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    PostPress

    Print Decorating, Binding and Finishing

    2019 May/June

    Brausse Group’s 1050SFi Foil Stamper and Diecutter

    by Lara Copeland, contributing editor
    PostPress

    Brausse Group, a member of the Bobst Group since 2012 and headquartered in Vancouver, Canada, provides machinery that now incorporates proven group technology, delivering an excellent product at an affordable price. With over 30 years of experience in design and manufacturing of its diecutting and folder-gluer machines, the company’s Brausse 1050SFi foil stamper and diecutter comes with a number of high-end features.

    “With Brausse being a member of Bobst Group, proven group technology and existing technology in electronics engineering and functionality can be seen throughout the press,” said Matthew Sharp director of sales and marketing at Brausse Group North America. The foil stamping and diecutting controls are easy to use on the computer’s touchscreen, and “with our Advanced Foil Control System (AFCS), which provides reliable and precise foil-advancing controls, the operators can make any adjustments during operation,” he added. The press includes a pneumatic, push-button die chase locking mechanism to ensure safe and operator-friendly die changing, which eliminates the use of a wrench to remove the chase. A slanted feed table allows for stable and accurate registration, especially for lightweight paper at high speeds. The sheet stretching air blower included in the delivery section lets the operator add air as needed to help the sheets to lay flat. “This helps during fast speeds,” Sharp commented.

    The 1050SFi assists operators in reducing downtime during runs. “This piece of equipment allows the operator to make a number of important changes to the machine while it still is running, which helps reduce downtime,” Sharp said. Additionally, with both an automatic feeder and delivery section, the press does not have to stop when adding more material or removing finished product.

    More updated components of the machine make the 1050SFi something operators can use with ease, resulting in efficiency. A redesigned platen offers a more leveled impression to reduce makeready time, while a precision ground 15 mm-thickness insulation plate located behind the heating base optimizes heating efficiency and maintains constant temperature. A sandwich plate with micro-adjustment in both running and cross direction allows for quick set-up and facilitates effortless makeready. The push and pull side lays (OS and OOS0 with photo sensor sheet arrival control) are easy to use as well. A self-diagnostic touchscreen detects the location of an alert and provides information on how to repair or clear an error. The pneumatic one-push, button-activated safety doors are operator-friendly. Finally, the machine comes equipped with a tape inserter that has a counter which allows the operator to pre-set and insert a piece of paper tape to mark the load.

    “We are extremely happy with the 1050SFi,” Sharp exclaimed. “By utilizing proven group technology, we have brought a very advanced press to the market at a very reasonable price point.” In fact, customers already are responding positively to the new technology. Sharp said that due to the price point of the press and all the improved features, “the response has been fantastic.” Operators also are pleased.

    Technical Details

    The Brausse 1050SFi foil stamper and diecutter features a max speed of 7,500 sheets per hour. The machine also offers 300 tons maximum cutting pressure. Folding carton stock range is 90g/m2 to 600g/m2. Corrugated stock range is maximum 4 mm
    (B Flute).

    Industry Influencer: Lindsey Roy

    Lindsey-Roy
    Lindsey Roy is chief marketing officer for Hallmark Greetings.

    Lindsey Roy is no stranger to the greeting card business – she was named one of the youngest vice presidents in Hallmark Greetings’ more than 100-year history. Now serving as the Chief Marketing Officer for Greetings, Lindsey Roy oversees all marketing, product development, innovation and digital commercialization for Hallmark.

    Roy started at Hallmark as an assistant 20 years ago, working her way up to product manager and later vice president. She believes in the company’s authentic leadership and brand position.

    “Hallmark’s vision of creating a more emotionally connected world resonates with me more today than ever, and it has kept me in this industry and at Hallmark throughout the years,” she said.

    What trends have you seen emerge in the greeting card industry over the last few years?

    What we’re seeing is that people are looking to Hallmark and to greeting cards as a way to inject some positivity into the world and their lives. Despite more ways to reach out and stay in touch, many people feel less connected, and we believe that cards have the power to change that – and our consumer research is confirming this insight.

    We know that 90% of consumers believe a card can brighten someone’s day and feel that a card is a good way to let someone know they are special, and eight in 10 consumers say they save the cards they get. People of all ages and generations appreciate the tactile experience, the handwritten signature, the keepsake that a card can become. In fact, one of the fastest growing segments in the greeting card category is cards that lend themselves to becoming a keepsake.

    What are some of the challenges facing the greeting card industry today?   

    Like many industries, the evolution of digital and social media has disrupted the greeting card industry, but there are a lot of misconceptions about how much impact digital communication actually has had on greeting cards.

    One thing that’s unique about the greeting card industry is that card use is driven more by life stage – when people get married, form households, have babies – than by age. Today, many millennials now fall into those life stages. In fact, millennials today represent nearly 20% of the dollars spent on greeting cards and are growing their spending faster than any other generational segment in the category. There is a place for digital and social communication, but there’s something about a card that just does more. Because digital communication (text, social posts, email) is such a common, everyday occurrence, a card stands out as an even more meaningful way to say something on purpose. Giving a card goes beyond checking a box – it helps express the emotion that keeps us connected.

    It seems as if printed/embellished greeting cards have made a comeback in the marketplace. Why do you believe that happened?

    I think what it comes down to is that cards can do some pretty amazing things – they have the power to bring us closer, make us happier, rekindle relationships and bridge the miles between us to keep our most important relationships strong. When someone experiences the power of a card firsthand, it drives them to want to continue sending and receiving cards.

    How has the greeting card industry fought off the onset of email cards and the internet?

    This never really took off the way people thought it might. At Hallmark, we don’t even track e-card sending anymore because it is so miniscule.

    What are your predictions for the industry in the next five years?

    I anticipate that we’ll continue to see people turning to cards as a way to connect with others in a way that goes beyond a quick text or social post. People consistently tell us about the power of cards in their lives – we often hear people share personal stories about how cards have helped them mend relationships or keep a relationship strong over the miles or years, and it’s common for millennials to tell us about how they keep their cards because they are such important artifacts in their lives.

    My hope in particular is that more and more people experience the power of cards in their everyday lives – those little moments that add up to a big life story, such as taking a minute to tell someone you appreciate them, you’re grateful for them, you’re there for them.

    I’d encourage everyone to give cards a try to see for themselves. In fact, to help people get started, we will be offering Free Card Fridays again this summer at all Hallmark Gold Crown stores where all new and existing Crown Rewards members can get a free Just Because card of their choice. There are no strings attached and no purchase required to get a free card – we just want to be there to help people take the time to celebrate life’s little moments and support each other during the tough times. Go ahead, see what a card can do.

    “A Baugh Christmas Story,” by D.E. Baugh Co.

    By Lara Copeland, contributing editor
    PostPress

    In the window of a two-story house on Cleveland Street in Hammond, Indiana, circa 1940, sits a lamp emitting a gentle light against a snowy backdrop – though it is no ordinary lamp. With “the soft glow of electric sex gleaming in the window,” the leg lamp prop used in A Christmas Story has become well-known since the movie debuted on Thanksgiving in 1983. This popular icon of the well-loved movie has made its way into pop culture, from Christmas ornaments to life-size replicas – even making its way onto the 2018 Christmas card from D.E. Baugh Co.

    Wanting to design a multi-level shadowbox to showcase the company’s structural design capabilities, the Baugh production planning team chose “Fragile” as the inspiration for its 2018 Christmas card. This theme lends itself perfectly to the movie. As any fan may recall, the father – or The Old Man, as the narrator refers to him – receives a package in the mail with “fragile” stamped across it. And, one of the most memorable lines from the movie comes from this scene when The Old Man reads the word, mispronounces it as fra-gee-lay and claims, “It must be Italian.” As a nod to this scene, Baugh Co. designed the outside of the Christmas card to resemble the crate in which the infamous leg lamp arrived.

    The multi-dimensional greeting card was formed from only one piece of stock. The book-style cover folding carton design “was taken from the home entertainment industries’ products from the mid-1990s,” explained Mike Western, director of operations/QA at D.E. Baugh. This successful design concept was planned months before the card reached clients’ desks.

    Western said planning started in June of 2018: “In the first meeting, we discussed concept, construction and graphic direction with the Baugh planning team and Printing Partners.”

    This family-run business of 35 years has 40 fulltime employees and maintains a 50,000 square-foot manufacturing facility. Reaching clients across several industries – from commercial printers, folding carton companies, direct mail, corrugated, greeting cards, advertising agencies and general end users – the D.E. Baugh team knew the wide appeal of the movie would reach across a broad spectrum of markets.

    The Baugh production planning department designed the unique Christmas Story concept. Western said that once the concept and graphic elements were determined, the project was turned over to Baugh’s structural design/die room.

    “Using Cimex 18.0 computer-aided design (CAD) software, we were able to create a CAD rendering of the desired construction,” Western said. Several construction changes were needed to ensure the card would set up and hold form for end presentation. “This was achieved with several versions of back folds, perforated scores and finished edges,” he explained. All samples were cut on Baugh’s Mimaki CF2-0912 plotter cutter. Once final construction was approved, the graphic elements could be placed to a CAD layout. At this point, a CAD drawing – marked with back printing, print-safe areas as well as no ink/coating areas – was sent to the design team at Printing Partners. This allowed the team to insert the graphic images chosen within the correct positioning. The CAD drawing would allow for proper fit as well as required bleeds for each manufacturing process.

    christmas-story-coverThe Christmas card first was printed 1-up on a 28×40 sheet using a Heidelberg XL 106 on 12pt Invercote Creato C2S, which was chosen for its printing, diecutting and scoring properties. Western commented that using the Invercote Creato “was essential for the success of the project.” Additionally, special care was needed for the proper backup of graphic elements to ensure correct crossovers were achieved. “This was done through proofing and plotter-cutting out the proofs to ensure all elements were in correct position,” Western noted. “Graphic elements were duplicated on tuck flaps to hide any unwanted, ‘unprinted’ areas, which were visible on the wreath and fireplace.” All white areas were filled with the match red to ensure no white showed when viewing the card at any angle.

    A Bobst foil stamping press was used to stamp the red bow that adorns the outside of the crate, as well as the greeting on the inside flap. Red and gold metallic foils from Infinity Foils were used in the greeting, “A Baugh Christmas Story” and the message, “We triple dog dare you to have a happy holiday season!” The ribbon, lettering, rope and wood-feel on the front cover all were embossed on a Bobst Novacut diecutter using Universal Engraving brass and copper tooling.

    The shadowbox inside shows the leg lamp glowing against a holiday scene that includes a decorated Christmas tree and a wreath hanging above the fireplace with a fire ablaze. Just as the movie depicts, “The iconic leg lamp was chosen, as well as a few traditional Christmas items, to set the scene from a street view perspective,” Western explained. To give the card even more depth, the wreath, fireplace mantel and bricks, Christmas tree and leg lamp all were multi-level embossed, and the tree and leg lamp also were diecut with the NovaCut. Printed on the top layer of the shadow box are famous quotes from the movie.

    When the team at Baugh set out to impress clients with not only its structural design capabilities, but also its high-end, high-quality, value-added services, they did not disappoint. According to Director of Sales and Marketing Dave Hurdle, clients were quite pleased, and Baugh received many positive comments about the holiday card. Baugh’s beloved holiday card was passed around and discussed at many production meetings and reportedly also sits on some clients’ desks. “Baugh is top of mind now because of your card when we think of foil stamping and finishing companies,” one client marveled.

    With work already beginning on D.E. Baugh’s 2019 holiday card, Western said the company only started designing and sending clients Christmas cards in 2017. “Our first card was a play on our name, and we went with ‘Baugh Humbug’ as our theme that year,” he confirmed. “It was a lot of fun to work on, and it got us thinking about how to improve for the following year.” Baugh followed through on its commitment to improving its work. The celebrated 2018 card was noted for its success by not only the Great Lakes Graphic Association (GLGA), winning a “best of” category, but also by FSEA, where it won “Best of Show” in the 26th Annual Gold Leaf Awards.

    “We were a bit surprised. We felt it was a strong representation of our capabilities, but we never imagined it was going to win an award,” Western exclaimed.

    26th Annual Gold Leaf Awards

    The Foil & Specialty Effects Association (FSEA) has announced the honorees in its 26th Annual FSEA Gold Leaf Awards Competition. Entries were received from countries around the world, including the US, Canada, Denmark and Taiwan. Gold, silver and bronze winners were honored in 41 categories. Best of Show and two Best of Show Honorable Mention honorees were revealed during a reception held at Odyssey Expo 2019, Atlanta, Georgia, in mid-May.

    D.E. Baugh, Indianapolis, Indiana, was awarded the 2019 Best of Show award for “A Baugh Christmas Story,” which was entered in the category of Greeting Card, Self-Promotion: Most Creative. D.E. Baugh channeled its annual holiday greeting to customers into an opportunity to impress clients with not only its structural design capabilities, but also its high-end, value-added services – while having a little fun along the way with the classic movie A Christmas Story.

    Visit our online gallery of the winners at https://www.fsea.com/content/awards/gold-leaf19.shtml.

    Special thanks to our sponsors

    Platinum: Bobst North America; Eagle Systems, Inc.; h+m USA, L.P.; Infinity Foils, Incorporated; Kurz Transfer Products; Metal Magic; Owosso Graphic Arts, Inc.; Univacco Technology Inc.; Universal Engraving, Inc. – a UEI Group Company

    Gold: API Group – Americas; Brandtjen and Kluge; Brausse Group – Canada; Breit Technologies; Crown Roll Leaf; Gietz AG;
    Konica Minolta/MGI; Sun Chemical

    Finishers Explore New Opportunities in the Cannabis Industry

    by Katy Ibsen, managing editor
    PostPress

    The rise of cannabis legalization in the US and Canada has made way for auxiliary industries to capitalize on increased needs from cannabis brands – including packaging.

    “It’s a ‘Wild West’ scenario with many jumping on cannabis’ momentum, which creates a surplus of emerging brands, especially in the CBD space which already is legal to sell nationwide,” said April Lytle, marketing coordinator at KURZ Transfer Products.

    As the industry grows at a rapid pace, many printing and packaging companies are taking note and looking for an entry point.

    The state of legal cannabis

    It’s important to understand why many refer to the cannabis industry as the “Wild West.”

    Currently, nine US states plus Washington D.C. have medical and adult-use marijuana laws, allowing residents and visitors legal access to cannabis with tetrahydrocannabinol (THC) – known to cause a “high” effect. Additionally, 23 states have, or will have, some form of medical marijuana law, allowing patients with a physician-approved medical card access to cannabis with THC. And across the US, residents 18 and older (in most states) can legally buy forms of cannabidiol (CBD), a hemp extract containing less than 0.3% THC.

    In the US, marijuana regulations are managed on a state level by those that have legalized one or more forms; in Canada, regulations are managed on a national level. For all medical and adult-use retail cannabis products, packaging requirements are mandated, and child resistance is a critical one. What varies from state to state and Canada is what information is required to be on the package.

    Furthermore, in the last couple of years, a shift in marketing has swept across the industry, empowering brands to consider mainstream audiences as legalization grows.

    Enter the printing and packaging industry.

    Good design matters

    cannabis“A lot of [cannabis] certainly is aliens and tie dye… there’s certainly a lot of stuff that’s marketed like that, but there’s a lot of it that is very premium and well-designed, too,” said Ben Levitz, owner of Studio on Fire in St. Paul, Minnesota.

    Studio on Fire has worked with a handful of cannabis clients – those typically in the top 5% of the industry that create a premium product, according to Levitz. Premium cannabis brands recognize the need for quality, luxury packaging, creating opportunities for various specialty effects and foil entities.

    Studio on Fire most notably works with the California-based brand Lowell Smokes. This premium cannabis brand markets pre-rolled joints in a well-designed and fashioned carton with a combination of foil stamping and letterpress created by Levitz and his team.

    “We are a demanding client. We ask for some fairly complex things that happen,” said Levitz. “There’s a lot of really fine image detail and tight registration. Trying to do that consistently with little six-point condensed type is a tall order. That’s a tough job to go through foil stamping. So, we definitely push our vendors on the materials that they provide, and it’s been a chance to be able to find the best of the best in foils that work really well on difficult, uncoated substrates.”

    The importance of luxury

    KURZ has long been engaged in premium markets such as wine and spirits. The company has seen how foil can be a game-changer for a brand and help elevate it in the marketplace.

    “We’ve heard from many brands already that consultants have told them to look to those successful cousin industries on how to brand themselves,” said Lytle. “Although cannabis hasn’t reached that level of retail competitiveness due to legalization issues, it’s inevitable in the future.”

    Identifying cannabis as another luxury market, KURZ is in the throes of developing strategies to grow its cannabis client base. Lytle points to studies that indicate foil increases the likelihood of capturing a consumer’s attention, highlighting the importance of brand development, especially as more legalization occurs, dispensaries open and competitors grow.

    A growing market

    zomaBob McNamara, chief operating officer of Foam Fabricators Inc., located in Denver, Colorado, echoed Lytle’s observation of the cannabis industry.

    “The cannabis business is growing extremely fast and the margins are nice,” said McNamara. “As brands work to differentiate themselves from the competition, the foil and embossing have really helped their product line stand out in the stores. This isn’t the old business of buying marijuana in a baggie any longer – the product is a much higher quality with stricter regulations and a more affluent customer who can afford to shop and compare.”

    McNamara sees so much potential for foil and embossing companies as the cannabis market grows. Currently, his company is working with two packaging companies that design and assemble cartons, specifically for vaporizer pens in different sizes.

    “I didn’t imagine being here when I started the company 20 years ago,” said Levitz, adding that Studio on Fire plans to continue to market its work in the cannabis space, noting that brands are looking to differentiate themselves, which his team can help with.

    “It’s one of those industries where you can’t really go out there as a small cannabis business and buy ads in the newspaper,” he said. “They’re looking at their packaging as their marketing dollars… The clients that are coming to us are asking for something that’s really lux and really special.”

    The Case for Natural Packaging

    lowellStudio on Fire has grown its reputation in the cannabis industry by creating a luxurious carton for Lowell Smokes, a California-based cannabis brand. Ben Levitz, owner of Studio on Fire, pointed to the fact that many cannabis companies are not only looking to differentiate their branding, they also are wanting to use natural products.

    “People are looking at cannabis as a natural product, so the packaging should reflect that,” he said. “We’re not doing a highly glossed out, laminated, coated kind of thing. We’re working with materials that are inherently uncoated paper materials.”

    While natural products are preferred due to their alignment with the natural side of cannabis, companies must comply with child-resistant packaging regulations, which continue to evolve and vary from state to state. Levitz suggested that packaging companies that can meet child resistant (CR) standards with natural packaging materials may have a leg up.

    “For now, a lot of clients are solving those CR criteria by putting things inside of tubes or in a jar that has a CR top. But, so much warning and data testing information has to accompany a cannabis product that oftentimes just the label isn’t necessarily the only packaging thing that they need to do with that,” he said. “So, embellishing that with a carton that has some tactility to it has been a really good path forward for our clients.”

    Q&A: Laminating Films

    by Jeff Truan, strategic account manager
    Nobelus

    The decision to add a laminating film to a printed product has become much more than just protecting the piece from moisture or other outside elements.

    Today, there are a variety of choices to add specialty effects or special tactile surfaces with film lamination. PostPress sat down with Jeff Truan of Nobelus to ask a few questions on the current landscape for film laminations.

    Q: In the past, film laminating was used mostly for protection of a printed piece, but today, there are a lot of different types of laminates for decorative and “touch and feel” applications. What type of laminating films are really popular right now for both decorative and functional applications?

    Anything with a “tactile” surface is really getting noticed and requested.

    For many years, the lone tactile product has been a smooth, soft-touch feel, but lately – with the linen, leather and even gritty laminates now making their way to the market – it is obvious that the consumer wants more than just something soft. The key of differentiation is what we hear from almost everyone. No one wants to be a “me, too” when it comes to their product or finished goods. The entire point is to make the person touching the product stop and think about why it felt different and notice that it is unique. At that point, the brand or marketer has disrupted the standard thought process and instantly stands out from its competitors. In addition, we continuously receive requests for matte finishes, and standard matte isn’t good enough anymore. Customers are asking for an ultra-matte film. Part of the reason for this is to help highlight further surface embellishments, such as specialty raised coatings or foils that will stand out even more visually when the consumer looks at the product/logo/brand on the finished piece.

    It may seem odd in this e-commerce world that there still is a focus on touch, feel and visual impact, but actually it is growing for more than one reason.

    First, there is massive competition among brands jostling for space and attention on store shelves to reach the consumer. Second, in
    the e-commerce sector, brands find it critical that the first
    impression be superb and that, when the product is unboxed and taken out, it meets or exceeds the consumer’s expectations. This dawn of a new day in fickle consumerism is causing every brand to rethink their packaging look and feel due to the growing split between brick and mortar and online shopping. The final – but still critical – piece to the puzzle is how to portray that branding on a computer screen, which is all the more challenging. With excellent photography and design, embellishments can be captured to increase the likelihood of a consumer connection – even through a computer monitor.

    Q: What type of products are using these kinds of laminates?

    Laminates are going on everything these days – from cosmetics and personal care products to consumer electronics and even now on-demand flexible packaging. It seems that every vertical is pervaded by the need to “be different than the other brand.” Just recently, I ran across a generic brand selling single-use towels spending most likely four or five times the normal cost to have a unique look and feel on the thin BOPP wrap that is on its towel rags. For many years, laminates traditionally have only been in commercial print, which continues to be a more and more demanding market. The first uses of film laminates were more utilitarian, mostly to protect from dirt and grease or to add stiffness. Now, with the cultural shift and more demanding and fickle needs of the everyday person, coupled with a clamoring for uniqueness in retail presence, it almost is more about the finished look and tactile feel rather than the robustness or protection.

    Q: Of course, digital printing continues to grow. Are there any special precautions that need to be taken when film laminating digitally printed materials?

    This really is answered by splitting digital into three categories – toner, electro-ink and UV inkjet.

    Toner still is largely applied with a fuser oil, leaving a silicone residue. This residue typically means additional bonding agents are required on the adhesive of the laminating film so it will adhere over the sheet when using toner-based digital print. In many cases, this type of specialty film carries an upcharge premium due to the additional pass in the extrusion coating process. The additive allows penetration through the fuser oils and lets the glue “lock on” to the toner beneath, creating the bond.

    Electro-ink technology, most commonly found on HP Indigo digital presses, is very close to traditional inks, and thus much easier to bond to almost all laminates. Laminating films used over this type of digital print include an adhesive that “crosslinks” with the Indigo technology, therefore creating an instantaneous, permanent “destruct” bond that requires tearing the fibers to pull it away from the ink/paper.

    UV inkjet, found on digital units such as the Komori K1 and Fuji J-Press, is yet another hybrid ink technology, and although not as challenging as typical digital toners, it still has a fair amount of additive in the inkset that sometimes creates challenges in bonding. One of the most useful ways to ensure the ability to utilize the lesser expensive laminates on the UV inkjet technology is to consider lamination equipment that has an IR lamp set in the sheet-feeding system, thus reducing the amount of effect the UV ink additives have during lamination and creating a much better instant bond of lamination to the sheet.

    Q: In recent years, have there been changes in machinery for applying laminating films that have helped to increase speeds and eliminate waste?

    Recently, we have seen several adjustments from equipment manufacturers that include unique options catering to the changing needs of the print industry. Quick reference measurement scales built into the paper load area that coordinate with where the laminate is loaded on the machine make the alignment of paper to the film a far faster process than in yesteryear. Certain newer laminators include a pause/stop feature that allows the operator to stop the machine directly on the overlap of the stock feeding into the nip point, thus decreasing the changes of ruined sheets. This is more important than ever before with variable digital printed sheets – where every sheet can be unique.

    Now there are inline sheetfed and roll laminators that can take output from the printing press as the sheets come out and adjust their speed on the fly – depending on the amount of material being pushed to them by the press. Blowers that spew negative ions to reduce the static caused by digital presses, as well as full touchscreen control panels that speed setup, all point to the fact that the lamination equipment of today has to be nimble, simple and carry the ability for a huge range of thicknesses and types of film laminates to be run.

    One must go on record to clarify that, in spite of claims that have been put out into the market, there is no one single machine that can effectively run one-sided thin laminates on press sheets and two-sided encapsulation – simply due to the fact that operationally they are in separate worlds.

    Q: What are some of the most  common problems with printed materials that need to be laminated? What are some key tips for a printer to ensure proper adhesion and to eliminate any challenges during the film laminating process?

    Many times, we see sheets that are not properly humidified or printed on too thin of stock, which create downstream problems by wrinkling – typically in the center of the tail of the sheet as it cannot manage the heat application. Additionally, common problems include curling issues due to improper tension settings on the machine; wrinkling due to defective laminate rolls; or the application of coatings to help inks or toners dry, but which effectively act as a barrier to any type of film lamination.

    Companies that invest in certain types of toner-based digital presses many times do not realize that there is a significant upcharge for the laminating film. As with any type of finishing, it is very important that printers and the film laminater communicate on the type of press (digital or offset) on which the printed piece will run. Another tip is to let the printed sheets sit as long as possible before lamination (I know – good joke in an industry where yesterday is not fast enough!). Proper training on the film lamination equipment also is very important to ensure that the operators have a complete grasp of the best way to run the machine on various iterations of product. Lastly, try to let the laminated sheets sit for at least several hours after the lamination process to allow the glue to set up and cure as long as possible to maintain the best bond before cutting/folding/finishing/decorating.

    Q: Foil “sleeking” continues to be a popular addition to short-run digitally printed materials. Although it is not laminating film, the process is somewhat similar. Explain how sleeking works and where it best  fits for foil decorating applications.

    Sleeking (digital foil through a toner adhesive) is a very unique opportunity for additional margins for finishers or printers. Sleeking has jumped onto center stage with the advent of personalization and greater decoration as requested by the customer. It is essentially a perfect fit for those wanting to do short- to medium-run metallic foil projects and personalized foil projects as it requires no die and very little setup. It is a “transfer foil” – originally designed around adhesion to the HP Indigo Electro-ink so that wherever there is HP ink on the sheet, the foil will adhere. The beauty of this technology is that it requires no dies, can do any design you wish in foil and makes turnaround times incredibly fast. It gives a high value-add for short-run metallic foil and can be combined with film laminates like “soft touch” to create something that is both pleasant looking and tactile – as well as tailored specifically to the person that receives it. Sleeking also is excellent for creating prototypes to showcase how a carton or label would look with a metallic foil finish for potential larger runs on high-volume equipment.

    We see the sleeking technology being used for greeting cards, graduation announcements, book covers and direct mail with personalized foil, driving efficiencies and response rates like never before.

    Let’s face it: who would have guessed that three years ago you could order your wedding invitations and announcements in a tactile finish, with gold foil showing the name of each person invited – individual to the card?

    Jeff Truan is the strategic account representative for Nobelus® – a worldwide supplier of thermal laminate films, variable-data foils and film laminating and foil “sleeking” equipment for the print, packaging, publishing and photo markets. Nobelus® products are utilized by top brands, adding protection and attraction through holographic, tactile, anti-scuff and metallic effects. For more information, visit www.nobelus.com.

    Odyssey Expo 2019: Diemaking, Diecutting and Print Finishing Industries Come Together in Atlanta

    Odyssey Expo 2019 has been declared a success by attendees, exhibitors and event organizers. The print finishing, diemaking and diecutting industries came to learn, share and network, drawn to Atlanta by Odyssey Expo’s live equipment demonstrations, classroom education sessions and networking opportunities.

    Odyssey Expo 2019, held May 1-3, boasted 1,500 registrants for the three-day program. The event floor was hopping with 30 interactive educational sessions, both on-press in the Techshop and in the classroom; 53 pieces of running equipment, which represents a significant increase over the previous event; and 101 suppliers specific to the fields of diecutting/diemaking, foil stamping, folding/gluing, UV coating and more.

    “I was extremely impressed with the Odyssey show this year,” said Steven Roberts, president of Elite Print Finishing. “I had a wonderful time and found this to be an amazing source for information and vendors.”

    In addition to the Odyssey’s Techshop workshops, classroom sessions and Technology Hall, winners of the 26th Annual FSEA Gold Leaf Awards competition were announced, with the Best of Show going to D.E. Baugh, Indianapolis, Indiana, for its entry in the Greeting Card, Self-Promotion: Most Creative category.

    Educational content addresses real-world challenges

    Whether the priority was improving profits, increasing sales or decreasing production costs, the Odyssey’s 30 technical and education sessions helped attendees hit their targets. All technical programs were conducted by industry experts – either on-press or in the classroom – each culminating with interactive Q&A sessions to address real-world challenges.

    In the classrooms, programming included topics such as Adhesives in Layflat Laminating, Cold Foil Process: Ask the Experts, Calculating Press Capacity, Foil Waste Disposal and Sustainability; and Common-Sense Solutions for Blanking Issues.

    Techshops bring running equipment to the event floor

    Techshop™

    In the Techshop™, which simulates a working production shop floor, technical sessions were taught on-press throughout the three-day event. Equipment suppliers led on-press demonstrations on topics that included improving the flatness of a die, using steel counters, improving equipment uptime and reducing makeready and setup time.

    Technology Hall

    In the Technology Hall, attendees could see 53 pieces of equipment – a significant increase over the 2017 event. Demonstrations were given on a wide range of equipment from industry-leading companies that include American International Machinery, Bobst North America, Carton Craft Supply, CCM Die Supply, Elcede, Konica/Minolta, Lasercomb, Manufacturing Supplies, Marbach Group, PPC Technologies and Solutions LLC, SDS Automation, Serviform SRL, Suntex Co., Therm-O-Type Corp. and many others.

    Multiple opportunities available for networking

    With attendees from across the United States – and across the world – in Atlanta, opportunities were plentiful for networking, idea sharing and problem solving.

    NextGen/Young Alliance Reception:
    With the talent crisis at the top of mind for many attendees, the IADD and FSEA were pleased to bring together younger industry members during a reception on Wednesday, May 1. The IADD NextGen and the FSEA Young Alliance groups are targeted to industry members under the age of 45 or with less than five years of experience, and the event provided an opportunity for members to network at the end of the first day of Odyssey Expo programming.

    WomenConnect Networking BreakfastWomenConnect Networking Breakfast:
    Women in diecutting, diemaking and print finishing gathered early on Thursday morning, May 2, to discuss issues in manufacturing and make important connections with others throughout the world. The Print Media Centr’s Deborah Corn was featured in a special SHEnote presentation on “Finding Your Voice.” The connections made by attendees will be continued through a LinkedIn group.

    FSEA Gold Leaf Awards

    FSEA Gold Leaf Awards:
    The Foil & Specialty Effects Association (FSEA) has announced the honorees in its 26th Annual FSEA Gold Leaf Awards Competition at a reception on Thursday, May 2. Entries were received from countries around the world, including the US, Canada, Denmark and Taiwan. Gold, silver and bronze winners were honored in 41 categories, and the Best of Show and two Best of Show Honorable Mention honorees were revealed.

    D.E. Baugh, Indianapolis, Indiana, was recognized as the 2019 Best of Show for “A Baugh Christmas Story,” which was entered in the category of Greeting Card, Self-Promotion: Most Creative. D.E. Baugh channeled its annual holiday greeting to customers into an opportunity to impress clients with not only its structural design capabilities, but also its high-end, value-added services – while playing on the classic movie “A Christmas Story.”

    Big Big BIGGER BASH
    This bigger, better-than-ever, house-rocking celebration is not to be missed! Food, drinks, games, prizes, music by the 80ators – all in a fun, casual atmosphere. Let loose and party with industry colleagues!

    Odyssey Expo 2021 will be held in Cleveland, Ohio.

    A Letterpress Journey to Learn From

    interview by Katy Ibsen, managing editor
    PostPress

    letterpressChris Fritton, author of The Itinerant Printer, a 12″x12″-coffee table book that commemorates his two-and-a-half-year travels to 137 letterpress print shops across the United States and Canada, has become a curiosity-seeker in the world of letterpress.

    Better classified as a tramp printer, Fritton used his journey to discover the vast world of letterpress from regional, economic, historic and creative vantages (as exhibited in his 320-page book).

    In this interview, Fritton shares information gathered during his capstone project and information on how letterpress on a commercial level can elevate brands in unexpected ways, including the various avenues in which letterpress currently intersects with brands and commercial use.

    Letterpress as a compelling form of printing

    There’s something about physically building the words that makes them more meaningful. Beyond its appeal as a constructive medium, I’m excited about the myriad unexplored possibilities in letterpress – it isn’t the most popular medium, and that means it’s still ripe for a lot of experimentation and play.

    Letterpress as a desired medium among commercial brands

    Letterpress had a resurgence, I think, as a reaction to digital media. People, including designers themselves, were feeling very removed from their products and their modes of production. In the end, the pendulum swung back in the opposite direction, away from the clean, hygienic, sterile space of digital graphic design toward the grittier, more visceral and haptic world of letterpress.

    It isn’t just what’s become popular; i.e., a deep impression on soft cotton paper that announces itself as handmade. It’s also the boundless repository of visual information. There are so many millions of images and fonts that have never been digitized, and all of that visual information is just begging to be used.

    I think (letterpress for commercial use is) good in the short term, but it might pose a challenge in the long term.

    When something trends, whether it’s a medium or a style, it is susceptible to becoming a novelty, and a novelty grows old and gives way to the next big thing. Whether it’s big, blocky wood type or detailed metallic foil, its day will come and something new will be waiting to take its place. The thing that I like most about seeing more letterpress printing commercially is that it puts pressure on innovators and visionaries – it makes all of us work harder to figure out what’s coming next.

    Using letterpress to make a statement

    It’s an unpopular thing for me to say, as a letterpress printer, but I use letterpress printing because it’s the medium I have the most facility with – if another medium would give me better results, I’d use it. And I’d advise that for anyone, and I think most tradespeople would immediately see the wisdom in that.

    But I’d also say letterpress just doesn’t look like anything else in the world. It’s not only tactile, but also visually arresting and challenging. Many people come away from looking at a letterpress piece wondering how it was made. That’s what I love about it – it draws you in and makes you ask questions about its origins. That kind of work will start thousands of conversations.

    Managing client expectations with letterpress

    This is definitely a challenge. As letterpress went from commonplace to uncommon to almost obsolete, it left the common consciousness. What makes it intriguing now, as I said before, is our lack of familiarity with it. But, that lack of familiarity also is a huge obstacle, one that requires a lot of education. You have to take the time to explain, sometimes even demonstrate, how the pieces are made in order to convey a sense of value to the client. I think once you’ve invited people into that space, they come away with a greater understanding of why the pieces are special and they’re also more forgiving of idiosyncrasies based on the handmade nature of the product.

    Letterpress trends

    letterpress
    Letterpress is not only tactile, but visually arresting and challenging.

    Integration of new technologies! Some of the best printers that I know all across the world are using laser cutters, 3D printers, CNC routers and more to create blocks, plates, stencils and type for printing. I believe there are endless possibilities in merging digital and analog – it’s never helpful to think of them as mutually exclusive – and the most forward-thinking printers see them as working hand-in-hand. Recently, in addition to this convergence, I’ve been seeing trends toward more abstract, painterly work – pieces that use type, plates and even the presses in new ways. It’s all about imagining how else the tools at your disposal can make a mark on the page.

    The value of printed matter

    letterpress
    letterpress

    I’ve been thinking about this a lot lately – recently, at an exhibition I did in Boston, dozens of people came “because they saw the poster hanging up” somewhere. It was really eye-opening. A good visual message does its job regardless of the medium, but in our increasingly digital surroundings, there’s something more compelling about a handmade object – it’s like it’s an artifact from a bygone era living in the present, and in many ways, because it’s an anachronism, it does its job better than it would’ve 100 years ago when it was drowning in reams of other printed matter. I also believe humans are inherently attracted to physical objects; there’s an intimacy that we cultivate with them, a closeness that we can’t replicate with digital information – call it romantic, but I think, at the end of the day, we still want something to hold in our hands.   

    In January 2015, Chris Fritton began traveling the US and Canada to visit small, obscure and unique letterpress shops in an effort to learn more about the medium he had come to love.  During his two-and-a-half year journey, he visited 137 letterpress print shops covering more than 47,000 miles and making over 15,000 prints. His journey is chronicled in his new book, The Itinerant Printer.

    The Itinerant Printer’s Letterpress Tips

    After visiting 137 letterpress studios across the US and Canada, Chris Fritton, author of The Itinerant Printer, shares his tips for working in letterpress.

    Baby wipes. Use baby wipes for cleaning your hands! Baby wipes have a tiny bit of baby oil on them, and that acts as a solvent for most inks. Instead of running to the sink to wash up every five minutes, just wipe down and keep working.

    Scotch tape. Use Scotch tape for makeready, not masking tape or painter’s tape. Masking tape has goopy adhesive that gets left behind, and both tapes are too thick to build up makeready slowly. Scotch tape is thin, clean and the transparency really comes in handy sometimes.

    Post-It Note. When you’re doing makeready with wood type and you need to slip a sheet of paper under a sort, use a Post-It Note. It already has a little built-in adhesive, and if you have to move it again, your shim will move with the type instead of getting lost.

    String. When you’re using a flat drying rack, be sure to run string or twine down the back of it vertically about every 6″ – that way if the racks get lifted accidentally, the prints won’t slide out the back onto the floor.

    Paint the end of your furniture correspondent to its length for quick and easy sorting back into the case (yellow for 10 pica, green for 15 pica, etc.).

    Get a tackle box. Sort your letter spacing for metal type into fishing tackle cases by size instead of leaving it in California job cases. It makes finding the right spacing faster and easier, especially when you’re dealing with really old cases that could have decades-old assortments of spacing.

    Bindery Automation circa 2019

    by Brad Emerson
    www.fixyourownbindery.com

    While bindery managers currently are inundated with an unlimited supply of “do-or-die” automation upgrades, ultimately the production and operation needs of each facility will determine which upgrades will keep the operation alive, which will put it ahead of the pack and which will constitute a significant investment with limited value added. A review of bindery automation in 2019 allows bindery managers and others in the field to consider the progress of automation on different fronts and to frame these improvements in terms of the problems they were designed to address and the tradeoffs they may require, beyond the generic “cost-saving,” “quality-enhancing” and “production-maximizing” selling points. This review presents an occasion to take inventory of utilization and return on investment of automation on the floor today and to identify opportunities for improvement.

    Existing peripheral equipment

    Equipment such as automatic-feed paper drills and automatic-feed poly wrapping lines present popular alternatives to more compact, manually-fed equipment. For binderies that have made or are considering these investments, it is important to keep in mind that as product mixes change over time, so will the “realized benefit” of this automated equipment.

    Are we still setting up an automatic drill or wrapper – which typically requires two people to run, with longer makeready and two to three times the floorspace  – for a decreasing quantity? Did we bring in extra staff for an eight-hour shift to run the automatically fed equipment for a partial shift to replace one associate on a manually fed machine? By the same token, are we slowing down a perfect binder or saddlestitcher by handfeeding when a bookblock feeder, stream feeder or additional folder feeder could allow the line to run significantly faster with the same or fewer associates?

    Of course, binderies producing the highest unit cost (e.g. hardcover, personalized) pieces have the lowest fruit to grab with automated peripheral upgrades such as bundle stream feeders, bookblock feeders, cover feeders, mailtables, stackers, semi-automatic and fully-automatic carton equipment, etc. For managers considering these potential investments, it is best to go see the equipment in action, if possible, to create the best “net results” factored into the justification.

    PUR (Polyurethane Reactive) adhesive upgrade

    While changing adhesives may not seem like a potential automation investment – or profit center – on the surface, how we invest to apply and handle the PUR adhesive will significantly impact the long-term cost of ownership. After the numbers have been crunched for a handfed perfect binder vs. a complete inline automated perfect binder with gatherer and trimmer, there are two major choices for applying the PUR adhesive: traditional roller pot (which can make the strongest book) or a nozzle system (which sprays the PUR adhesive on the spine with minimal changeover time and material waste).

    Other PUR adhesive cost and quality concerns if upgrading an existing line with PUR adhesive would be the mechanical condition of the line, the number of spine preparation tools and the precision of the clamp guidance. In addition, because PUR adhesive is more costly, it is important to monitor the amount/rate of PUR adhesive to be consumed. This will help when sizing the largest pre-melter possible to get the best per pound/liter bulk price and also will help minimize operator pre-melter changeover duties.

    Signature or pocket readers

    Beyond an OEM (original equipment manufacturer) image verification system’s routine maintenance recommendations for maintaining calibration, we often find many binderies are no longer running their difficult-to-use legacy image reading systems. Binderies with legacy verification systems owe it to themselves to research available upgrades to improve functionality and operator interface with the OEM. Some systems only require replacing the camera and software to enjoy the latest image and barcode features advantage and benefits.

    Targeted training

    We certainly are not born with the knowledge it takes to operate the latest automated equipment or to utilize every feature. Reviewing real-world obtainable net production goals with your OEM, operators and managers on a given product mix and then developing a targeted training program for success will put you on the path for continuous operations improvement.

    While such programs often are dismissed as too costly, the most training-oriented binderies or bindery departments have set up some type of specific area in their plants for training. These programs use the highest-skilled team leaders to hone operator skills on a regular basis, cost-effectively ensuring that investments in automated equipment realize their promises of improved quality and net production.

    Other Factors to Consider

    With this review of the advancements in bindery automation, companies that are considering an upgrade in existing equipment or a new equipment purchase should look carefully at which investments are suited to their operation’s needs. And, at the same time, look at ways to better automate and organize the bindery through other means outside of equipment upgrades and/or purchases. The following questions should help guide this decision-making process:

    1. Has the current equipment been comprehensively evaluated by an “objective” qualified technician to determine if it is in acceptable mechanical condition going forward? Objectively decide if maintaining or adding automation to current equipment is worth the investment or if looking at new equipment that has the automation built-in is a better option.
    2. Do the production scheduling associates optimize the schedule for the bindery? Scheduling like-size jobs consecutively on even the most pre-historic piece of equipment may be as efficient as the highest level of automation on a new machine.
    3. What is the bindery capability “wish list” from existing customers, new prospects and team members? Look carefully at this and talk with customers and team members within the bindery to determine what type of automation makes the most sense.
    4. Should an independent bindery consultant with experience in production and automated equipment provide an evaluation with recommendations? This can help determine the best options and whether to upgrade existing bindery equipment or consider the purchase of newer, more automated bindery equipment.
    5. Are the current operators properly trained on the most difficult products being produced? And, do you have the proper staff for the addition of automated equipment?
    6. When is the last time you rethought the machine and/or entire bindery layout? Workflow and the layout of the bindery area are extremely important and should be evaluated on a regular basis – especially if new equipment is added or existing equipment is upgraded.

    Brad Emerson is the general manager of www.fixyourownbindery.com, a company specializing in consultation, turnkey machine and plant relocations, new and used equipment sales, machine reconditioning, automation, custom fabrication and training. Emerson’s bindery background includes bindery supervision as well as bindery equipment marketing and consultation. For more information, comments, questions or criticism, email [email protected].

    5 Reasons to Hire for Skill Over Experience

    by John Carrozza, principal consultant
    Riviera Advisors, Inc.

    When hiring a new person into your organization, it’s very likely that you will review the resume, CV or professional profile and assess how that experience might apply to what your team needs. This is a very logical approach to assessing talent; however, when you look at how quickly the skills to perform each role are changing, only looking at past experience could leave you with a big skill gap. Hiring employees for their skills is a much safer – and longer-term – bet.

    Hiring for skill means your workforce is better prepared for the changes your business may need to make in the future – and those employees will likely be more adaptable to the future organization you are starting to envision.

    To make sure you are not only attracting the best candidates, but know who they are when they’re right in front of you, here are five ways to approach hiring for skill.

    1. Don’t get too caught up with ‘fit’

    Hiring for culture is extremely important. However, hiring for what ‘fits’ today is extremely limiting. Think about where your business will be in three to five years – will the prospective employee fit what you need then? Every area of your business likely is evolving; make sure your talent acquisition activities are, too.

    2. Avoid the shiny pedigree appeal

    Many organizations focus too heavily on sourcing efforts that target candidates with “pedigree appeal” – impressive credentials, educational or employment backgrounds. In fact, these days it takes precedence over the thorough investigation your team should be doing to understand if candidates have the skills needed to do their job today and tomorrow. Make sure you still are using some good old-fashioned interviewing and assessment skills to learn what these candidates gained from their prestigious experience.

    3. Leverage technology, but don’t fully rely on it

    There are amazing tools today to search resumes for key words that can help create a shortlist of job candidates. Where the technology cannot help you is in uncovering why/when/how do people entertain new career opportunities, and what they need or want before you start selling the job and the organization. Be sure to learn candidates’ aspirations for growing their career and constantly enhancing their skill sets.

    4. Sharpen your assessment skills

    Further to #2: Know how to effectively assess candidates for desired skill sets based on prior accomplishments and results – and coach hiring managers to do the same. Think about the skills the candidate has demonstrated and get an understanding of what the individual learned from that experience. You can do this by actively listening and interpreting for understanding, not just responding.

    5. Learn the story of the skills

    Know where the value lies in the story of the job seeker’s experience. Ask at least two skill-based questions (with follow-ups) for each attractive experiential accomplishment, and you can get to the story of the skills. Coaching the team members who participate in the interview process can help them put the skills in the proper context. An example of a skill-based question could be, “How did you build the skills you needed after a setback?”

    Previous approaches may have had you looking for top commercial or consumer brands on a resume. Some have assumed that surviving a period at that school or at that employer would automatically prepare the individual to deliver what is needed in a particular role. Skill-based hiring involves looking for stories with keywords like: ability to communicate, learning new systems, managing relationships, interpreting situations, forming new ideas, strategic thinking and respecting others’ input.

    Many of these skills are much harder to teach, change or develop in candidates regardless of the industry. These are the solid skills that can make an immediate impact and help a candidate fit in with your culture, today and in the future. For consistency across all your interviews, a scoring tool to identify where the greatest added value would be, where the growth opportunity for each candidate lies and what your recommendations are can be a helpful way to later review the talent available to you.

    Having a strong understanding of what you need each role to bring to your team today – and how that role may quickly evolve – will help your company find strong candidates. These will turn into fantastic employees who are adaptable and will help bring your organization into the future. It may be tough at first, but know that getting a start on this will give you a competitive edge as the battle heats up to attract, develop and retain your talent.

    John Carrozza is a principal consultant with Riviera Advisors, Inc., a boutique recruitment/talent acquisition management and optimization consulting firm based in southern California. For more information, visit www.RivieraAdvisors.com.