Janoschka magazine Linked_V4_2019

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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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.

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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

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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

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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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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.

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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 ©
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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 ©
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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 ©
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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
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please email us: linked@janoschka.com
Please inform us of any change of address or if you
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issue #4 / a u g u s t 2019