2020 Aug/Sept

Industry Influencer: Ben Markens, PPC

September 10, 2020

PostPress

Ben Markens has been president of the Paperboard Packaging Council (PPC), the trade association for folding carton companies since 2008. Before joining PPC, he had spent most of his adult life in folding cartons, working in converting companies, including as a plant manager and vice president of operations. In 1988, he founded a consulting practice niched to folding cartons, consulting on matters of costing, throughput, operations and strategy.

PostPress recently sat down with Markens to further discuss his knowledge of the industry, the PPC and his predictions for the road ahead.

What is the Paperboard Packaging Council’s mission?

PPC’s mission is twofold. First, we are the voice of the paperboard industry to stakeholders – regulatory, retailers and media, like PostPress.

The second part of the mission is to help our members stay competitive by providing tools and resources – such as data, meetings and forums – as well as access to suppliers of state-of-the-art technology.

What specific programs has PPC established to promote the industry and help its members?

Our association provides programs to support members in all areas relating to the packaging industry.

For example, our benchmarking studies look at throughput, labor, benefits, financial condition and much more. Because we have strong participation numbers, we can provide high levels of detail while maintaining the anonymity of our members. These pro-competitive materials also are regularly reviewed by PPC legal counsel to ensure compliance with the law.

We have many communities of interest that meet regularly and support one another: operations, financial, human resources, new leaders, women leaders, rigid box makers, Canadians and more.

We hold two general meetings each year highlighting speakers and programs to make our members better leaders and keep them abreast of industry developments.

We have a robust supplier community that helps our members solve technical problems and provides access to the latest technology available.

Our annual carton competition is our equivalent of the Oscars. Members get to showcase their work with beauty, sustainability and innovation, raising our members while inspiring others to continue pushing our industry forward.

Trees into Cartons, Cartons into Trees (TICCIT^®) is an outreach program that teaches grade-school children about the benefits of paper-based packaging compared to other non-renewable and non-recyclable substrates, like plastic. Members go to their children’s schools to teach a lesson that complies with national learning standards and is a day of fun for the students. For the member company, this is a triple winner: employee engagement, community engagement and telling our story.

What are some challenges facing the industry, especially in light of the current pandemic?

Our industry has had, and continues to have, problems recruiting and retaining high performers. Manufacturing often is hard work and is not considered as sexy as tech and other service industries.

The truth is that we are a dynamic and exciting business that creates the means to get products to market. This has never been more evident and essential since the shutdowns began in mid-March and the race started to keep the grocery shelves filled.

With more consumers focusing on sustainability, what are the opportunities for paperboard packaging now and in the next few years?

Paperboard is either renewable (made from trees that we planted) or recycled. Boxboard fibers can be recycled many times if consumers treat them well and dispose of them properly by putting them in the blue recycling bins. Recycling rates are quite high, and the Federal Trade Commission allows us to call folding cartons recyclable. This claim, recyclable, is one that no (or almost no) plastic package legally can make.

What are some of the challenges that new emphasis on sustainability brings to paperboard packaging manufacturers?

Currently, our biggest challenge is getting the message out about our sustainability profile. We could do a better job telling our story.

What industries do you see as growth potentials for folding cartons/paperboard packaging in the near future?

Cannabis, convenience store, beverage, pharma and food remain strong end-uses for folding cartons.

27th Annual FSEA Gold Leaf Awards

September 10, 2020

PostPress

The Foil & Specialty Effects Association (FSEA) has announced the honorees of its 27th 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 more than 35 categories.

DataGraphic, Commack, New York, was awarded the 2020 Best of Show award for “Stag & Hare Honey Box,” which was entered in the category of Best Use of Foil/Embossing – Folding Carton (Technical Difficulty). This impressive box features an array of specialty effects guaranteed to impress clients with its unique design and tactile textures and finishes. Built around a honeybee theme, the carton creates a striking impression while honoring one of nature’s hardest working and natural creators – the honeybee.

For a full list of award winners please visit fsea.com

Thank you to our sponsors

Platinum Sponsors

Bobst North America Inc.
Crown Roll Leaf, Inc.
Duplo USA Corporation
H+M USA
Infinity Foils, Inc. – a UEI Group Company
Kurz Transfer Products, LP
Metal Magic
Mueller Prost
Owosso Graphic Arts, Inc.
Sakurai USA, Inc.
Univacco Foils Corporation
Universal Engraving, Inc. – a UEI Group Company

Gold Sponsors

Breit Technologies LLC
Eagle Systems

The Workforce Solution is Career Awareness

September 10, 2020

By Donna Painter, assistant professor, Department of Applied Engineering, Safety & Technology, Millersville University

Currently, there is a lot of unpredictability in the future of the print and finishing business, but there is one thing that is known for certain – an infusion of skilled young talent is needed to continue to innovate and thrive. While struggling to manage the risks and uncertainties of doing business during a global health crisis, talent development may seem like a low priority, but consider this: When the economy emerges from this pandemic, the workforce will be older, and businesses still will be facing an impending workforce shortage. Finding, attracting and retaining young talent remains one of the industry’s primary challenges.

The Graphic Communications Workforce Coalition (GCWC) was formed last year to coordinate a cohesive, industry-wide effort to attract, recruit and retain the next generation of workers. GCWC has completed a comprehensive survey of the industry and released a white paper, titled “Workforce Concerns in Graphic Communications,” detailing the results and recommended actions. Survey respondents covered all areas of the industry, including service providers, suppliers, associations and schools. The purpose of the survey was to identify current efforts to cultivate talent and define areas that need support. The primary finding of this paper was that the young talent so desired is not aware of the career possibilities in printing and graphics.

To determine the kinds of workforce development options that are most needed, this survey asked participants to rank seven items from most to least effective. Highly ranked options designed to draw in new employees were internships, hands-on equipment training, skills training and certifications, and apprenticeships, but career awareness clearly was ranked as the most effective means to attract and retain workers. Rankings of all seven items are shown on the chart Effectiveness of Workforce Development Options.

The young talent the industry desperately needs is not aware of the careers available in print media, because the industry is not showing these young people what it looks like to work in this field. This industry offers high-tech, highly skilled positions that require creative problem solving and critical thinking. It has interesting, desirable jobs – but young people think it is old tech, low-skill and boring. The industry needs to overcome that flawed perception. With an increased awareness of careers in printing and graphics, and opportunities through internships and apprenticeships, it could motivate students to pursue this field of study and ultimately help to meet the workforce needs of the industry. GCWC will be working through its membership to provide positive messaging about graphic communication careers.

The complete white paper, “Workforce Concerns in Graphic Communications,” can be downloaded by going to the GCWC website.

Become an active part of the Graphic Communications Workforce Coalition. The Coalition consists of associations (including the FSEA), educators and industry representatives that have joined together to coordinate the efforts of organizations to create awareness, recruit new people into the industry, provide a framework for apprenticeship and training programs, and retain the existing workforce. Join GCWC at www.gccoalition.org.

Donna M. Painter, M.Ed, is an assistant professor at Millersville University and a GCWC Board Member. She teaches graphic communication and writes and presents about the need to develop the next generation of leaders. For more information, contact donna.painter@millersville.edu.

FSEA Remembers Lifetime Achievement Award Recipient: John Tinnon

September 10, 2020

By Kym Conis, former assistant director, FSEA

John R. Tinnon of Glencoe, Illinois, was born on September 1, 1948, in Caruthersville, Missouri, and left this earth on June 25, 2020, after a long illness. Tinnon was a charismatic, generous and commanding man of integrity with a sounding laughter and a smile for everyone. He cared passionately about his family and his friendships and was a mentor to many. He spent more than 40 years as a founder, owner and chairman of a number of companies relating to the graphic arts industry. His pioneering spirit, leadership and contagious energy permeated the entire industry from the implementation of business models to his guidance in the Foil and Specialty Effects Association (FSEA). Building and restoration were recurring themes in his career. Tinnon was awarded an FSEA Lifetime Achievement Award in 2007. The following article appeared in the February/March issue of Inside Finishing.

Perfecting a craft can be a powerful first step toward success. Applying the right business strategies to mold that craft into a thriving finishing operation is more powerful yet. Combine the two with an indomitable spirit unafraid to set the industry bar – time and time again – and you have a force destined to shine. Over a thirty-year span, John Tinnon led a remarkable team in building one of the largest turnkey graphic arts finishing operations in North America, Graphic Converting, Inc. Through his dynamic leadership style, coupled with his forward-thinking attitude and wherewithal to make things happen, John Tinnon provided inspiration and guidance into territories unknown.

This pioneering spirit and contagious energy permeated the entire industry, from the implementation of bold business models to the initial formation and guidance of the formerly named Foil Stamping and Embossing Association (FSEA). In tribute to these accomplishments, as well as to his dedication and significant contribution to the foil stamping and embossing industry at large, the FSEA is proud to honor John Tinnon with the 2007 Lifetime Achievement Award. As a successful trade entrepreneur and one of the founding fathers of the FSEA, Tinnon is recognized for his steadfast commitment to sharing knowledge, breaking down barriers and implementing change amidst an industry in need of direction – forever redefining the role of today’s ‘trade finisher.’

The inception of Graphic Converting can be traced back, in part, to Tinnon’s childhood – to the influence of his father’s background in diemaking and diecutting. “I was rubbering dies when I was just ten years old on weekends in the basement of our house,” recalled Tinnon. Working summers at a large finishing operation in Chicago, and part-time during high school and college, Tinnon started full-time upon graduation and worked in various capacities over the next five years, including estimating and eventually, general manager. After a few years (and a few points of disagreement), Tinnon set out on his own to seek new opportunities.

“It has a lot to do with luck with a capital L.” – John Tinnon

Tinnon-Inside-Finishing — Tinnon encouraged his employees to exceed their own expectations.

Getting a ‘lucky’ break, a good friend in the printing business, Marv Lee, lent Tinnon $10K to start his own business, with the understanding that Tinnon would buy full control when he was able. Allotted 3,000 sq. ft of space in Lee’s facility, Graphic Converting .was established in late 1976 with a Thomson diecutter, a hand mounter, some small miscellaneous finishing equipment and four employees.

In its first year of business, Graphic Converting, Inc. (GCI) did just over a quarter of a million in sales and succeeded in nearly doubling that amount every year for the next five. In 1978, Tinnon was joined in partnership by Nia Chrisos (who also worked for Lee and who did the bookkeeping for GCI) and Tom Burnight – both bought into the company for a small percentage. When Lee unexpectedly passed away a short time later, the division of ownership was 2/3 Tinnon (president) and 1/6 for both Chrisos (VP of operations) and Burnight (VP of sales), which remained the structure until 1986. “I later found out from executors of Marv’s estate that when he lent me the money, he had really intended to groom me to run one of his businesses,” Tinnon explains. “He never expected Graphic Converting to take off – they got a very good return on their investment!”

After just two short years in business, GCI ran out of space and in late 1979, rented 35,000 sq. ft. in a 120,000 sq. ft. facility on West Division in Chicago, which provided the room for GCI’s first Bobst diecutter. One year later, in addition to several other machine purchases, GCI made a pivotal move to enter the foil stamping arena with a Bobst BMA. “We jumped right in and went straight for large format stamping,” recalled Tinnon. In 1984, GCI once again ran out of room and purchased the entire facility it had been renting.

“We grew so quickly over the course of five years that we started to experience some major growth pains.” – John Tinnon

Over the next decade and a half, GCI would take on a new shape, in part through a series of acquisitions fueled by an educational journey on which Tinnon would soon embark. “We were growing very quickly and the company was experiencing some major growth pains,” explained Tinnon. “I really didn’t know much about business,” and so in quintessential Tinnon style, he did something about it and went back to school. Entering Harvard University’s OPM Program (Owner/President Management Program) in 1985 was just the boost the company needed to manage its growth.

The company’s first acquisition in 1985 was Classic Finishing, a company that had shared rental space with GCI before the purchase of the building. Gillespie followed in ’86, Lidtke Binding in ’88 and the manufacturing operation of Upper Deck in 1997. It was as that time that Steve Skalski joined the GCI team as a partner and remains today an integral force behind the company’s overwhelming success in the trading and game card industry. Three more acquisitions were made at the start of the new century, including Midwest Graphic Finishers and DynoPress, both of which were later closed down, and the trading and game card division of Great Western Industries in Dallas, Texas – its final acquisition to date.

But to a greater extent, GCI’s talent in the finishing arena would be molded by a complete paradigm shift and refocus on the way it did business. Prior to the Upper Deck acquisition, Graphic Converting moved into its final location as a trade finisher – a 150,000 sq. ft. facility in Niles, Illinois. Now armed with the space, equipment, dedicated partners (Burnight and Skalski) and most importantly, loyal, hard-working employees necessary to implement its goals, Graphic Converting took flight.

“Success is attributed to the basic concept of doing business – establishing solid, long-term relationships with your customers and vendors; hiring good people and keeping them happy; and surrounding yourself with bright people.” – John Tinnon

Recognized for providing the highest quality products and services, GCI became one of the largest trade finishers in the industry with more than 300 employees located nationwide at over 400,000 sq. ft. of space combined in its Niles, Illinois, Carlsbad, California, and Dallas, Texas facilities. From structural design and project engineering to digital printing, UV coating, film laminating, foil stamping/embossing, mounting, diecutting, collating, folding/gluing, assembly, fulfillment, and just-in-time shipping, Graphic Converting had the capability to create powerful, image-enhancing solutions unique to each particular application.

Always leading by example, Tinnon encouraged and inspired his employees to exceed even their own expectations. His leadership style created an entrepreneurial atmosphere that was fun, energizing, and creative – one where everything and anything was possible when it came to taking care of a customer. Tinnon continually stressed the importance of integrity, whether interacting with a customer, partner, employee, supplier or competitor: “Be completely and totally ethical; it is the one constant that will endure through good and bad times.”

“You always have to be looking at your strengths and ask: What are our core competencies and how do they apply to other industries?” – John Tinnon

Concepts such as project management, turnkey operations, direct marketing and market expansion became key core competencies as Graphic Converting worked to establish a new relationship with its customers and a new role as a trade finisher in an industry where the business climate was dramatically changing. Tinnon realized early on that the ‘traditional’ role of the trade finisher, that which was defined by the printer’s ability to ‘close the deal’, would need to be redirected. And thus, the company began to employ the direct approach by targeting its customers with customized presentations that provided solutions to their needs. To this end, GCI began to create elaborate direct marketing pieces that the company could use to focus on particular market segments. Eye-catching sales pieces such as a self-promotional package entitled “Release Your Imagination,” which was created specifically to target designers, not only set out to bedazzle the viewer and sell the company’s services but also, often served as an educational tool to increase awareness and thereby, grow the industry at large.

GCI also began to target other market segments in addition to trade finishing in the early 1980s. Starting with the greeting card arena, GCI took this market one step further by establishing dominance in outsourcing manufacturing by providing capabilities that included print through specialized card packaging. In the late 1980s, GCI targeted the trading card market. Under Tinnon’s direction, GCI drove the consolidation of trading card manufacturing by offering a single source where all trading card and collectible game card marketing companies could have their products produced. By creating one facility that manufactured cards only, GCI was able to create a highly efficient operation that would benefit the trading card industry as a whole. With the acquisition of the Dallas, Texas, facility, this market segment eventually would become (as of 2005) GCI’s main and only core competency.

At this same time in the late 1980s, GCI began to target packaging and point-of-purchase (POP) displays, developing a niche in the small format and specialty POP market. Time and again, the structural design created by GCI’s team of award-winning designers was the reason the company was given the job. From there, quick-turnarounds and a ‘can-do’ approach continued to bring in unique display projects that included sound, lights, motion and multiple levels of dimension.

This market was one area that GCI targeted as a tradeshow exhibitor – another bold move for a trade finisher at the time. 1996 was the first year that GCI participated in tradeshows and it did so with style. A new custom-designed display was utilized at its first POP Show in Chicago. As was (and still is) with most subjects, visual stimulation was critical and tradeshows were no exception. GCI continued to support the POP, greeting card, publishing, and premiums and printing industries at trade shows.

The trade finishing portion of GCI, located in the Niles facility, eventually reached a point where it no longer could compete profitably in an industry where finishing work had become better suited towards smaller operations – ‘small’ as compared to Graphic Converting. “Our next move was either to add printing capabilities and become a complete turnkey operation, or to sell that end of the business and concentrate on what would be the most profitable,” explained Tinnon.

Thus in 2005, the ‘finishing giant’ sold that segment of its business to JohnsByrne Company. Today, in the process of yet another move that is expected to be completed by the end of 2007, GCI’s California facilities are closing down and moving to its newly expanded and renovated Dallas facility – orchestrated by partners Steve Skalski, CEO in charge of operations, and Joe Yaney, CFO in charge of finances. Tinnon and Burnight are semi-retired, remaining in the picture but not on the day-to-day scene. GC Dies, a spin-off division of Graphic Converting located in Elmhurst, Illinois and run by President Mick Tinnon, remains in operation today, supplying steel rule dies nationwide.

Tinnon’s pioneering spirit was never more apparent than with his guidance and leadership of the Foil Stamping and Embossing Association during its formative years. Serving on the FSEA Board of Directors from its inception in 1992 and for nearly ten years to follow, Tinnon worked with a dedicated team to achieve a number of goals: to unite its members and the industry through education and standardization; to create true value for association members; and to heighten industry awareness and thereby, increase growth. During Tinnon’s tenure on the board, serving as Chairman for three years, Tinnon worked on a number of projects – several of which remain a part of FSEA operations today. “It was a great group of people to work with,” recalled Tinnon. “There were no egos – no issues; we all worked towards a greater goal.”

Among the many projects that came to light under Tinnon’s leadership on the board was the Fall Seminar Series, which the FSEA launched in three major cities throughout the US in 1994. “I remember giving a presentation entitled BAIL (Banker, Accountant, Insurance Agent and Lawyer), which set out the importance of establishing a core group of specialized professionals to help run your business successfully,” explained Tinnon. The popular seminar series was just the beginning, as the association also launched its inaugural national convention in Chicago in 1995. Projects such as the Pantone Foil Selector Guide and the massive undertaking of A Different Breed: The Designer’s Guide to Foil Stamping and Embossing, which was produced live at Print ‘97 in Chicago, were just a few of the springboards from which the FSEA promoted industry awareness and standardization nationwide. Both were projects in which GCI played a large part from start to finish.

Other FSEA projects that came to light during that time were the Gold Leaf Awards Competition, a formal membership directory, a unified glossary of industry terms and the association publication InsideFinishing. Even after Tinnon stepped down from the board, his involvement and support never ceased, lending assistance with association projects and committees whenever possible.

Outside the industry, Tinnon’s entrepreneurial spirit has taken new directions. Currently, he is a partner in a company called IDM (In-Development and Management Company), which specializes in the hospitality market. Collectively, Tinnon, along with a set of new partners, owns and/or manages several properties throughout Wisconsin, including the Jefferson Street Inn and City Grill in Wausau, The Beloit Inn in Beloit, and his newest venture The Gordon Lodge, a 135-acre shoreline resort with “the most beautiful sunsets in Door County!”

Awarded Entrepreneur of the Year (Chicago) by the University of Illinois and Chicago Small Business of the Year before that, Tinnon’s long list of accomplishments has not gone unnoticed – even outside of the industry. A man of great integrity, charisma, dynamic leadership ability and an uncanny eye for business, John Tinnon remains as energetic and forward-thinking as he was over three decades ago, running a hand-fed diecutter at night and selling jobs by day. An inspiration to all who know him, and to many who’ve only heard the tales, John Tinnon remains a pioneer into territories unknown.

Recruiting the Next-Generation Workforce

September 10, 2020

By Brittany Willes, editor, PostPress

Prior to the coronavirus pandemic, one of the key issues facing leadership across nearly every industry was that of recruiting and retaining the next generation of employees. For the print finishing and binding industry, workforce development is especially crucial as the older generation – often with decades of specialized knowledge and skill sets – begins to retire. So, how do businesses find the right people to fill the necessary roles in their facilities? During the FSEA Online Learning Experience this past June, marketing and communications expert Shelly Otenbaker, president and founder of WayPoint Marketing Communications, shared current human resources marketing trends and best practices for recruiting the next-generation workforce.

Marketing for employees

There is a common myth that marketing is solely for business development. In reality, a company’s marketing resources and strategies are incredible assets when it comes to attracting and retaining the best employees.

“Marketing plays an important role in the hiring process,” said Otenbaker. “It creates awareness of your company, as well as engaging the right people to move them through the different phases of the hiring process.”

Consider the sales funnel – the process of attracting leads and moving them through the funnel to the intent to purchase. This is similar to how employers should consider their workforce. “Think about your workforces as an audience and the funnel is an employee acquisition funnel,” explained Otenbaker. In this acquisition funnel, employers should make use of their marketing resources to attract potential new hires. Similar to the sales funnel, the acquisition funnel begins with creating awareness, followed by consideration and interest. In this case, the intent to purchase becomes the application, selection and hiring process.

As Otenbaker noted, marketing is a key component in moving potential employees through the tunnel by attracting just the right candidates. “If someone searches for your company online, what do they find?” she questioned. If the next-generation workforce is the audience, what message are they receiving about a given company?

“In 2020, 50% of the workforce is made up of millennials, who look at things very differently than previous generations,” said Otenbaker. “These folks know all about your company before they even submit an application or resume. They’re qualifying you and your company without a single conversation. Seventy-five percent have researched the company’s reputation before applying for the job. They’re using social media, job boards and other sources to determine what your company offers, how you operate and what your commitment is to your team.”

A company needs to look at all of its marketing and recruiting materials – read them, analyze them and see what they say. What picture is being created about the company? Is it easy for people to access the materials? Are they up to date? Do they reflect the company’s culture? Is the website inviting? “It’s time to really be honest with yourself,” said Otenbaker. “Take a step back and look at what it is you’re sharing with the world.”

Which, again, begs the question: How are companies marketing themselves to this new audience? What messaging are they passing along to potential hires? Now, more than ever, it is just as important to sell the company to potential employees as it is to sell products and services to clients.

Evolving needs and processes

“A lot has changed in the last two decades when it comes to talent acquisition,” said Otenbaker. “The process has evolved and so have the needs and wants of the next-generation workforce. This is the generation that grew up with smart technology, that is known to challenge hierarchical structures. They want the flexibility to work when and where they want. They are open to change, and they want to build relationships with managers that deliver constant feedback and recognition. They’re looking for a place where they can continue to advance, as well as someplace where they can have a social and enjoyable workplace.”

This is in stark contrast to previous generations for whom flexible schedules and work/life balance were rarely on leadership’s radar. As a result, a large portion of today’s leadership is resistant to the evolving needs of the current workforce, something Otenbaker has encountered all too often.

“Unfortunately, a lot of companies’ leadership are not open to some of these characteristics or changes in the workplace that are appealing to the younger generation of workers,” she stated. “There’s work to be done,” Otenbaker noted. “As the current workforce continues to age and more people are going to be retiring, leadership is going to have to embrace these younger generations. Adjustments will need to be made.”

For companies to continue to grow and succeed in the current and future marketplace, it is vital that leadership support the needs of the next generation workforce.

Talent management

According to Otenbaker, to effectively recruit a workforce, companies need to develop a talent management strategy. “Statistics show that people change jobs 12 times during their career,” she stated. “While it could be a little longer or shorter in the print industry, the average employee tenure is roughly 4.3 years. This means you will need to continuously replenish your workforce.”

A typical talent management strategy includes the establishment of a talent pipeline – a pool of candidates available before a position is even open. This, in turn, means a reduction in the amount of time required to hire candidates, access to better-qualified candidates and reduction in recruiting costs.

So, how do companies go about establishing a talent pipeline? There are several steps that can be taken, but first and foremost, Otenbaker said, companies need to identify their long-term needs. “What are the employee characteristics – the types of people – you need in the long run to continue to meet your business’ goals?” she asked. “Once you have that, you can work on attracting and engaging candidates.”

Candidates in the talent pool should be assessed to determine which of them are the right fit. Who are those candidates who will best align with the business’ goals? Those are the candidates to nurture.

“It’s not something that can be done overnight,” said Otenbaker. “It takes time, and there are a lot of resources that have to be put into place. However, once all of the strategy and work has been put into it, and it finally is up and going, it is a lot easier to maintain.”

Additional steps for establishing a pipeline include conducting an audit of the business – i.e., going back to those marketing and recruiting materials. Once those have been reviewed, it is vital to secure the support of leadership. “Company leadership needs to agree that talent and the future workforce is important for the company’s success, and that building a pipeline will help the company perform better,” noted Otenbaker.

Next, connect with HR and/or marketing departments and make sure they are aligned and working in tandem, leveraging their tools and resources to build the talent pipeline. Once HR and marketing are aligned, focus should be turned to determining metrics for what success looks like for the company and establishing a budget for meeting those metrics.

“What are you trying to accomplish and how will you measure the effectiveness of your strategy?” asked Otenbaker. “Some of your metrics might look at reduced time to replace an employee or filling all talent gaps within a certain time frame. Whatever those success metrics look like, they need to be in place so that you understand what you’re trying to accomplish and can plan accordingly. And you need to understand what kind of budget you have to work with so you can prioritize tasks and determine what can be accomplished within that budget.”

Finally, companies must build an “employer brand tool box” that will help in attracting talent. “The most important tool is your website,” said Otenbaker. “It is the foundation for all of your recruiting activities, not to mention business development activities. Whether it is a customer or a potential candidate, people are looking at your website every day and making decisions on whether or not to engage with you. If your desired brand identity doesn’t match with your website, you may lose potential candidates.”

Recruiting during COVID-19

As COVID-19 continues to spread across the US and the world, many companies are experiencing a hiring freeze – or even layoffs. Depending on their individual situations, continuing to develop a talent pipeline may be the last thing they’re worried about. However, Otenbaker advised not to let efforts with the talent pipeline fall by the wayside.

“Continue working on your pipeline through the hiring freeze,” she stated. “If you stop now, it will put you behind when we get on the other side or are dealing with the new normal. You want to continue to work on it and make sure you are communicating what’s going on with your company to ensure you are appropriately staffed and ready to react throughout the crisis.”

With nearly 20 years of marketing communications experience under her belt, Shelly Otenbaker has the experience, knowledge and determination to help companies develop and implement strategic communications strategies focused on improving their business’ bottom line. For more information, visit www.waypointmc.com.

Association News: August/September 2020

September 10, 2020

PostPress

FSEA Hosts Virtual Conference, Sessions Now On Demand

In June, the Foil & Specialty Effects Association (FSEA) hosted a two-day online conference aimed at those involved in print finishing and binding. With more than 250 registrations, the conference sessions were presented via Go-To-Webinar, and all sessions now are online for free, on-demand viewing. Sessions include the following:

The Impact of Cold Foil on the Embellishment Landscape
Sustainability in the Print Industry
Grow Your Business by Promoting Foil & Finishing
Digital Decorating: Where Does It Fit?
The R&D Tax Credit
Working Through Challenges with Paper Stocks and Coatings
Recruiting Your Next-Generation Workforce

In total, there were 13 webinars presented, covering all aspects of the print decorating and postpress industry. This impactful content is available free to all attendees, thanks to the industry suppliers that stepped up to sponsor the event.

“We were excited to bring this online educational event to the industry at a time when we are all staying a little closer to home,” said Dianna Brodine, assistant director of the FSEA. “Next year, we hope to see everyone in person.”

To view the on-demand content, visit www.fseaconference. com. To visit (virtually) the Supplier Trade Fair, go to www. fseaconference.com/trade-fair.

FinisherFinder.com Expands Searchability

The Foil & Specialty Effects Association (FSEA) has expanded its popular website to include even more categories of print finishing, decorating and bindery services. The updated site is built to help commercial printers, graphic designers, ad agencies and other graphic arts professionals easily locate FSEA members that provide services for print finishing and decorating. These include hot and cold foiling, digital foil and spot coatings, specialty UV coatings, folding/gluing, bindery processes such as perfect binding and mechanical binding, and much more. Visitors can search for specific print finishing and decorating companies by services offered and geographic location.

“FinisherFinder.com was developed to help the graphic arts community easily locate companies that perform specialty processes,” stated FSEA Executive Director Jeff Peterson. “If a printer, designer or other graphic arts professional is looking for a partner in finishing or decorating services or for a supplier to the finishing industry, FinisherFinder.com is the answer.”

In addition to making it easy to locate print finishing service providers, FinisherFinder.com includes a full list of suppliers that can be searched by products and services offered, including hot and cold foils, foil stamping engravings, foil and diecutting presses, UV coaters, laminating equipment and more. FinisherFinder.com can be accessed through its direct URL (www.finisherfinder.com) or via the FSEA website at www.fsea.com.

FSEA Introduces New White Paper on Direct Mail and Embellishments

The Foil & Specialty Effects Association (FSEA has released a new white paper: “Transforming Direct Mail with Print Embellishments.” The eight-page paper provides detailed information on why direct mail works in the “overcrowded” digital world and how direct mail campaigns have used foil, specialty coatings and other embellishments to enhance noticeability and response rates. Several experts in the field are quoted, and photos provide samples of a variety of direct mail projects using embellishments.

The white paper concludes that by adding the vibrant tactile elements that can be experienced with foil, diecutting and other embellishments, a direct mail piece resonates with statistical ROI for the sender. The new “Transforming Direct Mail with Print Embellishments” white paper currently is available for FSEA members only and can be downloaded from the Members Only section of the FSEA website at www.fsea.com. For further information or to confirm a current password, email jeff@fsea.com.

Folding/Gluing: Working with Short-Run Cartons

September 10, 2020

By Kevin Koplin, managing director, and Shawn Rogers, training manager, American International Machinery

Those in the industry know that print runs for most everything have become shorter, including many applications for folding cartons. Today, carton runs have been affected by companies having the ability to digitally print short-run cartons as well – meaning carton runs for many applications are becoming shorter and shorter.

No matter how short or long a run for a folding carton project is, in most cases, it must go on a folder-gluer before the final packaging of the product. The folding/gluing process can be meticulous and time consuming, so any type of pre-planning and preparation before the carton reaches the machine is extremely important. PostPress reached out to Kevin Koplin and Shawn Rogers from American International Machinery and asked them to share some tips for working with smaller carton runs, including how to keep makereadies and set-up times to a minimum.

What recommendations would you make to the designer of a folding carton with a niche-market and shorter-run product?

We would highly recommend that the designer discuss the project with the company that is doing the folding/gluing of the carton prior to production. Even better, if an experienced operator can be involved before the final design, on-press challenges can be avoided. Often, operators can determine what issues may arise and how to solve them before running the cartons, potentially saving set-up and running time, as well as decreasing product waste.

From a carton design standpoint, what can help keep folder-gluer costs down when working with shorter runs?

When designing the carton, it is important to use quality materials, such as paper stock and glue. Additionally, preventative maintenance performed at regular intervals on the folder-gluer and experienced or well-trained operators also are keys to success and keeping costs low. For example, if there is a glue issue on a carton, an experienced operator may explain that taking 1/32″ off the edge of the glue flap will eliminate the carton adhesion problem in the future.

Another easy suggestion for times when a coating or varnish is being used is to ask the designer and printer to “knock out” the coating on the glue flap area, eliminating any potential problems where the glue might not adhere to the coated flap. Sometimes, simple adjustments to the design or final printing can save a great deal of time on the folder-gluer.

When working with shorter carton runs, how can operators decrease set-up times and decrease overall time on the folder-gluer?

Backfolding-system — Pre-planning and preparation is crutial when it comes to folding/gluing as the process can be time consuming.

Decreasing makeready times can be approached in many ways. One is to “gang” together jobs that are using a common style of carton set-up. For instance, if there are several jobs of straight-line cartons, running those one right after another will cut down on changeover time because of the similar tooling. Second, it can be a time saver to keep much of the tooling on the machine during changeovers to avoid extra steps when in makeready.

Third, and extremely important, is standardization. Standardizing a carton to the machine will decrease makeready times substantially. This means measuring carrier positions, tooling positions and any other movable/removable parts that are used in the makeready process. There are many different measuring methods for saving this information. Some machines have dial indicators for each carrier to allow the operator to log its location in a database or on a sheet of paper. If all of this information is computerized on the folder-gluer, then it is stored for the operator. Creating a job folder is great for repeat orders for the job history. Following the recorded measuring methods and information prior to producing the order could eliminate mistakes and certainly can save time on press, which is so important on short-run jobs. Also, photos and videos are good tools. Some operators need it to be visual, and a photo or video can help them remember how a job was set up in the past.

When working with coatings or varnishes, what are some ways to decrease potential challenges on the folder-gluer, which in-turn can keep costs down for the project?

Coating issues in the finishing department mostly are driven by press issues. If the coatings were not properly cured or dried, excess spray powder sometimes is used on the sheets. This can cause plenty of issues on the folder-gluers, such as skipping and other quality issues with the printed and coated sheet. Ensuring cartons are coming off the printing press in quality condition before folding/gluing will save time and product waste.

When possible, coatings are needed to prevent downtime and other unforeseen issues during the gluing process. Many times, cartons will not feed or stack consistently, which will lead to high waste and customer complaints. So, if it is a short-run carton job, coatings are recommended. Many times, the problem can be with the sheets being UV-coated inline vs. offline because the ink doesn’t dry properly or the coating is not cured properly. Again, coating sheets on an off-line coater may be a better choice and help eliminate that problem.

What other challenges do short runs create for the finisher or carton manufacturer when folding/gluing?

The biggest challenge is the turnover time in between projects, with short runs often meaning multiple makereadies in a shift or day. Depending on the level of operator experience, this can either make or break a project in terms of profitability. Machine and job standardization is the key to being successful in high-volume throughput. Being proactive and not reactive will increase productivity and reduce waste and downtime.

What future trends in the marketplace will affect the folding/gluing of cartons?

The three main challenges are personnel, maintenance and training. Many companies are experiencing high turnover rates and an all-around operator shortage in the industry. Lack of qualified personnel can lead to production and process issues.

Preventative maintenance often is put on the back burner as supply and demand are the focus and sometimes overshadow the health of the machine. Simple daily, weekly and monthly equipment checks can save hours or sometimes weeks of downtime should the equipment reach a failure point that could have been avoided. Having a machine go down for weeks while waiting on parts can be detrimental to a business.

Operator training is a must and structured training programs, including refresher training courses, are key to achieving faster makeready times, improved run speeds and quality product – resulting in customer retention and higher profitability.

American International Machinery (AIM) is a second-generation, family-owned business that provides a comprehensive line of products and support services for the paperboard and corrugated converting industry, including new, remanufactured and used equipment. AIM established the Signature Folder Gluers brand as one of the top converting equipment options in the industry, focusing on versatility and affordability for packaging companies. For more information, visit www.aim-inc.net/.

Rotary Diecutting a Popular Option for Short-Run Cartons

In addition to many changes being made with folding/gluing to accommodate short-run folding cartons, there also is a trend toward using rotary diecutting equipment for short-run work. Rotary diecutting utilizes two magnetic cylinders spinning inward toward one another using a thin flexible die(s) with a metal back to adhere to the cylinder(s) (certain machines use two dies, others just one). When the sheet of cartons travels between the two cylinders, downward pressure is applied via the machine and the cutting blades on the flexible die cuts the sheet on the other side after the rotation is complete.

One of the biggest advantages of rotary diecutting is changeover time from one job to another. As with folding/gluing, this is extremely important for short-run work to create a suitable profit level on the job. A rotary machine can be changed from one job to the next in as little as 10 minutes, where a more conventional diecutting press can take as long as one hour. Another advantage of rotary diecutting is it provides the operator the ability to create more complex diecutting patterns because the die is CNC engraved vs. the bent steel used on a conventional steel rule die. In addition, flexible dies are much easier to store and can be housed in small filing cabinets, which can help finishers and folding carton manufacturers decrease overall storage space for cutting dies.

There are limitations that must be considered with rotary diecutting as well. The major limitation of the process is with the thickness of the stock/material being diecut. The flexible dies have overall limitations on how far they can cut into the material, where steel rule dies are conventionally two to three inches thick, allowing taller cutting blades to reach through thicker stocks and materials. So, it is important to check the thickness of the carton before considering rotary diecutting as an option.

Folding carton production on rotary systems is ideal for short-runs given the ability to change from one carton skew to another in as little as 10 minutes, which enables companies to justify carton runs as small as 500 sheets. Those sort of runs are difficult to justify on a larger platen press where set-up can be 30 minutes to an hour to run the machine for five to 10 minutes for a 500 to 1,000 sheet job.

This information was provided by Kevin Corwin, product manager for Rollem’s Insignia diecutting line. For more information, visit www.rollemusa.com.

Sakurai Introduces the ScreenFoil™ LQM Series Inline Hot Foil Stampers

September 10, 2020

Edited by Lara Copeland, contributing editor, PostPress

Sakurai, a global leader in sheet-fed screen printing technology located in Schaumburg, Illinois, has launched the ScreenFoil™ LQM Evolution series, a cost-effective solution for inline hot foil stamping. Now available in two sizes, the new LQM 105 accepts sheet sizes up to 41 ½ x 30″, and the new LQM 76 accepts sheet sizes up to 23 ½ x 21 ½”.

“Sakurai is very pleased to introduce the new ScreenFoil™ hot foil stamper series to the North American market,” said David Rose, vice president, Sakurai USA, Inc. “The redesigned, full-featured LQM series offers our customers the ability to increase profits with an in-house solution for hot foil finishing.”

The new LQM 105 Evolution series was introduced at the Sakurai Graphic Systems Corporation Factory Open House in Gifu, Japan, last April and was scheduled to make its North American debut, running live, inline with a Maestro MS-102AX screen press, Natgraph dryer and stacker – at Sakurai USA’s exhibit at Printing United in Atlanta in October. Sakurai’s screen press line, as described, allows the operator to screen print, dry, screen foil and stack in a single pass.

The LQM Evolution is able to precisely apply foil in a variety of area sizes – as small as 10 mm or as large as the whole substrate length and in narrow bands or across the whole width of the substrate. The precision provided by these two functions ensures the minimum of foil waste.

The ScreenFoil™ LQM 105 brings a new level of flexibility, quality and performance when combined with any size or vintage Sakurai screen press. It is perfect for PSP, folders, leaflets, business cards, loyalty cards, magazines, book covers, packaging, promotional items, labels, roll-to-roll, greeting card, automotive, appliance and plastic card applications.

The LQM series has many new features to increase productivity. An alignment conveyor transports sheets. After the UV varnish is cured, the sheet is transferred to the foil unit via infeed rollers and automatically is registered by a lateral side registration bar. The machine automatically locates the front edge of the sheet and begins applying foil based on the job parameters. When the job does not require foil, a bypass function allows the sheet to pass through at the same speed as the press, acting as a transport mechanism. Additionally, the job-setting parameters for foiling easily are entered, edited and stored via a user-friendly touchscreen panel. It can be retrieved by the operator at any time, allowing repeat jobs to be set up instantly.

“The use of the screen printing press to deposit the image in registration allows the heated foil to be applied in any size or image configuration. No dies – just print the image you want foiled, UV cure and then pass through the foil applicator. Fine line, 3D coverage foil now is controlled by the screen press,” Rose added. “If you are looking for greater use of your Sakurai or other existing screen press, add foil to your list of services to the graphic arts industry.”

Sakurai new and used presses, LQM hot foil stampers and Natgraph dryers are distributed in the US, Canada, Mexico and Central and South America by Sakurai USA, backed by responsive customer support, service, replacement parts and training.

Technical details

Both the LQM 76 and LQM 105 have a maximum speed of 30m/pm during the foil application process. The bypass speed with no foil is 55m/pm for the LQM 76 and 65m/pm for the LQM 105. The internal core diameter is 3″ for both sizes.

Choosing the Right Three-Knife Trimmer

September 2, 2020

Britt Cary, vice president of marketing and sales, The Challenge Machinery Company

Book manufacturers understand the importance of a good final trim to a book. Although few customers will ever take notice or fully appreciate the clean, straight, square cut of the book in their hand, book manufacturers know that a quality trim of the book is critical. A trim cut that is not square, or straight or doesn’t match the print design of the cover becomes quickly noticeable by the consumer, and there is nothing more costly than to scrap a book at the final trimming process when all of the costs of printing and binding have been spent. Selection of the right three-knife trimmer for individual businesses and their unique workflows is more important than many anticipate. So, how to know which one to choose?

The first and most obvious consideration is the average run volume of the titles being trimmed. If a bindery is handling more of the traditional publication run sizes, ranging from a thousand to tens of thousands of copies, it will need to find a trimmer that is built to handle that amount of volume. These machines typically require manual set-ups for the knife locations and clamping pad sizes, but with the volumes they are made to handle, the time it takes to set up the trimmer is not as important as making sure the set-up is done correctly and the trimmer consistently will perform to those settings. Consider only brands that are well known in the marketplace and have a proven history in manufacturing quality three-knife trimmers.

With the revolution of digital print and its capacity to economically produce smaller run sizes, the digital book manufacturing process demands more diverse capabilities from the three-knife trimmer. With the run sizes being much smaller – such as 100, 20 or even one – the demand for automation becomes critical without jeopardizing the quality of the trim. With digital book manufacturing systems, production speed capability from the trimmer is less important because of the slower performance speeds at which the digital print engines operate. In most cases, the trimmer will be waiting for the next book to be presented to it. This increases the importance of other features that should be considered in choosing the book trimmer.

Automation – the more the better

If run size counts are very small, every operator intervention that is required to change parameters for the next job is going to quickly become a bottleneck in the workflow. Areas to take note of in this topic of automation include the following:

Required specifications for set-up: To successfully handle and trim a book block, the three-knife trimmers generally need to know several specifications of the job. These specifications can include the starting book block dimensions (length x width), finished book dimensions (length x width), book block height (thickness) and the location of the required cuts in reference to the edges of the starting book block. The more dimensions that need to be inputted to set up the machine, the longer the process will take. Some book trimmers automatically can detect many of these required specifications as the book enters the machine so that only three dimensions need to be inputted to the trimmer from the operator or from stored memory. This makes it simpler and faster for the machine operator to program for each job.

Book Clamp Pads: In an effort to ensure a book lays flat before it is cut, a center book pad is a device in three-knife trimmers that helps prepare the book before cutting, especially for larger books. Since book trimmers have a range of books sizes that they can trim (compare those specs as well), some manufacturers will recommend different-sized center pads to be manually changed when the size change is significant between jobs. If the clamp pads need to be changed out between jobs, that is downtime that will hold up the trimmer. The smaller the quantity of the run, the more often the trimmer will be down. Look for a trimmer that does not require changes of the clamp pads.

Barcode reading capability: Choose a trimmer that has a barcode reading system either included with the standard machine or as an option at additional cost. Since the job requirements for cutting books are uniform in the number of specifications needed, it is easier to take advantage of the benefits that a barcode reading system can offer. If a trimmer only requires a few dimensions to set up for a job, the full job requirement can be included in a simple barcode and printed to the cover of the book. As the book enters the machine, the barcode can be read, sending the needed inputs to the trimmer to set itself up. Such automation will be a feature businesses will want to take advantage of at some point, even if it is not a goal with the initial acquisition.

Flexibility

Potentially consider the flexibility of the three-knife trimmer in regard to how it fits into book production flow. While researching the costs associated with three-knife trimmers, consider how the investment will be able to adapt to changes that may occur to the shop. For example, when first deciding to buy a machine, investors may want the trimmer as a standalone system. They might plan to use two or three different binders to feed books to the trimmer or they also may have a desire to let the glue cure overnight in newly made books before they are cut. In either case, a book feeding system with a stacking delivery on the back of the machine will let the trimmer run unmanned after a pile of books is loaded by the operator.

However, maybe next year the investors decide they want the trimmer inline with a binder so the books come out of the system already trimmed. Or they may decide they want to feed the books directly from one binder but manually introduce books from other sources as well. Select a system that can adapt to the needs in the shop as they change. Try to avoid having to buy an altogether different trimmer in three or five years. Select a trimmer that can adapt to the business’ needs instead of the business adapting to it.

Other trimmers

There are some quality book trimmers available in the market that are not technically three-knife trimmers because they utilize only one knife to cut the books. These three-sided book trimmers rotate the book block for each cut. Since these trimmers need to cycle three times for every book block presented to them, their capacity volumes are about 50% or less than the true three-knife trimmers. Having said that, the quality of their cut performance is very good, and they are, for the most part, capable of keeping up with the production volumes that are typically presented by one floor-model single-pocket perfect binder. The considerations of automation, barcode capability and flexibility previously mentioned will apply to selecting one of these single-knife machines as well.

Britt Cary is the vice president of marketing and sales for The Challenge Machinery Company – a manufacturing company that has supplied cutting and print finishing equipment to the printing industry for more than 130 years. His experience includes multiple senior management positions in manufacturing, and he has served multiple roles in his 24-year tenure with Challenge. For more information, contact Cary at bcary@challengemachinery.com or visit www.challengemachinery.com.

Cold Foil: Best Applications, New Markets and Debunked Myths

September 2, 2020

By Liz Stevens, writer, PostPress

The Foil & Specialty Effects Association (FSEA) recently hosted its virtual FSEA Online Learning Experience. As part of the programming, there was a presentation and panel discussion on cold foil. The panel included Tim Cain, president of Cast and Cure film and specialized equipment supplier Breit Technologies LLC; Mike King, president of cold foil equipment manufacturer Eagle Systems; and Stefan Congram, technical print expert for Cartamundi, a global manufacturer of playing cards, trading cards, board games and packaging. The panel discussion covered many topics, including the best applications and new markets for cold foil, as well as debunked myths surrounding the technique.

Over the last several years, the foils, adhesives and technology all have improved to help make cold foil a feasible option for many print decorating applications, replacing more expensive foil laminated board in many situations. Discussing where cold foil is most commonly used, Cartamundi’s Stefan Congram explained that his company uses cold foil for consumer products packaging, especially for the cards and games that are Cartamundi’s forte. “We see a lot of cold foil applications in the folding carton and rigid packaging industries,” said Congram. “We also see applications in direct mail and, obviously, in publications.” He noted that cold foil also is seen frequently for the collectibles, cosmetics, confectionary, pharmaceutical and nutraceutical industries.

Eagle Systems’ Mike King pointed to the cold foil work used for premium brands and deluxe products. “For high-end packaging – like Estee Lauder, Polo, Godiva – these are all brand owners that are out there with cold foil in the perfume business, chocolates, and wine and spirits,” said King. He also has seen a dramatic increase in certain market applications, partially attributed to the onset of the pandemic. “Now, with COVID-19, the wine and spirits market seems to have gone through the roof when it comes to foil,” he said. “And, believe it or not, even some of the cannabis markets are actually going after cold foil.”

Breit Technologies’ Tim Cain agreed with King’s comments concerning the opportunities in cannabis packaging. “The cannabis markets really have been a growth industry,” said Cain. “As we start to see more manufacturers with different products and different categories – whether it’s edibles or other cannabis products – we are seeing the same challenges that our consumer products companies see in their retail spaces. They are dealing with a highly educated consumer who is looking for product differentiation on the store shelf, so we are seeing quite a bit of interest in embellishment in that market.”

While the wine and spirits market has been using foil and specialty effects for a long time to add distinction and to differentiate its products, most high-end labels were using hot foil stamping, which was perceived to be of higher quality and add more sheen. Today, there are more labels being produced in a sheet-fed format with cold foil than ever before. Even uncoated stocks for high-end wine labels are incorporating cold foil successfully, according to King, which is somewhat new to the market.

Advantages and disadvantages of cold foil

Even though cold foil doesn’t replace conventional foil stamping or digital foil equipment, it provides significant advantages for certain applications, filling a special niche in the print embellishment industry. King, who has been involved with hot foil for 45 years, said that he is on both sides of the fence when it comes to hot vs. cold foil. “But I’ve learned over the years,” said King, “that with the cold foil, we will get a lot fewer defects in registration.” This is because cold foil is printed inline, and the registration from the first sheet carries over to the last sheet, he explained.

King went on to discuss the speed at which cold foil can be applied: “We’re able to run at high speeds all day long. We have machines running at regular speeds of 13,000 to 14,000 sheets an hour, and we have large-volume companies that are running closer to 16,000 and as high as 18,000 sheets per hour. Cold foil does not hold you back from speed.”

Cain agreed with King: “The ability to do cold foil inline with the printing also offers some speed advantages, especially when you are talking about these long-run markets, as we are starting to see a backfill taking place because of COVID-19. So, I think there are definitely some manufacturing benefits of doing cold foil above and beyond just some of the highly decorative aspects that people are going for.”

Another advantage of cold foil, especially when compared to foil laminated board, is that the operator does not have to cover “non-foil” areas with white opaque ink or do anything special on glue flaps for folding cartons. Cold foil allows users to knock-out the non-foiled areas on the sheet, making it a much easier process to overprint.

CastCure_Multifoil_silver — The equipment utilized for cold foil transfer also can be used, in many cases, to apply Cast and Cure.

Congram said printing small black type on top of opaque white can be problematic. “When you are overprinting on top of opaque white ink, the black is going to end up gray,” he said. “It’s really, really tough to get a true black over an opaque white.”

Congram went on, describing aspects of cold foil that stand out. “The thing I like the best about cold foil is it allows for so much flexibility when you are trying to cost-engineer a project with a customer,” he said. “Cold foil is unmatched in flexibility for pricing. You can rotate cartons to get better foil utilization.” Congram went on to point out that webs of foil can be used where the foil needs to be located vs. a foil laminated board that has a full 40 inches of metallic. Another advantage that Congram sees with cold foil is its design potential, “as well as the fact that you can overprint on top of silver to make any color under the rainbow.”

In terms of productivity, Congram said, “There is no need for secondary stamping processes, so your throughput is going to be through the roof when compared to all of your other options. It’s certainly the fastest and the most productive way to put foil on a sheet.”

The equipment utilized for cold foil transfer also can be used, in most cases, to apply Cast and Cure – a technology that allows operators to add a clear holographic pattern over the printed sheet using a film that can be used several times over. “Having cold foil on offline equipment also gives you some other design capabilities,” stated Cain. “We have several customers in the finishing market that are using Cast and Cure as a secondary embellishment after the job has been printed. So, if a customer is making an investment into a two-color press to have cold foil capabilities, they could utilize that equipment to do other things besides just cold foil.”

Cain also commented on cold foil and Cast and Cure as they fit into the short-run and digital markets. “We are starting to see the embellishment side increase on the digital market,” he said. “Equipment from companies like Scodix and MGI is definitely starting to take the foil into the short-run market where, up until a few years ago, there weren’t any embellishment options available. And so, with the ability to look at adding cold foil capabilities without any of the tooling costs to enter it, we are definitely starting to see some expansions of cold foil in those markets, as well as with Cast and Cure.”

But Cain noted that cold foil and Cast and Cure cannot fill every embellishment requirement. “As an example, when we were doing the recent Gold Leaf Award judging, one of the products that showcased very well was the souvenir Super Bowl magazine cover,” he said. “The cover had multiple levels of holographics on it and multiple levels of transitions taking place, with print over the top of it, all in register.” A complicated, sophisticated item such as this magazine cover is at the upper echelon of embellishment. “The ability to create truly customizable holographic images, where cost is of no concern, where there are multiple tiers either from a security standpoint or from an embellishment standpoint, shows that there always is going to be a need for those markets. I don’t think Cast and Cure or cold foil will ever be able to overtake those markets.”

In other examples, cold foil usually is not the best choice to apply a metallic finish if the foiled area on the carton or other printed product is relatively small. And, if the image or images include embossing, cold foil may not be the best choice. Hot foil stamping, in many instances, is the better choice for these types of applications.

Debunking the myths

Because of some of the initial challenges created by cold foil transfer, there still are myths and overblown concerns about the process. King shared a handful of misconceptions that have proven untrue. “One of the myths was that roll changes took a long time – took an hour – which wasn’t true even way back when. We have tested it out to see what we can do, and we can get it down to a five-minute roll change – or even less if we have to, depending on how we do it.”

King said that an additional misconception was that cold foil only worked on certain substrates. “Today, we work on literally every substrate,” he said. “It’s also a myth that cold foil cannot be embossed, because my business cards have been embossed for years and it’s all cold foil. They have one bit of hot foil on them and that was done flat-stamping.”

Congram described his cold foil myth experiences. “I think the biggest one that I hear most commonly is that cold foil is not as shiny as other processes,” he said, “but clearly with the advancement in technology and materials, it’s right up there today, in my opinion.”

Congram noted that shine can be a relative quality and offered a helpful tip: “People have to remember that if you are going to put shiny foil on a gloss sheet, you are not really doing yourself any favors on the contrast side. This isn’t a design conversation, but I like to always include these little tidbits – I like to put a matte wherever my cold foil is not, to really bring it to the front.”

As these industry veterans have attested, cold foil – a technique no longer shrouded in mystique and myth – can be a fast, manageable and highly effective option for adding stand-out embellishments. It’s an effective way to provide a metallic look to a variety of printed material.

For more in-depth information on this subject and to hear more from Mike King, Stefan Congram and Tim Cain on this topic, listen to the entire webinar presentation, “The Impact of Cold Foil on the Embellishment Landscape” – as well as other videos – by visiting the FSEA Online Learning Experience’s YouTube playlist.