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    PostPress

    Print Decorating, Binding and Finishing

    Applications

    Candy-Coated Brilliance: Thoro Packaging Sets New Standards in Folding Cartons

    by Brittany Willes, editor, PostPress
    The “But First, Cocktails” packaging won a Gold award for best creative use of foil/embossing in the 2016 FSEA Gold Leaf Awards’ folding carton category.

    “Don’t forget about the man who suddenly got everything he ever wanted. He lived happily ever after.” – Charlie and the Chocolate Factory

    Mythical candy man Willy Wonka may have believed that exotic candies appealed almost exclusively to the hearts and imaginations of young children, but the owners of Sugarfina® gourmet candy believed differently. It was during a screening of the original “Willy Wonka and the Chocolate Factory” in which they first contemplated a boutique filled with gourmet, and decidedly adult, sweets. For them it was simple: Why should kids have all the fun? In keeping with this mindset, the Los Angeles, California-based company reached out to Thoro Packaging in order to create a unique package for its line of cocktail-inspired treats which include Champagne Bears®, Martini Olive Almonds, Jamaican Rum Snowballs and Cuba Libre® gummies. The result is the But First, Cocktails Candy Bento Box®, a stunning blend of whimsy and elegance one would expect from candies designed specifically for adults.

    “The But First, Cocktails kit from Sugarfina is a sophisticated chic collection of cocktail-inspired candies,” stated Kate Scherer, creative director of Product 360 Creative, the agency hired to design the packaging. “Rosie of Sugarfina was inspired by the 1920’s, a time when cocktails and design were elaborate and elegant. She asked for an Art Deco-inspired pattern in a feminine color palette,” explained Scherer. “The shapes and intricacy of the pattern, along with the soft, muted tones, high-contrast black and reflective gold detail, are how we brought the Art Deco storytelling to the packaging.”

    Sugarfina uses standard set-up boxes and customizes them for each product collection using a custom sleeve. For the Cocktails sleeve, a .018 caliper SBS board was selected and hot stamped using Kurz Luxor 414 Gold foil. The foil serves as an accent for the sleeve’s prominent white and powder blue color scheme, further emphasized by subtle ribbons of black throughout.

    Printed on a Heidelberg press, the sleeve was done with four colors, black plus three spot colors, before receiving a UV matte varnish. The blue and white arch pattern was hot stamped with gold foil accents, with the foil stamping done on a Bobst BMA machine. The “ribbon” portion of the artwork, with the product name and information, was embossed to create the effect of the ribbon being on top of the background pattern. As with the foiling, all of the sleeve’s embossing was completed on a Bobst BMA. Finally, the sleeve was folded and glued using a Bobst Expert Fold machine. The foil/embossing dies were supplied by Universal Engraving, Inc.

    As mentioned earlier, while the sleeve design may appear simple at first glance, the intricately detailed design presented Thoro staff with quite the production challenge. “The detailed nature of the pattern required extremely precise registration to align the foil stamped accents,” remarked Scherer. Close examination of the sleeve reveals gold foiling used throughout every facet of the sleeve’s design, from the outline of the ribbon on the front of the sleeve to the stripes and curves of the rows of arches in the background. Even the ingredients list on the back of the sleeve is boarded by a thin line of foil. Luckily, “our skilled staff was able to register the foil stamping successfully,” said Scherer, further aiding the sleeve’s goal of sophisticated elegance.

    The “But First, Cocktails” packaging achieved more than just an elegant presentation for the consumer. Thoro entered the sleeve into the 2016 FSEA Gold Leaf Awards in the folding carton category. The packaging was awarded the Gold award for best creative use of foil/embossing.

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    One Goal: Blackhawks Take Home the Gold

    by Brittany Willes, editor. PostPress
    The Chicago Blackhawks celebrated the team’s Stanley Cup with a commemorative book featuring detailed embossing on the cover, perfect binding and tip-in elements.

    As little as 10 years ago, the Chicago Blackhawks hockey team was considered an afterthought – even in its own hometown. Unfortunately for its various sports teams, Chicago has long been home to one-year wonders, and the Blackhawks’ chances of winning another Stanley Cup were considered practically nonexistent. This changed in 2010 when the Blackhawks faced the Philadelphia Flyers, defeating the Flyers four games to two and winning the team’s first cup championship since 1962 – one of the longest active Cup droughts in National Hockey League history. Luckily for Blackhawk fans, this was only the beginning. The Blackhawks would go on to defeat the Boston Bruins in 2013 and, most recently, the Tampa Bay Lightning, once again claiming the Stanley Cup for the 2015 season.

    While winning three championships in six years is certainly noteworthy, 2015 was doubly special for the Blackhawks as it signified the team’s first championship on home ice in 77 years. Clearly, a celebration was in order – one that would be kept alive for years to come with the publication of commemorative book detailing the team’s journey from invisible to indivisible.

    Against a deep red and black background, the headline “ONE GOAL III” stands out in stark white lettering. Below, a solitary figure stands with his back to the viewer while raising a gleaming trophy above his head in obvious triumph. The glimmer of the silver trophy is brightly complemented by a silver banner with further white lettering proudly declaring “The Inside Story of the 2015 Stanley Cup Champion Chicago Blackhawks.”

    After a 2-0 win in the final game against Tampa Bay, it could only be fitting that the cover of the team’s 2015 championship book be as distinctive and memorable as the game itself. “Our main objective with the cover was to create something that would be impactful, timeless and reflective of the team’s achievement,” explained John Sandberg, creative director for the Blackhawks. “We wanted to showcase the power of the moment of the 2015 Stanley Cup clincher.”

    In creating the book and its memorable cover, Sandberg reached out to Universal Bookbindery (UBB), San Antonio, Texas. Casebound using PUR adhesive, UBB used a book block produced on a Kolbus Ratio perfect binding line with PUR glue. The printed cover wrap was applied to the board on a Kolbus DA-270 high-speed casemaker. The embossing to register then was done on a Sheridan four-post embossing press. Finally, the book was cased in tight-back on a Kolbus fully-automated casing inline machine.

    “We decided to use embossing on the cover from the very early stages of the process,” Sandberg remarked. “We knew that embossing certain elements on the front would add an extra visual element to the design. We have used embossing on a variety of other print projects in the past, so we knew how to incorporate it into the design in a way that would only enhance the final product.” In addition to adding an extra visual element, the cover’s embossings also added a unique production challenge.

    While UBB has created many similarly produced books, special to the championship book was “printing on a silver met polyester film which required the embossing die to register to the image of the player holding up the Stanley Cup after it was wrapped onto the heavy binding board,” remarked Trip Worden, president of Universal Bookbindery.

    For the embossing, a 80# silver metallic poly paper was selected in order to give certain areas, such as the Stanley Cup on the front, a little extra shine. However, the designers did not want to have the stock overtake other areas. To avoid this, “we printed a white opaque at varying opacities before printing the cover art on top,” stated Sandberg. “This gave us some flexibility to see how much of the silver could show through on other parts of the cover, while still keeping the integrity of the overall design intact.”

    The cover is not the only impressively detailed part of the book. The inside pages abound with colorful photos, interviews, player profiles and game recaps. Just as impressive are the several tip-ins placed strategically throughout the book: a replica of the home game ticket, a magnet bearing the Blackhawks logo next to the Chicago skyline, several holographic photos depicting some of the most exciting moments from the game, a team poster and even a miniature championship flag have all been incorporated into the almost 250-page volume. Finally, secured to the inside back cover via a thin plastic covering is a Blackhawks DVD. Every detail has been carefully thought out to provide fans with the ultimate piece of Blackhawks memorabilia.

    According to Worden, the book’s creation required extensive collaboration between Sandberg, Jamie Carter with Rock Communications and Lotus Creations, which made the sculpted embossing die. “Thanks to this collaboration and all the work done in advance, the process was able to run smoothly and achieve the desired results,” said Worden.

    The final product exceeded Sandberg and the designer’s original hopes for the cover from a production perspective, tastefully incorporating a variety of techniques to enhance the original design. Furthermore, the book received recognition during the 2016 FSEA Gold Leaf Awards. In a fitting tribute to the team the book is meant to commemorate, the championship book received the Gold award for best use of foil/embossing in the bound book category.

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    Photo Books: Updating the Family Album

    by Nancy Cates, contributing writer, PostPress
    Photo books provide binders and finishers a unique opportunity to offer complementary services to their customers.

    As a result of digital technology, it’s easier and cheaper than ever to capture life’s special moments. While most digital photos end up solely on Facebook, Twitter or other social media accounts, physical prints are making a comeback. This resurgence represents a unique opportunity for binders and finishers looking to provide complementary services for their customers, namely in the form of photo books. Representatives of the printing, bindery, equipment and supply sectors offered PostPress their thoughts on today’s photo book opportunities, equipment and trends.

    Some 600 million units of photo merchandise were sold in 2015, and recent data from InfoTrends market consultants show that more than a third of those who create an electronic album, card or other product also are interested in buying a printed piece. Growth trends of printed photo products have averaged seven percent in recent years, with growth expected to stabilize at a three percent rate by the end of the decade.

    FutureSource Consulting has projected that the photo book market in the US will exceed the $1 billion mark in 2016, and the global market is expected to add another $600 million in sales. With this in mind, printers and binderies are tapping into that segment. Some are expanding with traditional clients – for example, offering wedding photo books to individual clients along with wedding invitations. Others have focused on establishing partnerships with a business customer base.

    “The photo book industry, just like most of the print world, is seeing a shift toward digital print technologies,” said Lance Martin, sales director for MBO America, a provider of postpress finishing solutions based in Marlton, New Jersey. “Demand for short runs is on the rise, and traditional print or finishing processes are not made for the short-run environment. Photo book printers are looking for fast makeready times, ease of use and high-quality end product to meet the needs of the short-run digital environment without sacrificing quality.”

    MBO America began offering the BSR line of equipment about four years ago to meet the need for diecutting solutions that fit the short-run production environment associated with digital printing. The BSR 550 basic rotary diecutter offers fixed cut-sheet diecutting with pile feeder, rotary diecutter, inline waste removal and shingled stream delivery. The BSR 550 servo rotary diecutter is compatible with cut-sheet or web-fed production and works for those running a wide range of cut die products.

    “All flatbed diecutters have to ‘nick’ the outer matrix in the sheet to remove scrap from the die,” Martin explained. “Both BSR 550 basic and servo produce ‘nickless’ product, giving the service provider a huge competitive advantage: It can strip the scrap from the product and take the scrap matrix away without nicks or a secondary operation, and the dies are capable of a layout accuracy that a flatbed cannot make.”

    “Nearly all those (binders/finishers) who are interested in producing photo books already have the necessary equipment and capabilities on hand,” he continued. “However, printers who invest by upgrading their existing equipment to finishing systems built for the short-run digital environment have the potential for tremendous increases in production efficiency. Our experience has been that those who buy one BSR unit often come back to buy more.”

    Spiral Binding – a manufacturer and distributor of binding, laminating, paper handling, photo finishing and custom imprinting equipment and supplies – offers the patented Pinchbook™ line of photo book products. The design of the spring-clamp cover does not require tools or equipment.

    “It’s perfect for the short-run digital photo market,” said Sara Kaufer, a Spiral marketing associate. “Because PinchbookTM takes only moments to make, little staff training is needed. For private branding, Spiral offers custom printing or debossing, which can be done in small- or larger-volume production runs. With more outlets for digital printing becoming available, the market for PinchbookTM has increased consistently year after year.”

    She continued, “Because of the ease and simplicity of use, integrating the photo finishing product mix to Spiral’s existing portfolio of products was conducted with ease. It has opened a new mix of customers who had previously not been familiar with all of our product offerings.”

    “Digital printing is driving investment,” said Bill Hingle, Spiral’s director of marketing. “Costs of using the digital platform have come down significantly in recent years, and that growth has fueled investment in various binding methods. Our larger volume in-house print service providers are looking to upgrade and add to their capabilities. We have a large product and service offering, and we can help grow their businesses by allowing them to trade up.”

    Bridgeport National Bindery, Inc., Agawam, Massachusetts, got into the photo book business several years ago when the company – along with other binders – was approached by Hewlett Packard to consider adding digital printing to its existing business. Bridgeport, which has been in business nearly 70 years, was established as a traditional, conservation/restoration binder and textbook rebinder heavily used by libraries and educational clients.

    “HP knew binding was the issue,” said Michele Brennan, vice president of business development for Bridgeport. “Large binding machines take an hour to set up, so it was impossible to do a book of one and make money, but we had the processes, staff and equipment in place. We hired someone to do the programming to make it all work.”

    Digital technology has made it easier and cheaper than ever to capture life’s special moments.

    Now, she says, online customers can use such platforms as Blurb and Lulu to create their books. The customer chooses from a set of layouts and covers, and then submits the order. The book project comes to Bridgeport electronically, with the printing and binding specifications encoded. It is automatically separated by text and cover needed, sent to the proper pieces of equipment, printed, collated for assembly and binding, and prepared for labeling and shipping.

    While photo books do not represent a large portion of Bridgeport’s business, Brennan said, “the opportunity presented itself, and we don’t need to do the marketing – our customers do it. Now there are so many online tools, the business is segmented.”

    Unibind, a manufacturer of photo books and binding equipment for the behind-the-counter retail market, was one of the first companies to originally enter the market, according to Jeff Atkinson, Unibind’s vice president for photo in North America and Australia. Its products are sold in major retail chains such as Walgreens, Target, CVS and Sam’s Club, as well as photo specialty shops, commercial printers, binderies and cruise lines in more than 130 countries.

    “Unibind is renowned for its super-fast binding, laminating and presentations systems,” Atkinson said. “Due to high interest in the photo market, Unibind began adding technology to its current line of presentation books to add sophistication and ability to incorporate photos into its offerings.”

    Worldwide demand led Unibind to create an entire department dedicated to photo books. The UniFoilPrinter can complement the traditional foil stamping process, Atkinson said, and includes a software package designed to produce books and prints. It can print text, drawings or logos directly on flat, smooth, semi-smooth and coated surfaces. Colors can be combined in one print, and the latest software release offers an import function for PDF files. The newly developed UniPaper allows bound documents to lay flat with a panoramic view across facing pages.

    “The UniCover System’s built-in crimper allows users to professionally bind materials by creating a precise fit around the documents,” he continued. “The system is compatible with existing stock covers, making the switch to the new system seamless.” Atkinson added that he has seen a trend toward custom covers and larger sizes in photo books as family keepsakes or for gifts.

    Other trends, according to David Ashton, vice president of sales and marketing at Linemark, Upper Marlboro, Maryland, include faster distribution with higher expectations of quality and consistency.

    “Each player – whether large and trying to maintain or smaller and looking to grow – is seeking consistency to support their individual brand, similar to a franchise model for manufacturing,” Ashton said. “We also are seeing the packaging element playing a larger role. Between protection and branding, the creativity and innovation is amazing.”

    “Originally, the market was moving faster than the manufacturers and the software,” he said. “There was and is a tremendous amount of creativity involved in setting up the manufacturing lines and general integrations. Certainly all aspects of manufacturing, from software to press to bindery, have now jumped in front of the market and are providing some great solutions. While our experience is invaluable, our business still requires an innovative and creative culture to navigate the unique requirements of this market.”

    Automation and shelf life are the items of focus when Linemark adds equipment for photo book creation, Ashton said. The company is looking for fewer steps with more consistent results, along with adaptability for future needs.

    “We increased printing capacity on the digital printing stage with three new HP Indigos recently,” Ashton said. “On the bindery side, we have added a Kolbus casemaker, numerous laminators and book bindery equipment including PUR, stitching, book assembly, shrink wrapping and packaging equipment. Because this portion of our revenue was net new, it has increased our operators, management and administrative team.”

    “The opportunity was presented to us as more of a test case because we were into digital printing early in the technology curve,” he continued. “We were already seeing the value of personalization and perceived this as a market that could add significant organic growth if it caught on as anticipated. Originally it was on the fringe of our business model but today fits squarely into the direction and strategy of the business. We are seeing more volume and revenue within our current partners and are adding new partners on a regular basis.”

    As digital print technologies become more mainstream, photo book printers are in a unique position to take advantage of emerging short-run solutions. Today, more and more machines are being designed to meet the needs of the short-run digital environment, allowing more printers and finishers to produce high-quality photo books without sacrificing speed or quality.

    Purple Pride Wins the Gold

    by Brittany Willes, editor, PostPress
    The Ahearn Fund “National Leadership Circle” 2015 Loyalty Book, and Seidl’s Bindery were awarded the Gold award for Best Use of Foil/Embossing in the CorporateBrochure/Catalogue category during this year’s FSEA Gold Leaf Awards.

    “Purple Pride” is as synonymous with Kansas State University as Willie the Wildcat. Therefore, it could be only appropriate that the 2015 loyalty book be shrouded in the school’s signature deep purple, complemented by a beautifully debossed and foil stamped cover proudly declaring “AHEARN FUND: National Leadership Circle.”

    “Our goal was to produce a fine print piece to our high standards of quality in the hopes of achieving some notoriety, while meeting the requested turn time,” stated Matt Seidl, vice president of Seidl’s Bindery, Inc., Houston, Texas. Making use of semi-concealed wire-o binding, multi-color foil and debossed tabs, in addition to the deceptively simple cover, the Ahern loyalty book certainly lives up to Seidl’s production aims.

    In order to create the finished book, both the cover and inside tabs were foil stamped, all on one large letterpress, before being debossed. Next, the inside text was trimmed to single sheets while the cover was press scored and trimmed. The inside text was then collated and wire-o punched along with the cover. The cover was added as a semi-concealed, wire-o bind and the whole book was wrapped in sets of five for boxing.

    When it came to deciding which binding method to use for the book, Seidl’s production team quickly decided on wire-o as the most effective. “The customer required that the book lay flat when open,” explained Seidl. “There were two potential options: PlastiKoil binding or wire-o binding. However, the customer didn’t want to see the coil. Because PlastiKoil cannot be semi-concealed, wire-o was the only practical option.”

    This type of binding was not without its challenges. In order to bind a semi-concealed wire-o book, the covers must be added by hand. Naturally, this means more time is required for the labor processes. “The most important dimension of the cover for a semi-concealed wire-o book is the spine,” Seidl remarked. In order to create the perfect spine, the inside text thickness must be calculated prior to converting the cover to allow for the appropriate room inside the cover for the binding wire.

    Inside the book are four distinct tabs, each bearing its own foil color. The tabs were stamped separately with their requested foil colors of gold, silver or bronze. Like the front cover, the tab pages were created on Seidl’s large stamping press. According to Seidl, “Register is critical on the tabs, specifically with the deboss being uniform on every tab. We had to make sure we held position from tab to tab.” In addition to holding position, it is important to order a Film Positive, or some kind of makeready sheet, when ordering dies in order to guarantee being in registration on press.

    Sheet size represented another challenge for the production team. As Seidl noted, the parent sheet for the cover and text were originally blank. “Before we were even awarded the job, we created a template layout for the cover and the tabs that could be used as a guide, not just for ourselves but for the printer,” he said. This guide would be used to help the printer to determine the proper size sheet to be ordered for the job.

    Despite the few production challenges, the book itself was fairly easy to produce, Seidl affirmed. “When you do the math right up front, the book is actually very simple. As long as you can account for the proper wire size by calculating the inside text thickness,” he said.

    Perhaps because of its fresh simplicity, the finished book was very well received by the customer. “They were extremely pleased with the final product, and we are now their preferred vendor,” he declared. “We are currently producing the 2016 version of the same piece!”

    The customers weren’t the only ones impressed. The Ahearn Fund “National Leadership Circle” 2015 Loyalty Book, and Seidl’s Bindery were awarded the Gold award for Best Use of Foil/Embossing in the CorporateBrochure/Catalogue category during this year’s FSEA Gold Leaf Awards.

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    Class of 2016: Jostens Takes Yearbooks to a New Level

    by Brittany Willes, editor, PostPress
    The Francis Parker Upper School, San Diego, California, 2016 yearbook.

    Every year, high schools across the country collaborate with Jostens’ art departments as they set out to create a yearbook cover. For Francis Parker Upper School, San Diego, California, this was achieved with a deceptively simple design that leaves a big impression. “This particular cover was the culmination of the yearbook staff at Francis Parker and Jostens’ art department in California,” stated Tim Beymer, cover plant manager for Jostens, Inc. Combining old and new application styles, the 2016 yearbook boasts burnishing and metalay to create a truly unique design that practically jumps off of the cover.

    For this hardback cover, Eska .145 board was used for the front and back lid as it would allow the deep embossing needed to make the burnished design pop out from the cover. The cover was casemade on a Kolbus 270 and wrapped in a special material from Ecological Fibers called mirage pescera. “Every hardbound cover goes through our casemaking department,” remarked Beymer. “The front and back lid covers and the cover materials are married together, meaning the material wraps around the board to form what physically looks like a book cover.” At the same time the cover was being wrapped around the board and hot glue applied, a liner was placed into the cover to support the middle of the book block.

    The most difficult part in creating the cover was applying the golden metalay used to depict the image of a knight charging across the front and back lids. “There’s a process in metalay called pick-out,” Beymer explained. “When you have a lot of sharp edges and corners to a die, it has to be peeled off by hand, and that was the case with this cover. While there weren’t a lot of sharp edges in the design itself, we still had to be careful in pulling off the metalay so that it didn’t pull the cover material up with it or leave any gaps.”

    Naturally, the care and attention required in peeling the die means applying metalay is a fairly time consuming processes. While not necessarily a difficult production, it was certainly one which required a slower process than normal. Furthermore, the cover is fairly unique in that it makes use of two passes of metalay as the school’s lancer mascot is seen jumping from the back lid to the front. “It’s not uncommon to see a single pass on the front lid, but rarely do you see it on the back as well,” said Beymer. “It’s a very unique feature to have the metalay break across the backbone like it does. From a looks perspective, it gives the cover a whole other dimension.” The metalay was supplied by General Roll Leaf, and the dies were supplied by Western Engraving, Jostens’ embossing die provider. The metalay was applied using a Sheriden Emboss Press.

    In addition to the metalay, the entire cover also was burnished using a burnished die from Owosso. “Burnished dies,” stated Beymer, “are foil dies that are Teflon coated.” Instead of the die being copper in color, it is copper with a black coating on the top. Increased heat on the press enables the branded look on the cover, and the Teflon coating ensures the dies won’t stick to the material. This also is why the cover material itself is so important. “You can’t do the burnish on just any kind of material,” he said. “Something in the material receives the dies in a way that will burn into the cover. If you do it with another cover, you’ll just scorch it or it won’t look like a brand.” The Francis Parker cover features a prominent brand on the front lid as a beautiful contrast to the metalay knight, as well as further burnishing along the spine and the back cover.

    “The burnish is pretty new to us,” Beymer stated. “We’ve completed almost two full seasons offering it. We really got into it for the first time because of a book cover that we did for a well-known country singer. He was going on tour and wanted to use leather from his tour bus as the cover material and a likeness of a brand from his ranch.” To achieve the desired look, Jostens partnered with its material and die vendors to come up with a cover material that had both the look of leather and could hold up to the branding process. “That’s really what got us thinking about how we could offer burnish as an actual application on a cover,” said Beymer.

    While burnishing hasn’t been around as long as applications such as metalay, many schools are taking advantage of the opportunity it provides. From one year to the next, burnishing has grown by nearly 80 percent, according to Beymer. “We’ve had schools use foil stamp and burnish, emboss and burnish, silkscreen and burnish and more. They’re mixing the older styles of applications with the new and coming up with some very creative, very cool covers.”

    Just the Right Time for Diamond Packaging

    by Brittany Willes, editor, PostPress
    Diamond Packaging’s grandfather clock calendar won Best of Show in the 23rd Annual FSEA Gold Leaf Awards competition.

    Few people are unfamiliar with the structure of the grandfather clock. The name alone typically conjures images of an old-fashioned, yet regal, piece of furniture. Perhaps it is a memory of a highly-polished clock standing proudly in the home of an older relative. The imagined clock is most likely tall, made from elaborately carved wood with glass panels for viewing the heavy pendulum drifting lazily from side to side. Most people will even hear the tell-tale gong as the clock announces the hour. For Diamond Packaging, the grandfather clock no longer is just an hourly timekeeper. The Rochester, New York-based packaging supplier has created an ornate, three-month corporate calendar set within the long-case body of an old-fashioned grandfather clock.

    Diamond, founded in 1911, is a global industry leader which specializes in developing innovative and sustainable packaging solutions. Diamond engineers use state-of-the-art technology to design and manufacture paperboard and plastic folding cartons, countertop displays, blister cards and sample packaging. Every year, Diamond creates a corporate calendar to be sent to the company’s customers and suppliers, showcasing Diamond’s creative abilities. In fact, 2016 marks the 25th anniversary of the popular promotional piece. As such, the Diamond team knew it needed to come up with a particularly special design to combine a sense of tradition along with the capabilities of modern special effects technologies.

    Diamond engineers began planning for the 2016 calendar as early as January 2015. Several themes were discussed and mock-ups laid out within a few months; however, it was clear that the chosen design would need to meet several distinct objectives set forth by the design team. First, the team wanted a piece that would showcase several of the company’s creative design abilities. Next, it sought to highlight decorative effects, specifically cold foiling, its customers’ could consider in future projects for their own brands. Finally, Diamond was determined to create a colorful, beautifully decorated structural and ornamental piece that users would want to have near their desks. In the end, team members decided on the highly decorative grandfather clock design as meeting all of these objectives.

    From head to base, the designers labored to simulate the unique visual character of a long-case grandfather clock, complete with carved ridges along the sides, raised panels framing the clock face and woodgrain swirls for a feel of old-time elegance. The dimensional header features a multi-level embossed and debossed woodgrain pattern and a striking clock face insert enhanced with UV gloss spot coating, cold foil and multi-level embossing, creating a dramatic sense of texture and depth. Just above the clock face, the words “Diamond Packaging” create a half-moon arch, beneath which sits a combination of world maps and constellation illustrations set against a dark blue background.

    The debossed 2016 date flows unobtrusively across the header, slightly darker than the surrounding wood to give the appearance of having been carved into the clock. The header also incorporates a short length of black ribbon which serves as a door pull, allowing users to open the rigid window panel and further simulating a real grandfather clock. Inside the window panel, the gold foiling used for the numbers and decorative embellishments of the clock face complement the subtle hues of brown and black in the wood frame.

    Within the body of the clock are the three calendars showing the current, previous and coming months. Concealed behind the calendar pages, a heavy golden pendulum patiently waits for the clock hands, poised at approximately a quarter till six, to strike the hour. The middle backers also feature a multi-level embossed woodgrain pattern. Framing the pendulum, a backdrop of three unique sets of foil embossed gears and cogs, enhanced with UV gloss spot coating, further simulate the appearance of a true-to-life grandfather clock.

    “The grandfather clock theme, with its perfectly balanced inner mechanisms, was chosen to represent the collaborative and precise nature of Diamond’s work,” stated Dennis Bacchetta, director of marketing. In the spirt of Diamond’s design objectives, the calendar features multi-color UV printing, UV gloss spot coating, cold foiling, multi-level embossing, debossing and intricate diecutting. Decorative foil accents were created using Diamond’s state-of-the-art cold foiling technology to achieve inline metallic and holographic effects that also are cost-effective. “An overwhelming majority of our customers and suppliers prefer the three-calendar view design format. As a calendar, it can be enjoyed by users all year long, continually reinforcing our brand,” Bacchetta said. “As a capabilities piece, it can be used longer than one year, which increases its shelf life.”

    Planned, designed and produced by the entire Diamond team, the clock went through several versions before the final design was selected. Design Engineer Renee Guercio was responsible for creating both the graphic and structural designs, producing a number of mock-ups from which the team could choose. The graphics themselves were comprised of actual images of grandfather clock components and enhanced with additional flourishes to add authenticity and flair to the final design.

    The production process was nearly as elaborate as the calendar itself, with Diamond Packaging reaching out to several key suppliers. For instance, when it came to the different substrates needed for the project, Clearwater Papers provided its Clearwater Candesce® .018 SBS paperboard for the header, insert and backers, which then were offset printed with 4-color process inks, UV matte coating and UV gloss spot coating. Clearwater also provided its Candesce® 010 SBS paperboard for the shipper. “Clearwater’s Candesce® 010 SBS paperboard was chosen due to its performance characteristics and the fact that it is 100-percent recyclable and made from a renewable resource,” explained Bacchetta. Jamestown Container provided corrugated case shippers for the completed calendar.

    The calendar pages were converted using Domtar Cougar Natural Smooth 80# and offset printed with one color (black). Finally, Klöckner-Pentaplast .015 APET paperboard was chosen to form the rigid window. All of the inks for the 4-color process were provided by the Huber Group, and offset printing was performed on a Heidelberg Speedmaster XL 105 offset press (with Compact Foilers’ cold foil unit).

    To complete the embossing, Diamond consulted with Metal Magic, which provided all of the embossing dies after reviewing the graphic and structural design layouts with the production team. “A collaborative effort between Metal Magic’s designers and Diamond’s lead embossing operator, Bill Poniatoski, led to suggestions on optimizing the embossing dies to add realism to the overall clock design,” Bacchetta stated. Diamond manufactured the cutting dies in-house. The embossing was done using a Bobst BMA hot foil stamper/embosser, while the diecutting was performed on a Bobst ExpertCut 106 PER diecutter.

    Just as impressive and elaborate as the embossing is the use of cold foiling for the clock face and accent gears, all of which was completed inline utilizing Compact Foilers’ CF1000PM cold foil module, which is mounted on the Heidelberg Speedmaster XL 105 offset press. ITW provided the CFS 100 silver cold foil, which was overprinted with 4-color process inks. According to Bacchetta, “The tightly-registered foil accents lend authenticity to the piece and were achieved using state-of-the-art, inline cold foiling technology. They also showcase the type of decorative effects that can cost-effectively elevate our customers’ brands.”

    Engineers at the Rochester, New York-based packaging supplier began planning for the 2016 calendar as early as January 2015.

    Unsurprisingly, such an intricate project was not without its challenges. For example, when it came to constructing the header, engineers considered multiple approaches on how best to add dimension to the design. They opted to use a folding carton for the header in order to achieve both dimension and space for the insert. The design team also wondered at the best way to recreate a clock face. “For the clock face, we decided to use a separate printed, stamped and embossed insert,” Bacchetta said. “The insert then was erected and placed within the folding carton.” In order to create a functioning clock door, a scored panel was designed in the header with an APET window glued to the doorfame.

    Challenges arose in the production process as well, such as maintaining consistent color among all four of the components (header, insert, backers), all of which were on separate forms. “Tight color control was maintained by using closed-loop scanning spectrophotometry,” explained Bacchetta. Furthermore, the calendar design also required extremely tight registration of the UV gloss spot coating, cold foil and multi-level embossed areas. “We also strove to incorporate all of the value-added processes in as few production steps as possible,” he said. To do so, Diamond optimized the structural design and layout of the calendar, which reduced the number of forms and press passes and helped to conserve raw materials and energy, reduce greenhouse gases and minimize discards. “We achieved production efficiencies through the use of more sustainable inline converting methods,” said Bacchetta, “including cold foiling. This resulted in less material and energy usage compared to an offline foil stamping process.”

    In the end, Diamond Packaging produced 2,500 finished calendars, with this year’s design becoming one of its most popular ever. As Bacchetta noted, dozens of recipients requested additional calendars after seeing the finished piece. They also reached out to Diamond to share their awe and appreciation, offering such compliments as, “I received a BEAUTIFUL calendar from your group and wanted to send my thanks and my compliments. It’s absolutely beautiful. Great job!” and “Thank you so much for the clock calendar!! Just received it today. It is the coolest calendar I’ve ever seen. Really shows the awesome work you guys can do!”

    In addition to customers’ praise, Diamond’s calendar has received numerous awards and accolades. The grandfather clock design received both Gold Calendar and Bronze Self Promotion – Display awards during the Foil & Specialty Effects Association’s 23rd annual FSEA Gold Leaf Awards competition this year. The popular calendar also won the coveted Best of Show Award. The Best of Show is selected from all of the gold winners in each category and judged by a panel of industry peers and suppliers.

    23rd Annual FSEA Gold Leaf Awards

    More than 300 entries were received from around the world, including works from the US, Canada, Australia, Finland, India and Denmark, for the 23rd Annual FSEA Gold Leaf Awards Competition. See a gallery of winners »

    Oklahoma: Come See – and Feel – for Yourself

    by Brittany Willes, editor, PostPress
    Since its publication, the Oklahoma Travel Guide has received various awards from the Printing Industries of America, Great Lakes Graphics Association, the Foil & Specialty Effects Association and Printing Impressions magazine recognizing the complexity of its specialty printing techniques.

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

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

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

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

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

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

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

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

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

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

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

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

    Bidding for a Super Bowl

    by Dianna Brodine, managing editor, PostPress
    Eckhart & Company, Indianapolis, Indiana, colaborated on a project to help its hometown win the bid for the 2018 Super Bowl.

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

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

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

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

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

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

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

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

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

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

    Enticing with Texture

    by Brittany Willes, editor, PostPress
    To create emotion and personality, “Let Texture Define” uses all five finishes from the ROYAL SUNDANCE collection.

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

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

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

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

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

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

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

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

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

    Puttin’ on the Glitz: An Application Guide for Special Effects Coatings

    by Helen Rallis, field product manager – coatings, Sun Chemical
    Designs can really “pop” with multi-sensory special effects coatings.

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

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

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

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

    Glitter coatings

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

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

    Texture or reticulation coatings

    Print recommendations for specialty coatings.

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

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

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

    Raised image coating

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

    Pearlescent and color shift coatings

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

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

    Soft-touch coatings

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

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

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

    Sandy-feel coatings

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

    Aroma coatings

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

    Conclusion

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

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