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