Janoschka magazine Linked_V3_2018

janoschka

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 ©

l i n k e d

31

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.


issue #2 © l i n k e d

9

issue #3 ©

l i n k e d

33

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


issue #3 ©

l i n k e d

35

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 ©

l i n k e d

37

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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39

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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41

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


issue #3 ©

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43

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


issue #3 ©

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45

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.


issue #3 © l i n k e d 47

A L P H A B E T

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z

N U M B E R S

1 2 3 4 5 6 7 8 9 0


48

n o t e s

1

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

THE NEXT EDITION OF LINKED WILL APPEAR IN THE SPRING OF 2019.

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LINKED is Janoschka Holding’s customer

magazine and appears annually.

Owned and published by:

Janoschka Holding GmbH

Mattweg 1

77971 Kippenheim

Germany

© 2018 Janoschka Holding GmbH

All rights reserved. Reprint or electronic

distribution, including in extracts,

is subject to the publisher’s approval.

Editor-in-Chief (with responsibility

according to German press law) 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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