prototypes.<br />
Embossing<br />
Blind Embossing<br />
Of heights and depths and their effects<br />
Embossing lifts the design forward and yields a raised, palpable relief on<br />
the front, while the back side shows a corresponding depression.<br />
Embossing lends a haptic effect.<br />
Please note that, even though it is now technically feasible to emboss even<br />
the finest structures, the embossing of such structures is limited by the nature<br />
and thickness of the substrate, the profile of the patrix and the specific<br />
characteristics of the design.<br />
Debossing presses the design into the material, creating a recess or visible<br />
bas-relief on the front or printed side and a corresponding bulge on the<br />
back. Debossing has a powerful optical effect.<br />
While embossing and debossing processes require in each case a set of<br />
matched cylinders (one with the raised design and one with a matching recessed<br />
design), blind embossing requires only one cylinder with the design,<br />
which embosses the material against a smooth counter cylinder.<br />
Debossing<br />
Embossing, debossing and blind embossing processes can be combined in<br />
a single machine. The selective combination of various three-dimensional<br />
forming processes can blend surprising aesthetic effects and attractive<br />
surfaces to produce eye-catching designs of palpable quality.<br />
Combined techniques
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Comprehensive know-how –<br />
premium results<br />
In order to achieve the desired result, each task in<br />
the forming process is complex owing to the combination<br />
and interaction of all the different factors:<br />
the material, different design elements in the various<br />
forming processes, the finest lines and lettering<br />
and/or areal design objects. The specialists at<br />
<strong>Janoschka</strong> have comprehensive know-how.<br />
"For every design, we find the most effective refinement<br />
– and the technically feasible means of<br />
achieving it. If we are on board from an early point<br />
in the development and design process, we can<br />
contribute our background knowledge and our<br />
technological expertise", explains Thierry Muller,<br />
Head of Product Management. "Our clients benefit<br />
from our know-how and needs-oriented consulting<br />
right from the outset."<br />
Thanks to its comprehensive understanding<br />
of clients' aesthetic and technological expectations,<br />
<strong>Janoschka</strong> can use its expertise in<br />
refining materials to realize high value-adding<br />
potential for the packaging, automotive and<br />
interior furnishings industries.<br />
With their in-depth know-how, <strong>Janoschka</strong>'s<br />
experts also meet the market's requirements<br />
for effective surfaces, design and quality. The<br />
additional dimension opened up by forming<br />
processes is an added value that transforms<br />
print products into palpable success stories.<br />
Three-dimensional forming<br />
processes can be used<br />
to refine a very broad range<br />
of materials:<br />
- Cardboard: folded boxes (cigarettes,<br />
cookies, sweets, cosmetics or medicines),<br />
calling cards or greeting cards<br />
- Paper: labels, wallpapers<br />
- Plastics (such as polyethylene,<br />
polypropylene, etc.): artificial leather<br />
- Laminated films:<br />
Fabric (non-woven) and tissue (sanitary<br />
papers): napkins, tissues, toilet paper, etc.<br />
- Laminates: floor coverings<br />
- Furniture surfaces
40<br />
n e t w o r k & p e o p l e<br />
Between Micrometres and<br />
Hair-Splitting<br />
Why brand management depends on<br />
a few millionths of a millimetre<br />
Consistency is the very essence of brand presentation and can be achieved only through painstaking precision<br />
and meticulousness at every stage in order to get the colours, textures, typefaces and images all<br />
exactly right. Perfect printing depends on many different parameters, beginning with the production and<br />
imaging of the printing cylinders, where a host of different criteria have to be taken into account.<br />
We spoke to Isabell Kegel, process engineer for imaging at <strong>Janoschka</strong> Deutschland, about her job, in which<br />
reconciling many extremes is all in a day's work.<br />
linked:<br />
You are a process engineer for imaging.<br />
How would you describe the final result of your work?<br />
ISABELL KEGEL:<br />
My job is to ensure that a brand always looks the<br />
same the world over, no matter whether the<br />
packaging is printed in Germany, Asia or America or<br />
whether it's made of foil, cardboard or plastic.<br />
Nevertheless, I am actually still quite a long way<br />
from the printed product. I don't even work<br />
directly with the cylinder or with the printing tools,<br />
but at a very early stage. I make sure that the<br />
motifs that will later be visible on the packaging<br />
look as they should do on the cylinders.<br />
Isabell Kegel,<br />
Process Engineer Imaging<br />
at <strong>Janoschka</strong> Deutschland<br />
I'm responsible for making sure that the laser engravers<br />
make perfect cylinders, which in turn<br />
deliver perfect printing results – at all of <strong>Janoschka</strong>'s<br />
locations all over the world. To be certain that<br />
this happens, I make a master of the machine settings.<br />
Later, in Malaysia or Russia, say, I calibrate<br />
every direct laser system to this master.<br />
That way, the cylinders imaged by these systems<br />
conform to a uniform standard.
issue #3 ©<br />
l i n k e d<br />
41<br />
Diameter of<br />
paper-clip wire<br />
0.8mm<br />
Pin<br />
0.6mm<br />
Pig bristle<br />
0.1mm<br />
Isabell Kegel and <strong>Janoschka</strong>’s Cellaxy C500: this direct laser from Hell Gravure Systems is<br />
a universal, high-performance laser tool for the direct engraving of rotogravure and<br />
embossing cylinders. It reproduces text in high definition with a resolution of 2540 dpi and<br />
images on a 90l/cm screen with soft vignettes. The Cellaxy offers fully automated, multipass<br />
engraving with an engraving depth of up to 800 µm.<br />
Newspaper<br />
0.08mm<br />
Human hair<br />
0.05mm<br />
Cigarette paper<br />
0.03mm<br />
Staple fibre<br />
0.006mm<br />
pronounced: [mu:]<br />
1 µ = 1 µm = 0.000001 metres<br />
0.001mm<br />
linked:<br />
So in other words, you make sure that everything<br />
rolls smoothly, so to speak – and not just the cylinders.<br />
What do you need to watch out for?<br />
ISABELL KEGEL:<br />
Basically, everything. Our standardisation team has<br />
broad-ranging expertise, from technical know-how<br />
to knowledge of local conditions: in Russia, for example,<br />
there are strict regulations that allow only solvent-free,<br />
i.e. water-based, inks to be used.<br />
These inks behave entirely differently from the<br />
solvent-based ones used in Germany or Malaysia.<br />
Following our calibration, the direct laser machines<br />
produce cylinders that yield precisely the same printed<br />
result, despite variations such as different ink compositions.<br />
This way our clients can be certain that all<br />
<strong>Janoschka</strong>-made cylinders will produce exactly the same<br />
printing results, 1:1 – wherever they are imaged.<br />
linked:<br />
What makes your work so fascinating?<br />
isabell KEGEL:<br />
My work is in the realm of a few μ for cell dimensions up<br />
to 250 kilograms, which some printing cylinders can<br />
weigh. These contrasts fascinate me, especially because<br />
at <strong>Janoschka</strong> they are often the starting point for groundbreaking<br />
high-tech advancements.<br />
By paying attention to microscopic details, I make sure that<br />
a brand looks simply splendid. To do this, I need a precise<br />
understanding of the machines that make the printing<br />
and embossing tools. I can see whether or not it is technically<br />
feasible to realise a given design as envisaged using the<br />
tools we have. The widths of the finest lines, progressions<br />
and nuances of colour – the resolution of the machine has<br />
to be matched to all of these so that they can be transferred<br />
to the cylinder. The meticulous production of the tools<br />
forms the basis for a perfect printing result, since the effect<br />
of even the tiniest imprecision multiplies with each further<br />
step in the production process.
42<br />
n e t w o r k & p e o p l e<br />
The Secret of<br />
Successful<br />
Business Relations<br />
Listening – Analysing – Understanding<br />
The centres of major cities often create the impression that the world is the<br />
same everywhere: the leading brands have their boutiques downtown,<br />
the coffee is generally the same, and the urban landscape is marked by uniform<br />
architecture – regardless of whether you happen to be in Kuala Lumpur,<br />
Buenos Aires or Berlin. A consequence of globalisation.<br />
Rudi Weis-Schiff,<br />
Director Business Development, <strong>Janoschka</strong> Holding
issue #3 ©<br />
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43<br />
Mumbai,<br />
India<br />
18°58'N / 72°50'E<br />
St. Petersburg,<br />
Russia<br />
59°56'N / 30°19'E<br />
Valencia,<br />
Spain<br />
39°29'N / 0°22'W<br />
Kuala Lumpur,<br />
Malaysia<br />
3°8'N / 101°42'O<br />
UTC<br />
+5<br />
UTC<br />
+3<br />
UTC<br />
+2<br />
UTC<br />
+8<br />
Rudi Weis-Schiff, Director Business Development,<br />
is well aware that this impression is superficial,<br />
merely a matter of appearances. He is a world traveller<br />
responsible for developing <strong>Janoschka</strong>'s global<br />
business and following up global customer needs<br />
and market developments, especially in emerging<br />
markets such as Asia and the Americas. For him,<br />
looking below the surface is more than mere necessity<br />
– it is a personal need as well.<br />
If he were unable to discern the differences that<br />
make all the difference, he couldn't do his job. As<br />
Weis-Schiff puts it, "It is essential to take a closer<br />
look. Only if we approach people with openness,<br />
sensitivity and respect can we really understand<br />
what is important to them. And that is ultimately<br />
what you have to do to awaken interest, make contact<br />
and establish relationships that endure."
44<br />
n e t w o r k & p e o p l e<br />
Asia’s consumer goods business is booming – a complex market<br />
in which packaging plays a key role. Currently, 650 million<br />
people in Southeast Asia, China and India are considered to<br />
fall into the “middle class”. If the region continues to grow<br />
as forecast in population and spending power, it will<br />
represent around 40% of the world’s middle-class consumer<br />
segment by 2030.<br />
<strong>Janoschka</strong> is a global company, doing business<br />
at twenty-five locations in fifteen countries. Its<br />
international network reaches from Mexico to<br />
Vietnam, from Argentina to Russia and Malaysia.<br />
It embraces fundamental differences in culture,<br />
politics and religion – in lifestyle, as they say.<br />
As Weis-Schiff describes his experience, "Southeast<br />
Asia in particular is extremely heterogeneous:<br />
some of our partners and clients are subjects of a<br />
kingdom, while others are comrades of a socialist<br />
state. Not to mention the wide variety of religions<br />
to which they belong, which in this part of the<br />
world include Buddhism, Hinduism, Islam, Christianity<br />
and many others."<br />
Asia is a young, burgeoning society. In the Philippines,<br />
for example, the average age of the populace<br />
is twenty-three (compared with Germany's average<br />
of forty-five and Argentina's average of thirtyone).<br />
The consumer goods business is booming.<br />
A complex market where packaging plays a central<br />
role. What is more, the countries of Southeast Asia<br />
produce numerous agricultural products such as<br />
rice, coffee (Vietnam is the world's second largest<br />
producer after Brazil), herbs and spices, fruit juices,<br />
coconuts and seafood. All of these things have to<br />
be packed in protective packaging, and not just for<br />
export.<br />
UTC<br />
+2<br />
UTC<br />
-3<br />
UTC<br />
+7<br />
UTC<br />
+3<br />
Warsaw,<br />
Poland<br />
52°13'N / 21°2'E<br />
São Paulo,<br />
Brazil<br />
23°30'S / 46°37'W<br />
Ho Chi Minh City,<br />
Vietnam<br />
10°45'N / 106°40'E<br />
Izmir,<br />
Turkey<br />
38°25'N / 27°9'E
issue #3 ©<br />
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45<br />
Innovative solutions and fast, high-quality implementation<br />
are decisive in flexibly fulfilling customers' various<br />
needs and meeting the market's demands. This<br />
calls for someone who is aware of the special aspects,<br />
who visits on a regular basis and maintains local contacts,<br />
who listens, analyses and understands. Weis-<br />
Schiff, who has travelled the world for thirty years,<br />
summarises it as follows:<br />
"Mutual understanding brings about consistency,<br />
which, alongside quality and cost-effectiveness, is<br />
the most important factor for long-term, successful<br />
cooperation."<br />
His frequent-flyer account for the past year stands at<br />
362,499 kilometres, equivalent to circling the globe<br />
more than nine times. A modern nomad.<br />
Perhaps that is why his heart belongs to a small fishing<br />
village named Saintes-Maries-de-la-Mer in the<br />
Camargue region. There, not far from his home in<br />
Avignon, the "Gitanes" meet every year for a legendary<br />
procession – before vanishing once again.<br />
UTC<br />
+2<br />
Saintes-Maries-de-la-Mer,<br />
France<br />
43°27'N / 4°26'E
46<br />
t o t e l l t h e t r u t h<br />
Do you know why ...<br />
... six dots change<br />
the world<br />
for millions of people?<br />
Six dots in sixty-four possible arrangements penetrate the<br />
darkness. When Louis Braille invented his dot script in<br />
1825, he gave generations of blind people access to written<br />
language. The script was founded on the idea of using<br />
the sense of touch to compensate for visual impairment.<br />
Arranged in different configurations similar to the dots on a<br />
die, Braille makes the alphabet tangible. Letters, numbers<br />
and punctuation – even chemical formulae and whole musical<br />
scores – can be embossed in paper in accordance with<br />
a code. Since Braille is not a separate language but simply<br />
a system of coded signs, the original form invented for the<br />
Roman alphabet has meanwhile been complemented with<br />
versions for Arabic, Chinese and Cyrillic.<br />
But how is Braille written by hand? And how are the raised<br />
dots put on the paper? The oldest method, and the one<br />
closest to handwriting, is to use a stencil. Using a metal<br />
stylus and a matrix for orientation, the letters are embossed<br />
onto the paper dot by dot. Complicated enough, one<br />
would think, but in order for the reader to be able<br />
Along the lines of the dot matrix on a Braille lithographic stone,<br />
the writer etches a mirror image of his notes in the paper.<br />
to feel the dots on the ”reading side” of the paper in the<br />
normal direction of reading, i.e. from left to right, they have<br />
to be written entirely in mirror writing, as a reverse image,<br />
in other words.<br />
“There is a wonder in reading Braille<br />
that the sighted will never know:<br />
to touch words and have them touch you.”<br />
– Jim Fiebig<br />
While to write Braille in mirror writing takes a welldeveloped<br />
spatial sense, to read it requires highly sensitive<br />
fingers, because the reader needs to feel the fine dots<br />
in order to literally ”grasp” the meaning of the text. The<br />
average reading speed of an advanced reader of Braille is<br />
roughly the same as that of a sighted person. Hence, for<br />
many blind people, the six dots are the key to understanding<br />
the world.
issue #3 © l i n k e d 47<br />
A L P H A B E T<br />
A<br />
B<br />
C<br />
D<br />
E<br />
F<br />
G<br />
H<br />
I<br />
J<br />
K<br />
L<br />
M<br />
N<br />
O<br />
P<br />
Q<br />
R<br />
S<br />
T<br />
U<br />
V<br />
W<br />
X<br />
Y<br />
Z<br />
N U M B E R S<br />
1 2 3 4 5 6 7 8 9 0
48<br />
n o t e s<br />
1<br />
t e c h n o l o g y : f a c t s<br />
PAPER<br />
p a p e r p r o d u c t i o n ( w o r l d w i d e )<br />
Worldwide production is about 410 million tonnes* of paper, cardboard and paperboard.<br />
130 million t<br />
1970<br />
367 million t<br />
2005<br />
410 million t<br />
2017<br />
The biggest producers are*:<br />
(* 2017)<br />
million t<br />
109.2<br />
People’s<br />
Republic of China<br />
72.7 million t 26.2 million t<br />
22.6 million t<br />
United States<br />
Japan<br />
Germany<br />
95%<br />
of paper is made<br />
out of wood<br />
g l o b a l p a p e r p r o d u c t i o n<br />
Percentage share by geographic region<br />
45%<br />
Asia<br />
27%<br />
Europe<br />
Altogether,<br />
80%<br />
of paper<br />
can be recycled<br />
72%<br />
of paper is recycled<br />
(in Europe as a whole)<br />
1%<br />
Oceania<br />
1%<br />
Africa<br />
5%<br />
Latin America<br />
21%<br />
North America
SEE ARTICLE ON PAGE – SEE ARTICLE ON PAGE –<br />
issue #3 ©<br />
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49<br />
PAPER MACHINES<br />
p.38<br />
l e n g t h<br />
w i d t h<br />
100 to 200 m up to 15 m<br />
They consist of more than one hundred guide rollers for screens<br />
and the paper web and a large number of drying cylinders.<br />
s p e e d<br />
10 metres<br />
/ minute<br />
for special papers<br />
FLEXIBLE PACKAGING<br />
2000 metres<br />
/ minute<br />
for mass-produced paper such as newspaper<br />
paper or raw paper for corrugated cardboard.<br />
This corresponds to an area of<br />
about 15,000 m 2 /min (more than<br />
two football fields/min).<br />
t o t a l m a r k e t f o r c o n s u m e r a n d<br />
i n d u s t r i a l f l e x i b l e p a c k a g i n g<br />
v o l u m e o f c o n s u m e r<br />
f l e x i b l e p a c k a g i n g<br />
$230 bn<br />
2017<br />
+<br />
expected annual<br />
4.3<br />
%<br />
g r o w t h<br />
r at e<br />
$283 bn<br />
2022<br />
27.4<br />
million t<br />
2017<br />
+<br />
expected annual<br />
4.3<br />
%<br />
g r o w t h<br />
r at e<br />
33.5<br />
million t<br />
2022<br />
g l o b a l f l e x i b l e<br />
p a c k a g i n g c o n s u m p t i o n<br />
percentage share by geographic region<br />
24%<br />
Europe<br />
19%<br />
North America<br />
46%<br />
Asia<br />
7%<br />
Middle East<br />
and Africa<br />
4%<br />
South and<br />
Central America
50 n o t e s<br />
2<br />
n e t w o r k g l o b a l r o a d s h o w<br />
image-to-print<br />
since 2009<br />
– the fascination of packaging printing<br />
Durban, the South African city on the Indian<br />
Ocean, became the seventeenth venue to host<br />
the successful Image-to-Print roadshow in March<br />
of this year, as the show made its first stop on<br />
the African continent.<br />
Image-to-Print focuses on package printing and<br />
conveys its fascination in presentations and discussions,<br />
through visits to local printers or other<br />
supply chain partners and in direct exchanges<br />
within small groups of experts.<br />
The roadshow highlights all the technological<br />
aspects of the process, starting with an image<br />
and ending with the finished print product, for<br />
example printing tools, printing and laminating<br />
machines and inks. But it also focuses on the<br />
major business topics for the industry such as<br />
market trends and strategies. Image-to-Print<br />
informs brand owners, local printers and the<br />
downstream processing industry about everything<br />
of relevance to package printing. The<br />
Image-to-Print Workshops examine in detail the<br />
requirements and conditions of the local market.<br />
<strong>Janoschka</strong> set out on this round-the-world roadshow<br />
with partners for the first time in 2009.<br />
Experts and specialists have been part of the<br />
crew ever since, providing insights into global<br />
and local developments in gravure printing.<br />
Gravure and flexographic printing are the leading<br />
technologies for package printing. Presenting<br />
these technologies in all their aspects and showing<br />
their added value for the printing industry –<br />
and for individual print products – is the objective<br />
of the Image-to-Print Workshop.
issue #3 ©<br />
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51<br />
Warsaw<br />
PL / 2013<br />
Piacenza<br />
IT / 2013<br />
St. Petersburg<br />
RU / 2009<br />
Budapest<br />
HU / 2014<br />
Shijiazhuang<br />
CN / 2015<br />
Mexico City<br />
MX / 2011<br />
Dubai<br />
UAE / 2011<br />
Shanghai<br />
CN / 2012<br />
Manila<br />
PH / 2015<br />
Bangkok<br />
TH / 2010<br />
Kuala Lumpur<br />
MY / 2009<br />
Ho Chi Minh<br />
VN / 2013 + 2017<br />
São Paulo<br />
BR / 2010<br />
Jakarta<br />
ID / 2011<br />
Durban<br />
ZA / <strong>2018</strong><br />
Buenos Aires<br />
AR / 2010<br />
<strong>Janoschka</strong> realises the ItP Roadshow with four reliable partners:<br />
- For more than thirty years Nordmeccanica has been known for<br />
its expertise in the areas of coating and lamination.<br />
- Rossini is a supplier of, among other things, a complete range<br />
of impression roller sleeves for gravure printing.<br />
- Siegwerk combines excellent printing inks with knowledge<br />
regarding security, technology, efficiency and sustainability.<br />
- With almost 150 years of experience, Windmöller & Hölscher<br />
numbers among the leading suppliers of machines and systems<br />
for producing and processing flexible packages.<br />
image-to-print.com
52 i m p r i n t<br />
THE NEXT EDITION OF LINKED WILL APPEAR IN THE SPRING OF 2019.<br />
WE ARE DELIGHTED THAT YOU HAVE BEEN WITH US.<br />
PLEASE LET US KNOW WHAT YOU THINK ABOUT OUR MAGAZINE<br />
SO THAT WE CAN DO WHAT WE DO EVEN BETTER.<br />
PLEASE GIVE US YOUR OPINION:<br />
linked@janoschka.com<br />
LINKED is <strong>Janoschka</strong> Holding’s customer<br />
<strong>magazine</strong> and appears annually.<br />
Owned and published by:<br />
<strong>Janoschka</strong> Holding GmbH<br />
Mattweg 1<br />
77971 Kippenheim<br />
Germany<br />
© <strong>2018</strong> <strong>Janoschka</strong> Holding GmbH<br />
All rights reserved. Reprint or electronic<br />
distribution, including in extracts,<br />
is subject to the publisher’s approval.<br />
Editor-in-Chief (with responsibility<br />
according to German press law) and Text:<br />
Corina Prutti, das komm.büro, Munich<br />
www.komm-buero.de<br />
The information contained within this <strong>magazine</strong> has<br />
been prepared with the utmost diligence and verified<br />
for accuracy. However, <strong>Janoschka</strong> does not assume<br />
any liability for inaccurate or incomplete information.<br />
Any liability claim against the organisation due to<br />
inaccurate or incomplete information is excluded.<br />
Image and Content Copyright:<br />
p. 24, 28: Alamy / graphics – p. 9, 10, 11, 28, 30, 48, 49,<br />
51: Patrick Brandecker / p. 4, 12, 13, 14, 15, 16, 17, 19<br />
Büttenpapierfabrik Gmund / p. 6: Bundesanstalt für<br />
Arbeitsschutz und Arbeitsmedizin / p. 19: Fedrigoni /<br />
p. 36: Fotolia / p. 22, 23, 25, 33, 47: Getty Images /<br />
p. 4, 6, 9: Gutenberg Museum / p. 19: Hahnemühle /<br />
cover and p. 4, 5, 7, 8, 9, 10, 18, 19, 20, 23, 26, 27, 29,<br />
30, 35, 43, 44, 45, 46, 49: iStock / p. 3, 5, 37, 38, 39,<br />
40, 41, 42: <strong>Janoschka</strong> archive / p. 8: shutterstock /<br />
p. 11: Steve Stengel / p. 34: Franco P. Tettamanti /<br />
Ideas and Conceptual Design:<br />
Sabine Joachims, <strong>Janoschka</strong> Holding<br />
das komm.büro, Munich<br />
Art Direction / Layout:<br />
Patrick Brandecker<br />
www.patrick-brandecker.de<br />
Print and Binding:<br />
Gotteswinter & Aumaier GmbH, Munich<br />
www.gotteswinter.de<br />
If you would like to be added<br />
to our distribution list,<br />
please email us: linked@janoschka.com<br />
Please inform us of any change of address or if you<br />
no longer wish to receive <strong>Linked</strong>.
i s s u e #3 / may <strong>2018</strong>