by Brittany Willes, editor, PostPress

For those outside of the Midwest, the phrase “cowboy culture” likely conjures images straight out of a John Wayne western: saloons, horses and cattle, dusty wide open prairies and campfires. While the scenery may have changed somewhat, cowboy culture still is alive and well in states such as Oklahoma and remains an important part of the state’s identity.

“Cowboy culture is a big part of Oklahoma’s DNA,” remarked Colleen McIntyre, director of operations for Oklahoma Today, the state’s official magazine. As such, McIntyre and her staff sought to proudly display that culture in the latest edition of Oklahoma Today’s guidebook, the Oklahoma Travel Guide. The goal was to create a unique, high-end cover that would convey the rich cowboy culture that Oklahoma is known for. In order to do so, Oklahoma Today selected an elaborate design featuring intricate embossing and foil stamping in order to simulate the look of tooled leather. “We wanted a cover that reflected a prevalent part of our state,” McIntyre affirmed. “Tooling on saddles and other leather pieces are very common, and we wanted to portray that on the cover. We wanted a cover that would impress.”

In order to create a cover capable of evoking the look and feel of tooled leather, Oklahoma Today first hired someone to create an actual tooled leather piece. “Our art director found John Rule to create the original leather design,” said McIntyre. A local artist and custom saddle maker in Oklahoma, Rule specializes in artistry featuring Western, Native American and wildlife designs. According to McIntyre, Rule was excited to be part of the project. Even though he had produced leather pieces for other print projects, creating what would become the cover of the guidebook “was something new for him.”

Rule’s design was that of a highly detailed tooled leather portfolio embossed with images related to Oklahoma’s rural heritage. The front and back covers feature large sprays of sunflowers, roses and other forms of vegetation. The state bird, a scissor-tailed flycatcher, is depicted soaring across the top of the cover, while a stately buffalo grazes in the bottom left corner. Additionally, the state seal, bearing the motto “Come See for Yourself” is displayed in the bottom right corner. Prominent on the front cover is a silver, oval western-style belt buckle. Both the buckle and the edge of the portfolio are outlined with white “stitches,” lending the piece a hand-sewn feel.

“The belt buckle was created specifically for this cover,” explained McIntyre. “We knew that having the embossing and the belt buckle would make the impressive cover we wanted. Once the leather portfolio was created, our art director photographed it and created a die file using the inclines and declines on the portfolio.”

To create the Travel Guide cover, a very heavy paper stock was selected in order to best ensure the final texture would evoke that of tooled leather. Once the stock was selected, the cover went through multiple rounds of foiling, embossing and stamping. “The first step in producing this cover was the foiling,” stated McIntyre. “Then the 4-color printing was done, followed by a spot gloss UV coating. Embossing was the last step.”

To create the foil oval of the buckle and the two smaller metal pieces toward the bottom, a Brausse 1050 SEF diecutter and hot foil stamping machine was used to apply a layer of Kurz Shiny Silver GIO Release foil. In addition to being foil stamped, the buckle would be further embossed with the word “OKLAHOMA” across the front in the final stages of production.

Once the foil stamping was completed, a standard 4-color process printing applied varying shades of brown ink to further convey the illusion of leather. Subtle shades of purple woven throughout the cover add contrast to the brown while emphasizing the “tooled” look of the leather and offsetting several of the images to be embossed. As with the foiling, embossing was achieved using a Brausse 1050 SEF. The entire cover was sheet-fed through a KBA/864 printer with inline UV coater. In order to create the effect of tooled leather, custom dies were made by Metal Magic.

One of the challenges in producing such a complex cover was finding a printer with the necessary capabilities. Oklahoma Today reached out to Quad/Graphics’ Commercial Specialty Print team. As a partner to Oklahoma Today, Quad was able complete the project entirely in-house. Quad’s customer service team was able to streamline the production of the cover with complex treatments through the specialty print capabilities of Quad’s Burlington, Wisconsin, and Menomonee Falls, Wisconsin, plants.

Beyond finding a reliable printer, the greatest challenge in producing the cover was making sure the die was done correctly. As McIntyre explained, “Since the die had to be made to fit the printing that would already be on the paper, it was extremely important that everything lined up perfectly. Our art director put a lot of time and attention into making sure the file he sent was perfect.”

The finalized cover certainly proved to be worth the extra time and attention. In its determination to create a cover to impress, Oklahoma Today created a design about which it was “absolutely over the moon,” enthused McIntyre. “One year later, we still pick it up and run our hands across the cover. We still have people requesting it. Tourism agency directors from other states were extremely complimentary of it.”

State tourism directors were not the only ones impressed by the final cover design. Since its publication, the Oklahoma Travel Guide has received various awards from the Printing Industries of America, Great Lakes Graphics Association, the Foil & Specialty Effects Association and Printing Impressions magazine recognizing the complexity of its specialty printing techniques.

by Dianna Brodine, managing editor, PostPress

In April 2015, Eckhart & Company, Indianapolis, Indiana, was contacted by a printer to partner on a project for the City of Indianapolis. The city was submitting a bid for the 2018 Super Bowl and, after spending hundreds of thousands of dollars on the presentation materials, the committee required packaging that would reflect Indianapolis’ commitment to winning the bid.

From the earliest stages of the process, Eckhart & Company was involved in the design. “Our first step was to understand what was being packaged and what effect was desired,” explained Mike Reynolds, print finishing manager for Eckhart. “Packaging is the housing that should reflect the value of the materials enclosed. Some packages are very high end, and some are strictly commodity products. The packaging should provide an initial perception of what to expect within. In this case, the packaging needed to impress 32 NFL owners.”

The bid materials included a laptop and a booklet showcasing Indianapolis as a potential Super Bowl site. Eckhart & Company suggested a slip case with an inner case containing a double tray – one side for the laptop and one for the booklet.

“We manufactured a mockup, with an outer slip case to house the inner case,” said Reynolds. “The inner case was designed with two cavities to hold a laptop on one side and a perfect bound book on the other.” The cavities were filled with an injection-molded foam rubber to create a very snug fit, and Eckhart designed the foam to have a small inward-angled lip to ensure the laptop was secure. Ironically, in the mockup process, it was determined the pieces fit so well it was difficult to remove them from the foam. “We then recommended adding a ribbon that would aid in the removal of the pieces,” he explained. The ribbon was hand-taped to the case underneath the liner, assisting in removing the pieces as the recipient pulled the ribbon.

After reviewing concepts and samples, the package model was approved. The discussion turned to graphic design, and Eckhart was able to offer recommendations as to which materials were best suited for the production of the project, while still maintaining the high-end effect.

“The client wanted both print and foil stamping, but they weren’t sure how,” said Reynolds. “We did discuss embossing or debossing during the production meetings, but there was a concern the effect would be flattened slightly in the process of wrapping and gluing the case. We didn’t want to risk anything that would devalue the impression the packaging was meant to make.”

In production, the slip case wraps were printed on Hyflex 7 with an offset press, as the client believed offset would provide a higher quality than digital print. The case was flood-printed in matte black, with the white and gold knocked out. Clear foil from Infinity Foils was applied over the stadium image on a Kluge press with dies created by Universal Engraving. The wraps and board were diecut, and 88pt. board was wrapped to form the outer slip case.

The wrap for the inner case was printed offset as a single-color (flood black) and clear foil was stamped on the same Hyflex 7 material and wrapped to an 88pt. board. The trays and liner of the inner case were on Prestige from Ecological Fibers, which had the feel of felt and added an additional luxury element to the overall package. Eckhart lined the inner cases, mounted 42pt. chipboard with the Prestige for the trays and then diecut the trays before forming and gluing them into the inner case.

The 24-page book was printed 4-color process, and Eckhart did the perfect binding on its Kolbus perfect binder.

Approximately 40 pieces were created, with one sent to each of the 32 NFL owners and a few sent to the NFL offices. In the end, Minnesota was awarded the 2018 Super Bowl. However, the client was extremely happy with the final product created by Eckhart & Company. “It more than met their expectations,” said Reynolds. “For us, it’s crucial to evaluate the project with the client to ensure the packaging meets the standards of the materials it contains. In this case, the case truly reflected the value of what Indianapolis could bring to an event on the national stage.”

by Brittany Willes, editor, PostPress

In today’s market, competition between brands has grown fierce as customers’ attention spans have decreased. That’s where the new campaign for ROYAL SUNDANCE® Papers from Neenah Papers, Alpharetta, Georgia, comes in. The promotion, “Let Texture Define,” urges companies to explore the ways in which texture can enhance brands and entice customers.

According to Kathy Kemps, Neenah’s senior brand manager, “Texture can influence our decisions as it creates an emotional connection. It’s important to communicate a brand’s personality and create a memorable first impression through every touch point, starting with a company’s identity system.”

To create emotion and personality, “Let Texture Define” uses all five finishes from the ROYAL SUNDANCE collection. Each unique finish creates a distinct look and feel for any given project. For instance, the Felt finish is a rich finish that is both visual and tactile. “The Felt finish is designed to give a company’s message a bit more weight and attention,” stated Kemps. Meanwhile, the refined Linen finish evokes a sophisticated impression, while the Fiber finish enhances papers with fibers and flecks. The Laid finish provides a soft natural watermarked pattern which harkens back to the craft of handmade paper. Finally, the Smooth finish offers a pure, simple and crisp clarity.

In order to create the different paper finishes and their distinct looks, ROYAL SUNDANCE Papers are manufactured with quality raw materials on one of Neenah’s paper machines. “The Felt and Linen patters are created as offline embossed patters,” Kemps explained. This means the papers come off of the paper machine as a smooth finish. The rolls of paper then are run through an embosser and the patterns are impressed upon the paper between two embossing rolls. On the other hand, because the Smooth and Fiber are both classified as smooth finishes, the process is complete when they come off of the paper machine. The fibers are added to the wet pulp prior to being fed onto the paper machine. The Laid finish is created on the paper machine using a dandy roll, meaning the pattern is impressed into the sheet at the wet end of the machine when the paper still is 98-percent water.

To demonstrate the different textures, Neenah has devised four sample portfolios of promotional items, such as invitations, gift cards, menus and bookmarks, showcasing each of the available finishes. Each sample demonstrates ways in which companies have utilized textured paper in order to enhance their brand identities. For example, one portfolio sample showcases The Flying Loon restaurant. The Flying Loon “identity” uses Fiber finish menus in order to promote the natural feel of the restaurant. To complement the natural fiber feel, Felt finish business cards contribute a high-touch appeal.

“We developed this sample to showcase the ROYAL SUNDANCE Papers, and this line’s ability to use different, complementing finishes to best communicate a company’s messaging,” Kemps stated. “Businesses have just a few seconds to capture their customer’s attention, and research has shown that texture is something that a recipient will stop, feel and examine. At this point, you’ve already beat out the competition that’s used commodity paper.”

Other portfolio examples include the Centas Global Telecom portfolio, Viva Home Care and Front Porch Reality. “Front Porch is my favorite example,” Kemps declared. “The warmth and homey feel it portrays is a perfect message for a buyer looking to make a house a home. The felt finish adds a tactile quality and demonstrates how well it can take ink. We added a promotional postcard that was printed digitally, which shows how realtors can print small quantities for specific properties, to targeted audiences and still have it look outstanding. This identity package is a beautiful visual for a potential client.”

In addition to being beautiful, this ROYAL SUNDANCE Sample Folder demonstrates a variety of printing processes. From one-color ink on the Fiber finish, which shows how the paper can elevate even the simplest of printing processes, and one-color metallic on Eclipse Black™ showcasing the legibility of copy on a dark-colored stock, to how impressive digital printing is on the rich Felt finish. Four-color process, as well as several other specialty processes such as foil stamping and embossing, also are featured throughout the piece.

While “Let Texture Define” only has been available for a few weeks, Neenah already is hearing great things about it. “Printers and designers like the simplicity of the piece,” Kemps asserted. “It showcases beautiful, real-life samples that they often are commissioned to create.”

by Helen Rallis, field product manager – coatings, Sun Chemical

Printers and brand owners always are looking for ways to distinguish their product through the use of special effects coatings. Specialty coatings can offer a variety of multi-sensory special effects that stand out, including glitter, pearlescent, scented and tactile coatings. In order to make print “pop” on the shelf, it is important to apply the coating correctly so it can be used to the best advantage. This article will act as a guide that will describe some of the effects available in the market today, along with recommendations for how to apply them effectively.

As a general rule, the more coating weight applied to the substrate, the more pronounced of an effect you would expect to experience. Anyone who is just starting to utilize these types of coatings will need to be willing to experiment to find the best combination that will suit their needs. If too much coating is put down, the user might experience cure problems, so the correct balance between effect and application parameters must be sought out.

Because of the coating weight requirements, these types of effects were historically achieved only through screen or gravure printing processes, which are known to apply a thicker deposit of the coating onto the substrate. For short- and medium-sized sheet-fed applications, an offline screen coater is the logical choice for specialty coatings. In recent years, flexo applied coatings also have been used. This is because the equipment manufacturers have worked toward getting coaters and aniloxes that can deposit more coating on the substrate. While the printer might need to invest in a number of diverse aniloxes to apply specialty coatings, equipment has evolved so that changing aniloxes has become much easier and faster.

Another consideration when applying special effects coatings is the design. Flood coating the page may not necessarily give the best effect. Sometimes a simple highlight can attract the eye. When adding many of the visual effects, a dark background will help provide good contrast and make the effects stand out more.

Glitter coatings

Glitter coatings are made with large particles that reflect light at different angles to produce a sparkle or shimmer effect. They come in silver, gold and various colors that also can give a rainbow effect. The particle sizes of the glitter pigments can start at about 50 microns and go higher. These are best applied with an offline roller coater, but screen printing or flexo printing process also can be used.

When applying the glitter coatings, a mesh of 60-110 threads per inch (tpi) of monofilament polyester is recommended. Higher mesh counts can result in the filtering out of the glitter particle. When flexo printing at least a 25 BCM (billion cubic microns) volume for the anilox, it is recommended to allow for particles to flow in and out with ease. This will deposit enough onto the substrate to stand out on the print.

Texture or reticulation coatings

When applied, reticulation coatings give an “orange peel” texture to a print surface. This process can be used as a cost-saving alternative to textured embossing. There are a number of ways to produce this effect, which includes a roller or screen coater.

A textured UV coating also can be applied inline with a “strike-through” process on an offset press. In the litho station, an overprint varnish (OPV) is printed but not cured. In the coating station, a UV coating is applied. In the areas where it touches ink or paper, it cures to a nice glossy finish. Everything then goes through the UV lamps and is cured. In the areas where it touches the litho-applied OPV, it reticulates to form the embossed-like stippled texture.

There is a flexo coating that produces this effect as well. In order to feel it, a minimum anilox volume of 20 BCM is required. There also is a screen-printed version which can be applied using a 200-250 thread per inch mesh.

Raised image coating

Raised image or emboss coatings are high-viscosity coatings designed to give a raised textured effect. These are typically applied in some kind of pattern, like water droplets on a leaf or pebbles on a beach or alligator skin. The key to getting this effect is to put a great deal of coating down. When using a screen coater, a mesh of 110 to 180 threads per inch is recommended. For flexo applications, use a minimum anilox volume of 40 BCM.

Pearlescent and color shift coatings

Pearlescent coatings have an iridescent luster that can add elegance to the printed product. They come in a variety of effects and colors.

Color shift coatings are a specific subset of pearlescent coatings that will change color based on the angle of view. These come in a variety of particle sizes, varying from 10 to 100 microns. Typical pigments used require a minimum of 10 to 15 BCM in flexo applications. For screen applications, a mesh of 300 tpi or lower can be used.

Soft-touch coatings

Soft-touch haptic coatings are matte coatings that cure and provide a soft leathery feel. These types of coatings can be used to replace soft-touch laminate films. For screen coater applications, the use of 200 tpi mesh or finer is recommended. For flexo applications, apply the coatings using a 12 to 14 BCM anilox coater.

It is important to note that the most commonly used soft-touch coating is not compatible with normal UV inks and coatings. So, it is very important to clean out equipment thoroughly before and after use. A special wash is required.

There are variations on the soft-touch coatings that are more compatible with conventional UV chemistry. These have a slightly different feel to them, however, so it is important to experiment and find the right product for the application.

Sandy-feel coatings

Sandy-feel coatings are designed to give a rough sandpaper-like texture to the print. These come in a variety of gloss levels and textures – from fine to very coarse. The particle sizes on this type of material vary, so this needs to be taken into consideration when choosing an anilox roller. Typically, a minimum anilox volume of 25 BCM is recommended to apply this coating with a flexographic process. For a screen coater, a 200-250 tpi mesh count would be ideal.

Aroma coatings

Aroma coatings are coatings which contain microencapsulated fragrance oils. The scent remains inactive until consumers handle the print, trigger a release and experience the product’s aroma. These coatings should be applied thick enough in order to achieve the proper effect and scent.

Conclusion

More brand owners are requesting the use of special effects coatings on their products in an effort to make an impression. Specialty coatings can add value to a finished printed product by providing differentiation, but printers have to be willing to experiment with their equipment configuration to get the desired effect.

Helen Rallis has over 20 years of expertise with flexible packaging coatings and currently works as a field product manager for coatings at Sun Chemical. To learn more about Sun Chemical’s SunInspire™ specialty coatings or SunScent™ aroma coatings, visit www.sunchemical.com/naicoatings or call 708.236.3798.