2021 Aug/Sept

Association News: August/September 2021

September 9, 2021

PostPress

FSEA and APTech New Event – Amplify – Generating Praise and Excitement

Three-day event will bring together key players in the print finishing value chain, from designers and creative agencies to specialty effects technicians, print finishers and decorators, mailers and more.

The Foil & Specialty Effects Association (FSEA) and the Association of Print Technologies (APTech)’s announcement last month of their new event – Amplify – The Finishing, Packaging and Design Event, taking place June 14-16, 2022, in Minneapolis, Minnesota – has been generating an enormous amount of buzz in the industry.

The initial reaction has been off the charts. “I have received several phone calls and emails from industry members who are excited that we’re producing an event that is specific to finishing and embellishment technologies,” stated FSEA Executive Director Jeff Peterson. “Combining FSEA’s ability to reach the finishing, binding and embellishment side of the printing industry along with APTech’s vast reach with the commercial print and packaging side, we are confident we will offer a targeted event that is of interest to a variety of segments, including folding carton manufacturers, print finishers and binders, greeting card producers, commercial printers, label manufacturers and more.”

“I am truly excited about the opportunity the new Amplify event and conference will provide. It will be an excellent way for printers, finishers and designers to gain critical insights into the everchanging and evolving world of digital print, digital finishing and techniques for designing with these new possibilities,” affirmed Myron Werner, director of sales – Packaging and Print, at North Carolina-based KURZ Transfer Products. “With COVID-19 slowing us all down, this event will allow many to explore these new processes ‘hands on’ during the Technology Zone demonstrations and discover new techniques to deliver designs to the market faster than ever. These evolving technologies are providing new concepts and opportunities never possible before, and it’s time to see them all under one platform in one place. Amplify fits the need.”

“Print and packaging designers strive to catch the eye of the consumer, and commercial printers need their customers’ printed products to excel,” said Thayer Long, president of APTech. “Amplify will be the venue to showcase the accomplishments, best practices and innovation happening in the print finishing industry.”

To learn more about Amplify or to reserve exhibit space, visit www.amplifyprint.org.

Welcome to new FSEA members!

Litho Press, Inc. (Indianapolis, Indiana)
Crossmark Graphics, Inc. (New Berlin, Wisconsin)
TPC Printing & Packaging (Chattanooga, Tennessee)
Phillips Graphic Finishing (Manheim, Pennsylvania)
Niagara Label Co. (Akron, New York)
Mammoth Labels and Packaging (Grove City, Ohio)
KBB Bindery (Kansas City, Missouri)
Vantage Merchant Services (Parkville, Missouri)
Gietz-Vinfoil Americas, LLC (Homer Glen, Illinois)
Fathom Optics (Somerville, Massachusetts)
Case Paper (Harrison, New York)
Monadnock Paper Mills, Inc. (Bennington, New Hampshire)
Nosco (Pleasant Prairie, Wisconsin)

FSEA Continues Work on Green Initiatives

Sustainability and recyclability are center stage in today’s world, and the addition of any decorative process to a printed product can lead to questions from printers, designers and end users. The FSEA has taken a proactive approach in answering those questions with the development of a special section on the FSEA website on sustainability. The page includes links to several resources, including the FSEA Repulpability Study recently conducted in conjunction with the Georgia Tech Renewable Bioproducts Institute, a new study commissioned by Eagle Systems on cold foil repulpability and recycling, and information on the Design Guide from the American Forest & Paper Association that includes a reference to the FSEA Repulpability Study.

A great deal of the current work on sustainability and metallic decorating is being accomplished through FSEA’s Sustainability Committee. The committee is helping FSEA work through these challenges and educate brand owners and consumers on the truth as it pertains to metallic decorating and other embellishments.

The Sustainability Committee includes these members:

Dennis Bacchetta, Diamond Packaging
Mike King, Eagle Systems
Eric Longnecker, Diamond Packaging
Scott Tacosik, Kurz Transfer Products
Rob Watts, McClean Packaging
Kennon Woodward, American Greetings

FSEA will keep its membership updated on further developments as it becomes available. Bookmark the Sustainability and Green Initiatives page at https://fsea.com/sustainability-green-initiatives/ to stay up-to-date on the most current information.

We Got What We Wanted… Now What?

September 9, 2021

By Chris Kuehl, managing director, Armada Corporate Intelligence

For the last few months, I have been back on the road giving talks – a welcome respite from those infernal Zoom calls and webinars. I have been calling these presentations “Be Careful What You Wish For: You Just Might Get It.” We all fervently desired an end to the lockdowns and pandemic protocols, and then we got some of that wish. Now I am remembering what I didn’t miss about traveling.

On the other hand, I am getting the first-hand information and feedback I didn’t receive over the past year, and in all these conversations, there have been three concerns at the very top of the list for businesspeople all over the country and in sectors as varied as manufacturing, construction, accounting, retail, transportation and so on.

Concern #1: labor supply

The very top of the list has been labor supply. This certainly is not a new issue, but it has reached a crisis point for many. Almost every executive I speak with has asserted they have been turning down business. They simply cannot meet the demand as they don’t have the people they need. This mostly is an issue with the more skilled positions, but the majority assert that even lower-skilled jobs have become impossible to fill. Many factors are at work to make this issue more vexing – most notably, the extension of government benefits through the summer. The fact is that these extensions are not the prime reason for this shortage. Workforce participation has been falling for years and now is as low as it was in the 1970s when women generally were not part of the workforce. This participation issue is due to retiring Boomers, reduced immigration levels, skill mismatch, location issues and so on.

No simple answers exist, and those who assert that all that is needed are higher wages have not been paying attention. Even the promise of good pay and benefits has not been enough to draw people into the workforce – and beyond this, it often is impossible for a company to continually offer higher wages if there is to be any hope of protecting the profit margin.

Concern #2: inflation

The second issue on the list is inflation, and this is no shock. The surge in demand as the lockdowns ended corresponded with a collapse in the supply chain – and suddenly, the commodities markets were exploding with hikes as high as 180% (lumber). Oil gained by over $40 a barrel in four months and metals have been up as well. Wages did not rise at first as there still were many unemployed, but they certainly rose for the people that had the skills. In the ten Midwestern states, wages went down for manufacturers in only one (Kansas). All others saw hikes between 5.0% and 11.0%. The surge in commodity pricing was to be expected and likely is to be somewhat transitory as producers strive to catch up. Wages are another story. Once these come up, they don’t come down – and companies have to adjust to these higher labor costs by hiking their own prices. Once wages start to come up, there will be inflation chasing as higher prices are imposed to deal with wage hikes … and that stimulates even higher wages. The Federal Reserve has been referring to the current inflation situation as transitory, since it is assuming inflation threats will ease once the suppliers are able to meet demand.

Basically, two motivations exist for commodity-based inflation. The first, is a genuine shortage of some commodity or product. A good example from the past was the impact on oil prices due to the OPEC embargo back in the 60s, when producers withheld oil and there was not enough on offer to fulfill need. There have been other shortages of materials due to supply chain disruption or natural disaster, such as when the Japanese were hit with the Fukushima disaster and plants were shut down. These inflation surges persist for an extended period of time. The other motivation for inflation is when demand shoots past the ability to keep up. This is a much shorter-term issue as producers have the ability to meet this demand once they have time to gear up for it. That is the situation we find ourselves in now, and the shortage doesn’t last long. Producers are scrambling to meet this unexpected demand – they want to protect their market share, and they hate to leave money on the table.

Concern #3: continuation of growth

The third issue revolves around how long this growth continues. The estimates for this year verge on the spectacular – anywhere between 6.0% and 7.5% (depending on the holiday spending season). Next year is expected to be solid as well, but with growth at around 4.5%. After that, the pace slows to the normal annual average of 2.5%.

Given this, what should companies do to react to the fast growth now? There is a temptation to do what is required to meet current demand, and that would mean paying higher wages, accumulating commodities and inventory to ensure supply, investing in extra capacity and so on. What happens when growth slows? It is an awkward choice – either leave money on the table this year and risk losing market share to competitors or risk having far too much capacity, inventory and labor when the economy slows down. There is a reason more companies go out of business during a recovery from recession than during the recession itself. It is very tempting to pull out all the stops to meet demand – companies rush to buy new machines, expand capacity and hire people. They end up paying a premium for all this expansion – costlier machines, expensive construction and higher wages. What happens when the demand flags? Most of these expenses can’t be reversed and the costs overwhelm. This is what creates the “zombie” company – the business that is not making enough to service its debt, let alone grow and expand.

What’s coming next?

First, labor shortages will remain a major issue for the next several years. There are no quick solutions – training and education take time. Dealing with the labor issue will mean accelerating reliance on technology, automation and robotics. Every task will have to be assessed to determine if there is a machine alternative.

Second, inflation is here to stay, but it is not likely to hit hyperinflation levels. The Fed has tools to affect the money supply and will start pulling back on stimulus. The inflation levels will drop a little, but will stay higher than they have been in most of the last decade.

Finally, we see growth slipping as early as Q2 of 2022 but not collapsing. Returning to normal will feel like a slowdown as compared to what we have been seeing in the last year, but it really will be just getting back to a more sustainable pace.

The bottom line is that it is going to be tough to compare to either the truly miserable 2020 or the unusually robust 2021.

Chris Kuehl is managing director of Armada Corporate Intelligence. Armada executives function as trusted strategic advisers to business executives, merging fundamental roots in corporate intelligence gathering, economic forecasting and strategy development. Armada focuses on the market forces bearing down on organizations. For more information visit www.armada-intel.com.

Top 5 Things to Know About No-Cost Plant Assessments

September 9, 2021

By Liz Stevens. writer, PostPress

The US Department of Energy (US DOE), through its Industrial Assessment Centers (IACs), offers no-cost expert assessments to small- and medium-sized manufacturers. The assessments are conducted by teams at 31 universities around the US and result in reports with detailed recommendations. Here are the top five things to know about this valuable US DOE program.

The Offer

Since 1976, the DOE has offered no-cost, site-specific expert assessments and analyses to manufacturers. The program is aimed at improving energy efficiency, reducing waste and increasing productivity by making recommended changes to processes and equipment. More than 18,000 assessments have been completed.

Manufacturers may contact an Industrial Assessment Center (formerly called Energy Analysis and Diagnostic Centers) at a participating university in their region to explore the assessments, analyses and resulting reports. IACs at these universities train the next-generation of energy-savvy engineers, more than 60% of whom pursue energy-related careers upon graduation. IAC assessments are conducted by engineering faculty along with upper class and graduate students.

For qualified manufacturers, a remote survey of the plant will take place, after which an IAC team will arrive for a one- to two-day on-site visit. The team will later perform detailed analyses of the site’s specifics and make recommendations in a confidential report with estimates of costs, performance and payback times. The IAC team will follow up to learn which recommendations have been implemented.

The Criteria

Manufacturers can contact the closest IAC location to explore or initiate an assessment if they meet these criteria:

Within Standard Industrial Codes (SIC) 20-39
A US manufacturer located less than 150 miles from a participating university
Gross annual sales below $100 million
Fewer than 500 employees at the plant site
Annual energy bills more than $100,000 and less than $2.5 million
No professional in-house staff to perform the assessment

IAC locations are spread across the continental US. IAC locations in the West are located in Colorado, Oregon, California, Arizona, Idaho and Utah. In the South, IACs are found in Texas, Oklahoma and Louisiana. IACs in the Midwest are in Ohio, Wisconsin, Indiana, Illinois, Missouri and Nebraska. In the Southeast, IACs are in Georgia, Florida, Tennessee, Kentucky, Alabama, North Carolina and South Carolina. For the Northeast region, IACs are located in Delaware, Massachusetts, Pennsylvania, New York and West Virginia.

The Nitty Gritty: An assessment in the printing industry

An assessment conducted by the IAC Center at the University of Utah in 2020 for a Utah-based commercial printer with a plant size of 525,000 sq. ft. resulted in recommendations which would result in an estimated $44,400 in yearly energy and other savings. The recommendations included modifying the facility to avoid excess maintenance costs, utilizing higher-efficiency lamps and/or ballasts, using a cooling tower or economizer to replace chiller cooling, rescheduling plant operations or reducing load to avoid peaks, eliminating leaks in inert gas and compress air lines/valves, eliminating or reducing compressed air usage, and rescheduling and rearranging multiple-source heating systems.

The Top Five Recommendations

In 2020, for SIC code 2752 (commercial printing, lithographic), these recommendations were made most frequently:

Eliminate leaks in inert gas and compressed air lines/valves (This is a biggie: It appears in the top five recommendations for 2020 for all SIC codes.)
Utilize higher-efficiency lamps and/or ballasts
Use most efficient type of electric motors
Analyze flue gas for proper air/fuel ratio
Reschedule plant operations or reduce load to avoid peaks
Insulate bare equipment

The Database

The IAC Database is available for exploration by anyone interested in seeing the contours of assessments and recommendations. As of June 2021, the database contained 19,427 assessments and 146,971 recommendations.

The Database can be searched by assessment particulars (industry type, size, year, energy costs, products), by recommendations (type, savings, cost, implementation status) and by industry type (SIC or NAICS code).

For more information about the DOE Industrial Assessment Centers and their no-cost assessments, visit https://www.energy.gov/eere/amo/industrial-assessment-centers-iacs.

In North America, we grow many more trees than we harvest

NORTH AMERICAN FORESTS ARE A RENEWABLE RESOURCE THAT IS CONTINUOUSLY REPLENISHEDUSING SUSTAINABLE FOREST MANAGEMENT.

It has been a misconception for sometime by consumers and others on the use of forests for paper manufacturing. Here are a few facts, compiled by Two Sides North America (www.twosidesna.org) on sustainable forest management.

Paper manufacturers encourage forest sustainability through their purchase and use of certified wood fiber and by promoting sustainable forest management policies and practices at home and around the globe. By providing a dependable market for responsibly grown fiber, the paper industry encourages landowners to manage their forestland instead of selling it for development or other non-forest uses.¹
Net forest area in the U.S. has been stable since the early 1900s and increased by about 2% from 752 million to 765 million acres between 2007 and 2017.² Net volume of growing stock increased by more than 5% over the same period.² Canada’s forest area of 857 million acres has been quite stable over the past 25 years.³
Each year, forests in North America grow significantly more wood than is harvested. In the U.S., average net annual increase in growing-stock trees on timberland is about 25 billion cubic feet.² In 2017, Canada harvested just over 5.5 billion ft³ of timber, well below the estimated sustainable wood supply level of 7.8 billion ft³.³
Tree cutting and removal in the U.S. occurs on less than 2% of forest land per year in contrast to the nearly 3% disturbed annually by natural events like insects, disease, and fire.² Harvesting occurs on 0.2% of Canada’s forest lands each year while 4.5% is disturbed by insects and 0.7% by fire.³
Sustainable forest practices, forest certification and government regulations require mandatory regeneration so that harvested areas continue to produce forests for the long term.³
More than half the forest land in the U.S is owned and managed by about 11 million private forest owners. Private forest lands provided 89% of the domestically produced wood and paper products in 2017.² The income landowners receive for trees grown on their land encourages them to maintain, sustainably manage and renew this valuable resource.

References:

Dovetail Partners, 2016
Oswalt et al., 2019
Natural Resources Canada (NRCAN), 2020

7 Hottest Print Design Trends

September 9, 2021

By Sabine Lenz, PaperSpecs

Each year, a handful of printing and finishing techniques set the industry on fire, transforming the way designers create their work, spread their message and even the way they think. If you’re looking for a way to help your clients jumpstart their creativity while giving you a competitive edge, you really can’t afford to dismiss them.

1. Sustainability

In 2020, when many of us got to spend more time outdoors, enjoying the clean air, positive environmental change started to feel a little more doable. Increasingly, consumers are becoming more mindful of how they can help achieve this.

For any print project, this means:

Reduce. The most effective way to reduce waste is to not create it in the first place.

Right-size. This is not only important to the final cost of the product, but also to its perceived environmental impact.

Print on demand. Ask yourself “What is the quantity my customer needs right now,” and “What is the longevity of the piece?” Thanks to digital printing and finishing, there really is no need to overproduce.

Reduce overall waste. Here is your chance to help creatives understand how to best utilize a press sheet. They’re eager to be more sustainable and open to your advice.

Reuse. Help your customers explore ways in which they might be able to repurpose their packaging and materials – and yes, this includes die-lines and other tools.

Recycle. From recycled papers to substrates made with agri-waste (hemp, wheat) and recycled jeans, T-shirts and even coffee cups, there is no shortage of innovative new materials. Be the one to bring these exciting options to your clients; they will appreciate your forward, sustainable thinking.

2. Gold Metallic Designs

Metallic effects in design are becoming uber-trendy. Already ubiquitous in product design, gold especially is popular. From packaging to business cards, gold gives any printed item a luxurious, expensive feel.

Granted, the shimmer that foil brings has been on trend for a while now, but beyond foil stamping, several newer technologies have become more widely available, offering creatives new possibilities and creating a resurgence of shimmer and gold.

From hot and cold foil to foil substrates and digital foiling options, there is a foil – or better said, gold foil – option for every print run and budget.

3. Swiss Binding

In the last few years, exposed (or naked) spines – books and booklets that proudly show off the thread that holds them together – have increased in popularity. Using contrasting or complementing thread colors, designers are reveling in these new-found binding embellishments.

Traditionally once trends reach their peak, they either fade out or someone adds a new twist. And today’s new twist is Swiss binding.

Instead of being inserted and mounted in casebound fashion, in Swiss binding the text block is glued right on top of the inside back cover of the book’s case. While from the outside the book looks like a nice casebound book, once the cover is opened, the text block’s spine is revealed. In most cases the text block is Smyth bound, yet feel free to use perfect bound or saddlestitched text blocks, too.

4. Bright Colors

While bold colors have been trending in the online world for a while now, thanks to enhanced print technology, we can go bold, loud and brighter than ever before in print.

All this is thanks to neon inks used with traditional printing techniques – offset, letterpress and silk screen – but also in digital printing. This includes neon yellow, pink, orange, violet and green.

Encourage your customers to crank up their design’s “look at me” factor by using vibrant neon colors as spot colors.

You also can use them to extend the overall color gamut. When we are talking 5+ color printing, we are adding more colors to a conventional 4-color process setup.

This is popular for two reasons:

To increase the overall range of colors, creating really rich hues
The extra colors can be used to reproduce a special hue that is out of range of the standard CMYK mix, meaning you can match about 99% of Pantone colors on a digital press.

5. Haptic

In this over-digitalized world, people yearn for a tactile experience. Tactile effects on marketing materials – but especially packaging – have been becoming increasingly popular.

There are two ways to enhance a project’s haptic appeal:

Substrate. From classic linen and felt textures to more daring ones like wood grain, using a textured substrate is probably the easiest way to bring a tactile aspect to any printed piece.
Finishing. From traditional embossing to profile-raising spot UV (using either screen UV coatings or newer digital finishing), there is no shortage of ways for you to help your customers add that extra tactile feel. Soft-touch laminates and coatings continue to be very popular, while other specialty coatings, including sandpaper and leather textures, provide intriguing options as well. New digital options for applying spot UV coatings have opened up many opportunities for adding texture to packaging, direct mail and other printed materials.

6. Customization and Personalization

A recent McKinsey study found that personalization will be the prime driver of marketing success within five years.

Nobody wants to be bothered by irrelevant coupons, emails or texts, but they do want to be informed of offers that meet their needs.

Personalization offers meaningful, relevant customer communication. While the technology for this (e.g., variable data printing) has been around for a while, few brands are fully embracing it. Successful brands need to focus on good customer data, insightful analytics and, above all, ensuring that they protect customer privacy.

Customization. Thanks to processing code (a scripting language that can create graphic elements) or tools like SmartStream, the ability to create unique covers, packaging and bottle designs is at our fingertips. Best of all, your clients don’t have to be a global powerhouse to benefit from these trends.

7. Augmented Reality (AR)

As you know, AR enhances the user’s perception of the real world by adding a computer-simulated layer of information on top of it. In print, one of the most used interactions is when the activation is triggered by scanning a specific item, or “marker.”

But trying to convince customers to download an app can be tricky, let alone providing an app that’s compatible with all the different types of phone and operating systems out there.

That’s why marketers have started looking seriously into WebAR. It may not have the power of full AR but it still has plenty of potential.

WebAR refers to augmented reality experiences that are accessed through a web browser rather than an app. This means all you need is your smartphone or tablet and an internet connection – no apps required.

With the introduction of ARKit and ARCore (the Apple and Google AR developer platforms) and web-based AR platforms such as 8^th Wall, marketers now have a big opportunity to create innovative campaigns that integrate the digital and physical worlds.

Whether it’s through augmenting product packaging with interactive content, virtual tours in brick-and-mortar shops or “try before you buy” at home opportunities (Starbucks or IKEA are two obvious examples), augmented reality is enriching the customer experience digitally in a way that few technologies can.

These are the seven top print design trends, but are they all for you or your clients? Probably not. But mix and match two or more of these trends and you will delight your customers with the opportunities you can provide.

PaperSpecs.com is an innovative online hub for brand owners and graphic designers who actively spec paper and print, and refuse to be limited by short print runs or tight budgets.

Through videos, hands-on/virtual “Live [unboxed]” events, blog posts and more, PaperSpecs provides trends, insights and access to crucial, hands-on tools and resources to help creatives craft printed pieces that WOW their clients. Don’t miss the weekly tips, trends and insights: www.paperspecs.com/get-weekly-tips/

Embellishments and Direct Mail Equal Success

September 9, 2021

Steven Schnoll, Schnoll Media Consulting

The following article was derived from the recent publishing of “Transforming Direct Mail with Print Embellishments,” a white paper commissioned by the Foil & Specialty Effects Association (FSEA).

Historically, one of the great attributes of printed pieces is the ability to engage the attention of those who receive them. Recently, that thought has been tested by the heavy use of digital marketing technologies. As marketers seek out alternative and less expensive digital media choices, direct mail has lost some of its popularity. However, a great deal of research has shown that a reader of a printed piece is more likely to recall that marketing piece than an online banner advertisement, including a 2015 study by the Canada Post that said “Direct mail requires 21% less cognitive effort to process than digital media… suggesting that it is both easier to understand and more memorable.” In addition, “When asked to cite the brand (company name) of an advertisement they had just seen, participants’ recall was 70% higher if they were exposed to a direct mail piece (75%) rather than a digital ad (44%).”¹

Therefore, a top priority of marketers should be to maintain a close alignment with both new and traditional marketing methods to best communicate with end users. Successful graphic arts providers are working in concert with brand owners to facilitate successful delivery of content, offering direct mail as an essential part of that service portfolio. Print has always been recognized as a highly effective tool and, when embellishments are added to these printed pieces, a new experience is realized. Embellishments can boost the awareness factor for those engaged in building brand identity as these specialty effects draw attention, engage and motivate the recipient to trigger a positive action.

Joanne Gore, founder of marketing and communications company Joanne Gore Communications, was quoted in an article in WhatTheyThink magazine: “People spend 39% more time engaging in direct mail vs. digital campaigns alone, impacting brand experience, recall and results. Print has the power to keep readers informed and engaged. Adding textures and finishes like embossing, debossing, raised ink, foil or glitter teases them to do more than see print, but to touch it – and remember it.”²

This can be especially true for the younger generations. The myth is that Millennials and Gen Z’ers do not respect direct mail – or other printed material, for that matter – since smart devices and diverse digital technologies are stealing their attention. This has raised alarms among the print organizations and brand managers who must reach these potential buyers – now the largest generation in America – to grow business revenue. However, the research tells a different story.

In a study by the US Postal Service³, 84% of millennials take the time to look through their mail and 77% of them pay attention to direct mail advertising. In fact, 90% of millennials believe direct mail advertising is reliable and 57% have made purchases based on direct mail offers. To “create engaging mail pieces for this generation,” the US Postal Service study suggests that marketers “use enhancements such as scent, sound or texture to make your piece stand out.”

Embellishment techniques are a strategic way to gain momentum in the direct mail marketing world. The companies interviewed for this white paper cite meaningful results when leveraging embellishment offerings with printed mailing pieces.

Printed mail volume decreases, but response rates rise

According to USPS statistics⁴, marketing mail volume has decreased from 81.8 billion pieces in 2010 to 75.7 billion pieces in 2019 – a 7.45% dip in the last decade (first-class mail is down 43.89% over the same time period). However, recent numbers compiled by a 2018 DMA Response Rate Report shows that direct mail response rates are on the rise. Internal house lists received a 9% response rate, while prospect lists received an average response rate of 5%.⁵ Could some of that be due to creative embellishments that are catching the eye of these Gen X and Z generations?

Another interesting recent survey on “The 25 Most Trusted Brands in America” found that the United States Post Office ranked the highest No. 1 brand amongst Americans with a 42% rating.⁶ The fact that 42% of those surveyed believed they could rely “a lot” on the US Postal Service “to do what is right” is most revealing when evaluating the leverage direct mail has among consumers. MarketingSherpa reinforced that point with a survey that said 76% of consumers trust ads and catalogs they receive in the mail when making a purchase decision.⁷

With all the tools that marketers employ today, these statistics clearly illuminate the power of direct mail. But these direct mail pieces cannot be of a vintage nature. To make authentic connections with the target direct mail audience, brand managers need to utilize tactics that will resonate. Unless a direct mail piece strikes an immediate recognition factor with relevant personalization components and highly attractive designs that feature tactile coatings/laminates, embossing or decorative foil, the piece may lack an emotional bond. People react to messages that connect with them, and the story must be designed and highly personalized to enhance the message.

Mark Baugh, president of Baugh Graphic Finishing House, a print finishing and decorating operation in Indianapolis, Indiana, has seen an increase in volume in the direct mail market segment over the past several years. “The mailbox is a competitive marketplace – not much different than retail shelf space,” said Baugh. “Direct mail marketers have a very short time period to attract a potential customer, and embellishments have helped get the message across.”

Why does direct mail work?

Potential customers want to be treated as individuals, not as a commodity. Personalization – coupled with a relevant message – is one of the best ways to engage an individual. By using data to target the person to whom the direct mail piece is being directed (i.e. birthdate, wedding anniversary, new homeowner, etc.), the direct mail piece increases in value to that person. The direct mail piece becomes something more than a sales tool – it begins to build long-term business relationships that grow revenue.

Touch is an especially important element in a direct mail piece. When a potential customer opens the mailbox and starts to sort through the contents, a piece of mail that is enhanced with a special softness, look or shape becomes a powerful form of non-verbal communication. Couple that with intriguing imagery and a compelling personalized message, and a direct mail piece is a step ahead in capturing the attention of the recipient. This relates to the neuroscience of touch.

In 2015, Sappi North America produced a book called, “A Communicator’s Guide to the Neuroscience of Touch.” This book illuminated the science of haptics – or “how the things we touch shape the way we feel.” Feelings are an integral part of a purchase decision, so it makes sense to integrate ‘touch’ into printed direct mail as a means of gaining attraction. Dr. David Eagleman, director of Baylor College of Medicine’s Laboratory for Perception & Action, is the primary author of the publication. Dr. Eagleman explained, “In humans, touch represents a powerful form of non-verbal communication. Our sense of touch plays a fundamental role in daily life, from learning about objects to communicating with people.”

The book explained, “To touch a thing is to trigger a reaction: as soon as we do, we begin to feel differently about it. We begin to feel we own it, and research shows that makes us value it more.” This ‘endowment effect’ can translate into purchase decisions. “Scientific studies show that people who merely touch an object, or even imagine touching it, begin exhibiting a sense of ownership.”

If direct mail can trigger an ownership response, it follows that creating a touch-and-feel sensory experience through the use of specialty coatings and embellishments may enhance that response. Engaging the brains of consumers through touch increases interest in the messaging of a direct mail piece and increases the chances of achieving a brand’s marketing goals.

Embellishments drive results

It is a common misconception that many of the creative embellishments are too expensive to purchase and, therefore, make the process of offering these value-added services out of reach for many customers. Today, there are many ways Print Service Providers (PSPs) can work with printers and finishers to add specialty foils, coatings, and laminates to all types of printed materials. This includes hot and cold foils, digital foils and coatings, and specialty laminates (ex. soft touch). When these added embellishments encourage a higher direct mail response rate, the return on investment becomes evident.

MCD, Incorporated, a print finisher in Madison, Wisconsin, has seen an increase in recent years from customers looking to enhance direct mail pieces using foil stamping, embossing and specialty coatings. “We feel there is a direct correlation in increasing response rates by using specialty embellishments,” stated MCD National Sales Manager Sean Hurley. “By increasing brand recognition and perceived value, the customer’s response rate increases. We feel this justifies a slightly higher cost per piece and dramatically improves the customer’s return on investment.”

On the website home page of The Slate Group of Lubbock, Texas, is a phrase that transcends the success of the company: Educate and empower. The company has an array of offset and digital equipment, but it is not just the equipment that exemplifies its fantastic double-digit growth and profitability – the company also thinks “out of the box” with creative embellishment offerings. The Slate Group purchased a Duplo DDC-810 Spot Coater, and it has led them down the path of customers saying a lot of “oohs and ahhs” when they see the unique internal marketing pieces presented by the sales team. Don Denny, owner, believes, “a large part of our success is educating young designers who have never been in a printing plant to the many embellishment opportunities to make direct mail pieces stand out.”

A direct mail piece for the University of Wyoming featured diecuts and spot raised UV, helping the school increase enrollment by 18%. Courtesy of Slate Group.

“Customers are looking for ways to transcend the ordinary with their direct mail pieces,” according to Brad Phinny, COO for The Slate Group. A great example of a distinguished direct mail piece is one done by Slate for the University of Wyoming, which includes both diecutting and raised spot UV coating.

Denny added, “Our investment in embellishments has provided us with an excellent ROI and provided great value-add to retain customers.” With more than 1,000,000 direct mail pieces printed per month, embellishments have been a big “WOW” factor that leads The Slate Group to good partnerships and door openers.

With only a short time span to attract consumer attention, embellishments get the direct mail message across. Photo courtesy of Baugh Graphic Finishing House.

D’Andrea Visual Communications of Cypress, California, calls itself a “visual solutions provider reimagined.” The company has embraced the world of embellishments with a diversified portfolio of offerings, including the addition of cold foil technology for its printing operation. The company added an Eagle Systems cold foil unit to offer metallic decorating as an added advantage for its customers. One of the best examples, as explained by account executive Denise Okata, is a piece done for FX Networks, a division of The Walt Disney Company. This piece is not a typical direct mail piece – instead, it is 64-page booklet.

The print run of 1,500 was directed to solicit local TV stations to air a television program. “This piece was expensive to produce but got an excellent return for FX,” said Okata. Hot and cold foil, debossing, flocking and special UV inks were employed to make this product truly unique and get the attention of the target recipients. “We are not a huge company,” she continued, “but we provide a boutique offering of services with creative ideas that separates us from our competitors.”

Conclusion

Direct mail is a significant part of every individual’s life, whether it is directed to a consumer or business – but not all direct mail is effective. As part of a 2019 study conducted on millennials⁹, one of the millennial consumer interviewees said, “I don’t read a newspaper… but I will look at a direct mail piece if it is highly personalized and has an intriguing design.”

Optimizing direct mail for consumers requires a seamless marketing platform that creates an engaging personalized message with attention-grabbing design techniques. Graphics organizations that take advantage of these concepts can propel their companies – and their customers – to higher levels of success.

When a printer goes beyond ink on paper to add the vibrant visual and tactile elements that can be experienced with diecutting, foil and other embellishments, a direct mail piece now resonates with statistical ROI for the customer.

Now is the time to reach out to print customers and prospects to encourage the use of embellishments to increase response rates and profitability with direct mail projects. Marketers are fighting for attention in the consumer’s mailbox. Embellishments are the key to winning the battle.

References

“The neuroscience behind the response-driving power of direct mail,” July 31, 2015, https://www.canadapost.ca/assets/pdf/blogs/CPC_Neuroscience_EN_150717.pdf
Gore, Joanna. “Marketing in a COVID-19 World.” WhatTheyThink, May 2020, pp. 24-27
“Still Relevant: A Look at How Millennials Respond to Direct Mail,” accessed June 2020, http://www.lendingsciencedm.com/how-millennials-respond-direct-mail/
A Decade of Facts and Figures, accessed June 2020, https://facts.usps.com/table-facts/
“Is Direct Mail Dead?”, Mail Shark, accessed June 2020, www.themailshark.com/resources/articles/is-direct-mail-dead/
The 25 Most Trusted Brands in America 2020, Morning Consult, accessed June 2020, https://morningconsult.com/most-trusted-brands/
“Marketing Chart: Which advertising channels consumers trust most and least when making purchases,” MarketingSherpa, January 17, 2017, www.marketingsherpa.com/article/chart/channels-customers-trust-most-when-purchasing
“Valassis Research Identifies Factors That Influence Consumer Shopping,” BusinessWire, February 17, 2020, https://www.martechcube.com/valassis-research-identifies-factors-that-influence-consumer/research
2019 Schnoll Media Consulting research project on how Millennials and GenZ view printed products

BOBST Improves ACCUCHECK

September 9, 2021

By Jewlissa Frickey, writer, PostPress

BOBST has launched the new ACCUCHECK, which makes zero-fault packaging a reality. The new ACCUCHECK is an inline solution to inspect carton blanks for defects as they enter the BOBST folder-gluer. The solution is fully embedded into the folding/gluing line, allowing a seamless progression, with no additional quality-control step in the process required. As a result, production quality processes are improved while quality-check running costs are reduced.

The system detects a wide range of defects, including spots, missing prints, text errors or misregistration. Defective boxes then are filtered and ejected automatically, guaranteeing 100% quality-controlled production.

Customers require zero-fault packaging while wanting to ensure perfect quality production and timely detection of any errors within the production chain. They need a system to identify issues and eliminate sources of errors, leading to quality consistency and client satisfaction.

The new generation of ACCUCHECK answers those needs. It can inspect embossed surfaces with no additional quality-control step required in the process; consequently, not affecting the production speed.

The folding/gluing line inspection system also is easy to use. The integrated quality control system is equipped with the HMI SPHERE, which provides several operating modes for customized settings and easy operation. This feature is becoming standard on new BOBST machines. In addition, inspection parameters can be saved and recalled, with repeat orders set within seconds. Access rights can be set for different users.

As with the first generation, the new ACCUCHECK carefully checks carton blanks for defects, but now at a faster speed – up to 500m per minute, or 140,000 boxes an hour.

BOBST also has introduced dedicated inspections for embossed, metallized and varnished surfaces, which are very useful features for producers of high-end luxury packaging. In example, the system can check for an absence and/or misregistration of embossing, as well as detect the lack and/or excess of varnish.

Other new features include advanced reporting, PDF functions and the new Smart Text Inspection feature, which ensures that even the smallest defects like non-compliant words or numbers are detected.

ACCUCHECK can be configured to suit all segments, with different speeds and inspection needs for industries such as pharma, cosmetic and food.

Technical Details

ACCUCHECK has a device length of 1.5 m and offers an inspection zone up to 400 x 400 mm, with an optional extension zone increase of 800 x 800 mm. It provides inspection speeds up to 350 m/min (or 500 m/min with high-speed option).

Inspection capabilities include stable and accurate color measurement; precise register control of print, embossing, foil cut patterns; and enhanced text inspection, regardless of text pose or color, as well as advanced control of finishes such as hot foil, embossing or varnish.

The global control sensitivity can be adjusted within three pre-set quality levels. Moreover, the blank control areas can be customized according to the required defect type and adapt the control sensitivity adapted depending on the application’s needs.

Leasing Equipment – Buyer Beware

September 9, 2021

By David Spiel, Spiel Associates, Inc.

When a printer or finisher is considering new equipment and sits down with a supplier and a leasing agent, how does the finisher know who is on his side and who is looking out for his best interest – or even knows what the “best interest” is? Consider this: An honest machinery dealer will not oversell a customer on equipment, especially if he wants future business. A leasing company, in many cases, is not concerned about what is the best equipment for the application or even has any understanding of what the best options are. Granted, many leasing representatives are honest, hardworking people who will not oversell a customer, but there are those who will.

I recently worked with a customer who was starting from scratch and needed to buy a perfect binder, a laminator and a case binding line. When I visited his plant, I didn’t see a paper cutter. It may be the first shop I have ever been to that didn’t have one. The shop did no cutting and only needed a cutter for this particular application. I suggested a particular lower-priced cutter because it was the right fit for the customer. When the leasing agent asked why I had sold the cheaper cutter, I told him it was the right fit for the job and the customer didn’t need anything more for his application.

Many times with digital printing equipment, I have seen companies trying to sell bindery equipment with the lease and the customer not really getting a fair look at what bindery equipment might be best for the operation. This is where it can get tricky. Are the supplier and leasing agent one and the same? If so, how can the customer tell if the agent is understanding the additional bindery or other finishing equipment the customer might really need?

The large digital printing equipment companies have their “go to” partners for bindery equipment, in many cases. That makes sense for them because they can pick out what the customer needs from a shopping list: perfect binder, laminator, inline punch, etc. Now most of the machines they will recommend are good machines, but are they always the best fit for what the printer/finisher may be using it for?

If a particular printing equipment supplier only has one partner for bindery equipment, that is what he will recommend. A savvy customer will compare it to other brands and look at what is available in the marketplace. There are a variety of quality suppliers of bindery and finishing equipment that can work both inline or offline with most all digital printing equipment.

And, depending on what the application or applications are for new digital printing equipment, it may be that additional bindery or finishing equipment is not necessary at all. For instance, if the customer assesses that there will be less than 30% of the jobs that will need to be perfect bound, why invest in a perfect binder? In any medium- to large-sized cities, printers can find a trade binder/finisher to work with to help with binding needs. With the current shortage of labor, it might make even more sense to work with a trade binding/finishing partner.

The key is to be aware of what else is available. I highly recommend that customers evaluate the potential choices before including whatever bindery equipment is offered to them because it is easy to include it in a lease that covers the digital printer and bindery equipment. It is all on one lease and it is the easy decision, but it may be overpriced, and it may not be the best machine of its type.

Another bindery option that I see many customers purchase with their digital equipment is an inline punch for plastic or wire-o coiling. When I ask the customer the price, I always hear the same answers: “I don’t know, it’s in the lease,” and “I don’t know how much I am paying, but it is not much.”

A good entry-level offline automatic punch should last at least 10 years and maybe even 20. A heavy-duty automatic punch, if maintained properly, should last at least 20 years. So, does it make sense for a customer to purchase an inline punch if there is potential to move to a different or larger digital press in five years? Also, a good entry-level automatic punch should punch over 50,000 sheets per hour. This can handle multiple digital presses. So, there usually is no need to have an inline punch on every digital press if the customer already has several. And, if a press goes down, the customer has no access to the punch. In this case, an inline punch makes little sense except for potentially smaller operations with only one press and where it is most likely it will stay that way. Finally, can the inline punch handle the wide variety of paper stocks and sizes that a standalone punch can produce? The answer, in most cases, is no.

The same holds true for perfect binders. Inline perfect binders are very expensive, extraordinarily limited and often cannot bind a good variety of stocks and sizes. Buying one makes sense if printers knows what jobs they are expected to run on a regular basis, but it makes little sense if the customers are expecting a variety of jobs and paper stocks. Again, a quality offline perfect binder will last at least 10 and maybe even 20 years and, in most cases, are much less expensive than an inline option. Does a customer want to buy a new perfect binder each time the shop upgrades to a new digital printer? In addition, as stated earlier, it is important to look at how many jobs the customer will be perfect binding. It may make the most sense to partner with a trade binder/finisher for the bindery work.

The bottom line is when a printer or finisher sits down with a sales rep and/or leasing agent, the factors above should be considered. Is the agent selecting the best binding/finishing equipment for what the printer will be producing or is equipment being sold that happens to be part of what the digital printing equipment company is offering? Is the finisher getting the best price, or is it just hidden in the lease? Can the machines do most or all the jobs that are needed to be produced, or will the printer end up farming a fair amount of the binding/finishing work out? Lastly, when analyzing what type of binding will most commonly take place, does working with a trade binder/finisher make the most sense?

When the leasing company rep asked me, “Why didn’t you sell him a more expensive cutter?”, I replied, “Because he doesn’t need one.”

David Spiel is the co-owner of Spiel Associates, Inc., a bindery and finishing equipment supplier in Garden City Park, New York. For more information on Spiel Associates, Inc., visit www.spielassociates.com.

UV Enhances Print Project

September 9, 2021

By Lara Copeland, writer, PostPress

Performing print finishing services, Feiereisen, Inc., is a family-owned business with headquarters in Cedar Rapids, Iowa. In business since 1933, the nationwide provider recently created a custom-designed, diecut pocket folder with a series of single, two-sided inserts, titled Finish With Style, to promote itself as a graphic arts finisher. Touching on some of the more traditional finishing techniques, like diecutting and laminating, this piece also “stresses one of Feiereisen’s newest available services, which is an extremely high-end digital enhancement press that prints inline digital spot UV and digital foils,” Feiereisen’s President Greg Ortmann commented.

The Konica Minolta MGI JETvarnish 3DS with iFoil was used to create the a unique product. This digital decorative solution is the only print enrichment process to utilize three inline methods of curing: IR is for low-level, flat 2D spot coats and rounded, domed smooth effects; the LED is for freezing and pinning high-build 3D textures and sculpted image effects; and the full-powered UV is for final curing of all clear ink (varnish polymer) treatments. Additionally, the UV lamp system provides the final curing method for embossed foil applications where a hyper-sensitive foil roller is calibrated with pixel-to-micron inkjet management. Knowing what the JETvarnish can do, Ortmann said Feiereisen decided to use this equipment to showcase the company’s capabilities.

“With this product, we simply wanted to show off what the press is capable of doing,” Ortmann said. “The incredible high-end finishing of UV and foil now is available in a streamlined digital process that not only is fast but delivers incredible flexibility for custom-designed finishes without the cost of traditional dies, plates, screens and foil stamp setup.” The machine also opens the opportunity to do limited runs of any size, large or small, all while keeping the costs affordable and much lower than traditional processes.

Finish With Style features a tactile design, “begging the viewer to pick up the pieces one-by-one and touch them, feeling the difference in variable depth foils and UV,” Ortmann said. The piece also highlights the way light affects the finishes. “Watch it electrify the foils,” he continued, “making them pop off the page, and see how the light truly enhances the 3D qualities of the depth of the UV in key areas.”

The secondary focus of this design was to convey the overall power, speed, style and the limitless capabilities of the press, “not to mention the finishes that could be added to virtually any printed piece.” Feiereisen’s customer base is wide, and Ortmann said the design team planned to make the pocket folder project relatable to them all on a personal level, which was key in the process. “This subtly shows what could be done for their particular industry or market segments.”

When it came time to create this intricate piece with five inserts, the team was challenged to find the best process for the multiple layers and effects. “We tested various processes to figure out how to make each image come to life,” Ortmann said. “How do we make chrome pop, or paint colors look like they are shimmering in the sunlight?” Feiereisen worked to add depth and dimension to each image, making the viewer want to touch the piece, “as if it were the real thing,” he said, “not simply a photo.” Ultimately, the team labored to figure out how many layers could be built on top of one another. Ortmann said this “really pushed the limits of the digital press – using multiple layers of foil and variable depth layers of spot UV.”

Cedar Graphics, Hiawatha, Iowa, printed the folders and inserts, and both were produced on 14pt Carolina C2S. Each piece was laminated with a matte finish on a GBC Genesis. They then were moved to the new digital foil and UV press, where each insert had its multiple layers of foil from Crown Roll Leaf and UV applied.

The project earned a Gold Leaf award for Best Use of Digital Inkjet-Coating from the Foil and Specialty Effects Association (FSEA).

Special Sales Gala Invitation Draws Rave Reviews

September 9, 2021

By Jeff Peterson, executive director, FSEA

Goya Foods, Inc., headquartered in Secaucus, New Jersey, is the largest Hispanic-owned food company in the United States and the premier source for authentic Latin cuisine. Goya provides consumers with over 2,500 food products from the Caribbean, Mexico, Spain, Central and South America.

Each year, a Sales Gala is included as part of Goya’s annual sales meeting. Goya has called on Wharton, New Jersey-based Sunset Printing and Brand Management Solutions to produce the gala invitation for several years. Sunset Printing is a third-generation, family-owned company providing print, finishing and brand management services. Sunset specializes in special event collateral and works with companies throughout the world. “We have printing and other specialty processes that we do in-house, including offset printing, foil stamping, raised thermography, embossing, diecutting, foil edge gilding, grommet inserting and hand finishing,” stated Sunset Printing President Rob Wainer.

The theme of the Goya Sales Gala this past year was “Celebrating Women.” Wainer and his team sat down with representatives from Goya to discuss ideas and decide on an invitation style. “We had previously created a pop-up-style card for the event the year before and they wanted something that would be interactive and suggest a feminine quality,” explained Wainer. “The client mentioned a fan, and my design staff suggested a multi-blade fan design with a grommet holding the blades together.” Goya loved the concept. A string attached to the back of the fanned-out invitation would limit the opening so the words and graphics would line up. The final step in the design was working with Goya to choose the color of the foils to complement the image of the woman and the butterfly.

The decision was to use offset printing, foil stamping, clear digital UV gloss coating and glitter thermography to create the special effects. The first process was printing the graphics in 4-color process on a 5-color Heidelberg offset press. Registration marks were printed on each sheet for the post-press UV digital spot coating. After the initial printing, the sheets were foil stamped with two separate passes on a Kluge press to create the front cover of the fan design and add details on the place and time of the gala. Magenta and gold metallic foils from Kurz Transfer Products were used with copper flat stamping dies from Universal Engraving. The next step included applying a clear varnish and glitter thermography to the invitation over the printed butterflies that flew toward the graphic of the women. The last decorative step (that was not hand finished) was applying a spot UV coating perfectly registered to the image of the woman using a Duplo Raised Spot UV Coater.

After all the different processes, the sheets then were diecut into the different fan blades. The Kluge operator had to be extremely careful to maintain the proper registration with the magenta foil border on each fan blade. After the diecutting, the fan blades were separated, and 17 diamonds were glued onto the front cover – all accomplished by hand. After applying the diamonds, each fan blade was collated into a finished set and a grommet was inserted to create the fan-out effect. Lastly, after inserting the grommet, each fan was spread out on a table and a connecting string was applied on the back of each blade by hand with hot glue to limit the opening so each printed and decorated blade would line up perfectly when the invitation was fanned out.

“Each sheet went through six separate presses and each step had to be in perfect registration,” added Wainer. “Trying to keep the same gripper as and side guides was a huge challenge.”

Once the entire invitation was complete, the fan was inserted into an outer box that was foil stamped with the same design and then mailed with a response card and reply envelope.

The Goya Sales Gala 2020 invitation was not only well received by the customer, it caught the eye of the judges for the 28^th annual FSEA Gold Leaf Awards where it won Gold for Best Use of Foil/Embossing – Announcement/Invitation (Creative).

“The customer was ecstatic with the finished product,” ended Wainer. “It was a fun project for all of the press operators and hand finishing staff involved.”

Capturing Creativity with Konica Minolta’s Extreme Digital Guide

September 9, 2021

By Jewlissa Frickey, writer, PostPress

“The ongoing renaissance of print is driven by the desire to create a touchpoint in an increasingly touchless world,” said Print Panther in the Konica Minolta Extreme Digital Guide. “Power in print is evolving, materializing into an all-encompassing medium that is able to captivate and inspire. Print, as it is today, is rekindling the connection between art and exhibition, providing the wanted corporeal element to brand, product and experience.”

The FSEA Gold Leaf Awards program assessed entries submitted from around the world by finishers and binders that want to compete against the best in the industry. New technologies have fueled growth with expanded award categories in areas such as digital foil and other specialty UV coatings. Entries are judged on design, execution and level of difficulty in more than 35 categories, with a gold, silver and bronze award presented in each category.

Best of Show Honorable Mention at the 28^th Annual Gold Leaf Awards went to Print Panther for its Konica Minolta Extreme Digital Guide for showcasing the inspiring, tactile coatings and foils that now can be achieved digitally with Konica Minolta’s MGI JETVarnish 3DS with iFoil-S. “We wanted to make print an experience,” said Christine Yardley, president of Print Panther, “and I think we accomplished that with this piece.”

Every feature was deliberate, conveying a message with each design and copy. “The lead page says Extreme – and we wanted to say that first because print is becoming extreme,” said Yardley. “Having something with a touchpoint gives it that extreme edge.”

Each page features a unique image and technique. Print brings bears to life with the use of Invercote 11.4pt paper combined with a matte lamination, spot varnish, copper foil and matte gold foil. Imagery expands on another page as viewers sense the crisp coolness of a soda can where condensation leaves a vivid mark on Supreme Matte Cover 110lb paper with soft-touch lamination and spot varnish.

The guide used a cross section of papers and laminates and included foils, spot varnishes, flood varnishes, foil on foil, varnish on foil, and multiple foils. Each page utilizes a different effect, highlighting topography and the design elements. “We worked with amazing typography, photography and illustration – each page had a purpose,” Yardley said.

Each page was meant to exhibit a different embellishment with the print quality of the AccurioJet KM-1e LED UV inkjet press and the AccurioPress as the colorful backdrop. However, the guide required the use of various machinery, including the AccurioJet KM-1, AccurioPress, AccurioWide 160 and MGI JETVarnish 3DS with iFoil-S.

Within the guide is a detailed production note page. It outlines the types of paper, lamination, varnish, foil and any other specifications used for each page. “Papers such as the Neenah Starwhite Astrosilver Cover were the perfect papers for the Accurio KM-1 LED UV inkjet press, really illustrating the amazing print quality on a textured stock” Yardley said.

Other papers featured throughout the guide include a Supreme Gloss Cover, Pacesetter Semi Gloss Label Stock, Tango C2S, Cougar Cover and more.

The paper stocks were accented with gold foil, silver foil, diecuts, soft-touch and matte laminations and raised spot vanishes – all bringing to life toucans, zebras and bears … oh my!

With so many moving parts, so comes its challenges. “We had to tweak a few of the diecut pages, but overall once we had the plan in motion it ran wonderfully,” noted Yardley. The decision on using a split bindery method with wire-o was no exception to the challenges. “It made the process more time consuming, but overall, it was worth it in the end,” Yardley said.

Despite the global pandemic, Print Panther saw an opportunity to reach people with its digital guide. “The world is going to be looking for new ideas when we emerge from this, and print can tell a story like nothing else can,” Yardley said.

Print Panther’s objective was to make print an experience. Completing the project left only one question: Inspired? On the last page of the digital guide, viewers were left to contemplate the imagery they had seen, the last attempt to rekindle the connection between consumers and print. From design to copy, every part conveyed a message. The lead-in page delves into the renaissance of print and the desire for touch.

The overwhelming response to Print Panther’s Konica Minolta Extreme Digital Guide solidified its placement at the FSEA Gold Leaf Awards. “It was a labor of love that did us proud,” said Yardley. “I still smile when I look at the Inspired? page. It’s just a wonderful marriage of foil, typography and message.”