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    PostPress

    Print Decorating, Binding and Finishing

    Embossing

    Working Through Challenges with Today’s Paper Stocks and Coatings

    Compiled by PostPress Staff

    Paper stocks and coatings usually are the culprits of potential challenges with foil stamping and embossing. Foil and/or embossing can be a smooth process when the proper stocks and coatings are used, but when there is not communication about the selection of stocks and coatings to match the foiling and/or embossing, roadblocks can occur.

    Communication is the key to matching foils to the right coatings or paper stock. Greg Faddis, direct sales professional with UEI Group, which supplies dies and foils through Universal Engraving, Inc. and Infinity Foils, Inc., shared that the substrates chosen and the coatings used can pose problems. These problems especially occur when the print finisher plans a job with the expectation that the finishing will be applied to virgin or uncoated stock, but learns only when the job arrives for processing that a coated stock has been used. In addition, Faddis noted that pairing the stock with the correct foil is essential, especially when wide coverage is involved. “Fineline detail type is great, but when you get into the large panels and it’s on a coated sheet, air entrapment becomes an issue,” he said. To avoid these kinds of surprises and problems, “We encourage our customers to send us a sample of their sheet, or we can supply samples of our foils for the customers’ own testing. We also have worked with paper suppliers, arranging for them to send us developmental products to test before they hit the market.”

    Sean Hurley, vice president of sales for MCD, Inc., a Madison, Wisconsin-based print finisher, added his own take on problematic coatings. “We definitely have seen challenges,” he said. “A lot of soft touch is being used inline, and it seems to never be the same. You would like to say that soft touch is soft touch, but that is not necessarily the case because different printers have different chemistries.” Hurley also has seen challenges posed by inline specialty coatings. “We benefit from doing offline UV coating because we understand the coating side, which then helps us deal with challenging coating-related issues,” he explained.

    Dave Leyrer, finishing department manager with Orlando, Florida-based SunDance, echoed that soft-touch coating and laminates can be problematic. “Everybody seems to just love the soft touch, which is great,” Leyrer said, “but it can be pretty challenging to foil stamp on, whether it is a laminate or coating. It seems like we will use a coating on one job and it works beautifully, and three days later we will coat another job with the same coating and we have issues. It’s daunting to try to figure out what exactly the right combinations are.” Suppliers, however, are introducing coatings and laminates that work better with foil stamping. “The soft touch in particular has become much, much better,” he said. “One vendor has come out with a soft touch plus, and it is wonderful for applying coatings and also for foil.”

    Derrick Unger, field service manager for BOBST North America, was asked if he has seen soft-touch coatings create challenges on larger platen presses. “The first time I ever ran into soft touch, it was a coating and not a laminate,” said Under, “it blew my mind because it felt exactly the same as the lamination.” While he hasn’t seen specific problems with soft touch, he pointed out that coating, in general, is an element that requires thorough understanding and close attention. “As far as the coating aspect goes, along with UV coating and over-stampable UV coating, what I see most is cross-contamination.” This occurs, he said, when proper cleaning has not been done between jobs or during coating changes. Unger would like to see coating companies and print press manufacturers collaborate to provide training on crossover and change-out of coatings so that cross-contamination is avoided.

    Faddis noted that his team always uses a dyne pen to test whether a substrate will accept foil stamping. This device can be sourced online by searching for a dyne surface energy testing pen. “The minimum dyne pen level that we have found to accept foil is a level 38,” said Faddis. “It is important to do a dyne test because then you know what coatings will accept foil or won’t accept foil.” This is a great insurance policy to check that a coating is foil stampable. 

    Saving a Job

    There are many times that a UV-coated foil stamping job comes to the print finisher and there was no communication between the printer and finisher in using the correct coating. Leyrer recommended that print finishers carefully pair coatings with compatible paper stocks. “In careful selection of the coating,” Leyrer said, “you want to work closely with your coating manufacturers and your paper manufacturers to make sure you are using products that are compatible with each other.” That, however, isn’t the end of it. “There always is a lot of testing involved at the final stage in production,” he said. “And keep really good notes on your testing; it is very useful for future jobs.”

    Unger offered a method for saving a hot foiling job when the substrate unexpectedly is difficult to stamp with a coating on it. “For some coatings and surfaces, a way to break the surface tension is to use good old 400-grit sandpaper,” said Unger. This method involves putting a piece of sandpaper over the die area, running the sheets through with the sandpaper in place, then removing the sandpaper and running the sheets through again to add foil. “In order to save the job,” said Under, “you have to run it twice but many, many times that does work.”

    “Another option to break up the surface tension of the sheet is by using a corona treater, although that’s more common in the label industry than it is in sheet-fed,” stated Faddis. Some finishers have a corona treatment tower on their press, and this allows them to fracture the coating to create pores, which will allow the foil to stick.”

    MCD’s Sean Hurley weighed in on the issue: “We foil stamp over the top of UV coatings on a regular basis. We work closely with printers to make sure they are using coatings that are considered glueable and stampable, and they understand the importance of handling the coatings properly. A good press cleaning is critical in preventing contamination.” Hurley described how his team proceeds with problem coatings. “When we see a job where the dyne level is low, say a level of 32, we try to bring the dyne level up so we can get the foil to stick,” he said. “One way to do that is to try corona treating the sheets. We also might try to flash sheets to get the surface energy to change. If we find that the dyne level is very low to start, we know that the wrong UV was used or somehow contaminated. At that point, we will definitely look for a foil that is manufactured for UV coatings, apply corona treatment, or do something with a sandpaper pass.”

    Substrate Tips

    Today, there are a large variety of substrates on the market, including coated, uncoated and synthetic papers, as well as plastics sheets and film. 

    Faddis shared a simple tip when testing a stock for embossing. “Take the corner of the substrate, fold it against itself and let it fall back,” he said. “If it falls back past a 90-degree angle while trying to return to its original state, the stock’s ‘memory’ is weak and it is something that will not hold the embossing well.” He explained that any stock that stays closer to where it was folded to – less than a 90-degree angle – is a substrate that will accept embossing very well. 

    “As for foil stamping,” Faddis continued, “it is one of those things where it has to be tested.” Faddis noted that stocks with a high cotton content are difficult to successfully foil stamp. “It’s very soft, it’s very airy,” he said, “and so when you stamp it – or any textured substrate – you are trying to get a level foil stamp. With any substrate that has a lot of hills and valleys, I would try and stay away from it, only because you are not going to get a consistent look. The higher portions are going to look great, but on the lower portions the foil is going to easily come off because it is not completely foil stamped in the valley area of the substrate.”

    “In reference to those valleys,” said Unger, “with certain linen stocks, I’ve seen them be inconsistent. You really have to smash them pretty hard to bring the top layer to a flat level when flat stamping. You still get to see that texture in the sheet.” Unger also noted that paper stock is dramatically affected by the environment. The relative humidity of a paper stock, for example, starts at a certain level in the pulp factory, but depending on its transport, where the rolls of paper are stored and sheeted, and the finisher’s in-house climate control, the humidity level might change radically and repeatedly. Maintaining a consistent environment for paper stock leads to a better result.

    In Leyrer’s experience, “Every time somebody hands me a stock that feels velvety, like soft touch, I kind of shiver a little bit.” His company has had bad experiences with some stocks that were just not right for the job. “With a stock like Neenah’s Touche®, you can’t really foil stamp with a combo die or do a foil emboss on it; it doesn’t work very well,” stated Leyrer. “But you can flat stamp it and then emboss it and it works beautifully.” 

    There are certain cover stocks, especially those that have a leather-type look, that may obtain plasticizers that can cause problems with the foil a few months after the foil stamping. “We had real challenges getting foil to lay down on a cover stock, and we thought we finally got it working,” explained Leyrer. “But three months later, when we looked back at the product, the foil had bled out – the pigment had bled out into the materials.”

    Neenah’s Touche® paper stock is easily foil stampable if the correct foil and makeready are used. Testing always is recommended before beginning the job.

    Hurley agreed that Touche® can be a tough substrate to work with, but it is foil stampable with the right foil and makeready. “Another stock like Touche® is Plike®, which has a plastic-like surface and can create challenges with foil,” stated Hurley. “We also have seen some of the translucent stocks be problematic with embossing and foil stamping.” 

    It is important for foil stampers to stay abreast of new stock offerings and novel ways to use traditional stocks. Communicate with vendors and suppliers to learn about their products’ strengths and weaknesses. Then communicate with printers so that they understand the possibilities and limitations of the stocks so they provide complete descriptions of materials they are supplying for finishing. In addition, avoiding difficult stocks when possible also can help a foil stamping job go smoothly. 

    Lastly, the best advice for both paper stocks and coatings is to test all processes before the final production run. Of course, this is not always possible, but when time allows, testing first can save an enormous number of headaches down the road.  

    This article was based on a panel presentation – “Working Through Challenges with Today’s Paper Stocks and Coatings,” – which was part of FSEA’s Online Spring Summit in the summer of 2021. Thank you to panel members Greg Faddis, Universal Engraving, Inc.; Sean Hurley, MCD, Incorporated; Dave Leyrer, SunDance and Derrick Unger, BOBST. 

    Foil & Emboss Elevate Mandala Art

    By Lara Copeland, writer, PostPress

    A ritual symbol used in a variety of traditions dating back thousands of years, the mandala, in its most basic form, is a geometric configuration of symbols. Given their vibrant appearance and roots in meditation, it is no surprise mandalas have entered into pop culture – especially in adult coloring books, which have been touted as tools to help adults reduce stress and anxiety. “We do a fair amount of coloring books and see a lot of mandala designs on our floor,” said Patrick Choquet, president at Gravure Choquet, located in Montréal, Québec, Canada. “We have been wanting to create one for us and our customers for some time.”

    The trade finisher works with printers throughout Canada and the Northeast US. Serving a number of industries – including pharmaceuticals, cosmetics and food, clear packaging and security products, such as postage stamps, trade cards and mintage products, to name a few – the company also does application of holograms. With 24 hot stamping presses, Gravure Choquet also engraves its own stamping and embossing dies and does foiling on a variety of special substrates. “We have a prepress department that analyzes every file before going in production to maximize the stamping
    and embossing results and effect,” Choquet added. 

    One day last fall, a request on the company’s website came from a designer, Dominique Cloutier from Mandala Universe. The self-described passionate artist creates work that aims to “elevate vibrations, joy, unconditional love, tenderness, forgiveness, acceptance, compassion and creative power.” Her research helped her discover “the power of colors and mandalas on our vibrations,” and she plans “to bring happiness to the hearts of people, one mandala at a time.” Thus, Cloutier approached Gravure Choquet wanting 50 units of a mandala, but there was one issue: Producing such a low volume would be costly. 

    Yoan Robitaille, technical sales representative at Gravure Choquet, explained that its processes are expensive and become cost effective in larger quantities. The team at Gravure Choquet told Cloutier they’d like to use the
    design for a production of a much larger quantity. 

    The design for this piece was generated in October 2020. Cloutier prepared all the files in Adobe Illustrator for the production, the stamping and embossing tools, “and she did a great job,” Choquet said. 

    Starting production in December 2020 for 2,000 units, Gravure Choquet enlisted help from several companies. RL Lamination supplied the Invercote paper stock and the matte black
    soft-touch lamination that was completed on a Billhöefer laminator. The UV coating and thermochromic UV was produced by Super Lustre on its SPS coating line. MMD supplied the diecut tools (die and stripping jig) and Découpage BM used a Heidelberg cylinder machine to complete the diecutting. “Choquet did the stamping dies and stamped on the Bobst Foilmaster and embossed on our high-tonnage Sheridan press with heat and dwell,” Choquet said. Metal Magic did the multilevel embossing die, and Kurz Transfer Products supplied all the foils. 

    BestOfShowFramed
    With its vibrant appearance and roots in meditation, the mandala symbol has become a pop culture icon.

    The most challenging part of this project was keeping everything in register. When foiling started, Choquet said it was important to make sure all six foil passes – the orange, green, pink, gold, silver holographic and lavender – all were precisely in position. “We usually use the embossing die to fit everything perfectly, but the die was not ready, so we used a position film,” Choquet explained.

    Next in the process were the two UV coating runs and two stamping passes for the logos in the bottom section, done in black and clear holographic foil (the seventh and eighth foil). “One of the UVs is thermochromic, so if you press on the black UV over the lavender foil, you will notice that the UV becomes clear,” Choquet remarked. Additionally, the diecut and stripping were completed after the last UV coating pass. The last pass, the multilevel embossing, was produced on a Sheridan embossing press. 

    Gravure Choquet endeavored to complete production before Christmas, but it was finished in early January of this year. Cloutier was given 350 units for fundraising purposes, and the remaining mandalas were distributed to Gravure Choquet’s customers, prospects and suppliers. The mandala poster was extremely well received. 

    “They told us how unbelievable it is; that it’s a piece of art, mystical, and some even said it was the best piece ever produced,” Choquet shared. Honored by the recognition, Choquet said he, too, was quite pleased with the piece. 

    Gravure Choquet entered the mandala into FSEA’s 28th Annual Gold Leaf Awards in 2021 and won not only Gold in the Best Use of Foil and/or Embossing – Self Promotion category, but the judges also awarded it “Best of Show,” which is presented to the overall best entry from all the Gold winners in more than 35 categories. 

    “We are very, very proud, and it’s clear to us that the jury knows about foil and its challenges,” Choquet stated. He shared that the company is entering the mandala piece into two other contests and “we are confident to win further awards.”  

    Art and Paperboard – Metsä Board Showcases Specialty Techniques

    By Brittany Willes, editor, PostPress 

    “There is an increased need for printed educational materials,” remarked Marko Leiviskä, graphic packaging designer for Metsä Board, Espoo, Finland. “The younger generation of designers is focusing more on electronic media formats. Printing and converting is a world of its own where designers can have a greater role in creating something with a ‘wow’ factor vs. just ‘Okay.’ But an understanding of how the process and equipment work to create outstanding visuals is needed. The printer and converter should be seen not simply as the place to print everything but rather as an important part of the creation chain.” 

    With that in mind, Metsä Board set out to create a promotional brochure that would showcase various specialty techniques, specifically hot foil stamping and embossing, demonstrating how printed pieces can be made to stand out. “The brochure serves as a tool for storytelling,” said Leiviskä. “Stories and pictures are easier to recall than technical specifications or details and can be used as a guideline for creating. That’s why we wrapped everything into one brochure.” 

    A particular story told by the brochure is how metallic effects can be utilized and enhanced to create a stunning piece. “Our perspective pays homage to the surface characteristics of metal,” Leiviskä continued. “There are techniques that can be used to enhance the metallic appearance – from cheaper to more expensive. We wanted to highlight and compare these.” 

    Metsa-Graphical-Brochure21-High-resTo do so, Leiviskä opted to have the brochure printed on Metsä Board Prime FBB Bright 355 g/m2 I 23.6 PT. “Because we used hot foil stamping on both sides, heavy grammage was chosen,” he explained. Thickness also played an important role. If the material was too thin, tooling marks easily would be seen from the other side of the sheet when the hot foil was applied with great pressure and temperature. 

    According to Leiviskä, the sense of touch also was an important consideration when selecting the paperboard. The reverse side forms the outside of the brochure; the side that the consumer touches. That’s why Leiviskä wanted to highlight the printing results and capabilities on that side. The front cover actually is the reverse side of the board and the opened spread is the coated side. 

    Because touch would be such an important element of the final piece, Leiviskä specifically chose not to use silver PE/PET laminated board to reduce the use of plastics and to reveal as much paperboard as possible. “Laminated surfaces would impact the touch and feel given that the consumer would be handling the plastic surface instead of paperboard,” he said.  

    The 3-fold design illustrates a variety of foil stamping and embossing choices, including the cover that was first foil stamped with a silver metallic and then overprinted CMYK. Demonstrations of overprinting foil, foil on top of printing, embossing, foil embossing and micro embossing were all present in the piece. “We even foiled on the reverse side, which is not usually done, to show that it is possible,” said Leiviskä. “We added microembossing of the foil to highlight what can be achieved with foils above and beyond applying them on top of the printing.” 

    For replicating the metallic output, “We showcased several options benefitting from the fact that offset colors are transparent, which allowed for the possibility of using overprinting with each process color,” he continued. 

    When it came to printing on the foil, common litho-offset was used instead of UV offset. “This works when special overprintable foil is used,” said Leiviskä. Using the hot foil stamping instead of PE or PET lamination when creating the metallic effect left paperboard surfaces visible on areas where the metallic did not appear and without the plastic lamination. Furthermore, water-based varnishes were used to keep everything as environmental friendly as possible. 

    Overall, the final product went through machinery approximately 26 times, with the final brochure boasting matte and glossy water-based varnishing with five different types of foil and embossing techniques. While the graphics and layout were done by Leiviskä, all specialty treatments, such as the foiling and embossing, were done by specialty finisher Starcke Oy in Eura, Finland. The brochure then was printed using 6-color printing (CMYK plus two Pantones) by Grano, Helsinki, Finland. The brochure was finalized in English before being translated into six additional languages. Luckily, all the special treatments were designed so that only the printing plates needed to be replaced, streamlining the production process and making it more efficient.  

    With so many elements at play, it is no surprise the brochure presented some challenges during the production process. “When you push everything to its limit and beyond trying to achieve perfection, you also face challenges,” Leiviskä confirmed. “For this project, we experimented with several foils before we started the printing process to find the right combination – printable foil that also adhered the best on the paperboard’s less-coated side.” While doing test runs, Leiviskä found that it helped to use water-based varnish on the reverse side, then apply the hot foil on top of the varnish and then print on top of the foil to get the best results. 

    “The foil sticks on the reverse side without the varnish,” he said, “but when you print on top of it, it may cause some challenges.” According to Leiviskä, this is a good example of the importance of knowledge of printing and converting with regard to the designer. “Understanding, pre-working and study of machinery and techniques in general help to overcome the challenges and master the cost effects,” he stated. “We are glad to have professionals like Grano and Starcke to help create such a demanding project.” 

    It is impossible to successfully complete a project like this alone. “This type of project, with this much sophisticated printing and embellishments, must have trusted partners and continued communication,” stated Markus Jensen-Eriksen, production director of Grano. Minna Tervo of Starcke commented that four different over-printable silver foils were tested and KURZ foils were selected for the project. Tervo, who was in charge of the project at Starcke, said that the machinery used for foiling and embossing were both Bobst and Kluge EHG and EHD foil stamping presses.  

    The brochure has been a great success for Metsä Board. “Response has been extremely positive,” said Leiviskä. “It has been warmly welcomed as a tool to communicate further on printing and converting-related subjects. The ‘wow’ effect has clearly been achieved.”  

    All Wrapped Up – Tru-Cut Christmas Box Creates Holiday Magic

    By Brittany Willes, editor, PostPress

    “It’s a yearly tradition at Tru-Cut to do an end-of-year promotional piece that we can give to our customers,” remarked Sales Manager Andy Archuleta. “It’s something that we all get excited about because it gives us a chance to really show off our talents.” In 2019, the company decided to go all out on its end-of-year piece, wanting to showcase a truly one-of-a-kind Christmas box. According to Archuleta, this began the “crazy, difficult and rewarding journey to the incredible box we ended up with.”

    The design and creation of the holiday box required a massive effort from members of the Tru-Cut team, as well as outside sources. The box would feature Tru-Cut’s print finishing, steel rule die and laser cutting abilities, along with a number of other specialty effects. “I wanted to incorporate micro-etching, embossing, combo stamping and spot UV coatings,” Archuleta explained. With that in mind, Tru-Cut Graphic Designer Scott Coggin began developing artwork using a combination of custom and modified stock images to create a final design that was “an absolute monster” in the best possible sense.

    TruCutThe box itself was designed as a large hollow-wall box with four cavities on the inside – three for ornaments and one for chocolates. Right away, this presented a challenge as it was discovered the box would not fit on a single 28″ x 40″ sheet. As a result, the box was built to require two sheets each. “Our main CAD designers for the structure, Kevin Goodrich and Nicole Farnsworth, really knocked it out of the park with a cool revealed-edge bottom and top that would wrap around the main hollow-wall box,” said Archuleta.

    With the overall structure in place, it was time to focus on the embellishments that would make the box stand out. “We knew, even at a small run of 350 to 400 boxes, that this was going to be quite an undertaking,” he said. In fact, the final box would require 13 passes through the presses. Four passes were needed to apply the spot UV – one clear and three colored coats. Two passes were required for the combo foil and embossed ribbon, with three passes for the main logo, a micro-etched foil stamp, print and emboss (plus the clear spot gloss), as well as a flat foil stamp on both the inside bottom and outside front. Finally, two passes were needed to emboss and deboss areas for the front magnetic closure with hidden sealed-in magnets.

    “We decided on a black box that would allow all the embellishments to really pop,” Archuleta explained. “We got some uncoated 18-point black folding board and started experimenting.” After experimenting with satin, gloss, soft touch and aqueous coatings, the final design utilized three coats of soft touch.

    “I was worried about the paper curling too much or becoming brittle, but the soft touch actually made it very supple and gave it a luxurious coated feel,” said Archuleta. “This saved us a great amount of cost and gave us a very workable and good surface to stamp and work on.”

    TruCut-openAs part of the Christmas theme, Tru-Cut adapted its usual logo featuring a laser burst and replaced it with a reindeer with a beaming red nose. The logo was printed 4-color offset on a Mitsubishi Diamond UV press and stamped with over-printed foil provided by Infinity Foils. A critical feature of the box, the logo also was micro-etched and featured a sculpted emboss that needed to line up with the graphics that were over-printed on the foil and sealed with spot gloss UV. Part of those graphics consisted of a hand-drawn, wraparound, combo foiled ribbon and bow that were matched up and fitted together seamlessly.

    “Every single thing we incorporated on this box had to register perfectly to each other,” said Archuleta. To that end, Tru-Cut approached Universal Engraving, Inc. to make the micro-etch pattern die. “As soon as we saw the first stamp of silver with the micro-etch die, we knew we were onto something special. It looked amazing just by itself.”

    Tru-Cut also reached out to one of its customers – International PaperBox – for assistance. “International PaperBox had the task of hitting this small patch of silver on a solid black sheet with a screened-back printed graphic to allow the foil and micro-etch to shine under the print,” said Archuleta. Once that was accomplished, Archuleta realized the ink would need to be protected. To do so, it was sealed with spot gloss UV, which allowed the ink to shine and pop off the paper.

    Before the sheets could be embossed, the rest of the colored spot UV and combo foiled ribbon work had to be completed. “The ribbon running around the full box had to be combo stamped to make it look like the ribbon was sitting on the surface,” Archuleta stated. The process required some trial and error, but with the help of Universal Engraving, the sculpted foil and embossed detail was perfectly rendered.

    With so many elements in play, it is little wonder the box presented some challenges. As Archuleta mentioned, the diecuts had to line up perfectly with the graphics, resulting in Tru-Cut designing and building two diecutting dies in-house. The boxes also had to be glued and assembled by hand, including inserting a clear window on the lid. “All of the gluing was hidden with folded-over panels to give a polished and finished look,” he said. Furthermore, to create the colored spot UV snowflakes, Tru-Cut had to get even more creative.

    Using blue and white UV inks supplied by Graphic Inks, Archuleta began hand mixing the ink with Fuji clear coating, trying to get the right colors. “I had to get enough white in the mix to get the blue to show up on the paper,” he said. “I finally was able to get three distinct colors that were opaque enough to pop on the black and that matched with the colors that were printed on the main logo.”

    The combo ribbon likewise presented its own special challenges. The etch on the die was fairly deep, and the combo foil/emboss would need to go over areas that were going to be scored and folded. “Anyone who has done combo work knows it is very easy to crack the paper on the edges of the stamp,” Archuleta remarked. “Plus, the paper wasn’t the most forgiving. It took us a bit, but we finally were able to get our pressures and temperature right to get a nice, clean stamp without breaking the paper.

    In addition to the box, special Christmas ornaments also were created to fill the inside cavities. “Our CAD department had the idea to laser cut some ornaments out of all the wood we had lying around,” said Archuleta. After being laser cut, the ornaments were spray painted, assembled and tied with ribbon.

    “We wanted to push the boundaries of what we usually see in this industry and invent new processes that could be repeated if customers wanted to incorporate these processes into their own pieces,” Archuleta affirmed. “It was a lot of trial, error and evolution through the process. Luckily, we have people with decades of experience and knowledge in all of these areas, and we knew many of our ideas were going to work if we pushed hard enough.”

    Pushing hard certainly paid off. Several Tru-Cut customers stated the box was one they won’t be able to throw away. For Archuleta, this represents an incredible accomplishment. “To create a box that people feel is too nice to throw away…We don’t get that honor too often in this industry. To have our company name and logo right on the front is pretty neat.”

    Tru-Cut’s Christmas box was submitted for the 2020 FSEA Gold Leaf Awards where it received a gold award for Best Use of Foil/Embossing – Self Promotion (Holiday).

    Celebrating in Style – SpongeBob Turns 20

    By Brittany Willes, editor, PostPress

    “Who lives in a pineapple under the sea?” – SpongeBob SquarePants Theme Song

    Few people could hear the iconic opening line to one of Nickelodeon’s most well-known shows and not immediately feel the urge to shout “SpongeBob SquarePants!” while singing along with rest of the song. First aired in 1997, the show boasts an impressive record as the number one kids’ animated series on television for 17 years – an accomplishment that all but demands celebrating.

    Commemorating 20 years of the pop culture icon, Nickelodeon released a press kit – SpongeBob 20 Best Year Ever – which takes SpongeBob out of his pineapple to be showcased in an interactive package designed to appeal to anyone familiar with the beloved character.

    When it came to creating the interactive packaging, “It was a challenging but rewarding process,” said Mitch Holsborg, president of C&C Bindery and Packaging, Farmingdale, New York, who worked with Nickelodeon to design and construct the press kit.

    At first glance, the presentation box delights viewers with colorful artwork depicting the well-known images and landscapes of SpongeBob’s undersea home, Bikini Bottom. The graphics originally were created by Nickelodeon before being fine-tuned in-house, along with the final package design, by C&C Structural Engineer Richard Vallone.

    It wasn’t enough for the presentation box to simply showcase some of the show’s iconic artwork. That art needed to pop out at viewers. Various specialty effects and coatings were incorporated into the design to make this happen. The outside of the box features Infinity Blue metallic foil and spot UV coating to help draw attention. Sheets were diecut on a Bobst 102EII diecutter, with foil stamping performed on a Saroglia foil stamper. The package was offset printed, with the spot UV coating applied over the offset. All dies were supplied by Universal Engraving, Inc.

    With the final artwork nailed down, attention turned to creating the presentation box itself. As the package was meant to be interactive, a sturdy structure was crucial. As a result, C&C opted for 100lb text stock that then was mounted two sides over e-flute. Part of the challenge of the box was that each one had to be folded, glued and assembled by hand.

    Another challenge C&C faced was figuring out how to incorporate a plastic SpongeBob figurine into the packaging while having it remain an interactive element. The plastic figure features moveable arms with a rainbow glued to its hands. The SpongeBob figure wasn’t the only interactive element that had to be incorporated into the inside packaging, however. Nickelodeon also provided a USB in the shape of a pineapple that would need to be showcased as well.

    “Making the figure and the USB stand out and seem animated were  challenges,” said Holsborg. In the end, SpongeBob was secured inside the display box using ties and reinforced with a cardboard stand. “Integrating a plastic figure with paper and coatings and making it interactive took the talents and experiences that C&C has been known for,” he reaffirmed.

    C&C’s efforts to create a truly unique interactive presentation box were well received. According to Holsborg, the box continually has been described as one of the best interactive package designs ever. Furthermore, the box received a silver award in the 2020 FSEA Gold Leaf Awards in the Best Use of Foil/Embossing – Rigid Box category.

    Cost Saving Ideas When Choosing Engravings

    By Jeff Peterson, executive director
    FSEA
    CNC-engraved-micro-embossing-dies
    CNC-engraved micro-embossing dies can be an excellent choice for high-volume or repeat jobs where the life of the die is of utmost importance. All samples courtesy of h+m USA.

    Determining the right type of engraving(s) for a specific job is much more complex than simply placing an order over the phone to the chosen engraver. Engraving technology, as with every type of manufacturing, has changed tremendously over the last several years. If finishers, greeting card and folding carton manufacturers, and others are not taking advantage of these technology changes, then they may be adding unnecessary costs with the die(s) or by not utilizing other product offerings that can help save significant time on and off press.

    Refractive (micro-etched) engravings

    Refractive dies can be known by several names, including micro-etched, double-etched, refractive, micro-embossed and other trade names. So, it becomes somewhat confusing for the foil stamper when offering this technology to customers and ordering the dies from the engraver. It is important that foil stampers understand the technology and the differences in how the dies are made. Refractive dies can be produced in different ways, but the finished product is virtually the same. “Most engravers offering refractive dies have a library of patterns, both linear and circular, that can be centered on the image however the customer chooses,” said Metal Magic Vice President of Sales Mark Schumacher.

    Refractive engravings can be produced through the use of standard patterns offered by the engraver (which is less expensive) or multiple patterns can be used to create a custom refractive effect with the desired image. “We can create custom patterns for customers for unique personalized looks and security enhancements,” stated Greg Faddis, direct sales and technical support with UEI Group. “We also have new patterns for specific industries, such as food and beverage.”

    Refractive-engravings-magnesium
    Refractive engravings can be created in copper, brass and magnesium. Sample courtesy of Luxfer Graphic Arts.

    Refractive engravings are most commonly chemically etched into copper, but they can be produced in magnesium and brass as well. “We have seen an increase in requests for micro-etched magnesium,” added Doug Pendergast, national account director of Owosso Graphic Arts. “Customers can choose from a library of textures or supply their own patterns.”

    The same type of etched engraving also can be produced utilizing CNC technology, and many are not aware of this option. “A CNC-engraved ‘micro-embossing’ produces the same type of refractive or double-etched engraving as one chemically-etched into copper or magnesium,” explained h+m USA General Manager David Bohne. Using CNC-engraved micro-embossing dies can be an excellent choice for high-volume or repeat jobs where the life of the die is of utmost importance.

    Foil stampers should have a book of samples that illustrates how a refractive image can look on all types of printed materials. It is difficult to sell the use of refraction without the customer seeing true examples. Engravers have libraries of patterns and should have additional samples to showcase to potential customers.

    A refractive image can be a cost-saving choice when compared to a multi-level emboss or an image utilizing holographic foil. “This effect can be more cost effective than holographic foils because you have a one-time fixed die cost vs. an increased unit cost incremental to the run rate using higher-end foil,” remarked Bohne. “However, refractive dies offer a different effect vs. holographic and therefore it depends on the taste of the company seeking a suitable brand identity.”

    “Refraction can be a great alternative to sculptured embossing dies from a cost standpoint, but it really comes down to the desired look,” added Faddis. “The same can be said for using refraction vs. holographic foil.”

    CNC engravings

    Die-lock-up-systems
    Die lock-up systems can reduce lock-up time down to minutes, improving production runs and overall costs. Photo courtesy of UEI Group, Inc.

    The process of creating chemically etched and hand-sculptured engravings dates back decades, but the newer use of CNC technology to create dies is becoming a popular choice, especially for multi-up larger foil stamping jobs where consistency from die to die is very important. “Time and the ability to reproduce exact duplicate dies from one to the next are the key factors in using CNC over a hand-sculptured engraving,” stated Metal Magic’s Schumacher. “On the other hand, if the image is only one-up and will probably never be run again, then a hand-sculptured, multi-level engraving may be the best choice.”

    Although CNC-engraved brass dies are perceived to be more expensive – and, in most cases, with an initial order – foil stampers need to look long term to determine if they are a good investment. “For high run rates and repeat jobs, there can actually be a cost savings,” remarked Bohne. “Due to the longevity of brass engravings, CNC-engraved dies have the ability to maintain superior, crisp edges for one million plus impressions.”

    Faddis pointed out that it is best to let the engraver determine which manufacturing process is most desirable for the die – given that each engraver can offer different options. CNC brass dies certainly have their place in the decision process. “CNC technology has come a long way since it was first introduced,” continued Faddis. “Every engraver is different in its capabilities and technology.” Faddis also explained that foil stampers should look carefully and choose an engraver committed to making significant investments in improving their capabilities and technology.

    Other suggestions

    Planning ahead is key in saving costs with engravings. For instance, some engravers will provide a savings to the customer if multiple dies can be requested in one order. “Ganging a group of images is one of the biggest areas of cost savings when it comes to dies for our Owosso customers,” stated Pendergast. “For example, eight 4″ x 2″ images that can be ganged together can save the customer an average of 50% on die costs vs. the same dies run individually.”

    For larger foil stamping jobs, it can be beneficial to incorporate a lock-up system that not only provides high-precision engraved dies and pre-cast counters but also saves valuable time in locking up the dies on press. “UEI Group has developed several lock-up solutions for customers,” explained Faddis. “These types of systems can reduce lock-up time down to minutes, improve production runs and lower overall costs.” Just as it is important to analyze the overall long-term cost of an engraving, it also is important to calculate the potential savings of a lock-up system on press. For large format foil stampers where many of the jobs include multiple-up dies, a lock-up system or chase replacement system can be invaluable.

    With large sheet formats that include a multi-level embossed image, the cost of the dies can become prohibitive.  Metal Magic has developed a method of producing duplicate dies (dupes) that has come a long way from the original process.

    “The dupes that we provide are flat, hard and can last tens of thousands of impressions,” said Schumacher. “It is very difficult to see the difference in the impression of a duplicate die vs. an impression made with a brass die – and the cost savings using dupes can be quite significant for certain jobs.”

    Because most die costs are calculated by the square inch, any creative ways to minimize the size of the die can provide significant savings to the foil stamper. “Rather than ordering one die that may have two or three images on it with a great deal of blank area, there can be creative ways to break down the die into smaller pieces for each image area,” explained Bohne. “The downside is the slightly extra time to register additional dies on press.”

    However, Bohne went on to explain that a lock-up system with the dies pre-set on a carrier plate can help defer this extra set-up time with additional dies.

    The key to choosing the right engraving and maximizing cost savings is communicating with the engraver to make sure all the details of the job are understood. In addition, foil stampers need to look long-term when evaluating die costs and other costs involved with set-up and makeready. This can play into the type of die selected and the decision to be made if some type of lock-up system should be used on press. Keeping costs down is more important than ever with smaller margins. Knowing all of the engraving choices and choosing the right one is an efficient way to start.

    Well-Executed Makeready Can Be a Game Changer

    by Greg Faddis, direct sales professional, UEI® Group Companies

    Improving the makeready component of a job can make a big impact to the bottom line. It is often an overlooked cost center that when materials, processes and tools are improved, profit is generated. From the obvious benefit of an excellent foil-stamped or embossed job to the efficiencies and cost savings generated, well-executed makeready can be a game changer.

    There are so many variables in today’s foil stamping and embossing jobs that it’s important to have good makeready practices in place. It goes beyond understanding your equipment well, it now includes more options with paper, inks, coatings and complex design choices. Having the correct makeready products and knowledge are critical to having an effective makeready technique appropriate to the job.

    The basic principles for a hot stamping job are heat, dwell and pressure. In most cases, a hot stamping job makeready set-up is with hard phenolic board or epoxy glass board and a spot sheet underneath utilizing makeready tapes.

    For some jobs a traditional hot stamping makeready is the answer, but with more complex designs that include both fine-line detail and solid areas/panels together with reverse-out areas, additional techniques need to be added. To have foil cut cleanly around the images, a harder makeready surface is needed, but when you also need to foil stamp a solid area, consider adding a cushion makeready. If you find challenges with cleanly stamping the fine lines while keeping the reverse-out areas open, you may try combining both hard and cushion makeready techniques. This makeready technique starts with the traditional phenolic board or epoxy glass board but with Tough Film underneath. The Tough Film acts as a shock absorber to even out the overall pressure while providing an extra “cushion” in areas where it is needed.

    Other aspects of foil stamping that may get overlooked include adjusting the heat and speed of the press. If open areas start to fill in with foil, start by turning down the press temperature, then try increasing the press speed. If you are not getting the foil coverage needed, then turn up the temperature of the press and if the foil still isn’t transferring as desired, slow down the press.

    Embossing makeready

    When embossing or debossing, the makeready technique choices increase depending on the application. First, the embossing or debossing job adds another element – the pre-cast counter. One of the best emboss/deboss makeready techniques is the floating counter makeready technique because it provides the most flexibility for the operator.

    The floating counter makeready technique starts with a float sheet that is taped onto the platen press, which provides the floating aspect. Start with a thin sheet of paper underneath the makeready float sheet, as it will be used as the spot sheet. It is essential to have a spot sheet so you can apply the makeready tape to build up the weaker spots of the image. By taping the spot sheet to the platen (top only) it provides the press operator the ability to remove it for applying makeready tape while replacing it accurately underneath the float sheet.

    After you have your makeready float sheet and spot sheet set, begin mounting the pre-cast counter. Apply a double-sided tape (e.g. DuploFLEX FOL) across the entire back of the pre-cast counter (don’t remove the tape backing until later). On a hard surface, and utilizing a tool called the counter pin extractor, place the white counter pins onto the Counter Pin Extractor’s positioning end and inset the pin into the holes in the pre-cast counter.

    It is important to execute the preparation of the pre-cast counter on a hard, flat surface to keep the counter pins at a 90-degree angle, which is required to correctly position the pre-cast counter onto the engraved emboss/deboss die. Now, it is appropriate to carefully remove the double-sided tape backing.

    After everything is in place, make an impression with your press to transfer the pre-cast counter onto the makeready float sheet. After the transfer, remove the counter pins, using the pointed end of the counter pin extractor.

    With the counter and engraved die mounted to the press, it is recommended to “cap” your counters. There are a few choices for capping a counter, depending on the substrate and type of image you are embossing/debossing. The most common would be yellowboard or silver cover film.

    Yellowboard is a good choice for both multi-level and single-level embossing/debossing jobs, as it works with a variety of substrates from heavy to light weight. You can also easily cut yellowboard to match the size of your pre-cast counter and apply masking tape to the edges (avoiding image area) to hold it onto the pre-cast counter. It is recommended to slightly moisten the yellowboard by using a spray bottle (apply two mist sprays) or a wet rag to rub over the top of the yellowboard.

    With the yellowboard moistened, turn your press on impression and run for a few minutes without pulling any paper. As the press continues to hit on impression, the yellowboard will begin to take form and shape of the image from the pre-cast counter. This process also will help dry out the yellowboard, at which point you can proceed to pulling press sheets. Depending upon your first impressions, you can then apply makeready tape to your “spot” sheet.

    In addition to embossing or debossing projects, the floating counter makeready technique also is used for combination foil stamping and embossing jobs. The makeready set-up is generally the same; however, one key difference is how to “cap” your pre-cast counter.

    Combination engraved dies are embossing dies that have a foil cutting edge on the outside edges of the image. This edge allows the foil to “cut” away from the substrate while keeping the non-image area free of foil stamping. Foil stamping with a combination engraved die requires a thinner makeready product to “cap” the pre-cast counter.

    A makeready product called DuraCover is a great place to start when capping your pre-cast counter for a combination job. DuraCover is applied, just as you would yellowboard, by cutting a piece equal to the size of your pre-cast counter and taping its edges to the pre-cast counter. After that, follow the necessary spot makeready steps as you normally would for a foil stamping and embossing job.

    A second option, with combination engraved dies, is to use Silver Cover Film (instead of the DuraCover). Silver Cover Film has an adhesive backing, so the masking tape is not needed to apply it to the pre-cast counter. Both DuraCover and Silver Cover Film are great for helping to eliminate diecutting on the edges of the foil and embossed image, and they also assist in achieving embossing/debossing depth for better definition of the combination die image.

    While there are certainly more techniques, the above seem to help solve many makeready needs. As our industry grows, technology changes and integrates with new and existing equipment. We must continue to educate ourselves with proper makeready techniques and craftsmanship that meet today’s needs.

    UEI® Group – with a world headquarters in Overland Park, Kansas (US), has several companies and sales offices throughout the world specializing in foil stamping and embossing, including the US, Great Britain, Germany, and Denmark. UEI® Group also offers its products through market developers worldwide. UEI® Group’s leadership in providing quality products, innovative solutions and technologies has made it a market leader. Visit www.ueigroup.com for more information.

    Multi-Level Embossing Kicks It Up a Notch, Reaches New Depths

    by Melissa Larson, contributing writer, PostPress

    Embossing is a technique that is straightforward enough to be done at home by scrapbookers and other crafters with readily available tools, yet still sophisticated enough that specialized printers and print finishers advertise their abilities to accomplish multi-level designs and images.

    An embossed image can be as simple as one level or as complex as several levels, commonly known as a multi-level emboss. Multi-level embossing takes the process of pressing an image into paper using a die and a counter, creating a raised image and kicking it up a notch by changing the surface of the paper at multiple levels. This makes the technique popular for multi-dimensional shapes, landscapes or images that have unique details such as leaves or feathers.

    When compared with single-level embossing, this technique is more expensive and obviously requires a longer turnaround. Yet the finished results are well worth the extra time and expense, and multi-level embossing is increasingly used for high-end packaging for such products as golf balls, liquor, cosmetics, DVDs and video games, and gourmet confectionery, as well as for promotional posters, brochures and stationery.

    Sheila Donnelly of specialty printer Precise Continental, Harrison, New Jersey, provides a concise assessment of the impact of embossing. “Embossing is a technique that adds dimensionality and a tactile quality to a printed piece that invites the viewer to touch,” she explained. “It works well on virtually any printed piece – from business cards to invitations to presentation covers to book covers. With over 2,000 sensory receptors in our fingertips, touch has been shown to elicit more intense sensations than sight or sound alone.”

    Donnelly went on to explain that the detail, height and quality of an embossing is dependent on many elements, including the depth of the die, the thickness and density of the substrate, and the heat of the press to name a few.

    Communication is key with multi-level dies

    An important area to remember with multi-level embossing, and a good place to start, is to indicate the type of embossing effect the customer wants. The most common choices are either raised round (round lift), raised flat (beveled flat lift) or raised roof (raised faceted). These effects can be used together as well. On a multi-level image, a portion of the artwork might indicate to raise flat the first level and indicate a raised round effect on the second level.

    Although with today’s technologies many multi-level embossing dies are created through the computer and CNC engraved, very detailed sculptured engravings are still created by hand by an experienced master engraver.

    Communication with the designer or end user is key in these situations. Although a designer can have input and make suggestions, the individual must trust the creation to the expertise of the engraver.

    Said Donnelly, “Communication with a client is very important when making sculptured embossing dies – to understand what look and feel they want from the final piece.”

    Mike Pautz would agree with that assessment. As president of E.C. Schultz & Co., a Midwestern engraver of stamping and embossing dies, he understands the challenges of communicating what the finished product might look like, when the design doesn’t yet exist.

    “Communicating visual information is challenging,” Pautz said. “Having a vocabulary with common definitions is critical. When communicating about embossing, the old adage ‘a picture is worth a thousand words’ is an exceptionally apt statement.”

    “I keep a small library of digital examples that can be sent for reference when planning a project,” he continued. “Sending digital renderings as examples can greatly help to prevent misunderstandings in the process. With CAD/CAM capabilities in place, it is easy to send a representation of what the die will look like prior to actually making it. If a die is hand-sculpted, the project has to be completed before any specific review can take place.”

    It is recommended that the designer take the artwork and the specific image that will be embossed and indicate what areas on the image should include intricate detail in the embossing die. If there is a printed image that is partially sculptured embossed, separating out a layer in the digital artwork that indicates the portion of the image to emboss is the best solution. Then, on a printout of the artwork, the embossing effects and amount of detail can be indicated.

    With combination (foil and embossing) engravings, the same guidelines must be followed. If a combination die has both flat foil stamped areas and foil and embossed areas on one die (which is possible), this also needs to be marked in detail on the artwork.

    Conclusion

    Although there are new processes out there creating single level embossed images, and CNC technology that has come a long way to produce many of the embossing effects customers want, there is still nothing that can completely replace the look and feel of a beautiful, hand-sculptured embossing. However, it is becoming a lost art.

    Finding and keeping master engravers is becoming more and more difficult. Pautz, who was an art major in college, learned his craft from older co-workers but says he recruits potential engravers from such backgrounds as graphic arts and digital design. Pautz’s Marketing Manager John Masciola, whose background was in printing and finishing, commented, “Employees who expect instant gratification need not apply for an engraving career – this work takes patience.”

    The fact remains that embossing is still in high demand. It brings a certain look that many new – and even older – techniques simply can’t touch (pun intended). There is still a place for it in high-volume packaging down to individual pieces of art, and it is certainly not going away anytime soon.

    Tips and Tricks for Achieving the Perfect Emboss

    John Rushgrove, one of the few true “embossing artists” still operating today, has taken on many projects to expand the limits of embossing into paper. With decades of experience, and the winner of multiple FSEA Gold Leaf Awards, Rushgrove offers his expertise on achieving optimum embossing levels with the following tips and tricks:

    • A tradesman is only as good as his tooling. Find a diemaker you can communicate with, one who trusts that you can do what you say you can do and is willing to push the boundaries with you. You want a sculptured, multi-level die to get the very best result.
    • Each sculptured die is different. Most have minor imperfections, and these will need to be addressed as you are making ready; for example, irregular depths, or too steep a gradient on the die.
    • Always start the makeready after you have bottomed the die out. The aim is to get all of your detail out of your die as you work your way through your makeready.
    • As you go deeper in embossing, you will need thicker dies. Always remember that when your die thickness increases, you will need to use a thinner plate than usual or have no plate.
    • The deeper you go, the more likely you are to experience cracking and creasing. There is no one solution to this, and often it will be a combination of some, or all, of the techniques below.
      • If the job is cracking, do not decrease the pressure. This will result in loss of detail even if it does reduce the cracking. The best result is achieved by bottoming the die out with the counter die.
      • For cracking, place a thin piece of plastic/film over the die. Experiment with different films, but usually the thinner the better (the more you use, the more detail you lose).
      • Creasing can usually be eliminated by putting small feathers of paper on the counter die, where the creasing is occurring. Be careful not to bruise the paper on the embossed side. Using an appropriate stock will keep the issue of creasing to a minimum.
    • Not all stocks are suitable for embossing! It is important to test stocks with the die. This is my starting point. Once I have found a suitable stock (one with minimum cracking and creasing) I then inform the client, who is usually happy to go with my suggestion. If they require a specific stock, I re-evaluate the depth.
    • Do your makeready under the plate on the platen, if possible. Run two sheets through the press on impression. Use one of them as your positional sheet. Cut out the embossed image on the other sheet and stick it over the embossed area on positional sheet. This will make the embossed area thicker on the positional sheets, will bear the weight off around the edge, will prevent the edges of the die from marking the sheet and will give more impression on the emboss. The positional sheet is also used for building up the areas where you are not getting all the detail of the die. Tissue paper, newspaper and the like are used to build up on these areas.
    • Last but not least, have the right mindset. Be prepared for some trial and error. Even at this stage in my career I come across jobs that seem impossible, but with perseverance I achieve 100 percent depth and detail.