Janoschka magazine Linked_V8_2023

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DEAR READER,
Every year we are delighted at the positive reaction
to our LINKED magazine. Each edition shows that
we are successfully achieving what we stand for:
namely, being in close contact with you – our
customers and partners. This sense of connectedness,
working together on a day to day basis, always
gives rise to the best solutions across the board.
And with each edition of LINKED we like to highlight
some of the things that enrich our lives.
THE COOLEST FISH AROUND
How the humble sardine becomes
a work of art
MESSAGE ON A BOTTLE
The fine art of keeping things brief
MORE THAN JUST A PRETTY FACE
The eye-catching art of dial creation
THE PAPER BOTTLE REVOLUTION
An industry in transition
The theme of LINKED#8 is small things with a big
impact: whether they are tiny structures on
embossed surfaces, wine labels that use the smallest
of spaces to awaken our desires, or watch faces as
masterpieces of miniature craftsmanship.
Our features cover a spectrum ranging from traditional
print products to fields where our industry is
experiencing far-reaching digital transformation.
After all, the developments of recent years have
turned markets upside down to the extent that they
will never be the same again.
Everything is in a state of flux. But we don’t just go
with the flow. We strive instead to always stay ahead
of the times.
LINKED is a snapshot of our multifaceted world of
print and brands. We – Janoschka and Linked2Brands
– once again wish you an enjoyable read.
Yours,
Alexander Janoschka
chief e xecutive officer

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contents issue #8
64
6
32
72
80
20
42
insights
knowledge & competence
network & people
notes
6 The Coolest Fish Around
How the humble sardine becomes
a work of art
20 Message on a Bottle
The fine art of keeping things brief
28 Visual Assets for the Global Point of Sale
Perfect artwork to create content with a wow effect
face to face
42 The Paper Bottle Revolution
An industry in transition
54 From a Round Biscuit to
Seductive Pin-Up
Product photography and styling go
hand in hand for a perfect look
58 On the Joys and Tribulations
of Packaging
What product manufacturers should look out for
64 Embossed Surfaces
Small shapes – big jobs
to tell the truth
72 Do you know…
How sugar cubes got into shape?
84 Janoschka Polska
Even closer to the customer
86 A Groundbreaking Copper
Recycling Process
Janoschka develops new standard
for unique purity
88 Janoschka and Linked2Brands Mexico
Close to the customers with the
latest infrastructure
32 More than Just a Pretty Face
The eye-catching art of dial creation
80 Gravure Cylinders
Of cells, screens and tonal values

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THE COOLEST FISH AROUND
OR: A SIMPLE LUXURY
IN SPECTACULAR PACKAGING
How the humble sardine becomes a work of art
No one can say exactly when the plain old sardine in oil escaped from the darkest corner of our
pantries and broke into the cosmopolitan restaurant scene; or when sardine tins started
trending on TikTok and found a place in select concept stores alongside niche perfumes. The fact is,
somewhere along the way from the old canning factory via typically bare student
fridges to the gourmet shops, restaurants and hippest bars, sardines have undergone a make-over –
inside and out. Lovingly lined up by hand, the silvery fish bask in golden olive oil,
their tins featuring designs by renowned artists, meriting the status of collector’s items.

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Haute cuisine – nouvelle cuisine?
Even gourmet restaurants serve
their “star sardines” in the tin.
FROM EMERGENCY RATIONS
TO GOURMET PRODUCTS
Whether it’s the outlandish “Sardinen.bar” in avantgarde
Berlin, the (now closed) trendy Manhattan restaurant
“Prune” owned by New York chef and bestselling
author Gabrielle Hamilton or the most exclusive fish
restaurant in sedate St. Moritz, Switzerland – they all
bear witness to the long distance the sardine has
travelled – not just geographically, but in terms of quality
as well. The sardine has won a place in the hearts of top
restauranteurs (on some menus, you can choose from
up to fifty different varieties) and advanced to become a
coveted object for food scouts and gourmets.
The story was heading in a very different direction for
quite a while though. Sardine tins with their sad grey
contents floating in colourless oil had an extremely bad
reputation in more ways than one. For years, the sardine
was considered to be poor person’s food. An emergency
ration of them was to be found in every self-respecting
interrailer or hiker’s rucksack, not to mention the 1970s
communes, where hoarding Portuguese sardines in oil
in packs of ten was regarded as a gesture of political
solidarity with the Carnation Revolution. And of course,
to this day, packed like sardines in a tin is still the idiom
that springs to mind when sun lovers crowd onto Mediterranean
beaches or commuters squeeze themselves
into public transport.
So “beautiful” is not exactly the adjective one typically
associates with sardine tins. Yet nowadays no other can
expresses as much love for art and design as the sardine
tin with its typical shape does. You could even dare
to claim that, if Andy Warhol were to honour a food tin
today, he would no longer choose Campbell’s Soup, but
would instead be won over by the charm and originality
of contemporary sardine cans.

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A CAN-DO CAN
Manufacturers seem to be engaged in constant
competition to see who can create the most
beautiful tins for their sardines. Cost what it may,
they commission painters, artists and comic illustrators
(particularly in France where comics or bandes
dessinées rule) to adorn their sardine tins, each in
their own unique style, often using outlandish motifs.
Unsurprisingly, harbour scenes, trawlers, fishermen
in yellow oilskins and fishing nets are all very
popular, with the Mouettes d’Arvor cans sporting a
cubist version à la Picasso. Others show black and
white photo montages of the rugged Atlantic coast
(La Compagnie Bretonne), while a woman wearing
a headscarf, known as “La Douarneniste”, seems
to have jumped straight out of a Vermeer painting.
Gonidec likewise goes for the traditional look, with
impressionist landscapes featuring strong colours.
Food trend luxury tins
Who covets these beautiful tins more – gourmets or collectors?
Why not just buy two? Then you can eat one now and keep the other
(just don’t forget to turn the tin over regularly!).

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One of the cans from producer
Quiberonnaise shows
“Joker Breizh”, drawn by the
award-winning cartoonist Frank
Margerin (Lucien). Quiberonnaise
also chose this genre for
a limited edition of collectors’
cans to mark its centenary in
2021: three caricaturists and illustrators
who are also famous
and celebrated outside France
came up with a triptych using
a standardised style and the
same horizontal line.
La Quiberonnaise unites Denis Lelièvre (dit Pic),
Gilbert Shelton and Frank Margerin, three of the most famous
comic illustrators, on its anniversary sardine tin. Incidentally:
the motorbike motif also pays homage to a major Italian
brand that celebrated its centenary in the same year.

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Cutting a fine figure
Thinking outside the box and a delicate touch is
what it takes to get the perspective right,
and for the mermaid and fish to stay in shape.
From 2D to 3D
or: How to keep curves curvy
La Perle des Dieux can even afford their own in-house illustrators, Delphine
Cossais and Coralie Joulin, who created two stylistically contrasting
brand ambassadors in “Mademoiselle Perle” and “Mademoiselle Lulu”.
Each year, they endow the La Perle des Dieux products with elegance and
refinement, each time showing a different maritime ambience.
When it comes to ensuring that imaginative designs
and artwork are displayed to full effect on sardine tins
with their typical rounded edges, ridges and curves,
both extensive repro know-how and many years of
experience in the production of printing tools are
invaluable. This is the only way of successfully transferring
a design to the final packaging without any
features becoming distorted. As you can imagine,
this is no easy task.
The first step is to print the design flat onto the tinplate
or aluminium used to make the sardine tin. Only then is
the material pressed into the required form. “Corners,
recesses, edges, i.e. all three-dimensional and functional
elements that produce the final shape of the tin, can
potentially shift and distort the two-dimensional printed
image,” explains Rainer Geiger, Director Strategic
Business Unit Converters at Janoschka Deutschland.
“We have to take these potential deformations into
account when we engrave the printing tools. Therefore
we deliberately distort the flat printed image so that it
returns to its perfect form when the metal is shaped
into a sardine tin.” It takes high precision work and a lot
of experience to get it just right.
In addition, the printing tool engraver makes sure
that a good printed image with sharp, clearly defined
edges is created on the poorly absorbing surface of the
metal substrate. Specialist knowledge is indispensable
throughout the process to ensure that the curves retain
the right shape in the right places, that the lettering is
legible and that colour gradients turn out how the artists
and designers intended.

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It all began with champagne bottles
In the early days, sardine packaging was anything but mundane. When Nicolas Appert,
a master confectioner from the French department of Champagne, discovered in 1790 that
food could be kept almost forever if heated to 100°C in a hermetically sealed container,
he used champagne bottles with widened necks for his experiments.* However, glass soon
proved to be too fragile and the elegant vessel was replaced with a can made from tinplate.
British merchant Peter Durand patented this idea in 1810 – and the food can was invented.
* To this day, the English term for preserving food in this way is "to bottle".
THE CONTENTS
ARE AS GLITZY AS
THE PACKAGING
Although even supermarkets are increasingly
stocking more colourful tins with nice
designs, the product in question here is a
speciality from a small producer known as
“sardines millésimées” or vintage sardines.
Gourmets consider them to be the “Pauillac”
and “Margaux” of the fish world, the grand
crus of the seas. The September catch is
considered to be the best, so only these are
canned as vintage sardines. September is
the time of year when sardines are well fed
and hold the ideal combination of various
omega-3 fatty acids.
As soon as they are hauled on board, the fish
are handpicked and descaled. Instead of being
shock-frosted, as is common practice with
preserved fish, the “sardines millésimées”
are freshly cooked and then carefully placed
loosely in cans by hand. After all, there needs
to be enough space between the shiny individual
little silver fish for the essential ingredient:
a high-quality, extra-virgin olive oil. The
sardines will only mature perfectly if the oil,
seasoned with a touch of sea salt, can flow
freely around them. Then the lid is sealed –
often for several years.

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Just like a fine wine, vintage sardines get
better with time. The longer a sardine
rests undisturbed in the can, the more intensively
the oil combines with its flesh
making it tender and flaky – until it takes
on an almost creamy consistency. The
fish melt on your tongue, releasing a full,
intense flavour and, as the years pass, the
aromas become ever subtler. Together
with a few simple ingredients and careful
processing, it is above all time that turns
sardines into a delicacy.
Since the contents and the packaging are
both a treat to behold, many restaurants
now serve sardines together with the
can – and not just as a snack or apéritif.
Arranged on a board with fresh toast and
salad, sardines have now become a real
cause for celebration in many places,
proving once more: food is best when it’s
simple but makes the person eating it feel
like nobility. That’s the beauty of tinned
sardines.
Did you know
… that there are special clubs for sardine tin collectors? And that these people are known as
“puxisardinophiles” and “clupédiophiles”? Puxisardinophiles – collectors of sardine tins
Clupédiophiles – sardine lovers (“clupeidae”: Latin for the family of fish to which sardines belong)
Incidentally, it was none other than Oscar Wilde’s son, Vyvyan Holland,
who – apparently no less eccentric than his father –
established the first high-class sardine club outside France in 1935. Known as the
“Dining Society in London”, it had its own sardine cellar and hosted tastings.
Didn’t there used to be...?
Yes, a small key to open the tins. This clever but simple kitchen gadget
fitted onto a metal tab on the lid so you could roll it open. Originally,
you kept one in the drawer and used it over and over again, but sardine
tin keys were later included with every tin once convenience became
king. Today, most sardine tins have a ring-pull. Real connoisseurs will
have their own stylish sardine can opener though.

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MESSAGE
ON A BOTTLE
THE FINE
ART
OF KEEPING
THINGS BRIEF
Wine labels are small, but they do an important job. They need to be eye-catching
and they need to communicate quality, identity and an entire lifestyle – all in a highly competitive
market. Either the wine is displayed in a limited area or else consumers find themselves
facing endless aisles stacked with identically shaped bottles. Here, too, as at any point of sale,
the purchase decision is made in seconds. So if a bottle of wine is to grab the customer’s attention,
the label designer needs to come up with something unusual.
They say you shouldn’t judge a book by its cover.
That’s fair enough when it’s books you’re looking
at. But when it comes to wine, the bottle label
is pretty much the be all and end all. You have a
space measuring just ten by fifteen centimetres
to tell a convincing story. Each element needs to
strike a chord. But how? With a name that resonates?
With coats of arms and seals? With amusing
drawings, colourful graphics?
Should there be simply a gold-embossed line
representing the horizon at the respective vineyard
location? Or is real art required? There are
many possibilities. And yet the impression that
customers get when surveying the wine shelves
is that they’ve seen it all before. Or have they?
You might think so until you see people kneeling
in front of the shelf holding their smartphone up
to wine bottles and listening.

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19 CRIMES
What they are listening to is the story of a crime
committed in the nineteenth century told from the
point of view of the offender who was deported
to Australia as a punishment. Had the convict set
fire to the brushwood? Cut up or burned clothes?
Secretly got married? Indulged in bigamy? Or simply
impersonated an Egyptian? In Great Britain and
Ireland, a total of nineteen different offences could
get you put on a ship for Downunder. In most cases,
it was a one-way trip.
The Australian wine label Treasury Wine Estates
has recalled this dark chapter in Australian history
with a series of wines. And their labels literally
speak to you even before you have done justice to
the contents. The labels bear the image of a convict
from that era and bring the person to life using augmented
reality. If you download the free app and
hold your smartphone to the different labels, you
will hear stories about prisoners who had to do time
in the British penal colony.
One of the stories is that of
Jane Castings from Leicester,
England, whose photo adorns
the Chardonnay bottle. A mother
of four children, she was
convicted for receiving stolen
goods in 1846. She had accepted
items like “cheese and
bacon, knowing them to be
stolen.” She had also trained a
group of teenagers to do the job
and paid them to steal goods.
Jane had to leave her husband
and children behind and was
transported on board the Sea
Queen to Van Diemen’s Land
(Tasmania) where she spent
seven years.
John Boyle O’Reilly, Michael
Harrington, James Wilson and
Cornelius Dwyer Kane also get
to tell their stories. Theirs are all
true accounts backed up with
photographs – a rarity on wine
labels – showing the patina of a
past era. The 19 Crimes labels
cleverly combine history with a
pinch of fiction and good marketing.
It’s a complete concept
that targets social drinkers with
cuvées made from grapes like
Cabernet Sauvignon, Shiraz and
Pinot Noir. The idea has certainly
paid off: Treasury Wine Estates
has seen sales rise 60 per cent.
To strike the iron while it’s hot, the label has lined up
the law-breakers of times gone by, who have since
become folk heroes, alongside icons from modern
pop culture. Rap, sex, grass and trouble at airports
are, of course, not among the 19 Crimes; nor are
participation in benefit events or having a passion
for wine. Nevertheless, the American rapper Snoop
Dogg features on one of the wines and tells his own
story on the “Snoop Cali Red” label.
This very clever advertising strategy went viral on
YouTube and soon captivated whole communities of
wine lovers. An excellent example of how new technology
can be used to market traditional products and
add something novel to wine shelves in the process,
causing nothing short of a sensation.
Meet the darker side
Alongside Snoop Dogg, the luminous
skeleton of the Halloween limited
edition is a further “highlight”.
Consumers are in direct contact with the brand via augmented
reality or “near field communication” – interaction that enhances
the customer experience and promotes brand loyalty.

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BLOSSOMING SUSTAINABILITY
The labels on the aptly named Italian organic wine
brand “The Flower Pot” ensure that the life cycle of
the wine does not end once the bottle is empty. Made
from environmentally friendly seed paper, it is the
world’s first and only wine label from which flowers
actually grow. All you need to do is to peel the label
off the bottle, place it in a flower pot or flower bed
and water it … Soon, according to the developers, you
will behold a colourful potpourri of flowers. It not only
looks great, but creates “a few flowers more” of habitat
for bees and other insects.
EACH WINE MUST BE SERVED
AT THE RIGHT TEMPERATURE
Labels concealing a very different kind of “add-on”
are affixed to a white wine from the Lake Constance
region in Germany. Dew forms pearls on the champagne-coloured
bottle. The label is minimalist, exhibiting
a simple elegance with plain lettering set against
green water colours. But when chilled, the shape of
Lake Constance gradually appears in a watery blue
hue as if the fog were lifting. Once the whole lake
has emerged, you know the wine has reached its
correct drinking temperature: 8 degrees Celsius. This
cuvée comes with a thermal label that changes with
the temperature to create this special effect.
The vibrant labels are part of an extensive sustainable
marketing strategy pursued by the private winery
Franz Wilhelm Langguth Erbe. It begins with the
origins of the Flower Pot wines in southern Italy. All
three, Pinot Grigio, Rosato and Primitivo, are produced
using fully certified organic viticulture that protects the
soil as well as the fauna and flora. The whole packaging
concept is geared to sustainability. The Flower Pot
wines not only have a “blooming label”, they are also
sold in significantly lighter bottles made from recycled
glass and weigh just 360 grams. Since lighter bottles
are easier to transport, this cuts CO2 emissions. The
company’s use of green electricity during production
and its support for the bee conservation initiative “Projekt
2028” launched by HektarNektar round off the
sustainable wine concept.
The name and the exuberantly coloured label with its
varied life sprouting from the “Flower Pot” lettering
and buzzing with bees communicate everything that
is special about this marketing idea and are an eyecatcher
on any wine shelf.
The online wine dealer Hawesko uses the same principle.
For its young and exclusive own brand “Fleur de Fruit”, the
company has transferred the successful concept of special
editions to wine. Differentiation is the name of the game,
after all, and that works best as part of an overall marketing
strategy using innovative packaging solutions. In the case
of “Fleur de Fruit” wines, one rosé and one white, labels
that react to temperature reflect the sophistication of the
two Atlantic wines: their freshness and light aromas fully
unfold once the wine reaches the perfect, cool drinking
temperature. And when is it that? Once the flowers on the
label bloom in full colour.
Wine label design can combine innovation, art and marketing
to superb effect. If the producer is open to new and
original ideas, labels can become marketing strategy instruments:
they tell stories, communicate the taste and personality
of the wine with the power of suggestion, and form
an inner connection between the wine and the consumer
that goes far beyond their visual elements. In that way, they
stand out from the sea of wines and awaken desires.

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1967 César 1970 Marc Chagall 1974 Robert Motherwell
LABEL ART
Château Mouton Rothschild, one of the world’s most
famous vineyards, has subscribed to the power of art
for decades. The artist who designs the label each
year is rewarded in kind with a case of wine from that
vintage. The illustrious group of artists who have
immortalised themselves on the bottles for the vineyard
in Bordeaux range from Marc Chagall and Joan Miró
to Jeff Koons and Keith Haring and even Pablo Picasso
and Andy Warhol.
This tradition dates back to 1945 when Baron Philippe
de Rothschild wanted to celebrate the victory over
Nazi Germany on his wine bottles. He commissioned
the artist Philippe Julian. The only specification was
to incorporate a “V” for “victoire” (victory) on the
label. Since then, designs by artists have become a
standard feature. The commissioned artists, mainly
men but also a few women including France’s Niki de
Saint Phalle, have had a free hand, but many have
taken wine and the vineyard’s coat of arms featuring
two rams as reference points.
1966 Pierre Alechinsky
1965 Dorothea Tanning
1975 Andy Warhol
1988 Keith Haring

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LINKED2BRANDS
PERFECT ARTWORK TO CREATE
CONTENT WITH A WOW EFFECT
Consumer decision-making is slowly but surely shifting into the digital world. Products now need
to look good in multiple formats: in online shops, in 360° views, as animations or as
GIFs on Instagram and the like. This has radically redefined product presentation.
Brand manufacturers are facing the enormous challenges of providing creative visual content
extremely rapidly and, above all, consistently for all digital channels.
Traditional methods are simply no longer up to scratch because they are neither fast enough
nor do they meet today’s quality standards.
Automatically generated digital content is increasingly seen as the solution.
Patented technology is used to process photos or CAD files. It generates virtual versions of products
in the form of stills or moving images. You can then choose from countless variations in real time to
create visual content for any purpose, for example, e-commerce touchpoints, social media etc.
Ten different images of a deodorant spray produced
instantly for ten different countries, …
a 360° animation of a bag of snacks – against
different backgrounds… beer labels announcing
or commenting on the latest World Cup news
– for Facebook, Instagram and Twitter… Digital
transformation means brand manufacturers
have to ensure their products are displayed perfectly
on a variety of digital platforms while still
maintaining consistent analogue presentation.
Companies usually put a lot of effort into cultivating
their brands and invest a great deal
of money in brand communication. There are
many different aspects to brand presentation:
colours and materials may vary, and then there
are the specific variants or seasonal items to
consider. All of this calls for meticulous visual
design. Successful communication must meet
the requirements of each specific consumer
context and must be absolutely consistent
across all channels, otherwise it may damage
the brand’s image.

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Even back in the “analogue” days this was a task for
highly experienced specialists. Each detail of the design
is decisive: do the proportions, layout and text blocks
fit the packaging? How do the lettering, graphics and
images look? And last, but not least: what about the
colours and the logo? Do all these elements together
reflect the brand’s personality? Does the overall look
live up to the premium claim of a brand?
When translated into the digital world for a global point
of sale, the tasks and challenges increase exponentially:
budgets are tight, timeframes tighter still, and
ubiquitous visibility is paramount. Is the brand logo still
easy to recognise when a drinks can moves in the animated
3D view? If it isn’t, then a serious rule has been
broken whose effect is all the more harmful given that
the brand is being displayed all over the world via social
media. Anyone who sees their favourite beer, shower
gel or biscuit on their tablet or smartphone should be
able to tell from the picture whether it keeps the brand
promise. This is where brand guardians with knowhow
come in.
The Linked2Brands production agency uses its brand
mindset and production expertise to mediate between
brands and consumers. Our specialists know that time
is of the essence when it comes to producing visual
content. For swift implementation, they rely on Grip,
an online tool that automates visual content production
for physical goods. Instead of all the images having to
be created by hand, this system draws on a library of
data, thus meeting the growing demand for visual content
that covers all marketing channels and customer
contact points.
Digital transformation
E-commerce is the new normal. Accelerated by the pandemic, digitalisation,
e-commerce and other processes now define trade. Retail turnover,
including digital services (like eBooks and music streaming), rose above
the 100 billion Euro mark for the first time in 2021.
Here the greatest drivers of growth (with an increase in turnover of
36.4 per cent) were fast-moving consumer goods (FMCG), i.e. food,
health and beauty products, pet food and similar. And while this idea may
seem strange at first: space is also short on the online shelves of this world.
Brands that use this very reduced platform better and earlier for their
product presentation – in particular on mobile devices – therefore have
3D-
Models
INPUT IS KEY
clear advantages. For the industry, fitting visual depictions or hero images
are now not just desirable add-ons but “must haves.”
Packaging
artwork
Digital twins
Automatically
generated
visual content
grip.tools
Background templates
eCommerce | Social | Campaigns | Videos | Interactive 3D | 360°
“Top-class artwork is essential if the visual content
thus generated for all possible touchpoints is to meet
our own and our customers’ standards,” Stefan Hilss,
Managing Director of Linked2Brands, emphasises.
“Virtual versions of the product can only be created if
our input is top quality. Only then will our customers
benefit from the shorter production and lead times that
speed up market launch and allow more output at the
same cost.”
On the one hand, Hilss and his team know how important
the specific and exact preparation of data is. All
elements like logos, images and text need to be scaled
and positioned correctly so that they live up to the care
and attention that goes into the design of products,
packaging and labels. After all, that is what makes a
product stand out, arouse curiosity and feel right. In
the process, Grip takes the creation of e-commerce
images to a new level, accelerates production (so that
it takes minutes rather than days) and maintains rigorous
consistency: a coding, a form, an aesthetic DNA
– across the world.
On the other hand, Linked2Brands takes charge of
endowing brand products with emotional appeal for
social media. In their role as brand guardians, they
exploit the full potential of existing content and use
suitable artwork to prepare it for new applications,
such as films, stills, animations or mood pictures.
Hilss is aware that exploding consumer demand for
visual content at all digital contact points cannot be satisfied
with an analogue, i.e. traditional, linear production
model: “No matter how hard we work to improve
the KPIs year for year … if we seriously want to meet
expectations at different digital touchpoints, we need
a radically new system.”
According to the chief brand guardian, it will take not
evolution, but a revolution to make all presentations fit
a brand, generating an unmistakable experience. In this
way, brands will not only stay up to date, but move
ahead of their time.

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M O R E
T H A N
Producing watch dials is a highly complex process.
Up to 100 steps go into creating these small surfaces, making them nothing
short of masterpieces. Each time you check your watch, you are looking at its face.
It will appeal to you only if it is beautiful, harmonious and yet easy to read.
E
P
N
The manufacture of watch dials has sometimes
been described as alchemy or even “black magic”.
And there is definitely something magical about
giving a face to a watch, this tiny mechanism with
a beating heart. The design of the minute details
is not regulated by any standards, nor is there a
specific formula to set boundaries.
The sky’s the limit, in other words. Whether entrylevel
brands, haute horlogerie, independent labels
or names belonging to major luxury groups: more
than ever, watchmakers are using a wealth of creativity.
To get their timekeeper to stand out from the
rest with a custom-designed dial, they experiment
with strong colours, unusual textures, innovative
layouts and unconventional materials.
E
R
T
THE EYE-CATCHING
ART OF DIAL CREATION
J U S
J
E
T
T
Y
O
M
T
F
A
A
T
C
E
T
A
F
S
U
C
PASSION IS PRICELESS
You might be forgiven for thinking that no other
part of the watch is as straightforward as the face:
numbers and hands – that’s all you need to tell the
time after all. Take a second, closer look and you’ll
realise that digits or indices may in fact all be individual
parts, just like any other element (for example,
the frame of the date window). Not only can
the cost of these dozens of single components
reach a four- or five-figure sum, but each one has
to be attached to the watch face separately. Fitted
with minute little feet, they are secured in equally
microscopic holes. Some of these tiny features
will have already been processed by hand – by
experts using diamond tools – and polished to a
brilliant shine. Precision work is essential to create
a watch that is something out of the ordinary.
A

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Thh e divisions on a watch dial allow us to measure time precisely down to fractions of a second. Th h e indices, windows and sub-dials allow us to keep an eye on the time, day, date, month and year as well as follow the phases of the moon.
METICULOUS CARE
Watch dial manufacture is not
just an area of watchmaking; it is
a separate trade with its very own
vocabulary and traditions. Nevertheless,
even in Switzerland, the
motherland of watches, there are
only a handful of companies left
that still have both the necessary
creativity and the extraordinarily
skilled artisans required to tackle
the most demanding – and sometimes
extremely cost-intensive
– challenges faced by watchmakers.
Watch dial makers work with
an unbelievable range of materials
from semi-precious stones,
ceramics and various enamels,
to mother of pearl, wood, lacquers
and even meteorites. Furthermore,
they need to master
numerous artisanal and artistic
techniques: guillochéing, engraving,
enamelling, polishing, turning
and even toolmaking. These specialists
will have the upper hand
if, in addition to passion, they hold
a wealth of well-kept professional
secrets. This is how expressive
miniature masterpieces emerge
from a combination of astonishing
materials, incomparable knowhow
and the latest techniques,
paired with attention to detail and
precision.
Each watch dial model is unique and
defined by its style, functions and
components, like date display, totalisators
(sub-dials), moon phase indicators
– and the way these are positioned.
Once the design has been finalised,
the dial-maker starts with a blank: a
thin metal disc made from brass, nickel,
gold, silver, titanium or similar. After
a few preparations, which include
punching out the display windows and
the hole in the centre for the hands,
they attach small feet to the back of
the metal disc. These appendages
eventually anchor the watch face to
the movement. Initially, though, their
job is to ensure accurate positioning
of the dial during the subsequent assembly
stages. The blanks are then
cleaned and polished before setting
out on a journey into a world of diverse
and highly specialised craftsmanship.
Along the way, some will be adorned
with decorative finishes (like the famous
sunbrushing); others may stop
off at the electroplating department
for metal-plated enhancements; while
others still will receive their final colour
in the paint shop.
Let’s take a closer look at a few special
surface refinements. Some have
been used for centuries, while others
are state-of-the-art. Meticulous craftsmanship
is involved as well as the
latest advanced precision tools. Both
serve to produce watch dials with a
perfect balance of beauty and clear
readability.

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GUILLOCHÉ
MICROPAINTING
The century-old technique of hand guillochéing
is a decorative engraving process using a
special engine turning machine or rose engine.
The guillocheur controls the rotation of the
machine with one hand, while guiding the engraving
tool with extreme precision via a magnifying
glass with the other. He or she cuts intricate
lines into the metal surface of the blank,
creating repetitive geometric patterns in an
almost endless variety of highly complex and
fascinating decoration – a kaleidoscopic array
of crisscrossing lines and waves. The most
popular designs used on watch dials are: clous
de Paris (hobnail), vieux panier (basket weave),
grain d’orge (barley corn) and soleil (solar). The
one feature that they all have in common is that
they play with light, lending each watch face its
unique character.
The perfect base for micro-painting is mother of pearl.
Some of the details are so fine that the painters
use brushes with a single bristle.
All micro-painted pieces are handmade and unique.
MARQUETRY TECHNIQUE
Mentioned for the first time in the 16th century, guillochéing initially
found use in jewellery making (the most famous and probably
most expensive examples are Fabergé eggs).
Marqueteurs decorate watch dials with a wide range of different woods
in a multitude of colours. They cut the pieces to shape following their inspiration
and the selected or set motifs, join them together and glue them on.
It was not until the end of the 19th century that watchmakers
discovered this art. A high-precision technique, it has been passed down
from master to master and is used on parts of the watch movement,
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The sheer number of processing stages
makes this all very time-consuming, and
requires dedication to and extraordinary
expertise in this most delicate and rare
watch dial art. Each trip to the kiln harbours
risks. To obtain precisely the right hue, the
enameller has to know exactly how the
respective colour pigment will turn out
upon firing. And of course, several days,
or even weeks, of work could be ruined
by tiny dust particles or a sudden draught
of air. Only perfect mastery of each manufacturing
step, not to mention an intimate
knowledge of the kiln, will yield an even,
clear and smooth enamel layer, creating a
flawlessly flat watch dial boasting colours
of the deepest intensity and shimmering
transparency.
ENAMEL
The real alchemists among watch dial makers
are the enamellers, for they are the masters of
colour and fire. The whole magic of the enamel
is formed in the kiln, where the glass-like material
based on quartz sand melts onto the metal.
Temperatures of over 800° Celsius create art
objects with an everlasting shine and a luminance
that never fades.
However, the way to that point is long and beset
with countless incalculable factors: first, the
enameller grinds coloured glass or enamel pigments
into a fine powder and cleans it several
times before mixing it with water or oil. This
step alone may take several hours. The greatest
care and patience is called for to obtain the
purest hues and the subtlest nuances. After
that, the artist can start applying the enamel to
the prepared metal surface with the finest of
brushes before it is put in the kiln. Depending
on the complexity of the design, dozens of firing
processes might be required. Firing renders the
enamel paste solid and extremely hard.
Enamelling is an ancient
technique hat dates
back to Byzantine times.
Three variants are distinguished:
CLOISONNÉ /
cell
Fine flat wire, normally made from
gold, is bent into shape using a template.
The enameller fills the cells
(French: cloisons) formed by the wire
with different coloured enamel masses.
The wire strips separate the individual
colour fields and prevent the colours
running into each other.
CHAMPLEVÉ /
raised field
This technique first of all involves
engraving recesses into the metal plate.
The enamel artist then fills these cells
using colours to create the desired hues.
PAILLONNÉ /
translucent layering
This enamelling discipline uses tiny
motifs made from leaf gold and silver
(paillons). The enameller embeds these
extremely fine, precisely cut tinsel-like
pieces (just 0.0001 mm thick) between
two layers of translucent enamel.

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Watch dial-makers mostly use round pads,
hence the name: ballon.
PAD PRINTING
All techniques used to create
watch dials have one thing
in common: high quality and
know-how are of paramount
importance for each individual
part and for all the materials and
every manufacturing step.
In addition to highly specialised
and high-performance equipment,
it is the skilled hands of
artisans who lend the blanks a
unique identity on their journey
through the different crafts.
The end result is the finished
watch dial, which translates the
concealed tiny world of wheels,
levers, pins and springs into
readable time and endows the
many hundred individual parts
of a watch with a meaning.
In the final step, indices, markings, the brand
logo are added to many watch dials by means
of pad printing. This lithographic technique,
also known as tampography, is characterised
in particular by its fineness and precision.
Minute figures and symbols can be added even
to curved surfaces, bent parts and recesses to
yield an extremely sharp printed image.
As with all forms of gravure printing, the elements
to be printed – for example, numbers,
letters, logos and images – are first engraved
on a steel cliché. These recesses are then
filled with paint or lacquer. A silicone pad, a
balloon-shaped, soft cylinder, picks up the
paint and prints it directly onto the watch dial.
The printer repeats this process with different
image plates and pads until all lettering
and colours have been applied. Alongside a
dust-free atmosphere, a printing expert with
a steady hand, a feel for consistent pressure
and keen, experienced eyes is essential for
perfect results.
ulysse-nardin.com

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THE PAPER
BOTTLE
REVOLUTION
AN INDUSTRY
IN TRANSITION
NOW MORE THAN EVER, IT’S WORTH
TAKING A CLOSE LOOK AT THE
SHELVES IN SUPERMARKETS AND
DRUGSTORES, BECAUSE MORE
AND MORE PRODUCTS – RANGING
FROM HIGH-QUALITY BODY LOTION
AND WASHING POWDER TO OLIVE
OIL, WINE AND BEER – ARE BEING
PRESENTED IN NEW, PREVIOUSLY
UNIMAGINABLE PACKAGING.
THE GAME CHANGER IN QUESTION IS
PAPER BOTTLES.

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Recycle, reusable or compostable
– Kraft is striving to achieve
net-zero greenhouse gas emissions by 2050.
Paper bottles should help.
Only a few years ago if you wanted to
do something for the environment and
assuage your conscience, you would reach
for reusable glass bottles and jars. Shoppers
did this instinctively after Tetra Paks
became a no-no, because no-one could
decide whether they belonged in the waste
paper or the plastics bin, or somewhere
else altogether? And single-use plastic bottles
and containers were in any case already
beyond the pale.
The taboo status acquired by the latter is most
certainly down to pictures of beaches littered
with plastic waste and of seabirds tangled up in
plastic having suffered torturous deaths. Lately,
traces of microplastics have even turned up in
the remotest mountain regions.
Clear view: Henry John Heinz
was the first food
manufacturer to sell his
products in glass containers.
A simple solution
to get the ketchup
on your plate:
on its head
and squeezable .

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The main problem was that many types of packaging
are extremely difficult to recycle and hence
leave a comparatively large carbon footprint.
Even the reusable milk bottles and yoghurt jars –
once the sacred cow of sustainability – have long
since lost their squeaky clean image because they
too have inherent disadvantages. First of all, they
are relatively heavy and therefore fairly energyintensive
to transport full to the shops and empty
back to the washing plant. In fact this makes their
carbon footprint so large that the bottles and jars
need to run through this cycle umpteen times
before the sustainability balance sheet is finally
back in the black.
For several years, researchers have therefore been
seeking a material that will maximise recyclability
and environmental compatibility in the long run
and yet meets the strict requirements of the food
industry. At present, the most promising candidate
is paper. Surprisingly, it is spearheading a sector
where glass was traditionally considered to be the
only option if product quality was to be maintained:
the wine industry.
The Italian winery Cantina Goccia sells
its wines in paper bottles made from
94 per cent recycled cardboard and lined
with a food-safe pouch.

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Carbon footprint
reduced to 1 / 6
of the reference value
Just 1 / 5 of the weight of
an equivalent glass bottle
7 7 % less plastic compared
with plastic bottles
UK company Frugalpac launched the “frugal
bottle”, its pioneering lightweight container,
back in 2020. This bottle is made from 94
per cent recycled cardboard and is lined
with a lightweight food-grade plastic pouch.
Weighing only a fifth of the equivalent glass
bottle, its carbon footprint is cut down to
one sixth of the reference value.
The frugal bottle, so the designers promise,
is guaranteed to keep the contents fresh for
at least twelve months. It can be filled with
high-quality wines that are drunk young –
considered to be the key segment in the
wine market – without any concerns. To recycle
it, you simply open up the cardboard
sleeve and remove the thin plastic pouch.
Both components can be disposed of separately
and processed for re-use.
Initially supplied to one Italian wine producer,
the product has since caught the attention
of potential clients across the world.
A British supermarket chain began stocking
wine in paper bottles in early 2023.
The major interest has not come about
merely by chance, as major wine producers
are setting ambitious goals. For example,
the Spanish company Torres is looking
to reduce the greenhouse gases originating
from its wine production by 50 percent
up to 2030 and by 80 percent up to 2045.
The first step towards this goal is to tackle
the packaging weight.
frugalpac.com

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o n e s t e p a t a t i m e
A thin layer of recyclable PET is still
needed in the initial development phase,
but even today paper bottles use 70 per cent
less plastic than conventional packaging.
p o l y e t h y l e n f u r a n o a t
You might be forgiven for wondering what’s new
about this. Bag-in-box wines have been available
for years and the 5- or 10-litre cartons have long
since been accepted on the market. However,
the sheer size of these wine boxes means they
are more likely to be bought for larger gatherings.
Thanks to frugal bottles, you can now also open
a nice wine for a cosy evening with your partner,
while admiring a fresh, individual bottle design
thought up by the vineyard.
Moreover, the last real obstacle seems to have
been overcome, too. Until recently, the new type
of bottle was only suitable for semi-automated
filling and that hit processing efficiency. Now, the
bottling plant has gone fully automatic.
From Greek olive oil to Japanese sake, products
that were previously only conceivable in glass
bottles will soon appear in your supermarket in
resource-saving paper containers, like the frugal
bottle. A similar approach is being taken in Denmark
and goes one step further. Since 2010, the
industry has been committed to the “Green Fibre
Bottle” project. The fruit of their labour is Paboco,
a completely bio-based paper bottle. Although
it does still need to be lined with a thin layer of
high-density polyethylene (HDPE) to function as a
“traditional” bottle, this lining can at least be
removed easily and separated when the waste
paper is prepared for recycling. This solution does
not work so well with carbonated drinks, however,
which normally require a slightly thicker PET
barrier. Coatings made from bio-based polymer
(polyethylene furan-2,5-dicarboxylate/ PEF)
contents currently look promising. They have
similar characteristics to PET and form a highly
effective barrier between the outer sleeve and
the (carbonated) beverage. Initial consumer tests
conducted by Carlsberg have shown that the new
bottles come up to scratch.
And in fact they exceed expectations, because
they can hold the carbon dioxide of the beer better
than normal PET and safeguard the flavour as
well. The developers have also managed to further
increase the strength of this paper bottle. This
means they can now turn their attention to the
next medium-term goal: replacing the final plastic
components. The bottles should have a fibrebased
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So, following the meteoric rise of plastic,
its catastrophic impact has gradually dawned
on us. Perhaps we have also simply underestimated
paper for many years. Today, we
are witnessing a renewed fascination with
cellulose, the main component of plant cells
and thus of paper. Modern processing methods
now allow paper packaging to be many
times more sturdy than plastic packaging with a
comparable weight.
One further detail makes this innovation especially
interesting. Unlike previous solutions, the
new paper bottles and containers are produced
virtually directly from a thin sheet of natural fibres
and do not require folding, gluing or the like. Nor
do they require an additional (paper) label as you
can print directly onto the paper bottle itself.
The whole 360-degree surface of the bottle
can be used for effective promotional designs,
and can even be embossed. Furthermore, if the
appropriate print colour quality is used, they are
also harmless to the environment.
It may take a while yet before all the details of
the paper bottle have been clarified, but one
thing is already certain: apart from simply avoiding
packaging altogether, paper bottles are one
of the best solutions to our biggest waste problem.
Perhaps the best of all.
paboco.com
The outer layer of recycled paper provides
stability. The thin liner made from PET
(the most commonly recycled plastic across
the world) ensures that the product is kept safe
and hygienic.

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FROM A ROUND
BISCUIT TO A
SEDUCTIVE PIN-UP
PRODUCT PHOTOGRAPHY
AND STYLING GO HAND IN HAND
FOR A PERFECT LOOK
Macarons come in raspberry pink, lemon yellow and pistachio green, their crunchy
outside concealing a fruity or creamy soft centre that melts in your mouth.
They began their come-back starring in Sofia Coppola’s film Marie Antoinette, and
they cut a fine figure in the Linked2Brands photo studio too.
A flawless figure and an immaculate appearance – every model needs
to look perfect in front of the camera. And product photography is no
different. To make food look enticing on packaging or in advertising
brochures, food stylists use clever tricks to whet our appetites.
We visited the Linked2Brands experts in their photo studio and met their
colourful, curvaceous models.
A QUESTION
OF PERSPECTIVE
Perfect product photos are created by stylists who also know about photography or
who are experts in both fields. How does the manufacturer envisage the product?
What colours and lighting do they want? What message should the image ultimately
convey? Depending on the client’s wishes, the stylists position the product, set up
the lighting and select the shutter speed to obtain the right effect.

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“COLOUR
MANAGEMENT”
Are the colours right? Whether during the
early stages of the design or later on, colour
is the name of the game in packaging design.
Studies have shown that three out of
four consumers regularly claim that colours
essentially influence their purchase decision.
Nevertheless, colours are no longer just a visual
effect. Today, they are defined, measurable
values. According to research conducted
by Loyola University Maryland, exact reproduction
of the colour palette increases the
recognisability of a brand by 80 per cent.
In the limelight
Ideas and creativity are needed to show what the product can do. Alongside their
pastel colours, macarons are known primarily for their airy lightness. To capture
their weightlessness in the photo, the food stylist places the individual biscuits
on transparent stands. The graphic designer then arranges the macarons to fit the
desired picture composition and make them float. Additional design features
enhance the effect to show them at their best.
STANDARD
PACKAGING
FOR A
SINGLE
PROMISE
linked.global
Packaging needs to live up to what the
brand promises. Many factors are involved
in ensuring that the design, layout
and colour always produce a consistent
brand image – the printing substrate
being just one. Linked2Brands starts by
using its know-how and expertise to
create an appealing image of the product.
The second task is then to ensure
that the image slots seamlessly into
the overall design so that the brand is
reflected in every package and at every
point of sale.

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ON THE JOYS
AND TRIBULATIONS
OF PACKAGING
WHAT PRODUCT
MANUFACTURERS
SHOULD LOOK OUT FOR
SELIN OZEL
HUMAN RESOURCES,
JANOSCHKA DEUTSCHLAND
It’s more or less sustainable, its tearability is decidedly iffy, sometimes
yielding nasty surprises. We’re talking about packaging.
And seeing as Janoschka staff deal with this topic on a daily basis
– both at work and as consumers – we thought we’d ask them a few
questions, such as: What makes your favourite packaging stand out
from the rest? What types of packaging annoy you?
Are there materials or features that make packaging special for you?
In a nutshell: What you always wanted to let brand owners know
about packaging. Now’s your chance to tell us.
“Gender – isn’t that the topic
on everyone’s lips? It doesn't
seem to have reached the
packaging market yet, though.
In a continuously changing
and developing world, I believe
packaging should be genderless
too. Shades of pink and red
are still attributed to women
whereas men get shades of blue
and anthracite. This is accompanied
by divisive narratives,
such as: women appear in detergent
advertisements whereas
computer games often feature
male figures.
In addition to all commercial
activities, packaging is the
material that most effectively
subconsciously influences our
perception when we choose a
product. Why do aftershaves
usually have a black or navy
label? Why do chocolate makers
use separate packaging designs
for boys and girls? To me,
these are all little things that
encode inequality and have
a big impact on everybody’s
minds. Children are still growing
up with this. It is a system
that needs to be deconstructed.
There are already signs it is
collapsing and the packaging
market needs to take this on
board.”

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ELIYA
AZHIR
BUSINESS DEVELOPMENT EMEA,
JANOSCHKA HOLDING
“For the sake of a better world:
never ever forget sustainability!
In today’s competitive market,
product packaging is no less
important than the product
itself! In fact, most purchases
are made according to the
product’s appearance. Good
packaging represents the product
inside and makes it unique
in the eyes of consumers. But
what is good packaging?
Beautiful and attractive design
is one thing; but in my opinion,
practical aspects also need to
be considered with special
packaging, to make the buyer
prefer it to other brands. You
might have felt the need for this
when you struggled with the
“easy-to-open” promise of some
packages, which in fact resist
being opened even with claws
and teeth.
Or when you open a packet
of beans, say. You pour them
into a jar, and? … What are
you going to do with the beans
left in the packet? How do you
store them if the packaging
designer didn’t think that far?
Maybe they won’t even last if
the protective packaging can’t
be reclosed. And this can be a
potential reason why customers
won’t buy this brand’s products
anymore.
These are only two examples
of how the packaging industry
can help people to live a better
life on a better planet.”
HAMDI
AKTASOGLU
HR & ADMINISTRATION SPECIALIST,
JANOSCHKA IZMIR
“My feedback is aimed at Nesquik and it is:
You got everything right!
As a child – quite honestly – it was not really
about the drinking chocolate, but about the
little cars that were hidden somewhere in the
cocoa powder. They were colourful and there
was everything a little boy could want: cranes
and fire engines, tipper trucks and lorries.
Thinking back to this consumer experience,
a few collaborations sprang to mind that would
make packaging a “must-have” for any child.
Lego City is one example. Some of the City
parts would be perfect for Kinder Surprise
eggs. Perhaps even an exclusive “Lego-Kinder
City” that is only available in Surprise eggs.
I personally would find a Beyblade stadium
even better. That would take a slightly larger
Surprise egg :)
… and then, of course: all kinds of Beyblades
as collector’s items.”

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EUNICE TAN
GLOBAL ERP LEAD,
JANOSCHKA MALAYSIA
“As a child, I have a cherished memory of stumbling
across Nestlé ice cream with extraordinary packaging.
One sunny summer’s day, while strolling through a
neighbourhood grocery store, my eyes were captivated
by a vibrant display: an assortment of Nestlé ice creams
nestling inside stunning packaging.
The packaging itself: what a delightful sight, adorned
with enticing images of luscious scoops, tempting toppings,
and a backdrop of joyful scenery. Colours and
illustrations evoking a sense of anticipation and pure
delight. I couldn’t resist!
I unwrapped the packaging which revealed the frozen
treat. The ice cream tasted just as exquisite as it looked.
Creamy and full of flavour, it melted on my tongue,
offering a blissful respite from the summer heat.
That day, both the captivating packaging and the
delicious ice cream transformed my indulgence into a
magical experience. It enhanced the joy of savouring
each spoonful and left an everlasting impression.
Even now, as I reminisce about that childhood memory,
I am reminded of the power of remarkable packaging
to elevate ordinary moments into extraordinary ones.”
FABIAN
BÜHLER
TEAM LEADER IT,
JANOSCHKA DEUTSCHLAND
“Being a single who does not spend much time at home,
I have a clear preference for packaging with added value.
The packaging for salami sticks is my favourite. It has two
impressive features: a notch allowing you to open it easily
and a resealable function. A note to that effect is printed on
the packaging itself. Therefore, nobody needs to search for
another way to get at the contents other than the intended
one, which works excellently. I like to eat these salamis
along with other cold meats and cheeses – also sold in
resealable packaging. For me, when it comes to resealable
packaging, the sustainability aspect is important alongside
the practical side: the contents stay fresh longer so I don’t
have to throw away any food.
One sustainable product that has failed to convince me
though is the cartons for liquids – in particular when they
go soft. On some of them, the whole plastic closure falls into
the glass together with the contents or you get little pieces of
paper in the juice… Soggy paper straws are just the pits.”

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SMALL SHAPES
BIG JOBS
–
EMBOSSED
SURFACES
Embossing adds a third dimension to a wide range of materials.
Surfaces refined in this way provide a haptic experience, not just a visual one,
and embossing often enhances their functionality as well.
With their extensive know-how, experience and technical skills, the embossing
experts at Janoschka make full use of the enormous potential of this
technology, while at the same time meeting the market requirements for high-grade
surfaces, design and quality.
What does the spectacular One World Trade-
Center in New York have in common with lift
panels, supermarket check-outs, suitcases,
game boards and the lids on yoghurt pots
and coffee capsules? The answer’s quite
simple: their embossed surfaces, of course.
Daniela Heidt (Sales Manager Embossing) and
Matthias Heidt (Team Leader Embossing),
both from Janoschka Deutschland, know how
to enhance such a wide range of materials
and applications with haptic features, looks
and functions. We talked to them about their
work and found out a lot about specific and
complex tasks as well as about enthusiasm
and passion.

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An outstanding team at home and at work.
Daniela Heidt (Sales Manager Embossing)
and Matthias Heidt (Team Leader Embossing),
both: Janoschka Deutschland
SO YOU BRING TOGETHER MANY YEARS OF
EXPERIENCE, TECHNICAL KNOW-HOW
AND EXTENSIVE SPECIALIST KNOWLEDGE?
Matthias Heidt: That's right.
The world of embossing is
huge. You have to imagine
that you can emboss almost
any material. You’ll be familiar
with various types of embossed
paper and cardboard,
like packaging, wallpaper and
paper place mats on restaurant
tables. Cellulose is embossed
to make kitchen roll and toilet
paper. Embossed plastics are
used in car interiors and strapping
band. However, you can
also emboss glass, sheet steel
and composite materials for
façades on spectacular buildings.
Which embossing tool is
used depends on the material.
The technique we use to add
the image to the tool, i.e. either
direct laser, CNC cutting or
etching, depends on the motif:
micro-embossing and intricate
structures are normally produced
using lasers.
YOU BOTH SPECIALIZE IN
EMBOSSING TOOLS. HOW WOULD
YOU DESCRIBE YOUR WORK?
Each task in the embossing process
is complex, owing to the
combination and interaction of
the various aspects: the material,
the different design elements
in the various embossing techniques,
the finest lines and lettering
or designs covering large surfaces –
all of which play a role in achieving
the desired results.
Daniela Heidt: In a nutshell, we
translate customer wishes into
the latest technology, always
thinking outside the box. After
all, we don’t manufacture the
embossed product that the customer
shows us, but instead do
the research to work out which
properties and images an embossing
tool requires to achieve
exactly this result on the desired
material. Reproducing customer
specifications down to the finest
detail calls for a lot of creativity,
experience and a high level of
precision.
Matthias Heidt: Our job is to
produce perfect embossing tools
that go on to yield perfect embossing
results. In the first step,
good and close contact with the
customer and direct communication
are indispensable for the
whole process. This allows us
to gather extensive and precise
information about the desired
product and all its properties.
We then sit down to figure out
how to prepare the data that our
colleagues in production will use
to put images on the embossing
tool, so that in the final step – i.e.
when the tool has done its job –
the finished product is exactly
what the customer wants.
Daniela Heidt: And then there
are all the different reasons
why you might emboss surfaces:
to make them look elegant, to
catch your eye and to feel good
in your hands – just for starters.
The diverse and essential
functions fulfilled by embossed
surfaces are less obvious, but
no less intriguing: on sheet steel
in lifts or on sliding surfaces at
supermarket check-outs, the aim
is to prevent soiling or to make
the surface more slippery or
easier to clean. Embossing
makes labels more elastic and
creates decorative patterns on
tissue products like kitchen roll
and toilet paper, thus strengthening
it and holding the individual
layers together.

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WE HAVE ALL SEEN WORM
AND LINEN PATTERNS ON YOGHURT
POT LIDS. WHAT ARE THEY FOR?
Janoschka Know-how
Direct laser engraving into hardened steel
One outstanding and significant in-house development from
Janoschka’s embossing experts is direct laser engraving into deephardened
steel. This ensures an exact fit for patrices and matrices,
high-resolution engravings and extremely durable cylinders. Customers
also receive their embossing tools much faster since the imaged
cylinder no longer needs to be hardened. The downstream hardening
process was not only time-consuming, but also problematic as the soft
steel cylinders were sometimes damaged during the hardening process
itself and also during transport.
Janoschka can rely on an experienced team who have employed
state-of-the-art direct laser technology for this in-house development.
A laser beam measuring approx. 10 µm (0.01 mm) in diameter
ablates material from the embossing cylinder according to the prepared
engraving data. Thanks to very precise control of the laser intensity
and engraving depths up to 1,100 μm, highly detailed motifs can be
created using almost any three-dimensional structure and on a range
of materials like copper, zinc, steel and aluminium.
Daniela Heidt: Yes, you will
have done. That kind of threedimensional
shaping across the
whole surface makes yoghurt
lids stronger, for example. It
allows several pots to be stacked
on top of each other in
supermarket refrigerators. In
addition, the structure makes
the material itself more durable
and therefore also helps the
contents last longer. Without
this surface structure the lids
would either have to be thicker
or backed with another (composite)
material to achieve a
similar loading capacity and
robustness. So this technique
meets sustainability requirements
on several levels, too.
Matthias Heidt: This form of
embossing also has important
functions during the production
process itself: the reliefs
act as spacers to a certain extent
so that the aluminium foil
lids rest loosely on top of each
other. This in turn allows the
filling machine to separate the
individual lids more easily
when it seals them onto the
pots. Without the embossed
structure, the very smooth
pieces of metal foil would lie
so compactly that the machine
would not be able to separate
and apply them so easily. This
would cause production holdups
and increase costs.

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Among other things, surface structures allow
the capsules to sit properly when inserted
into the machine and then be evenly perforated
for perfectly brewed coffee.
“Sometimes on a Sunday an idea springs
to mind while we’re having breakfast
on the terrace. Then, we end up pushing
our croissants aside, opening the
laptop and working out together whether
this spontaneous idea could help
solve our latest embossing issue …
or could perhaps even be the solution?!”
Matthias Heidt: Yes, and as
unremarkable as it looks, their
development is truly an “outstanding”
project for us – and
THESE LITTLE PATTERNS
FULFIL BIG TASKS THEN...
a success story. We spent a long
time doing intensive research…
Daniela Heidt: … with many,
many hours of trial runs,
countless experiments, feedback
loops and tears …
Matthias Heidt: … until we
made the major advancement
of switching from manual
to laser engraving to produce
the rollers for these precise
and detailed structures. When
we began developing it about
six years ago, our customers
were convinced that high quality
could only be achieved
with hand-engraved (Molette
engraved) rollers. Other techniques,
like direct laser engraving,
were still in their
infancy. In the initial phase,
the patrices and matrices did
not fit together 100 per cent
when laser-engraved tools
were used, or the roughness of
the surfaces produced was not
right. The whole manual engraving
process, though, was
extremely time-consuming: it
can take weeks or sometimes
even months depending on the
roller size. If something goes
wrong during production, you
have to start the whole process
all over again. The costs are
accordingly high. We managed
to obtain comparable quality
by using direct laser engraving.
We are very proud of that.
Daniela Heidt: Above all,
because we’ve since optimised
it for the highest quality packaging.
Coffee capsule manufacturers
use this technique,
for example. The finest grading
and lines are important
when embossing the lids for
these capsules; the shine has to
be perfect, the writing easy to
read. Only then does the whole
design communicate the exclusivity
that consumers of this
luxury product expect.
WHAT IS THE KEY TO SUCCESS WITH
THIS KIND OF DEVELOPMENT?
Matthias Heidt: Alongside ongoing
contact with the client, it
is, above all, our enthusiastic,
well attuned team of experts
who make such intensive new
developments at all possible
with their interdisciplinary
specialist knowledge and
technical know-how. Each
individual puts forward their
ideas, opens new perspectives.
We function like a watch mechanism.
Such projects can only
be pushed forward and lead to
success if we work together.
Daniela Heidt: Enthusiasm
and passion are other important
ingredients, in addition
to meticulous work, precision
and team spirit – whether on
the customer side or within our
team. We do not stop until the
customer is completely happy
with the aesthetics and function
of the surface; only then
are we happy too.

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DO YOU KNOW ...
OW SUGAR
UBES
OT THEIR
HAPE?
When you think of
SUGAR CUBES it’s often your grandma’s
or your elderly neighbour’s collection of
them that springs to mind. Remember the
little oblong packets containing two
cubes that were displayed either on the
kitchen shelf or in a large glass jar on the
window sill? Perhaps you even had an
unusual pack of sugar cubes in your room
as a child as a holiday souvenir.

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A 150-YEAR-OLD
SUCCESS STORY
The writing in a foreign language seemed
exotic. And then there were the ones from
closer to home with picture series: couples
in traditional local costume, views of small
towns, or signs of the zodiac. Perhaps less
exciting were those simply advertising the
name of a café, restaurant or hotel. But
whether they had collectable pictures or
advertising on the wrapping, sugar cubes
were a standard feature beside every cup
of coffee or tea, alongside the spoon.
So where have they gone? Slowly but
surely, without anyone really noticing, the
double packets of sugar cubes in their
pretty wrapping became a rarity – no
longer accompanying the hot beverage
ordered in a restaurant, ice-cream parlour
or teashop. Just as espresso, cappuccino
and latte macchiato have replaced good
old filter coffee, so sachets of sugar have
usurped the place of the angular, prettily
wrapped lumps on the saucer.
How on earth did this come about? Invented
in 1842, sugar cubes were an unadulterated
success story for the next 150 years – right
up until the 1990s when sugar manufacturers
saw their sales fall dramatically. Before the
invention of sugar cubes you could only buy
sugar in so-called sugar cones (or sugar loafs).
These bore little resemblance to today’s packaged
sugar. They were rock-hard blocks, some
of them the size of a small child, carefully
stored in the larders of middle-class housewives.
It took a hammer and chisel to break
off small pieces, which were then served in
little tins with coffee or tea. There’s a story
that Juliane Rad, wife of the director of a sugar
factory in what is now in the Czech Republic,
injured her finger while engaged in this arduous
task. This prompted her to come up with
the not so far-fetched idea of producing sugar
in smaller portions, which she then presented
to her husband, Jacob Christoph Rad. He, in
turn, invented a machine that compressed
ground, still moist sugar into small rectangular
moulds. Once the sugar had dried, out came
the world’s first-ever sugar cube. Rad recognised
the potential of his invention and in 1843
had it patented. Local consumers loved the
new “tea sugar” and “Viennese cubed sugar”.
Rad sold his patent to sugar factories all over
Europe. What happened after that is a classic
example of European cooperation.
The Rads might well have been the
Pierre and Marie Curie of beverage
sweeteners, but it actually took
decades before the sugar cube became
widespread in Europe.
By the 1800s, stores sold sugar already broken up
into random-size pieces. But these chunks could
be inconvenient at teatime.

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Production has continuously improved since Jacob Christoph Rad was
granted an “imperial privilege” for his method of producing sugar cubes.
For all the technical innovations and inventions
designed to produce ever better
sugar cubes, ultimately it was the food
wholesaler Karl Hellmann who one hundred
years ago made sugar cubes into
what we have come to know and love
today. The trick was to buy ready-made
slabs of sugar directly from the sugar
factory and saw them into cubes. Well,
yes, but Hellmann’s real innovation was
actually to divide the sugar cubes into sets
of two and wrap them in little packets like
those your grandma loved to hoard. The
really pioneering aspect of this, though,
and the one that struck a chord with consumers
of the time, was that by virtue
of their wrapping, sugar cubes were no
longer just sweeteners, but with their
collectable pictures and names of cafes
suddenly vehicles for advertising. With
the addition of the banner, a simple
consumer product acquired a second
function. It communicated messages
that went far beyond the sugar itself:
memories of visits to restaurants whose
names would otherwise have been forgotten,
of holidays, special moments,
conversations.
The humble sugar cube thus became a pioneer of
modern marketing strategies. Who could have imagined
it? The catering industry of the Golden Twenties
was ecstatic. From the coffee house manager
in a summer resort to the owner of a variety theatre
in the city, the modern sugar cube with the advertising
space on the banner was a must have. Hellmann
built a whole business empire on this sales
idea. Hellma GmbH still exists today and is not only
"Europe’s largest producer and supplier of portionsized
packaging", as its website claims, but also the
only remaining company in Germany producing packets
of double sugar cubes.
One Viennese newspaper claimed in 1843 that
the new kind of sugar in cube form
would “mainly appeal to thrifty ladies”. Did that
also apply to the women who packaged it?

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What happened? Why did Hellmann’s
rectangular packets of sugar go out of
fashion?
Sugar cubes date from a time when life
was still simple, at least as far as sugar
consumption was concerned. Until the
1970s hardly anyone was aware of how
unhealthy eating a lot of sugar was. On
the contrary, sugar stood for prosperity
and pleasure. Not only that: around
1900 sugar was still the main source of
calories for many poor people. A piece of
bread dunked in very sweet coffee was
regarded as a meal among the working
classes. Known as “coffee soup” it was
both a stimulant and a source of energy.
Sugar filled the hunger gap of workers
in the industrial age. Back then, sugar
was supposed to satiate your appetite
rather than making you fat. So who cared
whether sugar came in chunks?
That’s why café owners and consumers alike
now prefer their sugar to be portioned completely
differently, thus nipping any remote association
with pudginess in the bud. The sales hit
these days is “sugar sticks”: long, extremely thin
sachets with an “ergonomic grip”, as Hellma’s
website terms it. Who would have thought sugar
would come to be associated with svelte?
But the sachet-style packaging has another advantage,
too. Whereas consumers were once
happy to comply with the cubed norm and to
classify themselves as a one, two, three or fourlump
man or woman, nowadays the amount
of sugar allowed to trickle into a cup is a highly
individual affair. There is no set dose: any sugar
left in the sachet is simply thrown away, allowing
the consumer to break completely free of those
pesky normed portions.
The same applies to coffee, by the way. Whereas
until the 1980s everyone drank the same filter
coffee, the range of coffees available today is
nothing short of overwhelming. Not to mention
the milk: oat milk, almond milk, or the now almost
passé foamed cow’s milk. Normed sugar
cubes would be completely out of place here.
Now it’s up to consumers to decide whether to
let the sugar trickle directly into the mini-crater
in the middle of the foamed milk or to distribute
it evenly over the surface and spoon the sweet
foam into their mouths. Another option of course,
given that milk is naturally sweet, is to dispense
with sugar altogether and simply have a healthier
drink. That would be the death blow – and not
only for sugar cubes. However, given that filter
coffee is currently making a comeback, in a kind
of “back-to-the-roots” trend, it’s just possible,
and perhaps even fitting, that sugar cubes will
experience a renaissance as well.
Even though they may have fallen out of fashion, sugar cubes still seem to be a fixed unit:
they are sometimes used to indicate the sugar content on food packaging.
Nowadays, everyone worries about being overweight, and since
at least the 1980s sugar has been regarded as the culprit for the
extra pounds. As our bodies start to become oblong rather than
round, it’s our high sugar consumption that is held to blame, so
we’d rather not be reminded of that by sugar cubes. It’s almost
as if the shape of the sugar had anticipated the expansion of our
waistlines resulting from its excessive consumption.

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GRAVURE
CYLINDERS
OF CELLS, SCREENS AND
TONAL VALUES
Gravure cylinders are printing tools onto which the printing image
is engraved in the form of cells using a range of techniques.
The cells hold the ink while the areas of the cylinder that are not
engraved are wiped clean of ink by a doctor blade.
2
1
1 Steel base
2 Copper plating
3 Chrome layer:
improves the mechanical
durability of the
gravure cylinder
3
ELECTROMECHANICAL ENGRAVING
A copper-plated cylinder base with a specially treated surface forms the
basis for electromechanical engraving. Electromechanically engraved
cylinders are used to produce large and always repeatable print runs.
The copper layer is engraved with a diamond stylus. A digital repro file
is converted into electrical pulses to control the diamond stylus.
Diamond stylus
IMAGING SPEED
8000 CELLS/ SEC.
5%
5% 50% 100%
LIGHTS
Impression roller
4 Cells = image areas
5 Cell walls / non image areas
Copper layer
50%
MID TONES
Substrate
Doctor blade
Printing cylinder
5 4
Electromechanically engraved cells can have
different sizes and depths.
The deeper the engraving, the larger the cells
and the darker the tonal value.
100%
FULL TONES
Ink trough

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Dot screen
ONE BEAM PER CELL
Masterscreen technology
SEVEN BEAMS PER CELL
During printing of the different colours,
different screen angles prevent the moiré effect.
DIRECT LASER
IMAGING
Cylinders for direct laser imaging have a copper or zinc coating.
In the direct laser system, image data is transferred via a
laser beam directly onto the copper or zinc layer.
Up to 70,000 cells can be laser-engraved per second.
LASER ETCHING
This technique also begins with a copper-plated cylinder. A coating of etching resist is applied
to the cylinder to a thickness between 4 and 10 μm (depending on the etching depth).
The resist protects the cylinder surface during the subsequent etching process.
The desired motif is transferred to the coated cylinder by the laser ablating the paint coating
in the image area. After the laser process, the cylinder is etched with ferric chloride.
This only affects the areas where the resist was removed. It deepens and widens these
areas to form cells. The paint coating is then removed from the whole cylinder before it is
finally chrome-plated.
Human hair
ø~100µm
Laser
ENGRAVING SPEED
70,000 CELLS/ SEC.
Laser Etching
1 2
IRON(III)-CHLORIDE
(Fe C l 3
)
Copper layer
4-10 µm
Etching resist
Copper layer
Masterscreen
ø~35 µm
Direct laser
ø~10µm
The cell geometry is completely variable. Lasered cylinders transfer
the colour better, above all on difficult substrates like aluminium
foil and uncoated paper, and guarantee excellent printing quality.
The cell geometry can only be varied in size during etching.
Cell geometric shape: square
Imaging only on coating layer.
Screening range: normally from 70 to 120 screens
Wide range of screen types, e.g. cushion, hexagon or special.
3
CHROME LAYER
(Cr )
Exposition laser
ø~2µm

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1
j a n o s c h k a p o l s k a : n e w l o c a t i o n i n ł u b n a
JANOSCHKA POLSKA
Even closer to the customer
A new location with more space for top-quality production
Mariusz Wojciechowski,
Plant Manager Janoschka Polska
This year Janoschka Polska
moved into new buildings in
Łubna, which were officially
inaugurated in July. With a production
facility covering 1,400
square metres, the new location
is around 30 per cent larger than
the old one and provides extra
capacity to expand the portfolio.
Up till now Janoschka has used
its Polish site primarily to produce
gravure tools for flexible
packaging. The new premises
will allow it to also manufacture
printing cylinders for the tobacco
segment. Printing tool production
relies on rapid, high-quality
implementation to be successful,
which is why it’s important
to be close to customers.
They, in turn, benefit in more
ways than one from the new
facilities according to Mariusz
Wojciechowski, Plant Manager
Janoschka Polska. “The much
larger premises have space for
additional equipment, so we
were able to up our production
by a third straight away. Further
technical modernization in all
spheres as well as automation
in the graphic environment have
allowed us to meet the highest
requirements in terms of optimum
workflow and Janoschka
quality,” adds Wojciechowski.
before predicting that in the
long term nothing will stand in
the way of a further 40 per cent
increase.
Janoschka Polska was the second
branch of Janoschka to be
established outside Germany.
They have been supplying the
local and regional market with
a prepress portfolio of reproductions
and electromechanically
engraved gravure cylinders
since 1997. The Polish
factory boasts the Mondi Group,
Amcor Group and Amcor Special
Carton as well as many local companies
among its customers.
Location
ŁUBNA
PL
Production area
1.400 m 2
Expansion
+ 30 %
Since
1997

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2 s u s t a i n a b i l i t y : c o p p e r r e c y c l i n g
29
C u
63,546
A GROUNDBREAKING
COPPER RECYCLING
PROCESS
Janoschka develops new standard
for unique purity
When it comes to printing packaging, catalogues
and magazines in large batches, gravure cylinders
are unbeatable. They produce precise and reliably
consistent printing results – economically, efficiently
and at high speed. A key component of a gravure
cylinder is the thin layer of copper that is applied to
the cylinder base with a thickness in the µ range.
It has the perfect properties for engraving the cylinder
during the electromechanical imaging process.
A final layer of chrome ensures a long life. Once
the print job is complete, gravure cylinders can be
reused over and over again.
99.98 %
pure copper
Copper is a durable material that has the highest
rate of recycling across the world. Copper
recycling has a long tradition and works over
and over again without any noticeable loss
in quality or properties. Nothing new about
that. The Janoschka process, however, is
unique because of the purity standards it
delivers and the small nugget form.
The old copper layer and thus the print design is
removed so that a fresh layer of copper can then be
added for a new engraving.
This method of recycling has inspired Janoschka
to become a pioneer in terms of sustainability and
go one step further. In an extensive research project,
Janoschka Izmir collaborated with a university
department for material technology to develop a
unique recycling process for extracting 99.98 per
cent pure copper.
7t
per month
Six to eight tonnes of copper are now being
recycled at Janoschka Izmir each month.
Investments in two other recycling centres
within Janoschka Group are currently being
planned.
As a world leader, Janoschka has committed
itself to constant innovation and sustainability.
Setting an example in the sector, we
translate words into deeds, thus reducing
the environmental impact of our activities.
Our own copper recycling alone yields annual
carbon savings of over 235 tonnes.

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3
j a n o s c h k a m é x i c o
JANOSCHKA MÉXICO
Close to the customers with the latest infrastructure
Janoschka México is investing in a new production facility
in the immediate vicinity of its main customers SIG combibloc
and Emsur. The site is twice as large, offers hightech
infrastructure and has capacity for around 30 per cent
more output. “The new location sees us put our strategy
of always being close to customers into action. In addition,
we’re offering the highest quality standards by further
automating important production and coordination steps,”
says Roberto Brandi, Managing Director Janoschka México,
summing up the advantages.
Production Output
+ 30 %
Janoschka México is investing in the latest technology for
the new site. The priority is to shorten lead times and allow
customers to speed up their market launches. This is
being achieved with state-of-the-art engraving technologies
and the latest add-ons, such as HQH and X-Treme
engraving, along with an innovative copper process.
Furthermore, investments are flowing into the further
automation of repro and into print colour management.
This will continuously enhance the quality of the graphic
services and proofing processes as well as optimising the
workflow.
Janoschka México has been serving local and regional
markets since 2011 with its extensive pre-press portfolio.
In 2021, Linked2Brands México also started providing premedia
services. As a production agency, Linked2Brands
specialises in preprint along the whole value creation
chain and ensures trouble-free implementation of designs
on actual packaging.
The proximity both to customers and to the airport reduces
the carbon footprint significantly – another plus point
for the new location.
Roberto Brandi,
Managing Director Janoschka México

90
i m p r i n t
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