Janoschka magazine Linked_V5_2020

The Prepress Magazine
issue #5 / a u g u s t 2020
Colours
A magical mystery tour
Sustainability
The packaging is attractive –
but is it smart?
Soap-Making
How to wrap a fragrance
On Corporate Identity
Or: the long road from
red to green

e d i t o r i a l
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Dear Reader,
It's a colourful world, to paraphrase Louis Armstrong. Yet this is
a reality that means something different to each of us. It is an
aspect of our world that we now take for granted, but it hasn't
always been that way. Homer describes the sea as being winecoloured
or purple. Were he and his fellow Greeks colour blind?
Probably not, according to scholars. For us humans the world
has always been full of colours, yet for a long time we didn't
have the words for them.
Our sector would be unthinkable without colour. That's why the
topic runs like a golden thread all the way through LINKED#5.
This edition outlines how colours have been produced through
the centuries, highlighting the most daring substances and
methods, some of which even proved lethal! It reports on the
broad advancements that have resulted in high-performance
state-of-the-art printing ink. And it looks at the effect of colours
and the importance for brand identity and artwork of presenting
them uniformly in all markets and through all channels.
Our mission is to promote the diversity and brilliance of colours.
In a metaphorical sense "colourful" means that our company
values, respects and supports individuality and the diversity
which that implies. In a more literal sense we use innovations
and know-how to ensure that our clients' world – and the world
in general – remain full of colour.
So let me invite you to join us on a journey through this fascinating
world and allow yourself to be surprised by the many different
aspects of colour revealed to you in this edition in an informative
and entertaining way – by Janoschka and Linked2Brands.
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 #5
6
22
28
38
insights
6 Colours
A magical mystery tour
22 Sustainability
The packaging is attractive –
but is it smart?
knowledge & competence
38 High-tech Printing Inks
Functional and visually appealing
42 Testing the Waters!
How consumers help to
design packaging
face to face
46 On Corporate Identity
Or: the long road from red to green
28 Soap-Making
How to wrap a fragrance

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66
42
74
network & people
52 Colours of Linked
What brings colour to your life?
to tell the truth
66 Do you know why…
It took three men to invent a column?
58 Recognisable Appeal
Brand consistency through perfect
artwork and colour cards
62 The magic and radiance
of colours
Of light and matter
notes
70 Stefan Gutheil, CFO
Janoschka’s excellence cluster
72 Linked2Brands
Global brand continuity
74 Streams
Design lifecycle management

6 i n s i g h t s
a magical
mystery
tour

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Between alchemy
and high-tech
We live in a colourful world. Everywhere we look there are colours.
Ever since pre-historic times, humans have used colour to brighten up their environment:
from ochre, the very first pigment known to have been used as a dye by all cultures
250,000 years ago, all the way to "Vantablack" – the world’s "blackest black", which absorbs
99.96 per cent of the light and was developed by British researchers in 2014.
Audacious experiments, daring methods and chance discoveries – not to mention countless
animal victims – mark the bizarre, occasionally macabre and not seldom fatal cultural history
of colour pigments through the centuries.

8 i n s i g h t s

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Toxic green and
perfidious marketing
Napoleon Bonaparte, French emperor and conqueror of
a global empire, survived many fierce battles – even
Waterloo – during his life as a general. But his glorious
career – and indeed his life – came to an inglorious end
in a room decorated with gold and green patterned
wallpaper.
As was customary at the time, the dye used to colour
the wallpaper was so-called Schweinfurt Green – a
gorgeous emerald green whose use would have horrific
consequences: for it also proved to be the most
toxic dye in history. The intensive radiance of the most
brilliant shade of green around at the time was derived
from a compound of copper acetate and arsenic.
Around 1778, the Swedish chemist Carl Wilhelm
Scheele discovered copper arsenite by chance while
performing an experiment. Copper arsenite is a lustrous
and above all durable green. Because green dyes
were in short supply at the time, this light-resistant
pigment immediately became very popular under the
name Scheele’s Green.
Schweinfurt Green, named after the place where it was
produced industrially, appeared on the scene in 1808 as
copper acetate arsenite, a further advancement on the
original compound.
The world of interior design and fashion fell in love
with the luminous green pigment. Since it was cheap,
and the paint industry was hungry for new dyes, mass
production began almost immediately and the dye
quickly spread all over Europe. The arsenic compound
was used particularly for printing and colouring
wallpaper and textiles, but also to dye dresses, artificial
flowers, candles and even children’s toys.
Green was booming. It has been estimated that by the
mid-nineteenth century some 250 square kilometres
of wall had been hung with copper arsenite dyed wallpaper
in Great Britain alone: in palaces, apartments,
hospitals and station waiting rooms.
The Times reported that around 500 to 700 tons of this
dye were being produced every year in order to satisfy
the constantly growing demand for brilliant colours.
Carl Wilhelm Scheele left behind
an important scientific legacy,
which made the world more colourful
– but also more toxic

10 i n s i g h t s
Nothing seemed to stand in the way of a triumph
for Schweinfurt Green. Even after it was revealed
that arsenic was the chemical responsible for the
pigment’s radiant colour, the public did not realise
the danger. But then some worrying rumours
began to emerge about a series of suspicious
deaths. A milliner who had spent months decorating
hats with fashionable artificial flowers died
after suffering nausea, rashes and faintness.
A child died after putting a green painted toy
in its mouth. A patient in a London hospital was
poisoned by a curtain round his bed. Similar symptoms
appeared in a growing number of people.
Doctors and scientists began testing the various
green objects and discovered that the pigment
reacted with humidity to produce toxic arsenic
fumes. They published their findings about wallpaper
poisonings in medical journals. The newspapers
reprinted them and some reports made
national headlines.
The Fife Herald, for instance, reported that four or
five grams of this compound would be fatal for a
human being "and the mixture is applied so thickly
that any lady wearing an emerald green dress would
be carrying enough poison on her delicate person
to kill forty or fifty of her fellow human beings …".
The Arsenic Waltz: the new dance
of death (dedicated to green-loving
milliners and seamstresses).
Scheele himself had already suspected when he
discovered the pigment that it might be poisonous.
Yet he was more concerned about whether someone
else might steal his invention and make money out of
it. Once it was no longer possible to conceal the deadly
danger posed by the fashionable colour, the manufacturers
tried to "disguise" their sales with a trick:
they simply marketed the pigment over and over again
renaming it each time. Eventually, there were around
eighty different names denoting the same colour:
among them, Imperial Green, Paris Green, Viennese
Green, Kassel Green, Neuwied Green, Mitis Green and
Mountain Green.
Although scientists had proved in the early nineteenth
century that the pigment was highly toxic, its production
was not banned until around 150 years later, in the
1960s.

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4Cu 2+
O - O O -
As As
O -
O O H 3 C C
As 2 2
O -
O - Schweinfurt Green

12 i n s i g h t s
adrianlander.com.au

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Dead heads and mummies
In 1904, the renowned London paint manufacturer
Messrs Charles Roberson & Co. placed an advertisement
in the Daily Mail that was unusual even for
those times. It offered an appropriate sum to anyone
who could provide a mummy: "Mummy sought
with which to produce paint", the advertisement
read. Probably to assuage fears, it added the following
explanation: "The 2,000-year-old mummy of an
Egyptian monarch can of course be used to decorate
a precious fresco without offending the soul of
the deceased gentleman or his descendants . . . "
(S. Woodcock, 1996).
In the early twentieth century, the rather naive
use of ancient Egyptian mummies of humans and
animals was still common practice. Sold under the
label Mumia, Mumie or caput mortuum (dead head),
this rich potion consisted mainly of white pitch and
myrrh mixed with ground up ancient Egyptians and
their pets.
Since Antiquity, people had sworn by Mumia as a
mystical remedy for curing an extraordinary range of
disorders: from toothache to heartache.
This conviction originated from the medical use of
bitumen. 'Mumiya' was the Persian word for the black
tar used to embalm the dead, while later it was used
to seal the conserved bodies.
Mumia was highly valued as a pigment from the
Middle Ages onwards on account of its transparent,
rich brown colour. In the sixteenth century, trade in
mummified remains from Egypt flourished and mass
production began in Europe. In 1712, a Paris paint
trader who was quite up front about this business,
calling it "À la Momie", sold pulverised Mumia, dyes,
paints and myrrh. The pigment reached the height of
its popularity in the mid-nineteenth century when it
was "quite en vogue".
Gradually, supplies from Egypt began to dry up. In addition,
the gruesome origin of the paint became ever
more widely known. Society was steadily developing
a greater respect for other cultures and their rites.
The production, sale and use of the pigment were no
longer approved. Mumia went out of fashion.
We do not know whether the mummy ad was successful.
What we do know is that the traditional
London paint manufacturer Roberson revealed to
Time Magazine only about fifty-five years ago that
the company had sold out of mummies. "We might
have a few odd limbs lying around somewhere",
he apologised, "but not enough to make any more
paint. We sold our last complete mummy some
years ago for, I think, £3. Perhaps we shouldn’t have.
We certainly can’t get any more."
By 1964 the spectre was gone.
A curious funeral
Rudyard Kipling, author of 'The Jungle Book', describes in his
memoirs a memorable experience in the house of the painter
Sir Edward Coley Burne-Jones: "[Burne-Jones] descended in broad
daylight with a tube of ‘Mummy Brown’ in his hand, saying
that he had discovered it was made of dead Pharaohs and we must
bury it accordingly. So we all went out and helped – according to
the rites of Mizraim and Memphis I hope – and to this day I could
drive a spade within a foot of where that tube lies."
Mumia – this pigment is exactly
what its gruesome name suggests.

14 i n s i g h t s
How a beetle painted
the town red
Whereas a single mummy was able to cover demand for
brown pigment for several years, around 50,000 dead beetles
are required to obtain around 100 grams of red pigment.
The "beetle" in question is the scale insect or Coccoidea,
which originally came from South America and subsequently
colonised the entire world.
Cochineal is the term for brilliant scarlet red, one of the reddest
reds that nature has to offer. The beetle produces carmine
acid to protect itself from enemies, but this defence
system was to prove its downfall.
Red cloth has always been hard to come by, expensive and
endowed with powerful symbolism as the sumptuous privilege
of the rich and powerful. In ancient Rome, red signified
status. That is why the most powerful men in the city were
known as "coccinati", meaning those clothed in red. Popes
and kings wore red, and red robes clothed both the Emperor
of China and the Shah of Persia.
Even for those who were in on the secret of carmine production,
red was always a source of wealth and power from
ancient times onwards. Cochineal or carmine red was one of
the longest- and best-kept secrets in the history of dyes.
The cochineal beetle, dactylopius
coccus, thrives best in the warm
dry climate of the southern Mexican
highlands. Today, it is still an
important trading item for the Mexican
city of Oaxaca, where it continues
to be bred in the traditional way.
Female beetles capable of reproduction
are released onto prickly pears.
There they wait for fertilisation by the
males. Unlike the females with their
round, woodlouse type bodies,
the males are thin flying insects.
They live only for the few days it takes
them to fertilise the females.
Once the female has laid her eggs,
she also dies and lays herself over her
offspring like a "shield".
After ten to twelve weeks, hundreds of
fat beetles have developed,
which are then collected. A practiced
picker harvests up to a kilogram of
beetles a day. He kills them using hot
steam and dries them in the sun.

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OH
O
HO
OH
HO
HO
O
OH
OH
OH
OH
O CH3 O
Carmine/Cochineal

16 i n s i g h t s

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The Incas and the Aztecs also valued the intensive
luminescence of the dye and considered it a luxury.
Subjects paid their tribute to their ruler, Montezuma,
in sacks containing millions of dried cochineal
beetles. In 1519, cochineal caught the attention
of the Spanish conqueror Hernán Cortés at one of
Mexico’s largest markets.
The conquistadores immediately shipped it to
Europe. Never before had the Old World seen a
brighter or richer red. The cochineal beetle soon
became one of Spain’s main exports and the Kingdom
of Spain made a fortune with its monopoly on
the dye. In order not to reveal its origin, they called
it grana (grain) cochineal or else claimed that it was
actually a vegetable.
The British, French, Dutch and other Europeans
tried desperately to solve the mystery of this precious
red, and even attempted to kidnap the beetle.
The rest is history: as well as serving as a clothing
dye the perfect scarlet red of carmine proved
to be perfect for the lips of prostitutes; and to
this day it is used as colouring in cocktails (e.g.
Campari), sausages, sweets, fruit juice, jam and
even medicines.
Dried cochineal beetles
resemble grains or berries.
Prickly pear plantation for
cultivating the dye. The cactus
leaves are "vaccinated” with
mother beetles. For the cactus
the beetle is a parasite that lives
by sucking its juice.

18 i n s i g h t s
The "Black Market" battle:
Vantablack versus Black 3.0
Abysmal and dangerous: that is black. But currently an abyss
is opening up between two artists competing to produce the
blackest black in human history.
It all began in 2014 when the British company Surrey
NanoSystems developed "Vantablack" – the darkest man-made
substance ever: only black holes in space absorb more light.
Vantablack is less a colour than a state of the art high-tech
material. It consists of nanotubes arranged vertically on a surface.
Vanta is the acronym for Vertically Aligned NanoTube Arrays.
surreynanosystems.com
Light that falls on this surface bounces back and forth between
the tubes until it has been almost completely – 99.96 per cent –
absorbed. For non-scientific minds, imagine how dark it would
be in a forest whose trees are around three kilometres high –
extremely dark. The human eye does not perceive black but
instead the lack of any light whatsoever. Wherever Vantablack
appears it looks as if there were a hole in the world. Objects lose
their dimensions, their depth. Wired wrote: "You look at Vantablack,
but nothing looks back at you."
Can you see ? You see nothing!
Without the light, the 3D
impression disappears.

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20 i n s i g h t s
www.anishkapoor.com
Anish Kapoor, Commander of the Order of the
British Empire, Royal Academician, winner
of the Turner Prize and the Praemium Imperiale.
His works fetch some of the highest prices in
the art world.

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Artists were immediately fascinated by this super-black – above all the
British-Indian sculptor Anish Kapoor. He managed to secure exclusive
rights of use for the new colour in his art. Nobody else is allowed to use
Vantablack. Just imagine how furious his fellow artists were.
In response another artist, Stuart Semple, decided to produce his own
"blackest black": a mixture of the pigments pinkest pink, yellowest yellow,
loveliest blue and greenest green. Semple sells this DIY black
online under the name "Black 3.0". According to his web shop it is a
"super matt, ultra-black acrylic paint". It absorbs between 98 and
99 per cent of visible light and thus comes close to the
"black hole-ishness" of Vantablack. With the hashtag #sharetheblack,
Semple made it clear that anyone could buy Black 3.0 – anyone, that is,
except Anish Kapoor.
The hashtag went viral. Images of artworks painted using Semple
pigments were posted all over the web, including one of an
outstretched middle finger dipped in Semple’s pinkest pink. No prizes
for guessing that the finger was Anish Kapoor’s.
*Note: By adding this product to your cart you confirm that
you are not Anish Kapoor, you are in no way affiliated to
Anish Kapoor, you are not purchasing this item on behalf of
Anish Kapoor or an associate of Anish Kapoor. To the best
of your knowledge, information and belief this material
will not make its way into the hands of Anish Kapoor.
stuartsemple.com
But that’s water under the bridge. At the end of last year, the
Massachusetts Institute of Technology announced that it had
discovered a black that absorbs 99.995 per cent of the light –
"the blackest material ever measured". A German artist demonstrated
it at the New York Stock Exchange: instead of a twinkling 16.78 caret
diamond worth two million dollars, visitors saw precisely nothing.
Like a camouflage cloak, the new black made the diamond invisible.
Stuart Semple – doesn’t always look
on the dark side. In a bid to
highlight and spread happiness
worldwide he sent "Happy Clouds"
up into the skies over London,
Milan, Moscow, Dublin und
Geelong (Australia)
We do not know whether anyone will ever find the remaining 0.005 of
black. What we do know is that people find colours inspiring and that
the end of this magical mystery tour is a long way off.

22 i n s i g h t s
The Packaging Is Attractive –
But Is It Smart?
Manufacturers are currently facing the enormous challenge of making radical changes to their packaging
concepts in the space of just a few years. As well doing the accustomed job of ensuring that
products are kept intact, fresh and durable, the new packaging is also supposed to be environmentally compatible.
And while the logistics people have their eye on packaging that is optimal in terms of volume and
weight as goods are moved from one place to another, consumers need to be provided with all the
relevant product information as well. As if that weren’t enough, it also needs to be eye-catching and maintain
brand consistency, making the product instantly recognisable so that customers are happy to buy it
wherever they find it. This makes for a highly complex undertaking driven by a variety of different factors.
Is it really possible to square the circle here?
All over the world, modern lifestyles, especially
in industrialised nations, are consuming
ever more resources and producing increasing
volumes of emissions and waste. However,
people are starting to realise that running an
economy along these lines is not practicable in
the long term, since it is driving the planet –
and the human beings who inhabit it – towards
destruction.
Yes, we are in danger of drowning in rubbish,
but what should we do with that empty packet
of biscuits and the bottle of shampoo out of
which the last drops have been squeezed? And,
after we have finished scraping out our yoghurt
pots and pressing all our pills out of the blister
packaging, how should we dispose of the
waste?
For our existence to become sustainable, both
the current economic system and consumer
behaviour must change radically. In its Sustainable
Development Goals issued in 2015, the
United Nations outlined precisely what needs
to be done. Goal 12 is: "Ensure sustainable consumption
and production patterns."
The goal is to bring about a major reduction in
the volume of waste by 2030. The three Rs:
reduce, reuse and recycle,
are what is meant here.

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Countries have translated this demand into concrete
political strategies based on the circular economy.
The idea is that, through intelligent product design,
goods and raw materials will become part of a cycle.
One of the secondary effects and goals of this will be
to create more regional and local jobs and sustainable
value – and ideally no more waste.
In 2018, the EU came up with a strategy specifically
for plastics, and in recent years many major companies
have voluntarily committed themselves to achieving
these goals over the next five to ten years.
1 st place:
coca-cola
global annual
production of
disposable
plastic bottles
To date, the cycle of goods has often functioned as
follows: raw materials are purchased to produce packaging.
Industrial customers use these to package their
products, which reach the end-consumer after travelling
a long or short distance. At the end of the product’s
lifecycle, the packaging ends up as rubbish in a
sheer endless flow of waste. In 2017, Germany alone
generated 18.7 million tons of packaging waste, which
amounts to 226 kilograms of plastic waste per capita.
While in Germany most of this waste is burned, in other
countries it often ends up in landfills, or worse still, in
the environment.
88 000 000 000
A LINE OF 88 BILLION BOTTLES
WOULD BE LONG enough
TO GO TO THE MOON AND BACK
31 TIMES ( 384,400 km )
plastic waste
of the largest consumer goods groups
in tons per year
3 000 000
1700 000
750 000 610 000
this corresponds to
a production RATE OF
167,000 bottles
per minute
coca-cola nestlé danone UNIlever
PLASTIKATLAS 2019 / DUH, macarthur

24 i n s i g h t s
what do we use
plastic for?
usage by industry in
millions of tons in 2015
global plastic
production
In millions of tons
3t
18t
27t
industrial
machinery
electronics
TRANSPORT
1959-2030
56
%
600t
500t
400t
300t
200t
100t
1950 1960 1970 1980 1990 2000 2010 2020 2030
42t
47t
consumer
goods
textiles
over half
of the plastic ever produced
has been produced since 2000.
forecast increasing.
59t
65t
146t
miscellaneous
construction
sector
PACKAGING
(mostly used
only once)
In 2015, over 400 tons
of plastic were produced worldwide.
Packaging accounted for more than a third
of all plastics manufactured.
Distribution
of single-use plastic items,
by region, 2014
North
America
CENTRAL and
South America
21
%
16
EuropE
% 17
middle
East
4
% 1
%
AFRICA
PLASTIKATLAS 2019 / GEYER
3
%
Former
USSR
%
38
%
Asia and
Pacific
PLASTIKATLAS 2019 / GEYER
PLASTIKATLAS 2019 / UN, STATISTA

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Everything you need. Nothing that you don’t need.
This is the principle underlying Colgate’s mission.
The goal is to make all products completely
recyclable by 2025.
How willing are we
to trash our principles?
We can already see today that flexible packaging will
have a key role to play in avoiding waste. In a bid to find
optimal solutions, packaging material is permanently
changing as the parameters of packageability and
stability are constantly tested and adapted. Of course,
people are coming up with whole new packaging concepts,
too. Who says, for example, that the design of
today’s yoghurt pot should be the benchmark for the
future? It is entirely possible that in two to three years
a completely different, more practicable and resourcesaving
design will have become the norm.
Taking just the food industry, we can see two trends
that run diametrically counter to attempts to minimise
waste and throw-away packaging. First of all, the increasing
number of single households means there
is growing demand for smaller packets. Secondly, in
working life, convenience products that use a lot of
packaging are becoming more and more popular as
people grab a quick bite to eat at lunchtime. As the
latter point illustrates, when it comes to convenience
or speed, our cherished principles and values all too
easily fall by the wayside.
So how can we reduce (plastic) packaging waste? One
idea is to dispense almost entirely with plastic packaging
and use cardboard instead, without giving customers
the feeling that this means a decline in quality.
In 2017, Apple once again demonstrated that this was
an entirely viable approach. The company started packing
its mobile devices in smaller, cardboard packages,
sourcing its packaging material from its own forests.
Other brands that have followed the trend away from
plastic in favour of paper include the German chocolate
brand Ritter Sport, while the frozen food producer
Frosta has introduced paper packaging with the goal of
banishing plastic from deep freezers.
Fiber & Plastic Mass (g)
iPhone 6s
iPhone 7
0 40 80 120 160
Changes to packaging from iPhone 6s
to iPhone 7 reduced the amount of
plastic used and increased the use of
recycled fiber.
Virgin Fiber Recycled Fiber Plastic
Apple’s Paper and Packaging Strategy, October 2017

26 i n s i g h t s
PET
Polyethylene terephthalate
HDPE
Polyethylene high density
pvc
Polyvinyl chloride
LDPE
Polyethylene low density
PP
Polypropylene
e.g. food bottles,
polyester fibers,
foils, food packaging
e.g. pipes for gas and drinking
water, detergent containers,
plastic bottles
e.g. boots, shower curtains,
window frames, pipes,
electrical cables, leatherette
e.g. plastic bags, cling film,
garbage bags, tubes,
milk carton coatings
e.g. food packaging,
DVD cases, interior panels,
bumpers, child seats
Plastic: theory and practice
Yet nowadays plastic as a packaging material needn’t
be ashamed of itself. The use of ever thinner materials
has brought about major reductions in the volume
of waste. What is more, if the packaging is made of
only one substance (mono-material) such as pure polyethylene
(PE) or polypropylene (PP), then repeated
recycling is already on the horizon.
Nevertheless, the reality to date is that environmental
aspects tend to play a secondary role when packaging
materials are selected. And in purely economic terms,
recycling is often not worthwhile.
Although plastics can theoretically be reused five
or six times, they are often used only once. One of
the reasons for this is that they are comprised of too
many different materials. The packages used for sliced
meats or cheese, for instance, may well be made of
up to eight different plastics, and no sorting facility is
going to be able to separate those from each other in
a cost-effective manner. Not least because many of
them are still composite materials. While the layperson
sees them simply as thin plastic film, in fact they are
comprised of many different layers, each of them only
a few micrometres thick, which in combination serve a
whole host of functions.
But even mono-materials present a major challenge,
especially as different countries have different standards
for defining them. In Sweden, they may contain
up to 50 per cent of other materials and still be categorised
as a mono-material, but in many other European
countries the proportion of the main material has to
be 50 to 85 per cent. The United States also uses the
85 per cent threshold as a guideline. In Germany, by
contrast, a packaging material only counts as a monomaterial
if the main material comprises at least 95 per
cent of the total.
In the future, deciding which packaging material to use
will involve honestly weighing up the pros and

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PS
Polystyrene
e.g. food packaging,
polystyrene packaging,
insulation
others
Various Plastics
e.g. toys, cases, DVDs, clothing,
ropes, parachutes, toothbrushes,
casing of electrical appliances
A world without plastic? Hard to imagine, isn’t it?
Your day starts with a plastic alarm clock.
Then you take a shower using shampoo out of a
bottle that wouldn’t even exist without plastic
any more than the water pipes would. Then
there’s the plastic steering wheel in your car, your
plastic jogging shirt, desk and telephone.
You round off the day watching a plastic TV,
eating snacks out of a plastic container. Before
bed you brush your teeth with a plastic toothbrush.
cons and analysing all the follow-on costs of a
given product as well as providing consumers
with more information. Without this information,
consumers are unable to make purchasing decisions
based on the sustainability of a product.
What we need are new solutions for different
kinds of mono-plastics as well as entirely novel
solutions for paper and cardboard packaging.
If packaging material is to be recycled, the quality
of the so-called recyclate – i.e. the granules
of recyclable plastic – will need to be improved.
One way of doing this is to ensure that overprints
can be separated from the basic material
as easily as possible. Currently, new solutions
and processes for de-inking – i.e. dissolving the
printing ink out of the packaging material – are
being developed and tested.
For printed paper, de-inking is already an established
industrial process. For plastic, it is
currently not yet available on an industrial scale.
But even today, high-quality recyclate is already
a scarce commodity, and demand is likely to
increase considerably in the future. We don’t
need to be soothsayers to realise that since
de-inking is a key technology for obtaining highquality
recyclate, we can expect major technical
advances in this area in the near future.
The crowning achievement –
Frosch washing liquid,
the frog "king"
Reverse engineering means starting at the end of a product
cycle and thinking backwards. In other words, starting
with the question of what properties does a piece of used packaging
have to have in order to be recycled into a raw material
of virtually the same quality as the original material?
This packet of washing liquid is composed of 100% recyclable
mono-material. Even the de-inking problem has already
been solved, because the printing is not on the packaging itself
but on a thin banderol of the same material that can be
peeled off and hence separated during the recycling process.
This especially sustainable solution won the company a World-
Star Award in 2020 and the German Packaging Prize in 2019.

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f a c e t o f a c e
" when i smell something, i have no conception
of its form or how distant or near it is,
the smell tells me only how i feel."
Immanuel Kant
How to Wrap
a Fragrance
Even soap will only produce
the sweet smell of success
if it is properly packed.
The salty spray of the sea, glowing embers, a forest after the rain,
wood warmed by the sun, leather: a fragrance is an essence –
sublime, sometimes ephemeral. We can’t see a fragrance, we can
rarely describe it, we can merely smell it. Yet in a split second
it opens doors to our emotions, conjuring up scenes in our heads,
arousing memories, changing our mood.

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Even if only for a moment, we enter
a world that is wholly sensual.
This is reflected in the words we
use to describe fragrances: earthy,
soft, verdant, mossy, fruity, warm,
tangy, powdery, spicy or flowery.
The list is long and our imagination
knows no limits.
But how can we capture, mix,
let alone conserve something as
ephemeral as a fragrance. To find
the answer let us travel to Grasse
in the hinterland of the Côte
d’Azur. Here, amid lavender fields
and gardens of lemons, oranges,
roses, jasmine, thyme and rosemary,
is the world centre of perfume-makers.
This is the heart of
Provence, where legendary scents
were created. And it is here that,
ever since the Renaissance, the
master perfumers, known as nez
(nose) on account of their acute
sense of smell, discovered the
most diverse methods for extracting
fragrances in their purest form
and developed and refined them
further. The techniques ranged
from steam distillation, enfleurage
(extraction using fat), maceration
(warm enfleurage) or expression.
All of them were used to wrest
fragrant secrets from the various
herbs, flowers, blossoms, peels,
barks and leaves, transforming
them into sumptuous essences
and filling them into bottles.
And thus perfume, this ethereal
mixture of essential oils and alcohol
that was considered sensual,
expensive and exclusive,
was born. The court of the Sun
King Louis XIV in Versailles soon
became the leading customer for
this luxury article. At the same
time, these fragrant essences
could be processed and refined in
an infinite variety of ways.
With invention of the alambic in
around the ninth century the
Arabs refined the distillation process.
The rising steam condenses on the
walls of the helmet-shaped lid and
flows into the collection vessel.

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f a c e t o f a c e
Perfume and soap –
une liaison provençale
Grasse
City of Tanners and Perfumers
In the Middle Ages, leather from Grasse was known far
and wide, well beyond Provence. This fact made Grasse’s
tanners the masters of the city. Unfortunately, not only the
production process, but also the product itself gave off an
overpoweringly unpleasant smell. To stop his customers
turning up their sensitive noses, the tanner Galimard
coined the idea of soaking his leather gloves in baths scented
with flowers from Provençal gardens, such as lavender,
myrtle, jasmine, roses, wild orange blossom or mimosa.
Thus begins a scented tale.
Perfume
The Story of a Murderer
But if we stay in Grasse for a moment, we find one name that crops up
time and again: Fragonard. Founded in the 1920s, the products of this
perfume manufacturer – especially their opulent and cleverly designed
packaging – testify to an affinity for a bohemian lifestyle. Along the
coast between Monaco and Cannes, artists of every stripe, musicians,
writers, painters, couturiers and dandies settled to amuse themselves
to the rhythms of the Roaring Twenties.
Soon Fragonard’s exclusive fragrances came to be associated with
another product for which Provence is famous: soap. In the buildings
of the so-called "usine historique" alongside full-bellied copper
alambics and other mysterious and wondrous objects for perfumemaking,
we find the traditional equipment of a soap studio. This is
where the specialists at Fragonard perfume the soap granules with
luxurious essences. After a number of further steps in the production
process, the soap, now a homogenous mass, is finally "stamped"
into a bar with an unmistakeable shape: a pebble that caresses the
hands, a heart or diamond – not to mention the soaps in the "Jardin du
Fragonard" line, artfully embossed with all manner of flower patterns,
or the cameo series "Tout ce que j’aime" (All that I love).
Grasse is a place of many legends. Patrick Süskind set his
world bestseller Perfume: The Story of a Murderer,
published in 1985, there. The story revolves around the
most fleeting of all the senses. It tells the story of Jean-
Baptiste Grenouille, who is born with an extraordinary
sense of smell yet has no smell of his own. His desire is to
create the mother of all scents, an essence that will
finally make him, the unprepossessing outsider, smellable
and hence visible: the perfect perfume with which
to ultimately make his mark on the world.
Translated into forty-eight languages with more than
20 million copies sold worldwide (as of 2018),
Perfume is one of the most successful German novels of
the twentieth century.
fragonard.com

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Luxury and sensuality
that shows
Richly decorated surfaces, opulent
colours and golden elements
emphasise the elegance of classic
fragrances: alongside Patchouli,
the collection includes Santal,
Fleur d’Oranger and Vetiver.
For Fragonard "Tout ce que j’aime" embraces the poetic and
inspiring world of fragrances and soaps – with their sophistication,
sensuality, art, colours … the list is almost infinite.
So it goes without saying that the same special care that
goes into manufacturing the soaps themselves is also applied
to the design of the packaging. One of the mantras
of the sector is that for a scent to make its mark, not only
does its composition have to be just right, but also the design
of its wrapping.
Fragonard’s high-quality soap boxes supply the perfect testimony
to this art, their opulent designs evoking the brilliant
colours of the Midi or else subtly underlining with subdued,
fine, gold-embossed lines on matt paper the elegance of
almost ancient fragrances.
Fragonard’s deep commitment to art together with the
status it assigns to packaging design are exemplified by
its cooperation with Patch New York City. Known for their
glamorous designs inspired by vintage embroidery and
appliqué and bead techniques in surprising palettes and
embellished with details woven together like a kaleidoscope,
the design duo was commissioned to come up with
a new look for Fragonard’s classic, mystical and mysterious
patchouli fragrance. According to legend, the women of
the Orient traditionally wrapped their scarves in patchouli
leaves, so that when they wore them they were swathed
in a beguiling scent.
That was the brief for Patch NYC. The result was an imaginative
holiday collection consisting of five different sets of
fragrances in a limited edition, as enchanting as the stories
from 1001 Nights, as sensual as the beauty of Provence,
and a clear expression of opulence, glamour, elegance and
luxury.

32 f a c e t o f a c e
Claus Porto –
The dazzling Belle Epoque
Claus Porto’s soaps are likewise pure luxury. Handwrapped
and sealed with varnish in the nostalgic designs
of the Gründerzeit, Art Nouveau and Art Deco,
they pay homage to an era when soap was still a
symbol of incredible wealth.
From the Mediterranean we now journey to Porto
on Portugal's rugged Atlantic coast. Here the narrow,
picturesque alleyways of the old town lie side
by side with imposing Baroque buildings, and the
taste of rich port mingles with the smell of the
sea. This coastal city in north-western Portugal, for
centuries the starting point for daring voyages, has
preserved much of its old charm as well as some
typical Portuguese products.
Thus in the "Ach. Brito" soap factory, Claus Porto
soaps continue to be made in exactly the same
way that the founders Ferdinand Claus and Georges
Schweder began producing them back in 1887.
Evoking bygone eras, they emit aromas of violets,
wild pansies, honeysuckle, tuberose, red poppies,
almonds, musk, pomegranate and jasmine.
Their wrappings are decorated with extravagantly
gorgeous vintage graphics. This artful portfolio
of hand-made, colourful labels and patterns lends
each product its own unique personality. Printed on
glossy paper in a 1920s design they show elegant
tango dancers, garlands of flowers or cool graphics
in the typical colours of Art Deco.
A unique packaging design which, like the products
themselves, is bathed in the spirit and soul of the
people who make them. To this day, the soaps and
perfumes exude the luxurious charm and glamorous
decadence of the Belle Epoque.
clausporto.com

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"We are all one – or none!"
Dr. Bronner’s soapy messages
Dr. Bronner’s soap lines clearly demonstrate that packaging can have a
very different function from merely wrapping products. Printed with narrow
spacing, their packaging literally bears eloquent testimony to their author’s
deep convictions. Messages like:
1 st If not for me, who am I? Nobody!
2 nd Yet, if I’m only for me, what am I? Nothing!
3 rd If not now, when?!
Emanuel Bronner, the founder of Dr. Bronner’s in America, called these aphorisms
his "Moral ABC": We are responsible for ourselves but also for each
other, and as we grow, we must grow responsibly.
Born Emil Heilbronner, Emanuel came from a Jewish family that had been
making soap for three generations. In 1929, they left Germany and emigrated
to the United States. Emanuel changed his name, removing the "Heil" as a
protest against Nazism. Thereafter he made his vision of a world without war
and hatred in which everybody was equal and coexisted peacefully his life’s
mission.

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Sustainable through and through: the all-rounder soap!
It will wash your hands, face and hair and clean your
teeth as well. But you can also use it as an animal shampoo
and for household cleaning – a single
bar of Dr. Bronner’s replaces many other products.
Using his motto: "We are all one – or none." he began giving
lectures in 1950s America in which he admonished people
to live peacefully in harmony with nature. He also gave
away bars of peppermint soap to members of the audience.
When he realised that the soap went down better
than his lectures, he decided to concentrate on soap
production and instead printed his credo on the labels.
It isn’t only the packaging that gives expression to his deeply
rooted value system, but also its contents: fair trade,
organic, natural soaps produced from sustainable agriculture
under just working conditions.
In order to ensure an ecologically sound supply chain, the
company participates in production all over the world,
for example in a sustainable palm oil plantation in Ghana.
In addition, management salaries are nowhere allowed
to be more than five times that of the lowest employee’s
wage. One third of the profits is reinvested, one third paid
out to the employees and one third donated.
"We are all brothers and sisters, and we should take
care of each other on spaceship earth." – emanuel bronner
Every bar of Dr. Bronner’s soap speaks of conscientious
behaviour and respect for one’s fellow human beings and
the environment. Noblesse of a different kind.
drbronner.com

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f a c e t o f a c e
We don’t know whether the young German label got its idea
from Dr. Bronner’s soaps, but its message is equally clear:
"Stop the Water While Using Me" is both the brand name and
the company philosophy.
The
watered-down
version
The natural cosmetics brand launched in 2011 has made it its
mission to protect, save and donate water. Water is the foundation
for all life and essential for the survival of the human race.
One of the goals of its founder is therefore that before anyone
enters a bathroom they should be clear about what their
attitude to water is. But it’s not only the consumers who should
conserve water. With its initiative Good Water Projects, the
brand, bought by the Beiersdorf concern this year, supports
smart projects for tapping drinking water across the globe.

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And the soap inside this toned-down packaging with
its clear admonition is every bit as minimalist:
"Stop the Water While Using Me" soap contains no
synthetic colouring or artificial fragrances and uses
exclusively natural, essential aromas and oils to
perfume the products. Both the content and the
message stand for sustainability and responsible
handling of precious resources.
Whether it is the expression of exquisite luxury
or a conveyor of sustainable ideas, packaging for
perfume and soap is always, like its contents, the
result of a two-stage translation process. It translates
ethereal and abstract sensuality into an idea
and the idea into an object. In the case of soap, the
message literally rubs off.
Soap boiling –
an art going back
many millennia
Humanity’s first known soap recipe was found
on a clay tablet of the Sumarians, scratched
onto the tablet in cuneiform in 2,500 BC.
The principle of soap-making has not changed
since then. The Sumerians used burnt plants
and wood to extract an alkali potash,
which was then boiled with oils.
The chemical reaction between these two substances
produced soap. One of its properties
was to reduce the surface tension of water;
another was to dissolve otherwise non watersoluble
fats, the components of most kinds
of dirt, in water.
stop-the-water-while-using-me.com

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k n o w l e d g e & c o m p e t e n c e
They’ve Got
the Power
High-tech
Printing Inks
Functional and
Visually Appealing
Our world is full of colour. When we walk into the chemist’s or a supermarket, we are
immediately confronted with a whole range of eye-catching products – carefully packed
in large or small boxes, filled into tubes standing on their heads or rustling in pouches.
They all try to grab our attention. "Buy me!", they seem to say. And the message is made
all the more powerful by the colours carefully chosen by marketing experts to match
the product. After all, colourful and attractive designs are the name of the game in selling
products the world over, regardless of culture.

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A recipe for success
To master a challenge
The sustainability targets that the UN set in its Agenda
2030 in 2015 call for more sustainable consumption
and production.
Colours and packaging are so much more than that,
though. Let’s stay with the example of supermarkets:
until the 1950s, most of the food people bought was
wrapped in paper. Then plastics arrived. Their numerous
advantages made them ever more popular and
they became increasingly sophisticated. Plastics not
only allowed food to be packaged more securely and
to be stored longer; consumers also started to be
seduced by the colourful plastic packaging and came
to believe that the food inside was of higher quality
than comparable products in simple wrapping.
For a long time, plastic was a success. But more
recently plastic waste has come in for enormous criticism.
The problem is that, from a global viewpoint,
the value creation chain has been mainly linear up to
now. People purchased products without giving much
thought to what would happen to the discarded packaging.
To this day, the vast majority of plastic packaging
is still not recycled and recovered. Instead it ends
up in landfills across the world or is burnt. Time and
again, much of it makes its way uncontrolled via rivers
into the oceans.
To achieve sustainability, economies and societies will
have to embark on a completely new course. The idea
of the circular economy, which would decouple growth
from resource consumption, is a key factor here.
The aim is to shift creation of value away from a linear
system towards a circular one. Whole value creation
chains and their associated business models need to
be transformed for this to work, and much of packaging
as we know it needs to be completely reconceived.
This always involves the three R’s:
reduce, reuse and recycle,
whereby recycling is currently the element with the
most potential leverage.
But what has all this got to do with printing inks? Printing
inks and functional coatings are key components
when it comes to finding circular economy solutions
for the packaging industry – solutions that will help us
tackle our virtually unchecked wastage of resources.
But let’s take half a step back …
Printing inks turn packaging
into colourful, eye-catching products

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k n o w l e d g e & c o m p e t e n c e
Highly functional
packaging with highly
functional printing
Among the important tasks that fall to packaging,
protecting consumer goods, especially food, is a
major one. Effective packaging solutions that help
safeguard the supply of goods are crucial in a world
with a growing and increasingly urban population.
Materials (substrates) frequently do not become
effective packaging until printing inks are applied.
"Today, a lot of packaging would not work technically
without printing," comments Dr Ralph Detsch,
who is in charge of Global Technology at Siegwerk
as Chief Technology Officer.
Certain products, like pet food, have to withstand
extreme conditions in sterilisation processes or go
through cooking processes (for example, printed
sausage skins). Other products, like sacks for potting
soil, need to be weather-resistant – the printed
image should not be affected by exposure to rain or
intensive UV rays. The printing can also help stop
the sacks slipping off the stack.
Printing inks along with coatings and primers are
therefore an integral component of packaging
today: during processing, printing inks and coatings
ensure, for example, that the packaging is heatresistant.
In packaging machines, they ensure that
the friction values necessary to enable a high and
steady manufacturing speed in the packaging process
are adhered to.
One key issue with all packaging is product safety.
This is crucial for food, pharmaceuticals and
hygiene items in particular. Today, Siegwerk is
focussing on this complex area, which is known as
the NPH sector (nutrition, pharma, hygiene).
Each of these areas has its own specific challenges.
Moreover, the printing inks used in each
application are subject to very special standards
and controls of their own.

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Safety first!
Printing inks are an integral component of packaging
and need to be formulated so that the contents
are in no way negatively affected. They
need to be protected against sensory influences
(smell and taste) and, above all, product safety
needs to be guaranteed regarding the migration
of constituents right down to trace level.
The scale of the experts’ work in this area
becomes apparent when you consider the unit
of measurement they use: PPT – i.e. parts per
trillion! Toxicology is perhaps the only other field
with similar orders of magnitude and requirements.
But that is precisely what is involved
here: protecting the consumer has top priority.
It goes hand in hand with the importance of packaging
in the supply of safe foods.
Nevertheless, packaging must not only conform
to national and international standards and
requirements for the existing product, it is also
down to manufacturers of modern packaging
solutions to make continuous changes and
improvements.
For a start, printing companies, like all profitbased
businesses, strive for efficiency and performance.
Printing inks and their management
play a central role in a continuously changing
industrial process. This starts with the selection
and development of the best-fit solution
for the specific application, not to mention the
machines and processing conditions. From the
optimisation of the ink preparation (i.e. the mixing)
and the actual printing operation to the
consistent incorporation of press-return inks
(intended for reuse), there is a wide range of
key factors that can influence efficiency in an
extremely competitive environment.
"Printing companies want to keep complexity to a
minimum so they look for a universal printing ink
that is optimally tailored to their needs. We are
the right people for this." says Detsch, explaining
the role of Siegwerk.
The global megatrends of circularity and digitalisation
are changing our world and hence the
world of packaging as well. The boundaries in
manufacturing processes are constantly shifting.
Many parameters considered to be limits
ten or twenty years ago have been standards for
a while now. Concepts need to be completely
revised and tested. The packaging industry has
developed increasingly sophisticated materials
over the decades. For example, materials have
become much thinner and more efficient. In its
key role, printing ink has made a major contribution
to this – and advances don’t stop there.
The storage life of foods has increased significantly
and less food is wasted. These achievements
are key elements in our lives today and
need to be preserved as far as possible during
the important transformation to a circular economy.
There are many innovative ideas in this area
and new solutions that challenge and expand the
boundaries of technology. "These are really exciting
times for the packaging industry with many
challenges and opportunities," says Detsch.
siegwerk.com

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k n o w l e d g e & c o m p e t e n c e
Testing
the Waters!
How Consumers Help to
Design Packaging
Joint Design Verification by Linked2Brands and Psyma
Most people don’t decide what to buy until they are in the shop. No matter whether they’re
shopping online or in a real supermarket, brands help them to get their bearings.
That’s why the appearance of the packaging is important. But even if the products live up
to what the brand promises, how do manufacturers know whether their products will
appeal to consumers. Why not simply ask the consumers themselves?

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Back in 1984, when Helmut Thoma launched Germany’s first
privately owned TV station RTL, he knew something that is
even truer today: "The bait has to taste good to the fish, not
the fisherman." That’s how the witty Austrian made successful
television; and that’s how companies create brands today.
Never were consumers more powerful than they are now:
the world wide web has put them in a position to check a
brand’s claims themselves in a matter of seconds, to take
a critical stance and thus to put even major companies on
the defensive. Whether it’s Nestlé, Deutsche Bahn or the
ING bank, they can all confirm this from bitter experience.
At the same time, some brands experience hypes that go
way beyond any kind of rationality – when people celebrate
their favourite brands on social media, for instance, and
share their experiences with others. Nike is a good example,
having managed to harness the emotions of a whole nation
with its campaign for the Trump-critical American football
player Colin Kaepernick. Human exchange and dialogue is
where brands emerge in the first place and also where
they become established and change. Companies are thus
well advised to keep their ears to the ground and join in the
conversation. A process that takes some effort but one that
is also refreshingly democratic.
Design Adaptation
Design Adaptation
Submission
Need Consumer Test?
Yes >
Go to Design Verification
No >
Go to Artwork
Design
Verification
Artwork
Artwork
Submission
Rejection choice:
Design Modification or Archives
Validate: Go to Artwork
Surveying the market
In this context, dialogue with the consumer conducted
via good, old-fashioned market research
has suddenly come back into vogue. Marketing
people now need to engage in such dialogues before
even beginning to market a product.
"After an initial large-scale market research project,
a lot of time generally passes before the
final product is launched," Oliver Thoma, Strategy
Consultant/Sales Director at Linked2Brands,
points out. "The market changes quickly and the
competition doesn’t sleep but is busy bringing
out new products that didn’t even exist when
the original market research was done." Experts
therefore recommend a crosscheck before the
final market launch: Do consumers understand
the new product? Would they buy it?
This is where Linked2Brands’ extensive experience
comes in, offering a way for brands to raise
their future chances of successful product placement
and at the same time reduce the risk of
expensive launches that turn out to be flops.
The concept is the result of a cooperation with
the private Nuremberg-based market research
institute Psyma, a company with bureaus all over
the world – thirteen all told – including in China,
the United States, Brazil and Mexico.

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k n o w l e d g e & c o m p e t e n c e
The ideal-case scenario goes something like this:
Once Linked2Brands has completed the brand
design development or adaptation together with
the client – embracing the whole range of components
from graphics, images, text and logos to
brand and assortment colours – the final artwork
is created so print tools can be used later on.
In many cases, however, there are several different
design options for a brand new product or a
product relaunch. Here the marketing people are
suddenly spoilt for choice and have to make a
decision. One design may seem more attractive
or more promising than another, but is it really?
Why not let the consumer make the choice, right
from the start?
Thus, for example, the question for a brand
of apple juice called "Your Garden" developed
especially for marketing purposes and produced
by the fictitious company "Farmers Market,
Eger & Cie" is: "Which packaging design appeals
to you most?" The questionnaire is largely standardised,
even though open questions are possible.
In this way, the client’s designs can be easily
compared and they save costs too.
The heat map shows where the respondent’s interests lie.
The comment function and the subsequent
analysis reveal why certain elements are evaluated
positively or negatively.
For this purpose Linked2Brands joined forces
with Psyma to create a tool that is extremely
simple: depending on what the client wants,
the market research institute can have the
design verified by a so-called online access panel
consisting of up to 300 women and men aged
between sixteen and sixty-five from the target
user group. The panel are given two or three
design options to choose from: the old and the
new packaging, say, or the new design, the old
design and the design of a competitor.
The consumers decide via mouse click which of
the design options they find the most convincing,
using criteria such as appearance, brand
compatibility, product features and overall appeal
compared with the design of a competitor and
how motivated they are to purchase the product.
Psyma and Linked2Brands agree on the questions
together with their clients in advance.
"A witty slogan
that fits the product."
Submit
x cancel
Then there are the extras, such as the option
of adding a "Heat Map" – so called because the
test subjects are asked to click on elements that
they spontaneously react to either positively or
negatively. The programmed algorithm uses the
results to generate a kind of thermal map – rather
like environmental brochures for building insulation
that show where in a house the most heat
accumulates, or in our case which parts of the
design have a particularly positive or negative
impact. Each click opens a dialogue box where
the participants can enter their evaluation. In this
way, the market research experts find out not
only which aspects of the packaging are appealing,
but also why they are evaluated as positive
or negative. Taking the example of the apple juice
again, the answers might be along the lines of
"I like the picture of the farmer" or "Pure juice.
The name already tells you what’s in it" or
"A witty slogan that fits the product."

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Being persuasive
at the point of sale
One option is for the market researchers to place
the selected designs on a virtual supermarket
shelf but under real market conditions – i.e.
positioned as they would be in reality and lined up
next to a number of competing products. Anyone
who knows that three out of four consumers do
not make a purchase decision until they are in the
shop standing in front of the shelf understands
how important this is. Everything is at stake
at the point of sale! Does my packaging reflect
the brand values? Does it give the customer the
brand experience? Is the brand tangible, even?
And can it hold its own against the competition?
This is where brands provide consumers with a
point of orientation.
The online survey usually takes between five and
ten minutes to complete depending on the level
of detail the client has requested. About two and
half weeks later, the results have been evaluated
and a report has been issued, giving brand managers
empirically sound and objective arguments for
deciding how to optimise their design. Ideally, the
revised version is then put through a new survey.
Irrespective of current trends, the target group
must recognise all the brand’s relevant facets
and messages, as Vera Steger, Associate
Director Consumer Research at Psyma, says.
Fresh, bright colours make a product seem younger
of course. And these days a lot of packaging
has become much more minimalist and straightforward
in response to consumer demand for
organic and sustainable products. As a general
rule, though: "Every product must tell its story in
its own individual language, and in an emotionally
and factually convincing manner that does justice
to the brand."
Clients also benefit from Linked2Brands’ experience
in brand consistency. Thanks to Psyma,
Janoschka’s production agency can now respond
even better to consumer expectations. And that’s
how it should be, because it’s the consumers
who make the rules in corporate communication.
Let’s be sure to put some really tasty bait on the
hook.
psyma.com

46 k n o w l e d g e & c o m p e t e n c e
On Corporate
Identity
or: The Long Road
from Red to Green

issue #5 ©
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"Who am I?"
is a question history’s greatest thinkers
have always asked themselves.
And today all companies, no matter how small, are
asking themselves not only "Who am I?" but also "Who
do I want to be?", "How do I wish to be perceived?".
Translated into the language of branding management
the questions are: "What is my corporate and also my
brand identity?", "What impact should my corporate
identity have?", "How does my corporate design have
to look to achieve this impact?", "How do others perceive
my corporate image in reality?".
Colours play a central role in corporate identity. That is
a truism, of course, yet it is good to remind ourselves
of this fact on a regular basis. For once a company
has succeeded in making a colour or a spectrum of
colours its own, it doesn't necessarily need words to
communicate with its customers. Moreover, a company
that is instantly recognisable by its colour has an
easier time managing its brand.
There are a variety of reasons for redesigning a successful
brand, including changing the colour of the
logo. Sometimes giving a logo a make-over is connected
with a takeover of the company or a new name.
Or perhaps the company’s focus or its products and
services have changed.
When McDonald’s changed its logo in Germany in
2009 – replacing the familiar red background with
the famous golden yellow "M" with a green one – it
explained the change as a statement of respect for
the environment. But people were sceptical. Was
McDonald’s suddenly serving healthy food or was
the change in colour no more than a large-scale attempt
at "greenwashing"? By no means. For by 2009,
McDonald’s was no longer the same company that
had opened its first German branch in Munich in 1971.
The German market was one of the most important
global markets for McDonald’s right from the start.
The US concern regards the German market as the
place to pioneer innovations. Thus, in the early 2000s,
you could already order a coffee from a barista, drink a
quick espresso or enjoy a more leisurely cappuccino at
several branches of McDonald’s in Germany.
And when it came to launching the McCafé concept
on a broader scale in 2003, Germany led the way.

48
k n o w l e d g e & c o m p e t e n c e
Consistency vs. change
The McDonald’s logo is one of the most
widely recognised symbols in the world, so
the company was hardly going to change it
at the drop of a hat. If it decided to go ahead
nonetheless, there had to be a good reason.
In the case of McDonald’s the reason was
a desire to change its corporate image.
McDonald’s no longer wanted to be thought
of as a fast-food restaurant serving just the
usual burger with fries and ketchup – symbolised
by the golden yellow "M" on the
red background. McDonald’s had already
taken a big step towards change when it
integrated the McCafés into its corporate
image, thus changing both the company’s
self-image and the public’s perception of
it. Since then, customers have set foot in
McDonald’s who would otherwise have had
little interest in eating in a classic burger joint.
From a psychological point of view the
change in colour at McDonald’s seems to
make sense. The colour red stimulates your
appetite. A burger with fries and a dollop
of red ketchup are a good way of satisfying
hunger pangs quickly. But McDonald’s
had an image problem: junk food had become
passé. Back in 2004, following public
debates about nutrition and changes in
customers’ eating habits, McDonald’s had
gone over to serving lighter meals of salad
and chicken and had developed whole new
product lines.
So now green, being a symbol of healthy,
modest and sustainable consumption, fitted
the bill better than red.

issue #5 ©
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About the right hue
But green is not simply green – as other companies
have discovered time and again in the course of
rebranding processes. As with any other colour,
getting just the right shade is a tricky business:
If the green is too light, it will readily suggest an eco
image that was never intended. If, on the other hand,
it is at the cold, turquoisy end of the spectrum, it will
tend to turn people off.
Indeed, colours can arouse very explicit emotions.
From a psychological angle, therefore, the colour of
a product is much more important than its name.
Colours can have such a strong effect on us that they
can even deceive our senses.
For example, a white box will look lighter than a black
one. In German-speaking countries, the post office is
associated with the colour yellow, which was probably
once chosen for Europe’s first postal service
as it had a signal effect on the postilion's uniform
and the stagecoach. Today, we know that a yellow
vehicle will appear to travel faster than one of another
colour even if the speed is in fact the same.
The essence of the design
The choice of a particular colour thus has a particularly
strong effect on how consumers perceive the
brand. Colours are more than just part of a company’s
branding strategy. They form the essence of the
design.
Nowadays, however, developing or changing a corporate
design concept is often far more complex
than it was a few years or decades ago. Increasingly,
a brand has to appeal to customers from different
cultural backgrounds. A few years ago, for example,
the pharmaceutical company Bayer decided to
redesign its corporate image. No fewer than 1,500
people based on five different continents spent a
year and a half working on the new design.
And this is only one of the challenges of rebranding:
we have particular associations, positive or negative,
with a given colour. In every culture, colours have
strong roots and in some cases completely different
associations. To take one of the most striking
examples: whereas in Western cultures black is the
colour of death, in many Asian countries it is white.
ICE – The fastest way to protect the climate. German railways’ colour
and slogan underline its environmentally friendly image. All ICE
and IC trains have been using 100 per cent eco-electricity since 2018.

50 k n o w l e d g e & c o m p e t e n c e
Knorr
Back to the roots – back to nature
It all began in the nineteenth century with vegetable soup
and a logo that fitted with healthy and natural food: white
"Knorr" lettering on a green background.
In the years that followed, the company ventured onto the
international market setting up subsidiaries and factories in
around 100 countries. Its product range grew too, as soups
were joined by sauces, stocks, bouillons, seasonings, dressings,
frozen goods and convenience food, but also exotic specialities
and classic Italian cuisine. This development was reflected in
changes to the Knorr logo: yellow and red elements were added
to the white and green and later it even gained a 3D look.
Last year, the brand went back to basics and returned to its
origins with the new logo featuring "Knorr" in the familiar
swept lettering against a green background, thus conveying
the distinct message of naturalness. This clear pledge is reflected
in the products. After all, 95 per cent of the herbs and vegetables
used at Knorr do originate from sustainable farming.
sun
dna
bee
palm tree
hand & flower
hair
bowl
flower
sauces or spreads
spice & flavours
fish
sparkle
bird
lips
recycle
ice cream
particles
tea
frozen
heart
waves & liquid
clothes
container
Unilever
Variety and transparency
Unilever is one of the world’s largest producers of
consumer goods with over 400 brands, including
Knorr, in more than fourteen segments.
The spectrum ranges from food and drinks, through
household cleaning products, to hygiene items.
The company therefore sought to depict this diversity
in a new logo.
The result is an elaborate design featuring twentyfive
icons that each have a specific meaning and
symbolise an important aspect for Unilever. Their
arrangement in the familiar "U" shape conveys
openness, friendliness and transparency – values
that are important in the company’s strategy and
philosophy.

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It doesn’t have to
be perfect, but
it must be serious
A logo is one of the great constants
in corporate communication,
akin to something sacred.
This applies to the entire corporate
design. Yet a company’s
essence, its corporate identity,
is the sum of many parts: alongside
corporate design, corporate
culture and corporate communication
are also components of
corporate identity.
In view of this, a change in corporate
design should actually be the
crowning, visual culmination of a
substantive de facto repositioning
of the company – the point
when the new position becomes
visible to the outside world
following a process that has
taken months, if not years.
1976 The first image to represent
the computer company featuring
the man who revolutionized
science with his discoveries
on gravity. How did he figure it
out? An apple fell on his head!
Ultimately, then, it is neither the
colour of the logo nor its appearance
that is the key factor determining
a company’s success or
failure. Rather, customers expect
brands to be authentic and honest.
Getting the right feel for corporate
identity and corporate image
requires a very skilled approach.
If a company’s image is to receive
long-term customer approval, the
concept requires a lot of thought,
an academic awareness of style
and extensive experience.
1977-1998
The first bitten apple: The multi-coloured
Apple logo was in use for 22 years.
Steve Jobs, known for his minimalist style,
got rid of it.
2020
Nowadays Apple uses the signet
known as the “Millennial
Logo” in three main colours: silver,
white and black. It embodies the
brand’s hallmarks perfectly: elegance,
intelligence and accessibility.

52
n e t w o r k & p e o p l e
Colours
of
JANOSCHKA
Colours
of
Linked
Ours is a colourful world.
Everyone sees it differently –
so "colour" can mean something
different to everyone.
We wanted to hear about the
experiences of Janoschka and Linked
staff, so we asked them:
what brings
colour
to your life?

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Vera Meshcheryakova
Head of Administration & Finance
Janoschka Pavlovsk
Colours are in every lived moment.
Each day has its routine of familiar and often planned
activities. And yet each day small joys bring colour to my
life and make me happy: when my daughter kisses and
hugs me as she wishes me good morning; when my
parents laugh at something funny; or when I savour the
memory of an adventure. I also love the moment when
I'm on vacation and I forget what day it is.
Colourful moments are when I wake up at night and
realise it’s not morning yet and I can sleep for a few more
hours; when I open a new book I want to read; when I
find a parking space in the city centre; the moment when
I have just finished and delivered the financial report.
In the morning I enjoy choosing which shoes to wear,
and in the evening taking my high-heeled shoes off.
Using my favourite fragrance or a smell from my childhood
colour my day, too. I’m happy when these joys
occur – they are the colours of every lived moment!

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n e t w o r k & p e o p l e
Colour is life!
Ever since my golden teenage years, I have been intrigued by the beauty of nature and adventure. My true
passion is the unknown underground world: caves and yet more caves. For thirty-five years now I have explored
countless kilometres of underground passages in a completely monochromatic world. Here your only companions
are darkness, rocks, mud and chaos. There is no life, no sounds, no colours – everything is shrouded in
obscurity, illuminated only by the light I am carrying.
After spending hours or even days exploring the darkness, the feeling I get when I walk back towards the
mouth of the cave and start to see daylight is indescribable. Here I am again in the bright light, seeing all the
colours of nature. Ordinary things like trees, birds, the sky, flowers – absolutely each and every thing radiates
its own colour. Here I finally realise... colour is life!
Roberto Brandi
Managing Director
Linked2Brands Brazil

issue #5 © l i n k e d 55
To be happy – I need people.
Monika Wasilewska
Customer Service
Janoschka Polska
Ever since I can remember, it’s people who have
brought colour to my life. I enjoy being around
people, observing them and talking to them.
I particularly like to discover the differences
between us: thanks to these differences, my life
is multi-coloured and never boring.
I absolutely love meeting new people, listening
to their points of view, hearing their stories and
learning from their experiences. I appreciate
every positive influence on my life from others.
Every day, I look for an opportunity to observe
people’s behaviour, to draw conclusions from it
and then to use this in making my decisions.
Conversations with people make me feel good.
They bring a smile to my face, and it makes me
happy to see them smiling too. These positive
interpersonal relationships give me energy,
inspire me and motivate me to improve my way
of communicating. I can’t imagine living on a
desert island... People are very important to me
and make my life colourful.

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n e t w o r k & p e o p l e
Kamill Wallach
Account Manager
Linked2Brands Germany
My new-born son Kian.
This question is the easiest one I have had to answer
in years... My new-born son Kian is the brightest
colour in my life. He is a gift of life, produced by
love. When I held him in my hands for the first time
and he stared at me with his sparkling blue eyes in
the cutest pink face, he made me aware that my
life hadn't been colourful enough before. Besides
giving me unlimited joy, Kian makes me aware that
colours, even the ones I didn't know, are here for
us to enjoy, to respect and to treasure.
Although so young, he is already a teacher of life.
I will do my utmost to return the favour by being
the best dad I can be for my son. I am amused by
and a little jealous of the fact that Kian is not limiting
his attention to me and his mother. His smile
melts the heart of everyone in his small world and
infects others with the same colour experience
I was lucky to receive.
So, my son, "keep spreading joy and new colours in
this grey world", and I will support you and be there
for you... always.

issue #5 © l i n k e d 57
Esin Turkan Tuncdamar
Business Development Manager Turkey
Linked2Brands Turkey
The Blue Zone – where people live the longest.
Discovering unique, new places with my husband colours my life.
We once heard a story about longevity, so we went to visit Ikaria in the
Aegean Sea. It was a colourful journey, to feel and discover this Blue
Zone, where people live the longest. The interaction of people and
nature as well as their close relationships are so affecting and inspiring.
In one of the villages people invited us to a wedding: a lovely celebration
with dances and Ikarian wine. Life is about these moments when
we share beauty with one another.
This is the teaching of nature: rocky mountains, amazing seas and
caves, rainy days and sunshine. Nature is what it is. Everything flows.
We need to find a balance without fighting it and keep everything
simple to make our lives festive. These are the colourful memories
from our journey.

58 n e t w o r k & p e o p l e
Recognisable
Appeal
or: How a Brand
Becomes A Friend
Brand consistency through perfect
artwork and colour cards
Companies often put a great deal of effort into looking after their brands and invest
large sums of money in brand communication. The crucial moment
comes when new products are ready to go to the retailers because all kinds of
mistakes can occur during the production and printing of packaging.
As many as 75 per cent of consumers don't decide what they are going to buy until
they are standing in front of the display, so this is the point when their favourite
brands should be instantly recognisable.
None of us likes advertising; it gets on our nerves. But once we are standing in front of
the supermarket shelves or browsing for goods on the Internet, an advertised
brand suddenly reaches out to us like a good friend. We all know how annoying it is to
be confronted with a dozen varieties of crisps when all we want to do is grab a few snacks
for a picnic or an evening watching the football with friends. And since these events come
round with a fair degree of frequency, this is an all too familiar experience.

issue #5 ©
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The daily decision:
which is the brand for me?
If we consumers were rational creatures, we
would research all the facts about the crisps
market on the spot and weigh up our purchase
decision down to the last detail. Is the price fair,
do the crisps taste good, which kind has the
nicest crunch when we bite into it? Is the cheese
flavouring on the delicate slices of potato actually
cheddar and, while we are at it, did the potatoes
really have a happy life? It would take hours.
It doesn’t end there either: we will need to get in
more than just crisps when we invite our friends
round. There’s beer and biscuits, plus pickles,
tomatoes and butter for the sandwiches still to
be made. This kind of shopping trip would drive
us nuts if we were truly rational. After all, a large
supermarket may sell more than 30,000 different
products. We would have to plan months in
advance just for one evening.
Thankfully brands make things a little easier.
For example, if a familiar brand of crisps appeals
because the slices of potato are so beautifully
thinly sliced yet tasty nonetheless, having been
fried to perfect crispness in sunflower oil and
then nicely seasoned, or if that is at least what
is claimed in an advert, then we will grab them
without more ado. The same goes for brands
like Landliebe butter, Géramont cheese, Bahlsen
biscuits or Amora Maille mustard. We decide in a
split second and, hey presto, the shopping is done
and we have more time to spend with our friends.
There is a catch though: the brand in our heads is
not necessarily the same as the brand in the shop.
The product on offer has to stand out, arouse our
curiosity, feel good and, of course, have been
sustainably produced. Above all, though, it also
has to fit with the brand, make it an experience,
and an unmistakable one at that. This will depend
primarily on the packaging. Staying with the example
of snacks: when we stand in front of a selection
of crisps, peanut flips or twiglets, the bag should
tell us whether it keeps the brand promise. This is
where experts who watch over the brand come in.
Of course, the whole process is intuitive. Nobody
actually realises that a specific brand is so popular
because clever presentation associates it with fun
and leisure time. Each of us has a certain image of
a brand in our mind. How that can be reflected in
the packaging, at the point of sale, either on a shelf
or in ecommerce, is an art that few have mastered
as well as Linked2Brands. Their one hundred or so
staff, who came from the former Janoschka brand
unit, have it down to a T. They have honed communication
between brand customers and consumers
into a fine art, skilfully combining a brand mind-set
with production expertise.

60 n e t w o r k & p e o p l e
Perfect packaging
promises an unmistakable
brand experience
Studies by the market research company Growth from
Knowledge (GfK) suggest that up to 75 per cent of all
purchase decisions are made in the shop. Furthermore,
it has been claimed that people subconsciously form an
idea of the things around them in seconds – that does
not leave much time to reflect.
It is the design details and, above all, the colours that are
decisive. Do the proportions, layout and text blocks on
the packaging look right? And what about the fonts,
graphic elements and images? Not to mention the logo
– does it reflect the brand personality? Does, for example,
the overall appearance support the claim of being
a premium brand?
Or, has a trainee at a new advertising agency ignored
brand guidelines by quickly shifting the brand logo to the
edge of the packaging to make way for a spontaneous
special offer? This misdemeanour will damage the brand
and will fail to pay off despite the promotion – at least in
the long run.
Getting the colours right is even more important. Studies
have shown that this is the main factor. Three out of four
consumers regularly say that colours have a key influence
on their purchase decisions. Nevertheless, colours
are no longer just a visual effect. Today, they are measurable,
defined values. The exact reproduction of the
colour palette boosts brand recognition by 80 per cent
according to research at Loyola University Maryland.
"Brands make a promise that the packaging also has
to live up to," says Stefan Hilss, Managing Director of
Linked2Brands. His agency ensures precisely that: the
design, layout and colour have to create a consistent
brand image – across the world and through all channels.
This is not at all easy: product ranges vary from country
to country as do the legal requirements about what has
to be written on the packaging whether with respect to
contents, customer protection information or origin. For
example, EU directives differ from those in countries on
the other side of the globe.
Furthermore, colour is not just colour. The end result
depends on a range of factors. Firstly, the material
that it is printed onto, what we call the substrate. Has
it been manufactured using recycled cardboard, white
paper, film or aluminium? The colours used, printing
tools, equipment and methods are further factors – up to
seventy variables make a difference. Finally, we also have
to bear in mind the platform where the product packaging
will appear, i.e. printed on the shelf or the Internet.
The manufacturers have defined the ideal for themselves.
If the familiar colour of a brand of crisps appears faded, the
consumer may well recognise the crisps, but might also
think that the bag has been lying on the shelf for quite a
while. They will doubt the quality of the contents, potentially
undermining the entire brand.

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Colour cards set
the framework
It is, however, virtually impossible always to achieve the
ideal. The basic parameters vary too much (the substrate
being the key here). Nevertheless, if we want a product
and the brand to appear as consistent as possible even if
compromises do have to be made, they should at least be
consciously weighed up and always go in the same direction.
Linked2Brands has devised so-called colour cards for this
purpose that predict the appearance on a certain substrate
with a specific printing method. Linked2Brands starts out by
analysing the portfolio: the number of substrates, the printing
method, the colours and elements that should be constant.
They cluster these and decide how closely each of the
different scenarios should be managed. The results are
applied in the subsequently printed colour cards. They show the
spectrum of colour deviations that are acceptable and thus
set the standard. Customers will then know what to expect.
Since Linked2Brands likes to work with brand owners through
all stages of packaging production, they provide in-depth
consulting services before starting the analysis. They promise
customers that this will save more time and money because
this method defines the goals before printing starts.
But here, too, absolute perfectionism would be out of
place: "You could go on and on defining the colour scale
until it drove you mad," says Linked2Brands Director Hilss.
The brand experts at Linked2Brands usually concentrate
on two, three or four versions to be cost-effective. This
approach enables clients and printing partners to see the
benchmark that has been set. Once everything works,
the separate file together with a true colour proof and the
colour card is sent to the printer, which is ideally equipped
with Janoschka printing tools.
All this will also make life easier next time we want to watch
the football with our friends: nothing will stand in the way of
quickly grabbing a bag of crisps off the shelf.
Colour
Cards
- simulate the printing result prior
to production = predictability
- reduce set-up time
- reduce waste
- are more efficient
- save costs
- reach the market faster

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k n o w l e d g e & c o m p e t e n c e
Colour
Magic and Radiance
Of light and matter
The human visible spectrum (light)
400 nm 450 nm 500 nm 550 nm 600 nm 650 nm 700 nm 750 nm
ultraviolet
infrared
gamma
radiation
ultraviolet
radiation
infrared
radiation
uhf
high- medium- lowfrequency
cosmic
radiation
hard medium soft
x-ray radiation
UV-
A/B/C
terahertz
radiation
radar
mw-oven
microwave
ukw
vhf
radiowaves
medium
shortwave
longwave
alternating
currents
1 fm 1 pm 1 å 1 nm 1 µm 1 mm 1 cm 1 m
1 km
1 Mm
Wavelength (m)
10 -15 10 -14 10 -13 10 -12 10 -11 10 -10 10 -9 10 -8 10 -7 10 -6 10 -5 10 -4 10 -3 10 -2 10 -1 10 0 10 1 10 2 10 3 10 4 10 5 10 6 10 7
Frequency (Hz) 10 23 10 22 10 21 10 20 10 19 10 18 10 17 10 16 10 15 10 14 10 13 10 12 10 11 10 10 10 9 10 8 10 7 10 6 10 5 10 4 10 3 10 2
What we know as (visible) light is only the very
narrow wavelength range that the human eye perceives:
from red (750 nm) to violet (400 nm).
The human eye can distinguish 2.4 million different
shades in the light spectrum.
The spectrum of electromagnetic waves ranges
from Extremely Low Frequency (ELF) to
Frequencies from 3 to 30 Hz
Wavelengths from 10,000 to 100,000 km
to Gamma Radiation
Frequencies of 1019 and 1022 Hz (zettahertz)
Wavelength, 10-11 and 10-14 m (10 pm – 0.01 pm, picometres)

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Colour systems
Colour systems allow accurate cross-industry
communication of colours among designers,
manufacturers, retailers and customers.
They set global standards that are mainly used
in markets and business fields. They enable
coherent communication and precise definition,
and thus assure quality.
CIELab
In 1931 (CIE 1931), the CIE (International Commission on Illumination)
defined three primary colours that replaced the colours red, green and
blue in a colour mixing system that uses a three-dimensional colour space.
The CIE colour diagram is formed by projecting these colours onto a plane.
In 1964, the system was further developed to incorporate a field of vision
of 10° – the more typical wide-angle field of vision of humans.
cielab.de
0.9
rgb
pantone
0.8
0.7
cmyk coated
0.6
0.5
0.4
CMYK
A subtractive colour system that forms
the technical basis for modern fourcolour
printing. There are three colour
components: cyan, magenta and yellow
plus black, which is traditionally known
as key (K). Standardised by ISO standards
15929 and 15930.
0.0 0.1 0.2 0.3
Pantone
Internationally known reference system,
includes 2,203 colours (2016).
This system is mainly used in the graphics
and printing industries. It enables objective
evaluation and comparison independent
of individual colour perception as well as
reproducibility and communication of
certain colour nuances.
Visible – CIELab
RGB
An additive colour system that forms
the basis for displaying colour pictures
using image reproduction equipment.
Forms colour perceptions by mixing
three base colours.
0.4 0.5 0.6 0.7

64
k n o w l e d g e & c o m p e t e n c e
RED
The colour of success
Dual effect: sportspeople who wear red feel superior
and strong – and their opponents perceive them to
be more dominant and intimidating.
Football teams score more goals when they play in red shirts.
Clubs like Liverpool, Manchester United and Arsenal
usually play in red and, over the decades, have been more
successful than teams wearing other colours.
Olympic Games, Athens 2004: Competitors who wore red in
boxing, Taekwondo, Greco-Roman wrestling and
freestyle wrestling events recorded an above-average number
of victories over their rivals in blue.*
Bluffing is an essential part of poker: if you back this tactic
up with a pile of red chips as a stake, you are more likely
to cause your opponent to pass than if you put down blue or
white chips.**
_____
* From a study published in Nature
** Psychologists from the University of Amsterdam
How colours are created
RGB
Additive colour
This refers to the changing of the colour impression
perceived by the eye by successively adding another
colour stimulus.
Combining the three primary colours red, green and
blue at the right level of brightness = white.
The perception is black if the sum is zero (no light).
Combining two primary colours produces yellow, cyan
and magenta (secondary colours).
Additive colour occurs with "self-luminous light sources"
(active) and (passive) sensors (eye, camera etc.).
CMYK
Subtractive colour
This refers to the changing of the colour stimulus upon
reflection from the surface of a body or upon passing
through a medium (colour filter). This removes certain
wavelengths from the light. Starting with white as the
fundamental colour, composite colours are removed by
means of absorption or filtering.
Subtractive colour occurs with "non-self-luminous"
coatings/objects that first have to be illuminated to
appear "visible or coloured".

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Strong brands – strong colours
At an early age, people begin to associate certain brands with specific products.
According to a study by the University of Amsterdam, 67 per cent of the
surveyed children between the ages of two and three could assign a trademark
to the right product while eight year olds managed 100 per cent.
Coca Cola
This brand’s iconic red is its
"second secret formula".
"There is no Pantone colour for
Coca-Cola red, but you recognise
it when you see it."
Milka
A special mixture of two Pantone colours.
A purple cow turned our familiar
world of colours on its head and came
to stand for an independent character
that was easily recognisable on a
supermarket’s chocolate shelf.
Red Bull
Red/golden logo on blue
and silver clearly associated
with energy in the minds
of consumers:
"Red Bull gives you wings."
Tempo
White on blue stands for freshness
and cleanliness. Germany’s first patented
paper handkerchief established
itself as a global brand in 1929.
When Germans say "Tempo",
they very often mean a tissue.
Leibnitz biscuits / Bahlsen
Golden yellow serrated rectangular
biscuits – "only genuine if
they have 52 teeth" and:
in the yellow packaging with the
blue and red logo.
Maggi
Julius Maggi’s dream was to be just as
omnipresent as salt and pepper
and to feed workers at a fair price.
His brand became famous around the
world with its red and gold colours.
post-it
3M has trademarked the canary
yellow of its famous Post-it notes –
even in the virtual world: Microsoft
was not allowed to program this
colour for its digital notes.
M&M’s
Since 1950, just ten years after their
invention, each individual M&M
has been labelled with the now legendary
"m" to distinguish the genuine article
from imitators.
These sweets were named the
"Official Candy of the New Millennium"
because the Roman numeral
MM stands for 2000.

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t o t e l l t h e t r u t h
Do you know why ...
it took three men to
invent a column?
or: Morris columns are more eloquent than
digital advertising spaces
We don’t realise the significance of some
things until they start disappearing. Take the
Morris column, for example: last year’s decision
to demolish 2,500 of them in Berlin provoked a
storm of protest.
People were up in arms because for them the
Morris column was not just advertising space
but an urban feature whose multiple layers of
pasted-over posters had many stories to tell
about the city itself.
There was a good reason why the old advertising
columns, which date back to several different
centuries, could not simply be silently removed
– particularly in Berlin. For it was in Berlin that
publisher Ernst Litfaß patented an advertising
column at the end of 1854. At the same time, he
also secured himself a ten-year monopoly on the
bill-posting cylinder that soon became known as
the Litfaßsäule (Litfass column). Never mind the
fact that he never actually built the public toilets
that he had promised the authorities more or less
as part of the deal.
But mid-nineteenth century Berlin, like other
European cities, faced a much greater problem
than a lack of public toilets: extensive industrialisation
was causing the city to grow, and with
urban growth came a mass consumer society.

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Modern marketing
for metropoli
Whether in Berlin, London or Paris, advertising was ubiquitous:
on horse-drawn trams, on small coffee tables
and on many everyday items. With electrification, bright
advertising messages lit up the sky, too. In Paris, even
the Eiffel Tower was veiled in illuminated advertisements.
Dedicated advertising media were simply in short supply
back then. Ads were plastered on everything – from
wooden fences to famous monuments. The Paris city
council therefore swiftly passed a law to prevent the
country’s commemorative culture, in particular sculptures
and buildings, from being plastered with notices.
In Berlin, too, the authorities needed a solution – and
Litfaß came up with the answer. Having been raised in
a Berlin publishing family, he was something of a jack of
all trades: early in his career, he had published Germany’s
first city magazine and later also a theatre newspaper.
He thus spent his life making money out of the arts.
Litfaß was the creator and founder of promotional
marketing as we understand it today and with his invention
of the Litfaßsäule he erected a monument to himself.
The column was a classic win-win situation: while the
Berlin authorities could post their public announcements
for free on the initial one hundred columns, Litfaß
was able to make a lot of money fast out of private and
business advertising.

68
t o t e l l t h e t r u t h
In Paris, too, the rather elegant cylinders
(which probably pre-dated the
Litfaßsäule) rapidly became a common
feature of the city streets.
They advertised theatre performances
and stage shows while their interiors
were used to store all kinds of equipment.
The exclusive rights to build them
were secured in 1868 by French printer
Gabriel Morris after whom they were
named "colonne Morris".
However, the true origins of these new
columns lay in England. There, Londonbased
businessman George Samuel
Harris had been awarded the patent for
an octagonal poster column as early
as 1824. Illuminated from inside, these
columns were carried on horse-drawn
carriages through the city. Interestingly,
in the United Kingdom, advertising
columns are also called "Morris
columns" after their French counterparts
even though Harris was the first person
to invent them.
Harris, Morris and Litfaß – all three
supplied the new media format that
the changing urban public demanded.
The columns soon sprang up everywhere.
They were official gazettes,
newspapers and magazines all in one –
a modern mass medium.

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Litfass portrait & Litfass column on
Litfass-Platz in Berlin. Rather
appropriately, the column stands right
in front of a branch of the well-known
advertising agency Scholz & Friends
Forecast of consumer flexible packaging
consumption by product,
2010 – 2020 (thousand metric tons)
From cultural
mediator to
cultural property
For years, the death knell for the old
Litfaßsäulen has tolled on a regular basis,
but as elsewhere: those pronounced dead
live longer. In Berlin the uproar caused
by the proposed dismantlement was so
loud that twenty-four columns have since
become listed buildings. So the matter
is now resolved: the advertising spaces
that, particularly in their early days, were
above all cultural mediators have themselves
become cultural property.
The first advertising columns in Berlin,
London and Paris were once a symbol
of their rapid transition from small, bourgeois
backwaters to cosmopolitan cities
and centres of creativity. Today, older
examples have become charming islands
symbolising slow analogue in the sea of
digital networks and sensory overload
that characterises major cities and the
world in general. The columns onto which
the posters are stuck by hand while
puddles of paste inevitably accumulate
at their bases allow us to experience a
haptic directness that modern LED advertising
boards covered by plexiglass will
probably never have. They allow us to discover
a patina that recalls the life breath
and soul of the city.
I’d be willing to bet that after reading
this article, even if you haven’t given
much thought to advertising columns
before … you’ll look at them with new
eyes tomorrow.

70 n o t e s

issue #5 ©
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71
1
e x e c u t i v e b o a r d : c e o j a n o s c h k a a g
Janoschka’s
Excellence
Cluster
Stefan Gutheil has been managing Janoschka’s
global operations since he became
Chief Executive Officer in August 2019
Kippenheim, August 2019:
Stefan Gutheil takes the helm of
Janoschka AG as the new CEO. The
company is slowly reaching calmer
waters after the stormy months that
followed the cyber-attack and the
extensive and successful restructuring.
The effects of the enormous
workload can still be felt among staff.
It has not, however, weakened either
their commitment or their team spirit.
"From my first day at Janoschka,
I was impressed by how staff work
to achieve Janoschka's ambition to
be the most customer-oriented company
in the industry," stresses Gutheil.
"You notice this whenever they deal
with customers, in each product
delivered and in all the services that
Janoschka provides."
Not even three quarters of a year later,
in March 2020, Covid-19 shakes the
world. Once again, Gutheil’s foresight
pays off: staff ensure that projects
stay on track even while working from
home. Some produce printing tools
at the various sites observing strict
hygiene and safety requirements,
while others turn designs into artwork
and repro. Everyone works together to
keep the ship on course.
In these difficult waters, Gutheil
knows he can rely not just on all of his
colleagues, but also on several measures
that have already been successfully
introduced. While optimising
production (operational excellence),
he and his team have also redefined
processes across the group. The
new structures are effective, as the
smooth running of business processes
even under difficult conditions
goes to show.
Customer orientation will continue
to be the company's prime objective.
Responding flexibly to customer needs
is therefore also the key element of the
planned growth strategy (commercial
excellence). In order to stay on course,
Janoschka is working on boosting
marketing for the whole group.
"In all of these areas, Janoschka is benefitting
from its innovative strength
and its expertise in providing solutions
for customers," says Gutheil, analysing
the situation before looking to
the future: "Particularly in the current
sustainability debate, we are all set to
show what we can do. Whether it is
printing on alternative substrates for
packaging or rethinking printing cylinders
so as to move away from chrome
and towards innovative surface materials
and new business models for a
faster and more flexible supply chain.
This represents a dynamic change for
the packaging industry."
Janoschka is playing its part – with
smart ideas and advancements for
the environment and sustainability.
So for the good ship "Innovation Excellence",
it's full speed ahead!

72
n o t e s
2
n e t w o r k : l i n k e d 2 b r a n d s
Global Brand
Continuity – It’s a
Small World After All!
Kick-off for Linked2Brands Brazil –
now also in India, Russia and Turkey
Following Linked2Brands Germany, Linked2Brands Brazil
started work last September. Linked2Brands India,
Linked2Brands Russia and Linked2Brands Turkey joined
them this year. All five are full subsidiaries of Janoschka.
Their declared goal is consistent brand presentation for
their clients – at all times and in all markets.
Brands stand for promises, a certain attitude to life – but only
if they are presented uniformly across the globe. Colours,
logos and imagery, the entire brand design in other words,
are where their true value lies, and preserving the brand is
what makes Linked2Brands tick – from Brazil to India, Russia,
Turkey and Germany.
Specialised in design adaptation, layout, photography, artwork,
print and colour management, Linked2Brands supports
brand owners along the whole value creation chain during
the pre-print stage. Another essential area of expertise is
consulting for packaging print projects for food and non-food
products as well as presentation at the point of sale.
This applies in full measure to the team of fourteen led by
Roberto Brandi at their new office near São Paolo, who since
2019 have ensured that brand elements are always identical.
"The packaging market in South and Central America is
constantly changing and steadily growing," explains Roberto
Brandi, Managing Director of

issue #5 ©
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Linked2Brands Brazil, whose clients include food and nonfood
brands on the South and Central American markets.
International market research studies* predict rising sales figures
for the global packaging industry even as it undergoes a
transition. On the one hand, the industry is rather traditional,
in many cases sticking to the same materials. On the other
hand, innovative ideas provide an impetus to seek out new
markets, materials and high-grade market applications. Demographic
changes are another important factor. Many experts
believe that newly formulated customer expectations,
rising purchasing power in threshold countries and the increased
use of technology are leading to a major rethink in
the industry. This can be seen in the expanded product portfolios,
the wider range of packaging sizes and more diverse
manufacturing processes.
In the case of consumer goods (FMCG), packaging forms the
key interface between a brand and its customers. When it is
time to change the packaging, the specialists from Linked-
2Brands step in and ensure that the brand-defining elements
always retain the same appearance on the different packaging
sizes and for each product variant. After all, this is the only
way for them to send the crucial signals that guarantee an
unmistakable identity on the market and provide the typical
brand experience.
* Smithers Pira, The Future of Global Packaging to 2020
www.linked.global

74 n o t e s
3
t e c h n o l o g y : d e s i g n l i f e c y c l e m a n a g e m e n t
Panta rhei
Streamlining
business processes
Streams – the integrated
design lifecycle management application
Streams coordinates processes. This agile
digital platform brings together the things
that belong together – from the design
development to the prepress stage – networking
all the project participants along the way.
Janoschka has developed this design
lifecycle management tool together with its
recently founded subsidiary, Linked2Brands.
Streams manages and controls the entire
process, all deadlines, all product data and
procedures – from the design idea, design
adaptation and photography all the way to
the artwork, repro, print colour management
and the actual printing. This solution cuts
processing times, reduces the workload for
all partners involved in the design and packaging
project and lowers the process costs.
Streams is a single, central, web-based
system that integrates all elements and
processing phases along the design and
prepress value creation chain. It thus enables
transparent, process-optimised and efficient
operations. Thanks to a transparent flow of
information, real-time access to all relevant
documents and information is guaranteed for
stakeholders, such as brand owners, agencies,
packaging manufacturers and printing
companies.

issue #5 ©
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At any given moment, the tracking function provides an overview of the order status from the first
draft up to and including cylinder management. When it comes to artwork and repro, the ability
to compare different versions quickly makes correction processes and ultimately design approval
a whole lot simpler. Differences are highlighted, allowing changes to be tracked and reviewed at a
glance. The system informs process participants about scheduled tasks via email. Furthermore, the
management tool interlinks and structures the tasks, presenting them in an organised way for all
users and thus guaranteeing consistent communication.
The individual user cockpit allows optimal time management since it shows both the current status
and the complete workflow in a straightforward milestone view. Tasks – including versions and
approvals – can therefore be scheduled, processed and tracked at any time – just one of the many
functions that make Streams a digital workplace.
"The exact, standardised presentation of a
brand with all its elements, such as logos,
colours, typography, imagery etc., is essential,
no matter what substrate, printing method
or packaging type you are using," says Stefan
Hilss, Managing Director of Linked2 Holding,
summing up just how complex the coherent
reproduction of brand identities is. This is a truly
diverse process. "Depending on the product category
and sector, the participants speak their
very own language and have their own ways
of working that are exclusive to their industry.
Streams coordinates the different requirements
and gets all stakeholders on board. This means
customers save costs and time."
Streams is based on over twenty-five years of
experience and sound know-how. All information
comes together in one place in real-time,
the tool coordinates the activities of everyone
involved and supports the brand services.
Streams can depict any workflow used in the
packaging industry. This is all down to the
configurator at the core of the application that
supports a wide range of processes and RACI
(responsible, accountable, consulted and informed)
matrix structures.
Our experts at Janoschka and Linked2Brands
stage special workshops where the Streams
team sits down with customers to look at the
methods they currently use. The group then
works out and implements alternative scenarios
that will optimise and standardise processes.
In the fast-moving world of consumer goods, a
large number of people, products and information
are increasingly dependent on and linked
to each other. This means that coordinating
content and communication via all channels
and languages is an extremely complex task.
Streams forms the connecting link and is flexible
enough to be able to support many different
scenarios simultaneously.

76
i m p r i n t
THE NEXT EDITION OF LINKED WILL APPEAR IN THE SPRING OF 2021.
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 & published by:
Janoschka Holding GmbH
Mattweg 1
77971 Kippenheim
Germany
© 2020 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) & text:
Corina Prutti, das komm.büro, Munich
www.komm-buero.de
Ideas & Conceptual Design:
Sabine Joachims, Janoschka Holding
Corina Prutti, das komm.büro
Art Direction, Layout & Graphic Design:
Patrick Brandecker
Print & 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 & content copyright:
Alamy: p. 9, 10, 16, 20, 29, 30, 50, 53, 69, 71 /
Ach Brito/ Claus Porto: Titel, p. 4, 32, 33 / Nadia Amura:
p. 21 / Eugène Atget: p. 66 / Patrick Brandecker: p. 23,
24, 26, 45,48, 54, 64, 65, 66 / Brassaï (Gyula Halász):
p. 68 / Pablo Castangnola: p. 51 / Deutsches Apotheken
Museum Heidelberg: p. 13 / Dr. Bronner’s: p. 34, 35 /
Getty Images: p. 11, 42 / Fragonard: p. 30 / iStock p. 4,
5, 6, 12, 14, 15, 28, 29, 40, 43, 47, 55, 60, 62, 64,
66, 68, 69, 77 / Janoschka/Linked2Brands archive:
p. 3, 5, 55, 56, 57, 58, 59, 63, 72, 74, 76, 77 /
Kremer Pigmente: p. 17 / Adrian Lander: p. 12 / Lorenz:
p. 61, 63 / National Archives: p. 8 / obs/McDonald's
Deutschland: p. 48 / Vera Pache: p. 9 / paris-frivole:
p. 31 / Psyma: p. 46, 47 / Danny Schreckenbach: 69 /
Siegwerk: p. 4, 41, 42 / Shutterstock: p. 5, 29 / Stop the
water while using me!: p. 36, 37 / Stuart Semple:
p. 21 / Surrey Nano Systems: p. 18, 19 / Unilever: p. 52
/ Unilever/Knorr: p. 52 / Werner & Mertz: p. 27 /
Wikipedia: p. 14, 17, 49, 53, 67, 68, 69
For further information on Pigments and Colours see:
David Coles, Chromotopia
(c) Foto: Adrian Lander
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Please inform us of any change of address or if you
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issue #5 / a u g u s t 2020