2021 May/June

What Consumers Don’t Know About the Sustainability of Paper Products

June 11, 2021

Reprinted with permission from Two Sides North America

As US consumers become increasingly aware of the environmental impacts of the products they use every day, there remains a wide gap between perception and reality when it comes to the sustainability of paper products. This is according to a new survey commissioned by Two Sides North America and conducted by global research firm Toluna. The survey, “Paper’s Place in a Post-Pandemic World,” sought to explore and better understand consumer perceptions, behaviors and preferences related to the sustainability of paper products.

“More and more consumers are factoring environmental impacts into their purchasing decisions, but all too often those decisions are based on pop culture myths and sensational, headline-driven journalism rather than fact,” says Two Sides North America President Kathi Rowzie. “As attention turns to developing a more sustainable, circular economy, the paper and paper-based packaging industry has a great, fact-based environmental story to tell: Paper is one the few products that already can claim to have a truly circular life cycle.”

What’s happening to the size of the US forest area?

Paper use often is blamed for forest loss, and 60% of those surveyed believe US forests are shrinking. The fact: US forest area grew by 18 million acres between 1990 and 2020, according to the U.N. Food and Agriculture Organization’s 2020 Global Forest Resources Assessment. That’s an area equivalent to 1,200 NFL football fields every day. Contrary to the popular belief that manufacturing and using paper destroys forests, the demand for sustainably sourced paper and paper-based packaging creates a powerful financial incentive for landowners to not only manage and harvest their land responsibly, but also to keep it forested rather than converting it to non-forest uses, one of the real documented causes of forest loss.

What percentage of paper is recycled?

Paper recycling in the United States is a hands down environmental success story. But according to the survey, only 11% of consumers believe the US recycling rate exceeds 60% and nearly a quarter believe it is less than 20%. The fact: More than two-thirds of all paper and paper-based packaging in the US is recycled, and more than 90% of corrugated cardboard boxes are recycled, according to the American Forest and Paper Association. In addition, the US Environmental Protection Agency (EPA) reports that paper is the most recycled material in the country, compared to plastics at 8.4%, glass at 26.6% and metals at 33.3%.

Is electronic communication more environmentally friendly than paper-based communication?

As the pandemic forced meetings, events and day-to-day business to online communication and consumers increasingly relied on the internet for news and information, 67% of those surveyed believe that electronic communication is more environmentally friendly than paper-based communication. While consumers enjoy the convenience and the ability to work from home that electronic communication affords, they overlook the environmental impact of digital communication.

The facts: The EPA reports that the pulp and paper industry accounts for only 1.2% of US industrial greenhouse gas (GHG) emissions and only 0.5% of total US GHG emissions – which shouldn’t be surprising since two-thirds of the energy used to power US paper industry operations is generated using renewable, carbon-neutral biomass. In contrast, the energy consumption required for digital technologies is increasing 9% each year, and the share of digital technology in global greenhouse gas (GHG) missions could rise to 8% by 2025 according to The Shift Project, a carbon transition think tank. And compared to paper’s recycling success story, the United States generates approximately seven million metric tons of e-waste annually, but only 15% of that waste is recycled, according to the 2020 Global E-waste Monitor.

“The life cycle of paper products is circular by nature,” Rowzie explains. “The raw material used to make it is perpetually regrown, the energy used to manufacture it is generated using mostly carbon-neutral biofuel and the circle is completed as used paper is recycled into new products at a higher rate than any other material. Even so, our survey shows that misconceptions about the sustainability of paper products are commonplace. It is just these types of misconceptions that Two Sides was created to correct. We believe consumers have the right to make purchasing choices based on data and hard facts, free from pop mythology and misinformation.”

Two Side North America is an independent, non-profit organization that promotes the sustainability of print, paper and paper-based packaging, and dispels common environmental misconceptions about paper products. It is part of the Two Sides global network which operates across North America, South America, Europe, Australia and South Africa. For more information, visit www.twosidesna.org.

365 Days of Incredible – The Fedrigoni Annual Calendar Amazes All Year Long

June 11, 2021

By Brittany Willes, writer, PostPress

Every year, the release of the Fedrigoni 365 Calendar is eagerly awaited by designers and creatives. When it came time to create the 2021 edition, Fedrigoni UK – in collaboration with design agency TM, data management company Ricoh and Meccanotecnica Book Finishing Solutions – assembled to create a piece that would “explore digital printing capabilities, variable data technology and state-of-the-art finishing at their limits,” said Stefano Formentini, marketing manager for Meccanotecnica. The result was something truly special.

To start, designers were asked to contribute a design for a randomly assigned date of the year. Using Ricoh’s data management solution, “Each book then was composed algorithmically, with designs pulled at random and assigned to a date,” Formentini explained. Every book comprises its own combination and sequence of designs, with a unique cover produced from a random placement of two-color gradients and wrapped in a translucent paper with the names of the designers featured in that version in white toner and the remaining set in a light tint. The result was 4,000 entirely unique calendars.

“Digital printing has enabled print-on-demand and variable-data-printing to generate a new range of books, as well as allowed opportunities unthinkable only a few years ago,” said Formentini. The Fedrigoni 2021 calendar made full use of these new opportunities.

“This project shows the tremendous potential of digital print finishing,” affirmed Manrico Caglioni, president of Book Automation – the US branch of the Meccanotecnica Group. “If you can think it, you can do it, and it can be a testament to your creativity far into the future.”

To create the calendar, a combination of three diverse paper stocks was selected from the Fedrigoni digital range of papers. The cover was done with Fedrigoni Splendorlux Premium White stock, the jacket with Fedrigoni Golden Star K Extra White and the inner pages with Fedrigoni Freelife Vellum Premium White stock.

The calendar was digitally printed on a five-color Ricoh Pro™ C7200x digital color sheetfed system, chosen for its ability to print with neon, white, clear and invisible red toners. “For Fedrigoni 365, its ability to dramatize print with neon pink and yellow, as well as white, was exploited to full effect,” Formentini said.

When it came to the binding, Fedrigoni UK called on Meccanotecnica to produce cost-effective, high-quality books. The calendars were bound using Meccanotecnica’s UNIVERSE^TM automatic book folding and sewing machine.

Meccanotecnica’s INLINE back gluer was used for the book block – both gauze and cover – to make the spine less rigid, thereby improving the lay-flat property of the paperback book. The binding for the calendar was accomplished by nipping the spine of the sewn book blocks, then gluing the back and sides before applying the gauze and cover.

To complete the finishing process, the 2021 calendar was trimmed using Meccanotecnica’s automatic three-knife trimmer.

Given the final product consisted of 4,000 unique calendars, it comes as little surprise the production process experienced some challenges along the way. According to Formentini, “The main challenge of this project was the management of the extreme level of personalization of the books. Each calendar was bespoke and unique, dynamically created by a Ricoh end-to-end workflow.”

Meccanotecnica had to consider this dynamic when it came to the binding process. As a result, it had to monitor every single production step. “A reliable control system was essential to produce the Fedrigoni 365 Calendars,” Formentini said.

To that end, during the book sewing process, a GigaLynx™ camera system was used to verify sequence integrity by reading barcodes or images, avoiding errors well before any given section was sewn – allowing the saving of the books.

Furthermore, “In the back gluer,” Formentini continued, “every book block had to be matched with its unique cover. During this, the GigaLynx^TM control cameras – positioned at the in-feed of the machine and at the cover feeder – played an essential role.”

When the 4,000 calendars were complete, each participating creative received a copy, which included their design and their name personalized on the back cover – an impressive level of personalization. As Formentini noted, a number of the calendars can be purchased online via Counter-Print, with profits donated to charity. “The 2021 edition supports Teenage Cancer Trust,” he said. To date, more than 750 copies have been sold.

In the end, pushing the limits of digital printing certainly paid off for all involved in the project. “Due to the pandemic, the usual launch event was unable to take place,” Formentini stated. “However, the online reception was absolutely fantastic. Designers’ social media were flooded with neon gradients, and we received many heartfelt words of appreciation from contributors.”

Packaging Embellishments: Set Your Cannabis Company Up for Success

June 11, 2021

By Kim Guarnaccia, owner, Huzzah Marketing, LLC

As more states legalize the use of marijuana, new cannabis customers will be making their first visit to a dispensary to buy cannabis-related products. This can be a daunting experience, but cannabis packaging with a dependable, premium look can help consumers feel more at ease. One element that symbolizes value and permanence is gold, which has forever been linked to the enduring power of the sun, abundance, success
and prosperity. Far-sighted packaging designers already have realized the power of gold and are utilizing gold foils, board and closures to great effect.

Carton interior reflects gold mining branding

The cannabis company Gold Rush had a two-fold mandate for new packaging for its premium extracts: to maintain the existing brand design and to develop a premium package that reflected the high price point of the extract.

Since the box for the cannabis extract is quite small, designers at Gold Leaf Print & Packaging decided to keep the outside box design understated and concentrate interest on the carton’s interior by applying a bold, full-bleed, gold foil.

“Like an archaeologist digging through rich, dark soil to discover treasure hidden right beneath the surface, the interior implies that the golden cannabis extract is worth its weight in gold,” explained Gold Leaf’s Marketing Manager Stephanie Salvago.

The response from customers was so positive that Gold Rush plans on updating its other cartons in a similar fashion.

Medieval alchemy transmutes base package into gold

Likewise, startup company Ancient Roots took a leap of faith when it decided to utilize gold in its packaging. Yet, instead of taking baby steps by starting out with a few golden accents, the company went all in by creating a carton that has the literal look and feel of a real gold ingot.

Like a medieval alchemist, the design team at Impress Communications initially experimented with transmuting silver into gold by overprinting a series of transparent yellow inks onto silver met/pet. Once a combination was found that mimicked the look and feel of real gold, the company’s lab developed a custom PMS ink to apply to the silver board. The text then was printed in a brown PMS and debossed, to appear as if the gold ingot was hallmarked with the logo during the smelting process.

The key to the success of this piece on press? According to packaging specialist Don Romine, it was critical to print the package with UV inks on a UV press so the inks would dry quickly and trap properly. The result exceeded everyone’s expectations, including board supplier Mainline Holographics, which loved the effect so much that it now stocks gold board for its customers.

Gold embellishments hint at treasure within

Not all cannabis products require an outer carton. In many states, cannabis companies can sell buds, oils or extracts in a jar, tin or other primary container directly to the consumer, as long as it is properly labeled with the company’s logo, directions and product info. The benefit of using labels only, especially for a startup, is a sometimes substantial savings in printing, filling and shipping costs.

Cannabis company Kiva Confections decided to do just that. Combining a full-bleed of a green letterpress ink and gold foil, it decided to keep its packaging to just the primary jar and label for its limited-edition Pot o’ Gold Peppermint Pattie Terra Bites, a THC-infused fondant covered in 24k gold leaf.

Here, the gold foil – as well as the product name and four-leaf clover icons – brings to mind tales of the legendary leprechaun, an ancient creature who was an expert at
finding gold.

According to Sam Michaels, senior designer at Studio on Fire, printing labels such as this looks simple but actually can be tricky. “Every pass through a press distorts the sheet a tiny bit, so getting everything into register takes careful planning,” Michaels explained. “We have to pay special attention to which ink is laid down first, what the paper grain direction is and which press is best suited for each job.”

Golden seal provides old world appeal

Burning-Bloom-Studio-on-Fire — Studio On Fire created sample packaging to showcase its
design ability as well as common packaging solutions.

Since Studio on Fire designs packaging for many cannabis companies, it soon became evident that it needed a sample carton to showcase not only its exceptional design chops but also a packaging solution for pre-rolled joints, a common cannabis product offering.

For this promotional carton, the designers engineered a basic custom sleeve around a black, paper-wrapped tray. The natural kraft letterpress-printed sleeve with gold foil embellishments is clearly reminiscent of antique drawing rooms filled with prosperous dukes, barons and magnates of industry.

To keep costs to a minimum when printing cartons for multiple strains, a variable data-printed label was applied to the top of the package, featuring the hybrid’s name and other strain-related details. Perhaps most exciting, however, is the antique looking, gold foil-printed unifraction seal on the front of the container. Mimicking an expensive cigar label, this tamper-evident seal and the variable data-printed top label elevates this package to one that is well worth a second (and even third) appreciative look.

An appreciator of fine packaging design, Kim Guarnaccia provides marketing support to the print, packaging and paper multiverse. For more info, visit www.HuzzahLLC.com or email kim@HuzzahLLC.com.

Utilizing Digital Printing for Greater Brand Awareness

June 11, 2021

By Hadar Peled Vaissman, independent creative consultant

The development of digital print is reminiscent of the advent of the modern airbrush: Suddenly there was a new technology for releasing ink onto paper. It was easy to learn and use, and it quickly became popular. With this new tool, a whole new art form started, taking photorealism and photo retouching to a completely new level. Digital printing can do that as well and be the new airbrush for the graphic design community; an exciting new chapter that easily expands design capabilities.

As designers, customers also have changed, and so have their marketing and branding requirements. This affects what is required from designers – basically, it changes the designer’s own product. In the past, branding was based on consistency with the psychological rational that familiarity will lead to brand recognition, brand preference, buying and loyalty. When so-called Generation X walked into a supermarket and saw the myriad brand options on the shelf, their hands would somehow instinctively reach for the one that was familiar, that looked the same as it always had, reminding them of home, of safety and of predictability.

Then the millennials came along, who were brought up to expect personal service. Safety or predictability was less of an issue, familiarity was nothing to them. On the contrary, it was boring. Millennials do not see themselves as part of a crowd; they prefer to be seen as one of a kind. They expect brand owners to treat them as individuals and target products specifically to them. Sustainability also became an issue and, altogether, mass production and traditional advertising were not cutting it. As a response, marketing departments and advertising agencies started developing more targeted campaigns with activation tactics to reach and appeal to these new consumers, but still, overall, the personal touch was mostly missing. Millennials, who grew up with the internet, certainly are more used to sharing their personal data in exchange for content. They are happy to participate and click if this means the brand will acknowledge them personally. They expect brands to use this data and get the product right.

Now comes Generation Z, which is even more internet savvy in every possible way. To them, the technology comes as naturally as the air they breathe; it is taken for granted. According to a recent report on customer trust trends from Salesforce, “Although a slim majority of consumers still are wary of companies’ intentions when it comes to handing over personal data, Gen Z and millennials are more game to take that risk — as long as they are getting something in return.”

So, how do companies offer customers the right product in today’s consumer market? The ultimate answer to this question is: with digital print. Digital print allows companies to control and change the data on a print product, using information the consumer has given to make it the most relevant product possible for them.

Mind the gap

At the moment, there is a gap between the possibility or idea and what the design world actually is doing. In most cases, designers – being unaware of the potential of digital – still design for any print technology, being wary of color-limitations and definitely not using the digital tools potentially available to them for an improved brand experience. The ability to close this gap lies in the hands of the print vendor (or print service provider). Proactive and agile printing firms can help their customers achieve huge marketing success by offering them such design tools.

Some big, international brands have begun to use these tools to deliver astonishing, impactful campaigns where digital print enabled the product itself to become the media. One such campaign was done by Coca Cola in Israel.

Two million different Diet Coke bottles

Coca Cola in Israel was looking to increase its Diet Coke sales, and the brand manager – an innovative young millennial – was seeking something new, something different. Having experienced the power of digital print with the ‘Share a Coke’ campaign in summer 2014, a campaign that broke the boundaries of personalized mass production, she realized the staggering results of the campaign pointed to an obvious customer need or desire. She then reached out to the marketing team stating, “We need two million bottles, every single one different from the other – doesn’t matter how. Just keep the logo and ingredients as they are. Everything must be on-shelf in two months.”

A combined effort between R&D and design teams came up with ‘HP Smartstream Mosaic,’ an algorithm that manipulates the design result. It is a plug-in for Adobe CC and very easy to use. The result is one that manual labor could never achieve. How does the algorithm work? In short, the designer supplies the ‘seed pattern’ and the algorithm manipulates it into different results each time a page is printed. Never repeating, always changing. The design work took two weeks, with 23 seed patterns created to achieve two million individual designs. Digital print allowed a fast turnaround, and the product was on the shelf on time.

Save the elephants

A second campaign example used the same algorithm and digital print technology to support an even bigger goal, namely, cause-driven marketing.

Many marketing researchers have concluded that millennials and Generation Z continuously are changing the way consumer experiences are being created. Cause-driven marketing plays a large role in this change, and brands and marketers should find a cause to stand for to impact these generations. Amarula, a liquor brand from South Africa, embodies this by supporting the ‘Save the Elephants’ campaign. Elephants are being relentlessly poached for their ivory, and the Amarula brand has been supporting the cause to save them from the start – symbolized by the elephant on its label.

Using HP Smartstream mosaic, Amarula put 400,000 different bottles on-shelf, each with a differently designed elephant that represents a living one. Two seed patterns were designed, and the rest was handled by the digital press and software. For every bottle purchased, Amarula donated money to a foundation it partnered with. Digital print enabled this emotional, big-issue message to get across on-shelf as every bottle could be as unique as every real elephant. Just as with Diet Coke, the message from the brand to today’s younger generation was carried on the product and was supported by a 360˚ campaign, which drove consumer engagement and brand equity through the roof.

Conclusion

Today’s consumer market thrives more and more on personalization and brand communications; however, many brands still are confused by this fundamental consumer change and by how it affects their supply chain. Printers themselves hold the key to new digital print capabilities but don’t actually participate in marketing strategy talks with brands or their designers. And so the gap remains. The design community has a real opportunity to unleash digital as its new airbrush to create beautiful, personalized, multi-channel campaigns and to enable a new kind of marketing.

This article originally appeared as part of the drupa 2021 article series: Essentials of Print. For more information, visit www.drupa.com.

Hadar Peled Vaissman is an independent international art director who helps brands improve their communication, mainly through customization, personalization and individualization. She believes that these will elevate a company’s relevance in a digital world.

Heidelberg’s Diana Go 85

June 11, 2021

By Chris Raney, vice president of product management, postpress commercial and packaging division, Heidelberg USA

Heidelberg, with US location in Kennesaw, Georgia, recently announced the addition of a new folder-gluer, Diana Go 85. It was developed on the basis of Heidelberg’s market requirements by the MK development team based in Neuss, Germany. It has a small footprint, but commercial and packaging printers will find it cost effective, flexible and productive.

The commercial print market seeks constant innovation as many of the products it manufactures are marketing driven, and the need for differentiation is high. Coupling this with the constant price pressure means that printers and finishers constantly are seeking new ways to improve their efficiency and to add new capabilities. The Diana Go offers a bridge between the more traditional table-type folding machines that predominantly use plough folding and a folding carton folder-gluer.

Of particular importance is the robust construction and stable carrier design. This ensures that a makeready, once complete, remains set for the duration of the production run with no fine tuning required. This stability of setup, along with belt folding and longer machine sections, means that production speeds can be higher for greater output.

The aligning section immediately after the feeder is a critical element to guarantee the best quality as it ensures that every item is registered before it enters the first folding section. Throughout the machine, the folding belt design ensures that all folds are made in a controlled way for the greatest accuracy. The open construction allows for the mounting of tipping units, bump and turn units and pocket folder devices, offering a wide range of capabilities. The compression section also allows the use of cold glue when appropriate. Cold glue is cheaper and easier to handle than hot melt and further improves the flexibility of job design.

The Diana Go will enable a commercial printer or folding carton producer to improve the production output of most traditional products and offer a competitive production platform for short-run folding carton applications. Bridging that gap into folding cartons enables a commercial printer or packaging provider to expand its production capabilities and bring more business into the operation.

The stable and robust design of the Diana Go provides a production platform that is unrivalled in this product class. Many machines of lighter construction require regular fine tuning to ensure initial settings are maintained. This leads to a variation in quality that is not a concern on a stable platform where nothing moves once set in position. In addition, the carrier design is simple and rigid for fast setup and easy handling for the operator. The belt speed, up to 1,000 ft/min., offers a production output that can improve competitiveness and allows growth into the folding carton market. Overall, the quality of the finished product will be consistent and at the highest level due to precise folding using belts throughout the machine.

The interest in the Diana Go has been very positive. Customers appreciate the build quality and the wide range of capabilities the machine brings to the production floor. Operators have found the access to the different elements of the machine, due to the cutouts in the side frames, greatly enhances their ability to accurately set up the machine. The machine also carries the GS certificate of product safety, which is an independent certification of compliance.

Technical details

Maximum speed is 250 m/min with the option to make it 300 m/min. The minimum carton width is 75 mm (option of 45 mm) and the maximum is 850 mm. The maximum machine length is 9,840 mm with an optional alignment module. It weighs 4.3 tons.

Association News: May/June 2021

June 11, 2021

PostPress

FSEA’s Online Spring Summit a Hit

After a successful online conference event during the summer of 2020, FSEA decided to launch a second virtual event in 2021 – the FSEA Online Spring Summit – with the belief that hosting an online conference still was the safest option for an educational opportunity for members. With this, FSEA determined the best way to hold the event was to reduce the amount of time required for Spring Summit attendees to “attend” in one sitting. As a result, the decision was made to schedule sessions that would be held for 2 hours a day, 1 day a week for 4 weeks.

“We were determined to come up with a schedule that could work for our FSEA members and other attendees without asking them take time away from their businesses to sit through a full day or even a half-day of sessions,” said FSEA Assistant Director Dianna Brodine. “Each weekly Spring Summit session required only 2 to 2 ½ hours, and we packed a lot of content into a short amount of time.”

The four weekly sessions were designated by subject matter. Week One focused on metallic decorating and sustainability (a hot topic), Week Two included sessions on metallic decorating choices and troubleshooting, Week Three focused on binding and finishing, and Week Four included two panels on UV coating design and troubleshooting.

Adding more value to attendees, video interviews were conducted with premier sponsors ITW Shinemark, Infinity Foils, Universal Engraving, Inc. and Standard Finishing Systems. These video interviews (available for viewing at www.fsea.com) provided insight into print and packaging trends.

In addition to focused content, all attendees received a unique offering from the online event – a WOW! Box was sent to each attendee, filled with creative samples from the sponsor companies and informational content from the FSEA.

FSEA is grateful for the support of our industry sponsors, including:

FSEA Welcomes New Members

FSEA would like to welcome the following new FSEA members in the first quarter of 2021:

Crossmark Graphics, Inc. – New Berlin, Wisconsin
Gietz-Vinfoil Americas LLC – Homer Glen, Illinois
Litho Press, Inc. – Indianapolis, Indiana
Marbach Americas – Charlotte, North Carolina
Monadnock Paper Mills, Inc. – Bennington, New Hampshire
Neenah – Alpharetta, Georgia
Niagara Label Co. – Akron, New York
Phillips Graphic Finishing LLC – Manheim, Pennsylvania
TPC Printing & Packaging – Chattanooga, Tennessee

Save The Date for FSEA One-Day Event at PRINTING United

Set your calendar for October 5, 2021. FSEA is planning a one-day event and reception the day prior to the start of the PRINTING United Expo (October 6-8, 2021). Look for details on the website soon at www.fsea.com.

Sustainability Meets Print Decorating

June 11, 2021

By Liz Stevens, writer, PostPress

Sustainability. Recycling. The circular economy. Everywhere one turns, there is another reminder that resources are finite, that waste and pollution are engulfing the planet and that everyone can be part of the solution rather than part of the problem.

For print finishing companies, recycling of industrial paper scrap is old hat, along with recycling inks and managing wastewater. But what about non-recyclable scrap, such as films and materials that are coated, treated or laminated? What should be done with these in a circular economy? There is good news: Much of these types of waste can be converted into fuel by producing energy in waste-to-energy operations. Specialized collectors accept tons of non-recyclable industrial pre-consumer waste, moving it to processors that make feedstocks (fuel) for energy producers. The processor sells the fuel to utilities that produce steam or electricity.

To help print finishers explore an option for diverting their own non-recyclable scrap away from the landfill and into a waste-to-energy stream, FSEA has partnered with Channeled Resources Group. This Chicago-based company, founded in the 1970s, has acted as a facilitator for 13 years to Convergen Energy, Green Bay, Wisconsin. Convergen uses non-recyclable byproduct to make fuel for energy. The chairman of Channeled Resources, Calvin Frost, recently discussed sustainability and non-recyclables-to-energy as it applies to films and coated, treated or laminated paper or film.

“Convergen Energy has an excellent cost-neutral, sustainable solution that any converter or supplier can look at,” said Frost. He noted the benefits of sending industrial waste to facilities like Convergen: It is a cost-effective alternative to sending the same materials to a landfill; there is satisfaction in knowing that materials have been properly disposed of and returned to a value stream; it allows one to play a part in reducing overload and methane in landfills; and, it makes a contribution to sustainable energy generation – a slate of benefits that may be in line with a company’s corporate and environmental philosophy. “We now are processing 7,000 tons a month of these non-recyclable substrates, working with a variety of companies that want to be more sustainable,” Frost said.

Convergen is consuming more than 30 non-recyclable materials. Almost all pre-consumer paper and plastic products are acceptable. Of particular relevance are film, metalized PET, poly-laminates and flexible packaging byproducts. Some materials cannot be accepted, such as aluminum, organic material, hazardous materials, liquids, metals and anything containing chlorine, such as polyvinyl chloride (PVC). To ensure a print finisher’s load of materials is acceptable, companies must send in a small sample of materials for review – a pound or less of representative materials and substrates.

Frost and Channeled Resources work with companies like Kurz and IPW. Also, “We currently have a small volume coming in from FSEA members,” said Frost, “but we have the ability to take more, if we can find the right partners.” Frost noted that his company recently has worked with Lake Forest, Illinois-based Culbert Packaging, which has just started a metalized line. “The company wants to be sustainable,” said Frost. “It doesn’t want to landfill, so it is shipping 5,000 pounds every six weeks up to Convergen Energy. Culbert is working with the same kind of substrates that FSEA members use, and the company is shipping less than truckload quantities.”

Truckload quantities are the bulk of what typically is shipped for processing to Convergen in Green Bay. “Most of our material is coming in full 20-ton loads,” Frost explained, “and the trailers are dropped off. For a load of less than 20 tons, companies need to make an appointment so the truck can be scheduled for unloading. Otherwise, the full trailers are dropped, and Convergen will unload 24/7 as it processes the trailers.”

“In Green Bay, the material is processed and then compressed and extruded into fuel pellets,” said Frost. Convergen sells the fuel pellets to power generation facilities. The company also uses the pellets to fuel its own 20-megawatt boiler-based power plant in L’Anse, Michigan, which then supplies electricity derived from renewable energy to DTE, a Detroit-based energy company. “If you really want to be sustainable,” Frost said, “if companies really want to close their loop and create a circular economy, they can send non-recyclables to be processed into fuel. The fuel then goes to a utility, where the energy generated in the boiler is sold to the grid. Then companies can buy the energy back again.” To Frost, this is a great example of the circular economy. “What this does is close the loop. It is possible for printers to participate in a program that will make them more sustainable,” he said.

The cost-benefit of this kind of sustainability is fairly easy to calculate, but it varies based on the shipping fees for waste transport and the regional costs for landfill use. Frost cited an example using a 20-ton measurement, a standard truckload, and the landfill costs in Southern California. “I know a lot of printers and finishers don’t have 20 tons, but we look at costs in 20-ton increments,” he said. “In San Diego, the cost to landfill and transport waste to the landfill is $248 per ton. The total cost for that, based on 20 tons, is $4,960. If printers send the material to Convergen, we charge a $30 per ton tip fee (unloading fee) plus they pay for the freight. With their freight cost at $3,600 and the tip fee, the total cost is $4,400. At $4,960 for the landfill option vs. $4,400 for Convergen, printers are saving $560.” Based on Frost’s experience, “by switching from a regional landfill, looking at all costs, printers are pretty much cost neutral or can save some money.”

The recommended minimum volume for a shipment of non-recyclable waste is 2.5 tons, but this kind of volume may be far more than print finishers are generating. “I honestly think it doesn’t make good economic sense unless printers have a minimum of 5,000 lbs – 2.5 tons,” said Frost. “We do have some small suppliers in the Midwest, and they really don’t want to landfill. They have made commitments; they want to be sustainable, and so they are shipping us 2,500 lbs.” Frost acknowledges that smaller shipments will incur a relatively higher freight cost. He said that dealing with anything less than 2,500 lbs is not practical for either the print finisher or for Convergen. But Frost is a man who likes to be resourceful and make things happen. “We have proposed to an FSEA member in Indianapolis where Channeled Resources has a plant that they ship their materials to us, and we will consolidate it with other non-recyclables going to Green Bay.” Channeled Resources has two plants in the US, one in Indianapolis and one in Wisconsin. “We certainly can utilize those, if necessary, to try and make these things work,” he said. “Otherwise, companies can make an appointment and ship LTL to Convergen in Green Bay.”

FSEA members who would like to explore the idea of
diverting their non-recyclables from the landfill are encouraged to contact Channeled Resources for detailed information about the materials that are acceptable and unacceptable for the program, the logistics of shipping, and information on regional landfill fees and typical shipping costs. “We will try and help with information on packaging and information on cost for the material,” he said. “To qualify acceptance of the material, we have to send a small sample up to Convergen.” Once a company contracts with Convergen Energy, Channeled Resources steps back. “Our role is really to be a facilitator,” said Frost. “We go out and develop sources of feedstocks for Convergen. Once we have the process set up, we connect companies directly with the people at Convergen, and we move on. We don’t need to be involved unless a problem develops. Our role is to develop these feedstock sources.”

Frost is active in Europe and has seen the European Union pass legislation regulating packaging waste. “What happens in Europe eventually comes over here because we are working with global companies,” he said. Frost sees a circular economy as inevitable. “We have to change what we are doing. We cannot continue to take non-recyclables to the landfill. It doesn’t work. I would rather be ahead of the curve than behind. I think the time to get on the train is now – do not wait until companies are forced to do it.”

This article is based on the September 18, 2020, FSEA webinar, “Sustainability Meets Print Decorating,” which is part of FSEA’s Online Learning Experience, available
at www.youtube.com/watch?v=Lygpk6o9mN4 or at
www.fsea.com.

Exploring Laser Cutting Technology

June 11, 2021

PostPress

Laser cutting is making its mark as both a decorative and functional technology for the graphic arts industry. It is used to create detailed decorative designs on greeting cards and invitations and also is used to cut short- to medium-run folding cartons, where cartons can be cut and scored inline without the use of any type of tooling or dies.

PostPress talked with Michael Aumann, senior vice president with LasX Industries, to provide further details on laser cutting technologies today and their applications.

What advantages does a laser cutting system provide?

Laser cutting systems provide many advantages, including the elimination of costly mechanical dies and expensive setup times. Laser cutting expands design and functional features with the capacity to create intricate patterns, shapes and etched images that are not achievable with traditional mechanical cutting techniques. Short runs can be produced efficiently and economically due to digital file management and the elimination of costly tooling and makeready. The precise X/Y registration is ideal for digital print which “floats” on the material. This minimizes waste at changeover and provides a higher degree of accuracy than traditional diecutting, which only can adjust in the X direction
(down web).

What is the difference between fixed-beam and steered-beam galvo systems?

An X/Y fixed-beam system delivers the laser beam straight down and requires moving the mass of the fixed-beam head and optics above the material. A galvo system delivers the laser beam to the material by sitting above the material and steering two mirrors. The mirrors are lightweight with much less mass than the fixed-beam system. This allows the laser beam to travel faster and allows laser cutting while the material is moving. This results in a much higher throughput than a fixed-beam system.

Furthermore, the galvo system is ideal for processing thinner materials, which will have an angled beam delivery at the edges. The fixed-beam is better for cutting thicker materials since it is cutting straight down and will have no bevel.

What paper stocks work best with a laser system? Are there limitations with paper stock weight?

The laser can process a range from lightweight paper to heavyweight paperboard. The thicker the material, the slower the laser process is to cut. Not all paper and paperboard are created equal. The paper pulping process varies, and some lasers cut cleaner than others.

For example, chlorine can be heavily used in the pulp so when the laser interacts with the material, it can create a more yellow edge than others. So, it always is suggested to test the material to see if it is clean. Just as printers have better-performing papers, the same exists for laser-process papers. Some paper vendors have developed specific papers that perform well under the laser.

Are plastics or vinyls appropriate materials for laser cutting?

Polyester, polypropylene and BOPP are great with the proper laser. Vinyl is not laser friendly. Laser processing vinyl will yellow the edge badly and produce an off-gassing that essentially creates a HCL acid gas – not good for the operator, the exhaust equipment or the environment.

How can a laser system help to streamline operations and reduce waste in a facility?

Systems equipped with digital workflow features support instant order change and network connectivity and will support multiple file types. They can eliminate mechanical die setup and teardowns. Systems equipped with vision allow for automated cut-to-print registration, and integrated robotic handling can eliminate waste stripping and automate stacking and batching.

What file types work with a laser cutter?

Entry-level systems may require proprietary file structure. Sophisticated systems are capable of using vector files – such as PDF, DXF and DWG – as well as image files for rastering and etching – such as JPG, BMP, PNG and TIFF files.

What features are a “must” for processing digitally printed materials?

Camera registration: If processing digital print, operators must have a system that uses a camera register to print fiducials. This allows the laser to adjust both in the X and Y directions to compensate for the print floating on the material. Otherwise, the operator will have to monitor the registration all through the run, which will result in higher waste quantities.

Support for PDF file processing: This format already is established as the standard for most art departments within print companies.

Instant order change: Instantly change from one job to the next with little to no waste. Eliminating the setup time of a job yields more throughput within an eight-hour shift. This allows for a much lower minimum order quantity and still maintains an adequate profit margin on the job.

Expandiblity: This provides the ability to add a laser in the future to increase throughput as the business grows.

Automated file workflow: The ability to automate the file preparation from the art department for the laser systems can free a skilled operator for other tasks. Files should be automatically prepared and leverage a barcode to instantly load and run on the machine.

How does the laser register the cut to the sheet?

There are three methods for registering a sheet. Traditionally, a sensor can provide lead edge detection and registers to the lead edge or to a print mark. The downside of this is that it only allows registration in the single direction. In applications of diecutting blanks, this is appropriate.

However, if registration to print is required, there are two methods which lead to different degrees of accuracy. If a single camera is implemented, then one can register to a corner of the material or to printed fiducials on the material and adjust both directions (direction of movement X and cross direction Y). A single camera can work for both sheets and a web.

The use of two cameras across the lead edge of a sheet or web allows for not only X and Y compensation but can compensate for skew of the sheet or the printed web, bringing an even higher degree of accuracy. This eliminates the need for upstream material handling to perfectly place and square the sheet. The laser can compensate for a slightly skewed sheet or print.

Are laser systems available to produce both decorative and production work?

For some companies, decorative work is their production. A laser does not need to be dedicated only to decorative work. The same laser cutter can work for more functional production work as well. Throughput of a laser is directly related to two variables: thickness of the substrate and amount of dieline. The thicker the substrate, the slower the laser must travel. The more complicated the dieline, then the slower the process.

Many people concentrate on rate (sheets/hour or feet/minute) of a process, but with the proper laser system the objective should be about throughput – the drive to maximize uptime, reduce set-up time and minimize waste when comparing the traditional process to a digital process. Sometimes the impact of a digital process is seen in how something is done two or three steps downstream.

A laser cutting system can be part of a digital finishing system that cuts, removes the part from the material, stacks, counts and delivers for the next process downstream. With an instant order change, operators can digitally print sheets in any order and quantity, and the finishing system can complement this.

Because of the digital nature of the laser, it allows automation at an entirely new level. The traditional diecutting process favors high quantities and long runs. This is directly related to the cost of the tooling and the setup time invested in the job. The digital process breaks the setup time barrier and allows a plant to run the quantity needed, reducing the warehouse inventory space required in traditional methods.

LasX develops and markets intelligent laser processing and cutting solutions for manufacturing innovations. In addition, it also provides contract manufacturing services for flexible packaging, medical and digital finishing applications. For more information on its line of laser cutting equipment and services, visit www.LasX.com.

Finish with a BANG! Great Ideas for Folding, Binding and Mail

June 11, 2021

By Trish Witkowski, CEO, Foldfactory

Print is an opportunity like never before. It always has been a proven and powerful medium, but after a full year of being forced into virtual-only experiences, print media and multisensory experiences are a deeply desired break from the monotony. According to Google, only 10% of people’s media interactions are non-screen-based these days – and the more time people spend on their screens, the more they value the time they’re not. So, now is the time to leverage print for all it’s worth.

The following are nine categories for printers and finishers to think about. Choose one technique at a time or combine a few together if desired. It’s important to note that piling on extras does not necessarily make a piece more effective or compelling. It’s kind of like when Photoshop came out and everyone was making complex photo montages using every tool and image effect because it was there. The same principal applies to value-added print: “Just because you can, doesn’t mean you should.” A bit of creative restraint, skilled application and a strong concept are the keys.

Create texture

Touch is one of the strongest senses, and whether it’s an embossed pattern or a press coating, the ability to distract and engage people with touch is one of print’s greatest strengths. There are so many great ways to make texture – for example, raised digital effects and textured press coatings, laminate films in soft-touch or high-gloss and a world of other unique effects. Printers can create an overall texture or even mimic a physical surface like leather, woodgrain, rubber, etc. Some brands even are developing proprietary textures to create the look and feel of their products.

Textured paper, layered textures from die or laser cutting and embossing/debossing also are great strategies – and don’t forget the envelope! When carrying a handful of mail, recipients likely are going to choose the interesting mail first. Texture applied to the outside of the mailer will grab their attention before they even realize that their senses are being manipulated.

Engagement devices

Engage_Device — Photo: Chris Paulis Photography

Think about fun ways to get someone to open, lift, peek, slide or tear-off. Pique their curiosity with perforated windows to peel and lift. Add a belly band to make it feel special and exclusive. Tip-on a coupon, a gift card or a keepsake for them to remove. Make an interesting way to get into the envelope, like a zip strip. Zip strips make a fabulous noise when they rip open and are a lot more fun than a basic envelope flap. Zip strips also have been used on bound materials where recipients zip open the cover to access the contents and as a way to get into folded self-mailers as well.

Great paper

Intentionally choosing papers that are different from the norm in some way – brighter and whiter, smoother and glossier, colored and textural – can send subliminal messages to recipients. Leverage paper choice (and weight) to communicate sophistication, eco-consciousness, style and personality. Designers even can deliberately choose low-budget papers to look “bargain basement.” It all depends upon what they are trying to accomplish from a brand perspective. Properly chosen paper, complemented by a strategic design direction, can support the message, the brand and the offer.

Add dimension

Often when thinking about adding dimension in print, our mind goes to elaborate pop-ups – and we think about the budget and hand work and give up. However, there’s more than one way to create dimension in print. There are ways to fold paper to expand when opened. Even a parallel diecut across the fold can turn into a popped-out dimensional box shape. Easy!

Inks and coatings

Inks_Coatings — Photo: Chris Paulis Photography

Choosing beautiful inks and coatings is one of the easiest and most cost-efficient ways to add pop to print. Many designers don’t know all that’s possible, since this category has exploded in the past few years. It is well worth providing some resources and samples of what varnishes, coatings and specialty ink techniques printers can provide for digital and offset printing. Designers would be thrilled to know that white ink, transparent and raised ink, spot colors, metallics, fluorescents and specialty coatings are within reach for their short- and long-run jobs.

Add shimmer

Things that sparkle tend to catch the eye and create a sense of importance. Depending upon how it is used, shine also can make materials feel expensive and exclusive. What is neat about adding shine is that printers and finishers really can meter it out to create the effect they’re looking for – from quiet sophistication with a light-touch application to “Look at me!” So, think of adding shimmery press coatings, foils and metallic inks into the mix.

Cover diecuts

Diecutting is a huge category, and there are so many ways to do it. One approach is to narrow it down to the most exciting and impactful place to add a diecut: The cover of a book or brochure. From a shaped cover to cut-out letters to a diecut that is on multiple panels and layered to create depth and interest, focusing on the cover is an easy way to add a touch of “Wow.”

Scale

Big is “big” these days, as marketers are leveraging larger sheet sizes and creative formats that allow for maximum impact and real estate for eye-catching graphics. Size also is a tool that can be used to create presence, influence and larger-than-life brand experiences. Oversized brochures, newsletters, posters and mail have a distinct opportunity to grab the viewer’s attention and hold onto it. Alternately, something small can feel special, tucked into a larger piece and discovered along the customer journey.

Shape and format

Printers and designers are so used to looking at the same few formats every day that sometimes it’s easy to forget these formats can be changed in even the simplest of ways to make them feel and look entirely different. A great modification is to change the perimeter shape of a classic format like the accordion or the tri-fold. Round the corners, reshape it to a circle or hexagon or mimic a real object like a wine bottle or a shoe. If low on budget, get creative with the guillotine trimmer and angle chop a corner or one of the panels for a custom diecut look.

Creative specialty formats that present in unique ways can be impactful and fun, too. As for which to choose, make that decision based on the content and the desired viewer experience. Different stands out, and the opportunities are endless. If looking for a place to start, check out the 30 Designer Folds at Smartpress.com.

The sample conundrum

Now, for everyone out there reading this and saying “My clients don’t do these types of projects, so I don’t have any good samples to show” or “My clients do some of these things, but we’re not allowed to share their work” – this is called the Great Sample Conundrum: printers and finishers need great designs and willing customers to get the samples, but to get those customers, they need great designs and samples to showcase. The solution is to invent reasons to create inspiring samples to share!

A great example comes from Standard Press in Atlanta. The company designed and produced a creative valentine to send to its customers to show its appreciation (“We love our customers”). In sending it, the company accomplished two things. First, the company surprised its customers with a valentine and made them feel appreciated. Secondly, it showed off a creative snake fold format with layered diecuts and special heart-shaped, dull and high-gloss UV print effects. It was a brilliant move that made a big impression. So, a suggestion is not to wait for the great projects – make the great projects.

Pro tip: If a shop does not have mad design skills in-house, consider investing in a professional graphic designer who can produce some really nice designs. Designers respect good design. They ignore bad design – even if it has cool print effects on it.

Finish with a BANG!

Hopefully this exercise in engagement and value-added print has given printers and finishers some fresh ideas and strategies to add to their repertoire. If looking for more real-world inspiration, check out the blog and the Fold of the Week database at Foldfactory.com, and the Foldfactory YouTube channel (youtube.com/foldfactory) for hundreds of creative print ideas to watch.

Trish Witkowski is an industry veteran who specializes in creative mail formats and direct marketing solutions. A self-described “analyst with great presentation skills,” she is known for her research in areas of direct mail, marketing strategy and folded formats. For more information, visit www.foldfactory.com.

Don’t Forget to Finish It!

June 11, 2021

By Mark DiMattei, manager, Keypoint Intelligence – InfoTrends

Virtually every printed document requires some type of finishing. Finishing documents with cutting, folding, binding and other methods is crucial to the production of any application. The expanding array of digital printing methods has changed the nature of finishing from large-scale devices focused on offset printing to automated methods that often occur alongside a production digital printer. To reach its true potential, the role of finishing must evolve as well. Recent research from Keypoint Intelligence – InfoTrends offers important insights on how print service providers (PSPs) can leverage finishing to win business and drive profitability, in the following ways:

Finishing plays an important role in service differentiation and sales revenue.
Quick turnaround is the most important differentiator associated with finishing, but offering options and the ability to be creative are great ways to stand out from the competition.
Tracking the cost of finishing is vital for understanding its value.
Respondents preferred to combine their offset presses and production digital print operations so they could use the same finishing equipment and, thereby, maximize their investments.

Finishing closes deals

2020-03-12-kp-Finishing-1 — Deals Lost Due to Finishing Requirements: N = 120 Print Service Providers in the US and Canada
Source: Market Trends in Print Finishing, Keypoint Intelligence – InfoTrends 2020

According to the Market Trends in Print Finishing study, many PSPs report that finishing has helped them to win deals. In fact, only 11% of respondents reported that they had ever lost a deal due to finishing requirements. Among those respondents who had lost deals because of finishing requirements, the most common reasons included not having the required finishing capabilities, followed by price and turnaround time. All three of these factors can feed upon one another. If shops don’t have the right capabilities, price and turnaround time can be impacted.

Finishing creates market differentiation

In addition to closing deals, finishing also can serve as a differentiator. Not surprisingly, respondents to the survey ranked quick turnaround and quality as the key differentiators of finishing. The ability to quickly complete a quality job grows in importance as run lengths decrease and customers demand ever-shorter delivery times. At the same time, however, it also is worth noting that a variety of finishing options and the ability to offer creative ideas also were important differentiators. Diverse, creative options enable PSPs to stand out from their competitors and grab the attention of consumers and clients.

Offset vs. digital

Finishing Differences: N = 120 Print Service Providers in the US and Canada Source: Market Trends in Print Finishing, Keypoint Intelligence – InfoTrends 2020

Offset and digital finishing options often are at odds. Longer offset runs tend to be better suited for finishing through dedicated manufacturing tools. Meanwhile, shorter runs and requirements for quick turnaround, naturally, do not lend themselves well to devices that take a long time to set up. Additionally, with the growing prevalence of high-speed inkjet digital printing systems, many PSPs find there is a requirement for higher volume and productive finishing tools that have new capabilities for finishing workflow and automation (offline or inline).

According to research, 80% of respondents that had digital print and offset press technologies generally preferred to use the same finishing equipment for both. Only 11% preferred to keep offset and digital production separate, while another 9% reported that combining digital and offset was not possible due to format and other requirements.

Regardless, there are benefits to co-locating digital print and offset printing capabilities.

Next steps

It is all well and good to consider the statistics of finishing options, but there are some actions PSPs can take to ensure that they’re getting the most out of finishing, including the following:

Get a grip on current options. Evaluate how to leverage finishing in current offerings. Focus on the applications that require finishing (e.g., folded brochures, bound books or diecut promotional items).
Keep an eye on costs. The only way to truly determine how valuable finishing can be is to keep track of all the related costs. Are budgeted hourly rates being used? Is finishing being charged separately? Once there is a thorough understanding of how finishing is accounted for, a better go-forward strategy can be developed.
Budget for future purchases. Having a plan for additional equipment purchases ensures tracking of the investments required to sustain, build and grow the business. Even if finishing purchases only show up occasionally on a multi-year purchasing cycle, it always is a good idea to have a plan.
Don’t forget to account for finishing when making digital print purchases. Printing solutions typically involve a substantial investment, but hidden costs sometimes are overlooked. It is important to consider the role that finishing will play when a new production digital print system is purchased.

The bottom line

Finishing may be one of the final steps for many print applications, but it should not be ignored until the end of the process. Although respondents to Keypoint Intelligence’s survey clearly believe that finishing capabilities can differentiate their businesses and contribute significantly to sales revenues, this does not necessarily mean that all PSPs are paying enough attention to finishing.

There still is work to be done, but most PSPs understand the value and benefits that finishing can deliver. Now is the time to think about how finishing can be applied to other business decisions – especially when making new investments in equipment.

Mark DiMattei is the manager of Keypoint Intelligence – InfoTrends’ publishing, editing and news department. This article originally appeared on WhatTheyThink.com. WhatTheyThink is the global printing industry’s leading market intelligence resource. Copyright ©2020 WhatTheyThink. All rights reserved. Reprinted with permission.