Janoschka magazine Linked_V4_2019

janoschka

The Prepress Magazine

issue #4 / a u g u s t 2019

The Power of Fashion

Fashion is everywhere

Made with Fire and Water

Packaging to last more than a lifetime

Extruder

Aerial acrobatics with

astonishing results

Linked2Brands

Roots and wings for

consistent brand presentation


e d i t o r i a l

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Dear Reader,

We are delighted that our magazine LINKED has aroused so much

interest, and we are also proud to have received the design prize

"Red Dot Award" for LINKED. Both of these facts tell us something

about the status of print products.

At any moment, the POS shows how important absolutely perfect

quality is: three seconds is all the time it takes for a consumer

to make a purchasing decision, so the packaging has to be just right

and the print on it flawless.

This issue of LINKED illuminates the many different aspects of the

world of packaging. It reports on how a medium that has been

declared dead hundreds of times has returned to the cultural stage:

the LP – together with its packaging – is celebrating a major comeback.

Album cover design has long been recognised as an art form.

The articles in this issue of LINKED range from a feature on how

wine barrels – a form of packaging with an additional function –

are made, to descriptions of packaging materials whose consistent

branded print is one of our major challenges.

In order to offer our clients even more flexible support in the uniform

presentation of their brands, we have founded Linked2Brands.

Our experts in design adaptation, artwork, repro and exact colour

management are constantly expanding their know-how – all in the

name of a perfect reproduction of your brands.

Encouraged by the Red Dot Award, we have remained true to tradition

in LINKED#4. Once again, you will find a wealth of information

and entertainment in this issue – from inside and outside Janoschka.

With this in mind, we wish you an enjoyable read!

Yours,

Alexander Janoschka

member of the executive board


4 c o n t e n t s

contents issue #4

20

30

6

28

insights

6 The Power of Fashion

Fashion is everywhere

20 Eyes That Hear

Discover the cover

face to face

28 Made with Fire and Water

Packaging to last more than a lifetime

knowledge & competence

30 Linked2Brands

Roots and wings for consistent

brand presentation

40 Extruder

Aerial acrobatics

with astonishing results

46 Squaring the Circle

Packaging that does more than just

keep products fresh and sealed


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58

40

56

network & people

52 The Red Dot

Janoschka has won the Red Dot Award

for its high-quality design


56 Design Trends 2019

Opulent, colourful and back to the 20s

to tell the truth

58 Do You Know Why ...

... pencils are globetrotters?

notes

62 Go East

Janoschka extends its footprint in Asia

64 We Do Need Another Hero

Ecommerce goes mobile


6 i n s i g h t s

THE POWER OF

FASHION


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Fashion is everywhere. It appeals to our senses. We use it to set ourselves

apart or to show that we belong. It not only defines our taste, our way

of thinking and feeling, but can even rewire it. After that, nothing is the

same as it was before. In short: fashion has the passion and the power to

create a zeitgeist.

This happens at the major haute couture fashion shows in Paris, Milan

and New York. But it also happens on any small street in our towns and

villages – anywhere in the world that people wear clothes. Levis 501s,

high heels or flip-flops, pin stripes or check shirts, even the humble white

T-shirt: anything we wear is a fashion statement – and always tells a

story about ourselves.

“Always live beyond your wildest

dreams: If there is no style, invent

it, if there is a rule, break it.”

Paul Poiret was the world’s most influential fashion designer

from 1903 until the end of the First World War.

In Paris, he was known as “Le Magnifique”, in America they

reverently called him the “King of Fashion”.

Paul Poirret reveals his low-cut secrets.


8 i n s i g h t s


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THE

POWER

to Save a Life


10 i n s i g h t s

The Power

to Save a Life

It’s the mid-90s. Street fashion – literally – marks the

street scenes: wide, low-slung trousers, 9XL size

T-shirts as well as hooded T-shirts combined with

sneakers or Timberland boots. The origins of this style

lie in Hip Hop – and thus in the ghettos of US cities.

Clothes needed to be casual and loose so you could

move freely in the Breakdance and graffiti sprayer

scene. The colours were loud and motley.

Shortly before the turn of the millennium, this identification

with the ghettos and underdogs culminated in

Gangsta Rap – in musical terms, the most influential

style of the genre. Consequently, the outfits worn by

street gangs influenced clothing styles: trousers slung

low because the inmates of American prisons were

not allowed to wear belts. Nor were shoelaces permitted,

so shoes were left open to complete the cool look.

At the same time, the slums of Los Angeles were ablaze

and the notorious West Coast gangs were becoming

more radical. They too contributed to the Hip Hop

fashion story. Tattoos were obligatory, the membership

of a certain camp was also indicated by wearing

appropriate colours. Red for the Bloods, blue for the

Cribs. Los Angeles gained the reputation of the

“Gang Capital of America”. Rough estimates put

the number of gangs at up to 1,300 with more than

100,000 members.

"Damn it, G, I'll ... tattoo

that on my heart",

one of his homies replied.

It inspired the title of one

of Gregory Boyle's books.

homeboyindustries.org


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“Nothing stops

a bullet

like a job”

The greatest danger is growing up in the wrong area.

And the ghettos of Los Angeles are about as wrong as

you can get. If it wasn’t for Father Gregory Boyle, they

would mean certain death for many – even today. The

Jesuit priest is the founder of Homeboy Industries,

the world’s largest rehabilitation project for ex-gang

members. Thanks to Father G, as the homies call him,

they are given the chance to live a different life.

Each year, over 10,000 former gang members and convicts,

mostly muscular young men with striking tattoos,

but also women, from all over Los Angeles pass through

the doors of Homeboy Industries to make a positive

change in their lives. Father G welcomes them. Anyone

who comes to him has his full attention. He gives them

jobs: as bakers in the Homeboy Bakery, as waitresses

at the Homegirl Café, in the manufacture of Homeboy

Apparel and Merchandise or in textile printing at Homeboy

Silkscreen.

Anyone who decides to exchange the dream of fast drug

money for an eight dollar per hour job wears one of the

Homeboy Industries T-shirts. “Nothing stops a bullet like

a job” is Boyle’s bestseller. Homeboy Silkscreen prints

textiles, both custom designs for clients and their own

silk-screen printing “Street Fashion” range. The T-shirts,

hoodies, trousers and baseball caps featuring the company

logo (women get the “Homegirl” print) have developed

into a fast seller generating two-digit growth rates

and an unquantifiable social profit.

Whether “Jobs not Jails”, “Live as though the truth were

true” or a quote from Father Greg – “Sooner or later, we

all discover that kindness is the only strength there is” –

the Street Fashion from Homeboy Industries proclaims

its very own message of hope.


12 i n s i g h t s

Empowerment

of

Women


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14 i n s i g h t s

Empowerment of Women –

Yves Saint Laurent:

trousers for madame

Paris, 1966: From the bikini to the miniskirt, time

and again fashion items have shocked society.

“Le Smoking” played in its very own sublime

league: when Yves Saint Laurent sent the first

women’s tuxedo out onto the catwalk at his

1966 autumn show, he started a revolution.

Two years before the turbulent Paris riots of

May 1968, a law was still in force that prohibited

women from wearing trousers. Trousers

on women were scandalous and considered

to be “obscene”. So how could the tuxedo, a

very masculine piece of clothing, become the

symbol of female emancipation? It took a revolutionary

– someone like Yves Saint Laurent – to

achieve this. Even as a young designer at Dior he

added his own distinct signature to each of his

designs. Yves Saint Laurent was an artist, a true

talent, who dedicated himself wholeheartedly

to design. This outstanding figure soon caused

a sensation and radically changed the whole

world of fashion.

To this day, Yves Saint Laurent is synonymous

with beauty, style and elegance. In each of his

collections, he created his very own vision of

female grace. In the case of “Le Smoking”, he

was not dealing with androgyny.

On the contrary, the tuxedo subtly underlines

female sensuality and the art of seduction.

“It is virile and at the same time feminine”,

raved Catherine Deneuve. She became the first

customer by ordering her “Le Smoking” immediately

after its première. Like any haute couture

outfit, the suit was made for her and her alone.

Liza Minelli, Lauren Bacall, Loulou de la Falaise

and Angelina Jolie followed. Bianca Jagger wore

a white Saint Laurent smoking when she married

Mick in 1971 – with nothing underneath.

An iconic fusion of art and fashion: The first “Le Smoking”

consisted of a classic dinner jacket worn with trousers

and a ruffled white shirt, black bow tie and a wide

satin cummerbund.


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For over fifty years, the Yves Saint Laurent house

has created a new interpretation of “Le Smoking”

on an annual basis. It is always cut from fine

“grain de poudre” – a fabric that Saint Laurent

loved – “in which women could travel”.

Featuring almost brushstroke-like outlines, it is

the soft but accentuated shoulder line that gives

“Le Smoking” its incomparable silhouette. With

its simple elegance it is the embodiment of chic.

A cut that managed to turn an era on its head.

Saint Laurent did not invent the trouser suit (Marlene

Dietrich already wore tailor-made suits in

her day), but with his daring design he made it

accessible. As the legendary couturier said at his

farewell show in 2002:

“I always wanted to put myself at the service

of women. I wanted to accompany them in the

great movement for liberation that occurred last

century.”

So what about the law forbidding women from

wearing trousers? It dates back to a very different

revolution. A decree by the Paris authorities

from the 26th Brumaire of the Revolution year

IX (i.e. from 17 November 1800) stipulated that

women “who wish to dress like men” require

permission from the police prefecture. This curious

regulation was abolished almost fifty years

after the debut of Yves Saint Laurent’s legendary

“Le Smoking”. So you could say that Parisian

women have only been able to wear trousers

with official blessing when not riding a bicycle or

a horse since 2013.

James Bond would be unimaginable without his black dinner jacket

with a white shirt and bowtie. To male icons like George Clooney,

Brad Pitt or Russell Crowe the tuxedo adds a sophisticated touch.

Its home is on the red carpet.

“If Chanel gave women their

freedom, it was Saint Laurent who

empowered them.”

Pierre Bergé, long-time friend and

partner of Yves Saint Laurent

The name “Le Smoking” nods to nineteenth-century men’s smoking

jackets, so called because their silk lapels were designed to allow

any ash falling from after-dinner cigars or cigarettes to slide off,

keeping the jacket clean.


16 i n s i g h t s


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Flower power

Creating a

fashion market


18 i n s i g h t s

Flower power

Creating a fashion market

1965 – 1975. Long hair (on men and women),

flares and colourful dresses. The mix-and-match

aesthetics of the Hippie movement crossed

the Atlantic and paved the way for a new lifestyle.

The miniskirt earned its place as the

decade’s most iconic look, as young women

dared to bare. At the same time, men enjoyed

the new freedom of extravagant clothing: suits

with sweeping lapels on top of shirts in vibrant,

psychedelic colours and combined with highheeled

platform shoes.

The counterculture of the late 60s and early 70s

was an all-embracing cultural phenomenon. In

reaction to the brutality and the victims of the

Vietnam War, a protest movement grew in the

United States that soon spread to the other

industrial nations of the Western world. People

fought for freedom and for civil, women’s and

gay rights. Convinced that they were doing the

right thing morally, they turned against age-old

traditions and demanded changes to authoritarian

social structures. The call for freedom and

a new way of living encompassed all areas:

politics, art, music, fashion, and not least

sex and drugs. It marked the birth of the

modern age.

"Clothes in which you can run

for the bus or dance."

Mary Quant on her invention

of the mini-skirt


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A new dawning

People expressed their new world view

with their clothes as tokens of their changed

attitudes and their new lifestyle. Until then,

fashion had been dominated by the tastes of

a wealthy and above all, established elite. The

styles worn by young people hardly differed

from their parents’ generation: girls and young

women wore the same dresses and coats as

their mothers – often even made by them – and

went out carrying handbags, gloves and hats.

Then everything changed overnight: the popstars

of the era were absolute gods. Their

clothing and way of life had a major impact

through the young medium of television. At the

same time, increasing financial independence

allowed young people to do what they wanted.

They were able to express their identity

and their feeling of freedom. The fashion

industry quickly responded by creating designs

for young people that no longer simply copied

“grown up” styles. Innovative designers were

seen as creators of fame, sex appeal and glamour.

They created a new market for youth fashion.

A new “business model” was essential for the

full potential of this new kind of youth fashion

to be exploited. As a result, a special type of

boutique emerged in London, i.e. small self-service

shops providing ordinary young people with

affordable fashion. The shopping experience

was a far cry from the more formal outfitters

and old-fashioned department stores.

Their radical new approach with expressive

colours, distinct lines and individual items that

could be combined in a creative way swiftly

spread across the whole Western world. To this

day, this kind of fashion boutique characterises

city centres and our shopping experience. They

were the expression of a wild, revolutionary and

free generation.

Printed fabrics

Textile printing is an old tradition

that has always required expertise

and precision. As the demand for

large-format printed images grew

in the 1920s, textile screen printing

started to develop in Europe and the

United States parallel to the advent

of graphic screen printing.

Rotary screen printing is the technique

of choice when printing fabric

panels. The fabric lies flat, the printing

tool is a sleeve or cylinder. Acting

as a template with a perforated

surface, it allows ink to be applied to

the open sections.

The cylinder rotates in one direction

in sync with the movement of the

fabric. A doctor blade fixed inside

the cylinder applies the ink to the

fabric.

Printing on textile substrates is more

complex than printing on paper because

different fabrics require special

inks and printing tools. The automation

of printing processes has

not changed this. Working closely

with the designer, the engraver perforates

the nickel sleeves for the

cylinders based on the design to be

printed. Since the screen printing

templates often have a maximum

thickness of just 100 µ, but can

measure up to 3.5 metres in width,

the manufacture and handling of

screen-printing templates requires

the utmost care and expertise.


20 i n s i g h t s

Eyes that hear

Discover the cover

by Kai Martin

Christie’s auction house, London. The hall is full and people are waiting with bated breath for the art auction

to begin. The first works are brought onto the stage, the paintings as always completely covered.

The auctioneer taps the frame of the first picture a few times with his little silver hammer. Then he repeats

the process for the next painting. Which frame sounds most attractive?

Which sound sets off a murmur in the audience? Please place your bids!

Difficult to imagine, isn't it? And yet scenarios like this one take place on a daily basis all over the world,

for instance when sales of an LP or a CD are determined by its cover.

A feast for the eyes as well as the ears – in fact, when it comes to records, it is the eyes that decide

whether to buy. We read and hear time and again about people who go solely by the appearance

of the cover when they buy an album. They may be in a minority, but this still proves the point that the

packaging of a recording medium has a tremendous influence on the purchasing behaviour of consumers.

Why is that? Especially before the invention of CDs, record covers acquired a significance that went well

beyond anyone's ideas about what the record was actually intended for. Record covers were

regarded not just as a high-profile playground for extraordinarily creative designers, but by many as an

art form in their own right.


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Record sleeves in colour – a simple

but ingenious idea

It probably didn't occur to Alex Steinweiss that he was creating a new art form

when he became the first person to illustrate a shellac record cover with a motif

back in 1940. At the time, he was a twenty-three-year-old designer working for

Columbia Records in Connecticut. Before this simple stroke of genius, shellac

records had been packaged in a uniform grey cardboard sleeve. Steinweiss

changed that. His first cover design was for a record by Broadway songwriters

Richard Rodgers and Lorenz Hart. He had a photographer capture the illuminated

lettering "Rodgers & Hart" on a New York theatre on camera; to this he added the

stylised grooves of a shellac record and hey presto: there was his image.

It was an enormous success. Columbia Records experienced a major increase

in sales, and Steinweiss became a leading light in the newly discovered world of

cover design. In an interview with the Süddeutsche Zeitung newspaper in 2010,

he described what was behind his idea: "I wanted people to see the cover and

immediately hear the music." A credo that remains valid to this day. "There’s more

to the picture than meets the eye," is a line from a song by rock legend Neil Young.

And he was quite right, because an image can conjure up more than just sound

in the mind's eye (or ear). A record cover can also be a statement. It has the

power to communicate an attitude and to leave its stamp on an artist's image.

Sometimes on that of an entire generation.

One record company that succeeded in doing this quite early on is the jazz

label Blue Note Records. Alfred Lion and Francis Wolff, two German Jews

who emigrated to the United States, founded the label in 1939. Both were

reputed to have a strong affinity with the world-famous Bauhaus – perhaps

that's why the covers of the albums they released helped them to establish a

design benchmark.


22 i n s i g h t s

Not a jazz fan,

but a talented graphic artist

Reid Miles, an American who worked for Blue Note from 1956, designed legendary

covers, often using photos taken by Blue Note director Wolff. Miles was drawn

to typography, and by combining a visual motif, a colour scheme and lettering,

he succeeded in visualising the cool vibe of jazz. A perfect example of this is the

album Sonny Rollins, Vol. 2 released in 1957. The image is of a man with a huge

saxophone, casually drawing on a cigarette. But it is more than just an album cover:

it is a symbol of an entire musical genre and era.

Joe Jackson’s homage and statement:

The joy of music extends beyond mere melody,

to arrangement, instrumentation and – style.

An interesting aspect of the story is that the music for which Reid Miles created such

perfectly matching packaging wasn't really his cup of tea. A fan of classical music, he

didn't even bother listening to the jazz recordings and instead simply asked his bosses

to explain what was cool about the modern sound.

Individual album covers are often loaded with associations, as the frequency with

which they are quoted suggests. When Joe Jackson, a pop and rock musician with a

penchant for jazz and world music, released his album Body and Soul in 1984, he used

a revamped version of the Sonny Rollins cover from 1957. In this case surely a primarily

musical homage, which is not to deny the charisma of many cover designs.


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Symbols, Surrealism and

Samba pa Ti

Photography and typography have always been important for record covers,

but painting also had a key role to play. One of the most influential artists during

the era when pop music was making its breakthrough – the late 60s and

early 70s, in other words – was Mati Klarwein. Born in Germany in 1932,

Klarwein emigrated with his parents to Palestine when he was two. After

living in Paris for a while, the much-travelled Klarwein came to New York in

1965. His friends included Salvador Dalí and Jimi Hendrix.

In 1970, two revolutionary albums were released featuring paintings by Mati

Klarwein on their covers: Bitches Brew by Miles Davis, on which the jazz

genius integrated funk and electronic music in his sound for the first time,

and Abraxas by Santana, which included the instrumental number "Samba

pa Ti" and was later to become a world hit. The cover of Abraxas was based

on Klarwein's "Aleph Sanctuary": a sacred space designed for all religions and

intended as a new interpretation of Michelangelo's Sistine Chapel. It was a

work to which the artist devoted many years.

Klarwein died in 2002. Although the oeuvre of this prolific artist evinces influences

of Surrealism, Symbolism and Pop culture, his name is associated

above all with his LP covers.

Mati Klarwein’s place in the history of 20th century

art is unique, nestling at the crossroads of

painting and music. Numerous musicians such as

Miles Davis, Carlos Santana and Jimi Hendrix

recognised a statement of intent in his work and

used it on their record covers as a manifesto.


24 i n s i g h t s

Bananas and zips

When we think of Mati Klarwein

– New York, 1960s, contemporary

art – then another name

readily springs to mind that is inextricably

linked with the design

of music albums: Andy Warhol.

His famous banana cover for the

album The Velvet Underground

& Nico is familiar even to people

who don't know a single song

on the record. The yellow banana

on a white background that

Andy Warhol created in 1967

was to become a classic image

– for the really revolutionary

thing about his design was that

you could actually peel the banana.

The instruction "Peel slowly

and see" was inscribed in the

top right-hand corner of the first

edition. The unpeeled yellow banana

came with a sticker, which

if you peeled it off revealed the

fruit inside – but in pink.

The delay in releasing the album

was apparently due to the technical

difficulties of producing the

cover. And despite all the fuss,

sales figures were rather disappointing

at first. That is remarkable

given that Andy Warhol,

already famous at the time, not

only designed the cover but also

played a key role in developing

the image and public relations

concept for the band. With hindsight,

one would probably say

that both the music and the art

may have been well ahead of

their time. Today, the cover of

The Velvet Underground & Nico

is regarded as one of the most

outstanding of all time.

Four years later, Warhol succeeded

in producing another

album design that has remained

famous to this day and even

dwarfs the famous songs on

the record. Sticky Fingers by the

Rolling Stones shows a man's

pelvis dressed in jeans whose

zip actually functions. More than

thirty years after the appearance

of the first design, the album

cover had become three-dimensional.

Rolling Stones, Sticky Fingers, 1971,

Cover: Andy Warhol

The Banana Album

(so named for its Warholdesigned

cover) by

The Velvet Underground

and Nico, 1967


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Radical and devoid

of visual content:

The White Album

Artful and minimalist –

The Beatles' White Album

Embossing technology had already allowed some forays in the direction of three-dimensionality.

The Beatles proved to be very open to innovations, not only of a musical

nature. In November 1968, they released an album officially called The Beatles but

better known under the name White Album. This came less than a year after the release

of Sgt. Pepper’s Lonely Hearts Club Band, whose cover carried an abundance of

detail and bright colours. The first few copies of the Fab Four's minimalist white album

were numbered in sequence, with the lettering "The Beatles" embossed on the front.

The design was by the British Pop Art artist Richard Hamilton.

Hamilton's design symbolises the evolution that album covers had undergone. Having

become an art form, and as such divorced from its original purpose of advertising a

product and providing the consumer with information, the cover was now an event in

its own right – a vehicle for artistic expression where information about the music and

musicians faded into insignificance.


26 i n s i g h t s

An event was also what the British electro-pop band Ultravox had in mind when

they designed the graphic concept for their LP U-Vox, released in 1986. Instead

of a photo, the cover was to have just "U-Vox" written in big silver letters on a

red background and composed of horizontal silver lines rather like a barcode.

The clever touch here was to be an additional plastic sleeve, likewise showing

horizontal lines, which would enclose the cover and conceal the lettering.

The idea was that the viewer would initially see just a uniformly red surface;

only when the LP's cardboard cover was pulled out of the plastic sleeve would

the album's title emerge.

But the plan went wrong. Midge Ure, the singer and the musical ideas man in

Ultravox, describes in his autobiography If I Was how an ambitious design was

thwarted by a simple miscommunication: "It was a great idea, except that all the

lines had to be horizontal and somebody forgot to tell that to the ladies who packaged

the album. They put them all in wrong so it ended up with red-and-silver

tartan squares all over the sleeve." Tartan instead of camouflage – in the music

business like anywhere else, the devil is in the details.

Record cover 2.0

The great fascination still exerted both on music fans and

on musicians and designers by record covers even in the

era of the digital revolution and music streaming is illustrated

by the debut album of a young German band called

Yagow. Their first release in 2017 was issued not only as

a CD but also as a black 12-inch vinyl record whose twocolour

cover was enclosed by a protective screen-printed

PVC sleeve. Each time the viewer removed it from its

cover or pushed it back in, an impressive animation effect

of a twisting spiral was triggered, drawing the viewer

into a hypnotic vortex. An old-fashioned and entirely "nondigital"

feast for the eyes. A pity that Andy Warhol did not

live to see it.

“An exploration of vibe and mood,

space-gazing...” This describes the sound

of the rock trio Yagow as well as the

psychedelic features of the cover design.

vimeo.com/178003506


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Let’s do it again – originals and "forgeries"

Record covers are quoted time and again, sometimes explicitly, sometimes

less so. And it is not only musicians who reference their colleagues.

The artwork of music albums seems to exert a great fascination on

comedians and cabaret artists too.

The early years of Rock ‘n' Roll. Elvis Presley's

first album was simply called after Presley

himself. Unlike many "more flattering"

pictures of the King printed on record sleeves

in later years, this one strove for authenticity.

Euphoria, dedication, passion – a piece of

pop culture captured in a single photo.

Elvis Presley,

Self-titled, 1956

The Clash,

London Calling, 1979

Euphoria, dedication, passion – here

they are again only this time in an

entirely different guise. Many thought

the advent of Punk spelled the end of

Rock ’n‘ Roll. Only later did it become

clear that Punk rock did not signify a

changing of the guard but rather

a rejuvenation of the genre.

Kruder & Dorfmeister,

G-Stoned, 1993

Simon & Garfunkel,

Bookends, 1968

No more and no less: "The song cycle describes the life

and death of the American Dream" − this is how the

record company's website refers to the album Bookends

by Simon & Garfunkel. The youthful innocence

radiating from the cover photo scarcely seems to fit such

grave subject matter. The choice of black and white was

perhaps intended to overcome this discrepancy.

You might think the cover of Kruder & Dorfmeister's

first EP shows a photo of two DJs and producers from

Austria paying tribute to the music of one of the

best singer/songwriter duos in the world. But Peter

Kruder tells a very different story: because Richard

Dorfmeister thought he bore a striking resemblance

to Art Garfunkel, he convinced Kruder to record an

album solely in order to copy the cover. A true story

or snide Viennese humour? The answer is blowing in

the wind

This is not a photo montage: the man on

one of the world's most famous record

covers really was on fire. During the

photo shoot engineered by the British

graphic designer Storm Thorgerson, two

stuntmen were filmed shaking hands.

Thorgerson was co-founder of the design

studio Hipgnosis, which designed a large

number of very famous record covers

between 1968 and 1985.

Pink Floyd,

Wish You Were Here, 1975

Hennes Bender,

Alle Jubeljahre, 2018

Unmistakable: Comedian Hennes Bender,

known as an expert on pop culture,

used the setting of the Pink Floyd motif as

a promotion photo for his "Alle Jubeljahre"

tour. It is unlikely that he actually came

into contact with the flames himself –

thanks to Photoshop.


28

f a c e t o f a c e

Made with

Fire and

Water

Packaging to last

more than a lifetime

The wood smoke from the fire has an aromatic smell.

The water evaporates with a gentle hiss. Flames shine brightly

through the small cracks between the gleaming oak boards.

These are the sensory impressions that accompany Klaus

Pauscha's demanding and physically arduous work.

Klaus Pauscha is a cooper in a small community in the Austrian

region of Carinthia.


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His work on a barrique barrel is now reaching the critical phase:

Pauscha has just poured water over the wooden planks

arranged in a circle round the fire and held together by a metal hoop.

The planks are known as staves owing to their special shape.

Heat alone is not enough to make the hard, rigid wood malleable,

however. Humidity is required as well.

Only then can the staves be bent to form the barrel's characteristic bellied

shape. During the hour that the two-centimetre-thick staves spend standing

around the fire they need to be watered regularly. The interior walls can reach

temperatures of up to 200°C, and even the outer walls measure a temperature

of 60°C. Pauscha keeps feeling the staves with his hand until he decides they

are hot enough. Using a cable winch and the full weight of his body, the cooper

gradually draws the staves closer together at the bottom end with each pull of

the tensioning device. The cracks close, centimetre by centimetre. When he

has finished, Pauscha turns the barrel over and fixes the other side with an iron

manufacturing hoop, which he hammers firmly into place.

Force and craftmanship is needed

to make these big barrels, which

are used for gentle fermentation of

red wines. The size allows for

manual stamping of the mash.


30 f a c e t o f a c e

pauscha-partner.at


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Experience, diligence and

the work of centuries

Before the moment comes when the barrel takes on its

typical shape, some careful preparation is required. When

the cooper arranges the staves for the barrel he carefully

checks each one for its grain and cut. Both of these are

key factors in making the barrel impermeable. The number

of staves required as well as the angle at which each

piece of wood is cut depend on the size and shape of the

barrel. Once he has selected the staves he puts them in a

mounting hoop made of metal. If everything fits properly,

each stave supports the adjacent one. The barrel has been

"mounted", now for the fire.

For a cooper, carefully choosing the right wood is the name

of the game, and not only when it comes to making the

barrel: the wood also has a decisive influence on the quality

and flavour of the wine maturing inside it. Originally, winemakers

used barrels made of a whole range of woods:

acacia, beech, chestnut, cherry or poplar. But over time it

transpired that oak and wine make a perfect combination.

Oaks have been growing on almost all the Earth's continents for 60 million years. Of the roughly

400 different species of oak, the European Quercus sessilis or Quercus pedunculator together with the

American Quercus alba are the most suitable for making wine barrels.

Vintners all over the world agree that oak from France is the best – and the most expensive. An oak that

is split to make staves today probably started life as an acorn at the time that Napoleon set out to conquer

the world. Because they grow so slowly, oaks are very hard and stable, but at the same time supple

enough to be bent to a certain extent. Unlike their American sisters, European oaks have to be split into

staves by hand. An oak barrel can be filled and emptied again hundreds of times without changing its

shape. It will last for generations.


32 f a c e t o f a c e

How to make a plank into a stave

Staves are the pieces of wood used to make the walls of a barrel. Wider in the middle and tapered at both ends,

they give barrels their characteristic bellied shape. Their edges are chamfered at a certain angle so that when they are

arranged side by side they form a round or elliptical shape.

The European oak used for making barrels is split along the grain. The structure of the fibres thus remains intact

and ensures that the wood is impermeable. Sawing the wood damages the fibres and makes the wood porous.

Staves need to be seasoned for years before they are made into barrels – preferably outside, since sun,

wind, snow and rain leach undesirable flavours out of the wood and render it harmonious. The staves should be

stored for one year for each centimetre of thickness.

Until well into the 1960s, coopers in many parts of Austria used to stack the staves to dry in artfully layered towers

12–15 m high with between six and twelve corners – so-called " devil's boxes". At the bottom, they left an opening

and inside laid crosses of planks. These enabled them to climb up, floor by floor.


issue #4 ©

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33

Aroma is what

it's all about

Just as locales and grapes all generate their own

very specific taste, every location and every oak is

different and influences the wine in different ways.

"A barrel should enhance the wine and add only the

desired aromas. The wooden barrel responds to every

mistake the cellarer makes with alien notes and

disharmonious nuances". Hildegard Horat speaks from

experience. She has been producing organic wines for

more than thirty-five years at her vineyard "La Grange

de Quatre Sous" in the French Languedoc region. She

uses oak barrels for both her elegant red wines and

her ebullient white ones.

Barrels made out of fine-pored French oak are very

popular for high-quality wines, because oak contains a

lot of tannin. As the grapes ferment in the barrel, the

alcohol gradually draws out the tannin, giving the wine

aromas of vanilla, herbs and fruits and helping it to

develop a full-bodied, harmonious character.

Apart from the tannin contained naturally in the oak,

the cooper himself has a major influence on the

flavours the barrel lends to the wine. After Pauscha

has pulled the barrel together in the traditional way,

he puts it back on a fire again, this time for the socalled

"toasting". Together with the vintner for whom

the barrel is destined, Pauscha decides how strong

the toasting needs to be. These two fields of expertise

complement one another perfectly to create a harmonious

whole: the vintner knows how climate, soil and

grapes interact, how to time the processes of fermentation

and maturation. The cooper knows his wood

and the effect the fire has on it: the length of toasting

determines the most subtle nuances of taste.

The long road to a good wine leads via the soil, together with sun, air and wood.

Each step requires hard work, know-how and dedication.

Barrique

The most well-known type of wine barrel is the barrique. It was laid down

in Bordeaux in 1866 that the barrique should hold exactly 225 litres.

Almost by chance this size turned out to yield an optimal surface ratio between

wood and wine, and this size of barrel was also easy to handle.


34 f a c e t o f a c e

The bottom of the barrel

Before the wine can be filled into the new barrel,

a few more steps are required. It is still open at

both ends. In order to fit the end pieces, the cooper

first mills an indentation into the inside wall of the

barrel at top and bottom. This is called the croze,

which serves as a groove for the end piece. Traditionally,

he measures the exact circumference of

the barrel with dividers on the inside of this groove.

Precision is all important here because it guarantees

the barrel will be impermeable.

Pauscha also makes the ends of the barrels out of

oak. They are held together by wooden dowels.

After taking precise measurements, the cooper

saws them to fit the barrel in either a round or

elliptical shape, tapering them towards the edge.

He applies a paste made of linseed, flour and water

to the croze.

Traditionally, he uses reeds to seal the joins.

Using only natural materials ensures that nothing

can adulterate the taste of the wine that will later

be stored in the barrel. In order to hammer the

ends into the barrel, Pauscha removes the upper

mounting hoop.

Galvanized metal hoops are what ultimately hold

the staves together. Making these is also part

of the cooper's craft. Pauscha rolls the metal

hoops to match the dimensions of the barrel and

rivets them. He then gradually removes the other

mounting hoops from the barrel and hammers the

specially made metal hoops into their final position.

The final hoop, the chime hoop, seals the wall

and the end of the barrel together so tightly that

none of the precious content will be lost even in a

hundred years.


issue #4 ©

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Archaeological excavations have shown that people were already making barrels

out of oak around 4,000 years ago. It was a perfect way for traders to transport goods

from A to B. They were more stable than clay amphora, and their round shape,

stabilised with metal hoops, allowed them to be turned and rolled easily because only a

small area of the surface ever touched the ground. Over the centuries they were

probably used to transport everything from meat and fish to flour, oil, spices and salt,

and even books, glass and porcelain were put into barrels.

As wine barrels they serve the function of "packaging with a difference".

They are sealed so tightly that wine can be stored in them and breathe at the same time.

Their wood has an effect on the wine, infusing it with valuable tannins and

lending the wine its character.

Meanwhile, back in the Languedoc the barrels are neatly arranged

in Hildegard Horat's wine cellar. They contain red wine that is still

maturing to perfection. She opens the bung hole of one of her

500-litre wooden barrels. The pipette fills with a deep red liquid

with a purple shimmer. She carefully examines the colour and the

bouquet of her "Les Serrottes". The flavour is reminiscent of dried

plums, gingerbread and tobacco. "Its fine tannin structure is the

result of the subtle interaction between the Syrah and Malbec

grapes and the oak." Horat is satisfied: "Here I can smell and taste

our clayey lime soil, the hot summers, the fruity grape. Everything

– even the tree used to make the barrel – plays a role in how the

wine tastes." Barrels and wine – a celebration of the senses.

quatresous.eu


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


issue #4 ©

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37

Linked2Brands

Roots and wings for

consistent brand

presentation

We associate Coca-Cola with its typical red label

and its curly, flowing lettering. A particular shade

of green, on the other hand, immediately makes

us think of Starbucks. We see them, we recognise

them and we connect them with a certain attitude

to life: the colours, logos and imagery that combine

to create a brand – a promise even.

Hardly surprising, then, that consumer goods manufacturers

watch with an eagle eye to make sure the

appearance of their brand is absolutely identical all

over the world, whether in Mumbai, Moscow or

Manhattan. This is the only way for a brand to send

consistent signals that guarantee its unmistakeable

identity in the market and provide the typical

brand experience. In the case of consumer goods

(FMCG), it is the packaging that provides the decisive

interface between brand and consumer. Here,

no matter what the background, the elements that

make up the brand, including the logo, the font and

the colours, must always look the same, sometimes

even on small surfaces. The tiniest deviation

in appearance can cause even the best design

ideas to lose their impact, and the branded product

its persuasive power; in other words, the brand

loses its value.

"Consumers have a particular image in their heads

of products and brands, and this must be preserved.

If consumers do not find what they are

looking for on the shelves, they will buy a different

product," Oliver Thoma, Director of the newly

founded Linked company, explains.

"We should not take this lightly because more than

70 per cent of purchase decisions are made at the

point of sale."

Linked2Brands GmbH is a 100 per cent subsidiary of Janoschka AG.

As a production agency for brand owners, Linked2Brands specialises

in design adaptation, artwork and colour separation along the entire

pre-press value creation chain. Linked2Brands ensures the exact and

consistent presentation of its customers' brands – worldwide.

The company originated from Janoschka, the pre-press experts.


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

A uniform appearance

enhances the

value of the brand

Consistent presentation of a brand is the goal –

always and everywhere. That might sound obvious,

but realising it in practice is actually an extremely

complex process. Consumer goods are usually sold

as part of an extensive range of products in a wide

variety of markets. Yoghurt, for example, comes in

printed plastic pots or with a cardboard banderol.

The lids are made of composite materials or aluminium.

Biscuits come in pouch packs, in metal tins

or in cardboard boxes.

Moreover, a biscuit isn't just a biscuit. Manufacturers

produce all manner of baked goods with a wide

range of flavours in an increasing number of versions:

gluten- and lactose-free, reduced sugar,

vegan, with certified organic chocolate or containing

fair trade ingredients.

All this must be convincingly communicated to the

global consumer, through all channels, whether online

or offline – often in a very small space – in many

languages and on a wide variety of packaging of

different materials and sizes. The fact that the

packaging is usually produced at different printers at

various locations does not make things any easier.

All kinds of expertise – from design adaptation,

photography to artwork and colour separations,

not to mention exact colour management – are required

to reproduce a brand identity with a reliable

degree of coherence.

linked.global


issue #4 © l i n k e d 39

"Whether it's an aluminium lid, a plastic bottle, foldable

cartons, tins or plastic film, even environmental

packaging made from corrugated cardboard should

bear the unmistakeable look and feel of a brand.

The big challenge is that all these already very different

materials are not only printed all over the world in

different print shops, but also using different printing

processes," says Markus Fautz, Operations Manager

Linked2Brands in Kippenheim, summarising the

complex processes involved.

Being a spin-off from the original business unit –

the brand team at Janoschka Deutschland,

Linked2Brands has more than twenty-five years of

experience and solid know-how in the world of artwork

development and design adaptation. Thanks

to this legacy, the specialists already have the entire

pre-press process and the realisation of the design

via different printing processes in mind right from

the start. Linked2Brands is there to advise producers

of branded products from the very beginning of

the value creation chain and offer solutions that are

relevant at the end of that chain, when the design

is printed.

"If we – as a one-stop-shop – are on board from

early on, we ensure that efficient solutions are chosen,

thus saving our customers money. Our closely

integrated working practices mean that interfaces

are kept to a minimum. Processes flow into one another

flexibly. For our customers, this means shorter

market launch phases," says Stefan Hilss, Managing

Director Linked2Brands. "We ensure that all brandrelevant

content reaches consumers wherever they

come into contact with the brand, whether it's in the

supermarket or while mobile shopping."

Through clear communication and close coordination

processes, Linked2Brands coordinates the

activities of all players involved. The experts from

Linked2Brands tailor each process individually to

their customers and enable brand owners to make

well-informed decisions, thus making it easy to

create printed and digital brand presentations for

FMCG customers of any size. The company's solid

and extensive expertise ensures the uniform presentation

of a brand: from the preliminary design to

the brand experience.

Linked2Brands links brands and consumers.


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

Extruder

aerial acrobatics

with astonishing results


issue #4 ©

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A large, transparent balloon rises from the machine, glistening as it floats

ever higher in an elongated shape. The substance being blown 20 metres up

into the air like a gigantic soap bubble is liquid plastic. By the time it reaches

its final height, the tube of film has cured and can be further processed.

The fact that liquid plastic can fly is astonishing in itself. But the fact that,

at 15 μm, it is only half as “thick” as a cigarette paper and yet at the same

time consists of eleven different layers is simply high-tech.

Our everyday lives would be unthinkable without plastic film. Its uses range from vehicle construction,

building and agriculture to logistics, chemicals and pharmaceuticals. Consumers encounter it most

often as packaging: it is the wrapping we find around slices of sausage or cheese, ice cream, ready meals,

bars of chocolate, teas and juices. But cleaning products, hygiene articles, medicines and pet food are

likewise displayed on the supermarket shelves in this protective, easy-to-open material.

The thin end of high-tech

An apparently everyday product

refined down to the final μm.

Plastic film is produced in either blown or casting processes.

First of all, an extruder brings the plastic granulate up to

the required temperature by kneading it mechanically. In the

casting method, a flat slit die spreads the liquid granulate

over a moving, water-cooled roller. In the blown method, an

extrusion die creates a tube of film out of the liquid plastic

with the help of air. This then rises upwards, a film-sizing

cage gives it the desired width and an oscillating haul-off reel

transports the cured tube for further processing.

“Many parameters are decisive in plastic film production,”

says Dr. Philipp Hupka, director of Business Development

Extrusion at Windmöller & Hölscher. The company is one

of the leading suppliers of machines and systems for manufacturing

and processing flexible packaging and an expert in

film extrusion. “In blown film extrusion, the volume of air

and raw material together with the off-take speed determine

the film thickness. There are 5-, 7-, 9- and now even 11-layer

systems combining various materials. This requires comprehensive

and complex know-how. Not only the formulae for

the material combinations, but also the machine settings

essentially determine the specific properties and the function

of high-tech film.”

Blown film generally has very good mechanical properties,

such as a very high retention force, elasticity, restoring force

and puncture resistance. This is a high-performance product,

whose multiple layers fulfil different functions and vary

according to application. Its sealing properties allow the film

to be welded together into the desired shape. Sturdiness

or stiffness give stand-up packaging and pouch packs the

necessary stability so that they look good on the shelves.

Then there are the protective functions, which shield the

packaged product from gaseous or liquid contamination from

outside and thus guarantee both the hygiene and the shelf

life of the product. It is these barrier layers in particular that

allow the flexible packaging to be branded since printer's ink

cannot penetrate the material.


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


issue #4 ©

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It depends what you make of it

Blown or cast film? Which method is more efficient?

The answer to these questions depends on which film properties

are required and hence ultimately on the application. Cast

film systems with higher output are particularly efficient for

large batch sizes. Because of the efficient cooling, thicker and

highly transparent film can be optimally produced as cast film,

for example, for deep-drawing applications.

The tower can be more than 20m high

If different formats and thicknesses are required, for example,

for lid film, blown film extrusion is the better option, owing to

its ability to rapidly change the format. Because it is cooled less,

the result is more crystalline, so stiffer film can be produced.


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

Around 1.3 billion tons of food are thrown away each

year – about a third of all produce. Thanks to its evergrowing

range of functions, plastic film technology

offers a promising answer to this problem: barrier film.

This can make an important contribution to reducing

food losses and enabling hygienic packaging. Along the

entire production chain, from harvest or manufacture

to the transportation of the product to the consumer,

the film protects it from environmental influences and

keeps it fresh for longer.

“Packaging has other functions, too: it not only protects

the contents, but also has to provide today's

consumers with extensive information about the product

and should therefore present this in an attractive

way. It needs to have an appealing appearance that

also correctly portrays the main assets of the brand,“

Lutz Braune, Chief Business Officer at Janoschka,

explains.

The multiple

advantages of

flexible packaging

“Whether highly transparent, shiny, printed with brand

colours, logos and images or shaped in a unique way;

here, too, film packaging is more flexible than other

kinds of wrapping.”

Since the material and production costs are low and the

range of applications is broad, plastic film is replacing

its more rigid counterparts, such as cartons and metal

packaging. Its light weight saves on resources, and

continuing technical advancements allow the same application

requirements to be met with ever thinner film.

Whereas the film used for babies' nappies weighed

30 g/m 2 a few years ago, that weight has now been

more than halved to 14 g/m 2 .

wuh-lengerich.de


issue #4 ©

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45

The future

of flexible

packaging

is circular

The biggest challenge in the future of flexible packaging remains, however, what

happens at the end of its life: how will it be disposed of or recycled? The strengths of

the plastic film while it is in use – longevity and robustness – become its weaknesses

when it ends up in the environment as waste. That's why leading producers are working

on a recycling economy for plastic packaging. W&H, for example, is testing its own

technology to produce single-source blown and cast film that can be printed and

processed. Film that uses only one family of raw materials such as PE or PP offers the

same protective function but is 100% recyclable.

All of these developments are leading to ever stricter requirements for the packaging

itself and hence for the raw materials producers, machine-builders and packaging

manufacturers. It is a question of gaining the highest degree of flexibility. If this can

be achieved with the amazing technology of film extrusion, then all the better.

Today, plastic film already covers around three quarters of the

global demand for flexible packaging, and that share is increasing.

11.0%

Aluminium foil

1.2%

RCF

2.6% EVOH

PVC

2.1%

PE

32.6%

11.6%

Paper

Market share of all

consumer flexible

packaging, 2009

Source: Pira international Ltd.

26.5%

BOPP

CPP

PA

PET/

BOPET

5.5%

3.9%

3.0%

35,000

30,000

25,000

20,000

15,000

10,000

5,000

0

Forecast of consumer flexible packaging

consumption by product,

2010 – 2020 (thousand metric tons)

Source: Smithers Pira

2010 2011 2012 2013 2014 2015 2020

Following their noses

Food

Cosmetics & Body Care

Beverages

Pharmaceuticals & Medical

Pet Food

Tobacco

Other Non-Food

Packaging for pet food needs to appeal to humans, too, so that they

buy it. At the same time, it has to protect the animal's taste

buds from any nasty surprises. So what does packaging look like

that promises perfect pet food and thus enhances the health and

well-being of our beloved four-legged friends? And, moreover,

even manages to keep this promise after discerning animal noses

have tested it?

Barrier film fulfils this function brilliantly. On the one hand, you

can print high-quality images on its surface with clearly contoured

edge definition. This allows you to reproduce the design in its original

form on the packaging. On the other hand, it protects the food from

undesirable aromas getting in from outside. “Animals are the most

discerning eaters. Even the slightest trace of printer's ink or other

contamination penetrating the packaging can result in the animal

refusing to eat the food. For this reason, the quality demands on the

film are highest in this product segment,” Dr. Philipp Hupka,

Windmöller & Hölscher, confirms.


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

Squaring

the Circle

Packaging that does

more than just

keep products fresh

a n d s e a l e d

In the modern world

people are constantly on the move.

Successful consumer goods (FMCG) move just as quickly and

easily. Eating and drinking on the hoof is a trend that has

become a lifestyle. A tasty snack, a coffee to go or a refreshing

drink can make more of any moment.

The product chosen is the expression of a way of life.

Its packaging entices the consumer, promising pleasure and

arousing emotions.


issue #4 © l i n k e d 47

Whether alcoholic or non-alcoholic, whether

water, juice, dairy products, soft drinks,

energy drinks, drinks to enhance wellbeing

or to accompany breakfast – the

beverages sector is a very complex one.

A highly saturated market with enormous

price pressure and competition. In order to

secure a market share, drinks producers

are relying more than ever before on packaging

as the most important component of

their marketing strategy.

The spectrum of packaging is just as broad

as the range of drinks on offer. From tradition

to innovation: from the classic brown

beer bottle with a swing stopper to film

and composite cartons with added extras

like special pouring and drinking mechanisms

– push-pull caps, for instance.

The best of both worlds

To do well in the highly competitive

drinks market, products must appeal

to consumers directly at the point of

sale. It is precisely here that packaging

has an important role to play that goes

beyond functionality. As a marketing

tool, it conveys the brand image and

is thus a key element in purchasing

decisions. The iconic Coca-Cola hobbleskirt

bottle from 1916, a milestone

in modern packaging design, bears

eloquent testimony to this.

For mobile consumption and instant

gratification, the packaging also needs

to be light and easy to handle. SIG, a

leading system and solutions supplier

for aseptic packaging, has developed

combidome, an LPB product that

meets the requirements of a modern

lifestyle: a foldable bottle.

with a large opening and is re-sealable,

allowing thirsty consumers to pour

out their drink without splashing it or

to drink it directly out of the carton.

Indeed, convenience is the main feature

of the bottle-shaped carton.

The slim package lies perfectly in your

hand and is ideal for enjoying a drink

while on the move.

Available in 500, 750 and 1,000 ml

format, the combidome packaging

with large printable display surfaces is

a valuable addition to the industry.

Its design is more than just a case of

form following function. The cleverly

designed and unconventional shape

of this packaging in itself highlights

the product’s message, enhancing

the brand’s visibility and thus

increasing sales.

The dome, crowned with a 28mm

screw top, lends the packaging its

striking shape. The top is in the centre

Liquid Paper Board / Liquid Packaging Board

is a form of disposable packaging for drinks and

liquid foods made of composite material.


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

Material matters

The materials used in the packaging also have multiple

roles: they not only have to seal the product and keep

it fresh, but must also enhance the brand image and be

environmentally friendly. “Everyone knows the saying:

‘a feast for the eyes’ – the design of the packaging should

thus also have an optical appeal that whets our appetites.

The feel and the appearance of the material are also playing

an increasingly important role, as is its sustainability,” says

Bastian Metzger, Global Account Manager, Janoschka

Deutschland, explaining how complex the requirements

are. “All these aspects come together. A precise and consistent

presentation of the brand whatever the material or

shape is therefore essential for the brand owner.”

In the future, marketing products to environmentally aware

consumers will increasingly become an important feature

differentiating packaging suppliers and brand owners of

FMCGs. To meet today’s expectations of environmentally

sound products, packaging suppliers must undertake to

comply with clean label standards. According to studies,

the composite carton is the most ecologically appropriate

disposable packaging for drinks and non-perishable foods.

Here, too, SIG’s various drinks and food cartons have set

standards.

With its “SIGnature pack” the company has succeeded

in developing the world’s first aseptic carton packaging

sourced entirely from plant-based sustainable raw

materials: 82 per cent of the FSC ® -certified packaging

is made of unprocessed cardboard derived from wood.

This gives the packaging stability. The unprocessed

cardboard is coated with polymers, which are also the

material used to make the top. The polymers in turn

are based on a mass balance system of renewable

sources of timber from Europe certified by ISCC PLUS

(International Sustainability & Carbon Certification).

Both the composite carton and the top are completely

recyclable and suitable for many recycling and disposal

systems.

Modern packaging is never an end in itself, however,

but always an all-rounder. Its properties are designed

to serve the product and its logistics chain. Its role is to

charge a product with emotions, giving the consumer

an individual purchasing experience. Only in this way

can the packaging give the product a chance to stand

out from the many similar items and be sold.


issue #4 © l i n k e d 49

By 2022, demand for liquid paper board (LPB) will have accelerated significantly,

by 4.5% per year, which, according to current studies* of the sector, will lead to a total

market value of 5.83 billion dollars in 2022.

LPB is produced in only ten countries in the world, but finished cardboard products are

consumed in all corners of the globe: three quarters of all finished LPB is still used

in America and Europe; in Asia the market share in 2016 was moderate, 17%. Demand

for LPB is limited to a few segments: in 2016, more than 70% of LPB was used in the

dairy industry, another 20% in packaging juices. Alternative milk products, such as

soya, cereals and nut drinks and other trends in the beverages sector such as tea, coffee and

energy drinks are tapping new niche markets and stimulating demand for LPB.

* Smithers Pira report, published in “The Future of Liquid Paperboard to 2022”

combidome.com


50

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

Janoschka has won the Red Dot

Award for Linked's high-quality design

Colours and papers, logos and fonts, printing, embossing and refining

processes: the printing industry has many faces.

But the pre-press industry is every bit as sophisticated and innovative

in its production of designs for brands and markets.


issue #4 © l i n k e d 51


52

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

LINKED is Janoschka’s annual client magazine.

The editorial concept uses text and design to

open up surprising perspectives on the world of

brands and packaging as well as on a host

of different trades.


issue #4 © l i n k e d 53

With its memorable and moving stories, ranging from innovative technologies

to centuries-old traditions, LINKED is certainly a good read.

It shows how each and every day our joint efforts – whether it's our

attention to detail, our wide-ranging know-how or our innovations –

help to make the industry grow and progress.

red-dot.org


54

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

annaahnborg.com

Colour

gradients

Together with subtle shades and

tones, skilfully gradated colours

lend a depth to illustrations that

would otherwise remain flat.

Colours a vivid, dreamy palette of colours

"Sociable and spirited, the engaging

nature of PANTONE 16-1546 Living Coral

welcomes and encourages lighthearted

activity. Symbolizing our innate

need for optimism and joyful pursuits,

Pantone 16-1546 Living Coral embodies

our desire for playful expression."

Pantone Color Institute

Duotones

Working with two contrasting colours

has become a little more nuanced

in 2019. Colour gradations between

the duotones develop a binary

aesthetic without robbing

them of their power.

pantone.com

Flat Design

Plus+

More shadows, more colour

plus 3D creates an individual

look that places

clear orientation points.


issue #4 ©

l i n k e d

55

avivatalmon.co.il

Typo – 2019 the year of the serifs

Daring fonts show strength, innovation and

individuality. Full-bodied serifs, as if cast

in lead, embrace the opulent look and are

complemented by individually designed

fonts. That's what makes a brand stand

out from the crowd.

fontfabric.com

Vintage The 20s are nearly a century old!

Art deco-inspired designs: complex patterns of

lines combined with sharp metal tones are

what characterises the best works of the era.

Jay Gatsby would feel at home.

Asymmetry

Appealing diagonals: compared with strictly

symmetrical compositions, asymmetry

creates tension: the surprise effect on the

eye causes the viewer to dwell on the image

for longer, making it more memorable.

studiojq.dribbble.com

thirstcraft.com

motherdesign.com


56

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

Do you know why ...

are

globetrotters?

The self-effacing and really quite humble pencil is a simple

tool. Yet as a direct, straightforward and reliable way to

develop new ideas it has what it takes.

The pencil is not just a technological milestone and a

household article owned by pretty much everyone, it is also

a world citizen. Its various components are sourced from a

whole host of different countries: graphite from Sri Lanka,

Siberia, Bavaria or Mexico; clay from Mississippi and Austria;

rubber from Malaysia and the Orient. The wood for

its body is either Californian incense cedar or Brazilian pine,

while South American rubber and Italian pumice stone are

used to make its eraser.

On this point opinions differ, however. The eraser stuck to

the end of a pencil with a ferrule or metal cap are an entirely

American invention. Whereas pencils with this accessory

have dominated the American market since the nineteenth

century, they failed to take off in Europe, as did their typical

yellow colour.

But despite these differing preferences, some pencils

have managed to become legendary nonetheless: take the

Blackwing 902, for example, or the Faber Castell 9000,

the Dixon’s Ticonderoga, the Koh-i-noor, the collectors'

editions by Caran d’Ache or the "Backyards and Gardens of

Portugal Scented Pencils" by Viacro.

Although digital woman or man now swipes, clicks and

types, it is still the pencil that connects our hands directly

with our brains. Indeed, studies have shown that people

who write by hand have a greater capacity to concentrate,

perform better academically, can express themselves

more creatively and are more self-confident.


issue #4 ©

l i n k e d

57

“Backyards and Gardens of Portugal” – the cedar barrels of

these HB pencils are perfumed with nostalgic scents of the

Portuguese landscape, and convincingly so.

Blackwing 602 –

originally manufactured by the Eberhard Faber Pencil

Company and initially sold for 50 cents each.

After production stopped in 1998, single original pencils

were found on eBay for over $100. Originals are

becoming increasingly rare. Since 2012, a pencil under

the same name is again being manufactured by Palomino,

available in packages of 12 for about $20.

CASTELL 9000 – in elegant green a real classic among pencils.

Alexander Graf of Faber-Castell brought it onto the market

in 1905. Quality and the finely graded 16 degrees of hardness

make it the preferred tool for artists and draftsmen.

Caran d'Ache Les Crayons de la Maison Edition No.8 –

includes four HB pencils made from whitewood and lime tree,

scented by the perfume-maker Mizensir with 'Memories of

Schooldays', containing essences of cedar, liquorice, sandalwood

and birch heart.

“Same same – but different“ – It's all " just" carbon.

That's what the Austrian Joseph Hardtmuth thought when

he founded his pencil factory in Vienna back in 1790 and

called his products after one of the most famous diamonds:

KOH-I-NOOR.


58

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

The pencil is, after all, the tool used by artists, architects

and scientists since time immemorial to communicate their

creations and discoveries to the world. Beethoven notated

his Missa Solemnis with a pencil, "the Golden Gate Bridge

was started with a pencil",* Hemingway wrote with and

about pencils as if he were describing a lover. For Johann

Wolfgang von Goethe, Rudyard Kipling, Vladimir Nabokov,

Truman Capote, John Steinbeck, and many others, it was

the pencil that was capable of conveying feelings, places

and emotions to their readers. Pablo Picasso used a pencil

to make the preliminary sketches for his works, Frank Lloyd

Wright to design spectacular architecture, and Walt Disney

to create unforgettable characters.

In the wake of the attacks in Paris on the caricaturists of the

satirical magazine Charlie Hebdo, the pencil ceased to be

simply a writing implement. Instead, it became a symbol

against terrorism and for freedom.

"I only hope that we never lose sight of one

thing – that it was all started by a mouse."

Walt Disney, October 27, 1954

* Advertising slogan for the "Venus Velvet"

by the American Lead Pencil Company, 1934

Frank Lloyd Wright

American architect,

1867-1959


issue #4 ©

l i n k e d

59

Christian Dior sketching a dress


60

n o t e s

1

n e t w o r k : f a c t s

Go East

Janoschka Extends Its

Footprint in Asia

Janoschka Philippines Inc. boosts the company's

strategic orientation towards the Far East

Societies in Asia are generally young and growing rapidly. Sales of

consumer goods and branded products are booming. At the same

time, Southeast Asia also produces many agricultural products

such as rice, spices, fruit juice, coconuts and seafood. After Brazil,

Vietnam is the world's second-largest coffee producer. A complex

market in which packaging plays a central role: on the one hand,

agricultural products need protective packaging, whether for

domestic distribution or for export. On the other hand, high-quality

packaging confers consumer goods with a brand identity and thus

makes them sought-after articles.

Janoschka is represented in three countries in Southeast Asia,

serving the requirements of the local markets with swift, high-quality

solutions. Its strong presence allows Janoschka to respond flexibly

to the various customer requirements and guarantee consistently

high quality standards.


issue #4 ©

l i n k e d

61

W

The youngest member of the Southeast Asian

family is Janoschka Philippines Inc.

The joint venture sells printing tools and

prepress services to converters and to the

tobacco industry in the Philippines.

City: Manila

Number of employees: 15

Spectrum of services:

Gravure printing cylinders,

Artwork and Colour Separations

Markets: Flexible Packaging

(Food / Non-Food), Tobacco

Annual production:

3,000 gravure printing cylinders

N

The Philippines

S

E

Malaysia

Janoschka has taken over a further 50 per cent

of the shares of APE Malaysia from its

former joint venture partner Interprint and

has thus become the sole owner of the Kuala

Lumpur branch, now named Janoschka

Malaysia. Since 1998, the company has served

as a regional competence centre to support

growth in Asia, especially in Vietnam and the

Philippines, later in Indonesia.

Location: Kuala Lumpur

Number of employees: 150

Spectrum of services: artwork and Colour

Separations, barrel proofing, gravure printing

cylinders and embossing cylinders

Markets: Flexible Packaging (Food / Non-Food),

Tobacco, Decorative Printing

Annual production: 14,000 gravure printing and

embossing cylinders, with state-of-the-art

electro-mechanical engraving and

Laser Technologies

H O N G K O N G

T A I P E H

S H A N G H A I

Vietnam

B A N G K O K

Ho Chi Minh City

MANILA

Kuala Lumpur

Janoschka has been active in Vietnam since 2010.

In 2017, it opened a second production location in

Ho Chi Minh City. Based on the company's prepress

expertise, the global, complete local value creation

chain combines all dynamic manufacturing

processes embracing a variety of production steps

and local production sites.

Location: Ho Chi Minh City

Number of employees: 225

Spectrum of services: Artwork and

Colour Separations, production of steel bases

and gravure printing TOOLS

Markets: Flexible Packaging (Food / Non-Food),

Tobacco

Annual production:

40,000 gravure printing cylinders,

30,000 steel bases


62 n o t e s

We DO need

another Hero

eCommerce goes mobile

Market researchers are predicting a global yield of 4.5 billion dollars from

ecommerce by the end of 2021. A growing market with a clear trend towards

mobile commerce. Hardly surprising given that modern people are permanently

on the move. Wherever possible, they take care of things while travelling,

whether it’s making phone calls, gathering information or shopping.


issue #4 © l i n k e d 63

2

t e c h n o l o g y : h e r o i m a g e s

WORLDWIDE

Growth of Retail eCommerce Sales

$ 1,336

$ 1,548

$ 1,845

$ 2,304

$ 2,842

$ 3,453

$ 4,135

$ 4,878

(26.3%)

(25.5%)

(25.6%)

(24.6%)

(23.3%)

(21.5%)

(19.8%)

(18%)

2014

2015

2016

2017

2018

2019

2020

2021

eCOM BECOMES MOBILE FIRST

Mobile Share of eCommerce Transactions

INDIA

65%

CHINA

57%

JAPAN

55%

UK

53%

SOUTH KOREA

49%

AUSTRALIA

45%

GERMANY

36%

NETHERLANDS

36%

USA

35%

FRANCE

28%

0 % 10 % 20 % 30 % 40 % 50 % 60 % 70 %

Although online shoppers still use stationary desktop computers for

half of their purchases, only 30 per cent of the pre-purchase “traffic”

takes place there. Smartphones are becoming the most important

devices: they are used to search for the object of choice, to compare

prices etc. and in more than a third of cases (38 per cent) to actually

complete the purchase. When it comes to shopping, smartphone

users are overtaking tablet users, and apps are leaving mobile

optimised pages behind.


64 n o t e s

Analog design

Digital first design

This has become a major challenge for many consumer

goods manufacturers and retailers. How can

they continue to offer their customers the familiar

brand and user experience when their online contact

with the brand takes place via a small, mobile screen?

The reduced screen size means that it takes more than

just pack shots to communicate the most important

product features and decision-making factors clearly

to the buyer. The magic word is “user experience” –

but the question remains: “How”?

These image standards enable customers to make

unequivocal buying choices. They reduce the “digital

noise” by emphasising only those details of a product

– brand, format, variant and size – that influence the

purchasing decision. This information is easier to read

if it is customised or enlarged.

Eighty-three retailers in more than forty countries

have now adopted this pioneering achievement of

Cambridge University and its partners.

To find the answer, Cambridge University entered

into partnerships with various consumer goods manufacturers.

Together they developed standards for

ecommerce images. The result was so-called

“mobile-ready hero images”.

cam.ac.uk

unilever.com

For mobile-ready

hero images it is recomended

to show only four or at

most five visual elements.


issue #4 © l i n k e d 65

Eye tracking:

Hero Images allow mobile shoppers

to see details in fast scroll and

to select the right product faster.

What is the brand?

_Magnum

What is it?

_Handheld ice-cream

How much of it is there?

_6 mini ice-creams

Packshot

Hero image

Which variety is it?

_Pack with 3 different sorts


66 i m p r i n t

THE NEXT EDITION OF LINKED WILL APPEAR IN THE SPRING OF 2020.

WE ARE DELIGHTED THAT YOU HAVE READ OUR MAGAZINE.

PLEASE LET US KNOW WHAT YOU THINK ABOUT IT SO THAT WE

CAN DO WHAT WE DO EVEN BETTER.

PLEASE GIVE US YOUR OPINION:

linked@janoschka.com

LINKED is Janoschka ’s customer

magazine and appears annually.

Owned and published by:

Janoschka Holding GmbH

Mattweg 1

77971 Kippenheim

Germany

© 2019 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

Ideas and Conceptual Design:

Sabine Joachims, Janoschka Holding

Corina Prutti, das komm.büro

Art Direction / Layout:

Patrick Brandecker

Print and Binding:

Gotteswinter & Aumaier GmbH, Munich

www.gotteswinter.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. 7, 15, 18, 21, 23, 24, 25, 27, 58, 59: Alamy / p. 32:

Beni Altmüller / graphics p. 45, 46, 47, 49, 63:

Patrick Brandecker / p. 65: Cambridge University

Design Centre / p. 21: Columbia Records / p. 57:

Cult Pens / p. 64 Disney/Pixar / p. 58 Getty Image /

fashion graphics p. 9, 12, 17: Alessandro Helmholdt /

p. 10, 11: Homeboy Industries / p. 33, 35: Hildegard

Horat / p. 27: Martin Huch / p. 4, 5, 8, 13, 16, 19,

20, 31, 56, 60,62, 65, and titel: iStock / p. 4, 36, 38,

39, 50, 52, 53: Janoschka archive / p. 6: Kunsthalle

München / p. 26 : Peter Lauer / p. 4, 24: Juan Maiquez /

p. 14: Gérard Pataa / p. 28, 29, 30, 34: Klaus Pauscha &

Partner / p. 22: Arne Reimer / p. 46, 48, 49: SIG

Combibloc Group / p. 4: Thirst Craft / p. 65: Unilever p. 57:

Viarco / p. 4, 40, 42, 43, 44: Windmöller & Hölscher

If you would like to be added

to our distribution list,

please email us: linked@janoschka.com

Please inform us of any change of address or if you

no longer wish to receive Linked.


issue #4 / a u g u s t 2019

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