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      PostPress

      PostPress

      Print Decorating, Binding and Finishing

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        February/March 2023

        Are Your Corporate Cell Phone Policies Up to Date?

        March 15, 2023

        By Ralph G. Martinez, Esq. and Ed Rigsbee, CAE, CSP

        If employees are punching in a telephone number or raising a cell phone to their ears while driving, their employers might be liable. A growing number of states in the US and several foreign countries are making it a crime to use a cell phone while driving unless one’s cell phone operates “hands-free” or is a “hands-free” device. Employees should know their company’s current, written policy on cell phone use while driving on the job.

        Productivity and connectedness

        Technological advances improve productivity and connectedness. Drivers across the US redeem some of their driving time each day by staying connected with parents, children and friends during their commute. Many also conduct business by telephone during these long commutes or travel times. In decades past, drivers would have to pull over to the side of the highway when they found a telephone booth or a pay telephone. This may return as the preferred way to stay connected en route, particularly for driving minors.

        Technology may give us advantages, but they sometimes bring unexpected changes in our lifestyle. The law all over the world is responding to the increased number of accidents that involve drivers being distracted on cell phones. The law is merely catching up to the new risk introduced by new technology that has been embraced and exploited.

        Higher potential liability for employers

        The protection of new safety laws also creates new risks for business owners and leaders. In most areas of the US, if employees violate a safety law while involved in a car accident on the job, they and their employer may be held negligent, even if they are otherwise driving well. Generally, the concept is referred to as negligence per se. Lawyers use the principle of negligence per se as a shortcut to establish liability in lawsuits to win damages for people injured in accidents. The new wave of cell phone laws are safety laws designed to eliminate distractions and prevent accidents. Depending on the extent of the injuries, this financial risk to an employer could be very substantial. If the cited employee driver has violated the cell phone law before, significant punitive damages could be assessed against the employer. Negligence per se as a principle will be used more frequently in personal injury cases when a driver was using a cell phone.

        Employee handbook and written policy

        Employers should adopt a written policy and/or amend the employee handbook to require strict compliance by employees with the hands-free cell phone law that is adopted by their country, state, city, county or township. Many businesses may instruct their employees not to use cell phones while driving and to let incoming calls go to voicemail, to be returned outside of the car in a safe area.

        If a business issues cell phones to its employees, or necessarily requires the use of a cell phone by its employees, make sure that the cell phones can be used hands free. Note that a cell phone that has a speaker phone function will not necessarily comply with the law. Employers that hire employees under the age of 18 should prohibit their use of a cell phone in a car. The policy should be acknowledged by employees in writing and enforced by the company. An attorney can help businesses assess the specific risk and how to protect against that risk with an appropriate policy and implemented management practice. The authors have developed a policy and are helping many businesses protect against this new risk from this safety law. Adjusting to these developments not only will allow employees to drive more safely on the highways but also continue with their business efforts – in both cases, undistracted.

        Ed Rigsbee is the founder and CEO of the 501(c)(3) non-profit public charity Cigar PEG Philanthropy through Fun and president at Rigsbee Research, which conducts qualitative member ROI research and consulting for associations and societies. He holds the Certified Association Executive (CAE) and Certified Speaking Professional (CSP) accreditation. Rigsbee is the author of the The ROI of Membership – Today’s Missing Link for Explosive Growth, PartnerShift, Developing Strategic Alliances and The Art of Partnering. Resources are available at www.rigsbee.com.

        Folding Carton Market to Enjoy Measured Growth Through 2026

        March 15, 2023

        Submitted by the Paperboard Packaging Council

        According to the Paperboard Packaging Council’s (PPC) recent Trends: 2022-23 Industry Outlook and Market Data Report, US demand for folding cartons will grow on average by 1.3% annually, with the market reaching 5.4 million tons by 2026. Output growth in nondurables, comprised of many carton-packaged goods, is expected to expand by 0.8% over the five-year forecast.

        Prepared for PPC members by RISI, a provider of pulp and paper industry intelligence, the Trends Report describes how overall economic trends will affect the folding carton market in the near and far terms. The report states that general economic fundamentals in the US economy will remain strong throughout the coming years, for example, with consumer spending growing by 1.8% from 2021-26.

        In addition to the overall economic performance, other factors play an essential role in Trends’ growth forecast for the next five years, including changing consumer spending habits, substitution away from plastic packaging and efforts to reduce plastic waste. Shipment growth will be healthiest at the end of the five-year forecast, as the current business cycle is predicted to peak in 2026. The total value of US carton shipments is predicted to grow from an estimated $9.5 billion in 2021 to $13.3 billion in 2026.

        The folding carton industry is not without near-term challenges. A short, two-quarter downturn in economic output is expected in 2023, likely due to a recession becoming more of a concern as inflation eats into consumer budgets. Economic growth will provide a boost for folding carton producers in the coming year, but overseas production will continue to challenge the domestic market as competition with imports persists over the next five years. Competition from alternative packaging methods and materials also will remain a challenge for domestic folding carton producers, especially with increasing prices of boxboard substrates.

        On the flip side, decisions by some of the largest fast-food companies and municipalities across the country seem to be providing hope that paperboard packaging materials are poised to benefit from their environmentally friendly profile. Plastic substitution and environmentally friendly packaging trends should provide a tailwind for carton growth over the forecast.

        “Trends equips leaders in the folding carton industry with the knowledge they need to prosper in the changing marketplace,” said Ben Markens, PPC president. “Should they make an offensive move? Should they ramp up their defense? Trends helps them figure it all out.”

        In addition to forecasts for the overall folding carton market, Trends also analyzes 17 end-use segments, including confectionery, dairy, dry foods, cosmetics, pharmaceuticals and recreational products. This year, nine categories were classified as growing markets, seven as mature and one as declining.

        The entire 2022-2023 Industry Outlook and Market Data Report for the folding carton industry is available through the Paperboard Packaging Council (PPC). For over 90 years, PPC has been the North American association for converters of paperboard packaging and their suppliers. PPC works to grow, promote and protect the paperboard packaging industry while providing its members with resources and tools to compete successfully in the marketplace. For more information, call 413.686.9191 or visit www.paperbox.org.

        2023’s Hottest Print Design Trends

        March 15, 2023

        By Sabine Lenz, PaperSpecs

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

        1. Hand-sewn look and feel

        We all like to feel we are part of a select few; that we have come across something rare and handcrafted – that we are one of the lucky ones to get our hands on it. While by no means purely handmade, Singer sewn and exposed Smyth binding convey this feeling to clients and consumers, and that’s what matters.

        The handmade look and feel instantly gives them a sense of the product and company – its culture and history. As a result, they feel a strong connection to the brand. Make this trend your own by using contrasting threads to make it stand out even more.

        2. High-end binding

        On the flip side, high-end binding elevates elaborate artbooks and high-end brochures and allows even marketing materials to feel more like coffee table books.

        Binding for these is done in the known hard case fashion, with the case being covered in tactile cover materials and embellished with hot foil stamping, or in the increasingly trendy Swiss binding style. Instead of being inserted and mounted in casebound fashion, in Swiss binding the text block is glued right on top of the inside back cover of the book’s case.

        While from the outside the book looks like a nice casebound book, once the cover is opened, the text block’s spine is revealed. In most cases, the text block is Smyth bound, yet feel free to use perfect bound or saddlestitched text blocks, too.

        3. Haptic

        In this over-digitalized world where everyone is glued to their smartphone or computer screen, people yearn for a tactile experience. Tactile effects on marketing materials and packaging, in particular, have become increasingly popular. These can stimulate our non-visual senses and create a stronger emotional connection with the product or brand.

        The easiest way to add a haptic experience to a printed piece is with our choice of substrate, with classic finishes like linen and laid experiencing a resurgence. Even the choice of printing technique can provide a “built-in” haptic feel. Letterpress printing, especially when using a soft sheet, allows for a nice impression similar to a light deboss, while engraving – where the ink sits on top of the sheet – provides an embossed feel.

        And, of course, there are numerous finishing techniques that add that extra tactile experience, from traditional embossing, debossing, raised UV and polymer options to a suite of laminates that offer more than just a soft-touch finish. There also are specialty coatings, including sandpaper and leather textures, that provide intriguing options and can be applied inline.

        4. Scent

        While scented inks have been around for a while, they now are– finally – trendy, from offering an intriguing aroma right out of the box to “scratch-and-sniff” or Rub’nSmell options. Depending on the effect desired, the scent can be added to the coating or varnish and thus applied inline with the print run.

        And this is not just for packaging or marketing pieces. All of the trends we are talking about today also are applicable to envelopes. Case in point: Until the end of July 2023, the United States Postal Service is offering the Tactile, Sensory and Interactive (TSI) mail piece promotion, with the goal of encouraging mailers to utilize the power of the senses in their mail pieces to increase response rates.

        Lemon, piña colada, leather or… There are so many scents to choose from that enhance the printed piece and tickle the nose.

        You can be forgiven for thinking that this is a passing fad, but when companies like Starbucks have their own aroma task force – yep, there is an actual department for this – you should take the science of scent seriously.

        5. Vivid colors

        As the value of design rises, brands are going crazier than ever with colors in an attempt to stand out from the crowd.

        While bold colors have been trending in the online world for a while – thanks to enhanced print technologies, we now see designers going bold, loud and brighter than ever in their printed pieces. The secret sauces (or in our case, inks) are neon or fluorescent inks.

        Naturally, you can apply them with traditional printing techniques – offset, letterpress or silk screen. But what’s fueling the popularity of this trend now is the ability to print these colors digitally. Depending on the press provider, you can add neon yellow, pink, orange, violet, green… Encourage your clients to crank up their design’s “look at me” factor by using these vibrant neon colors as spot colors.

        But it is not just about the neon effect. It also is about extending the overall color gamut you can achieve. When we are talking 5-, 6- or 7-color printing, we are adding more colors to a conventional 4-color process.

        This is popular for two reasons:

        1. We can increase the overall range of colors, which allows for really rich hues.
        2. The extra colors (and thus enhanced gamut) can be used to reproduce a special hue that is out of range of the normal CMYK mix; meaning you can match around 94% of Pantone colors.

        Thanks to those expanded color options – even in the digital printing world – expect color schemes in 2023 to get even more vibrant and luminous.

        6. Shimmer and foil

        Metallic effects in design are becoming uber-trendy. From packaging to business cards, the metallic shimmer gives any printed item a luxurious, expensive feel.

        Granted, the shimmer that foil brings has been on trend for a while now. But beyond foil stamping, several newer technologies are becoming more widely available, offering creatives new possibilities and creating a resurgence for this high-end look.

        From hot and cold foil to metallized substrates and digital foiling options, there is a “shimmer” for every print run and budget.

        7. Personalization

        A 2020 McKinsey study found that personalization will be the prime driver of marketing success within five years. Which means, we are just in time.

        Nobody wants to be bothered by irrelevant coupons, emails or texts, but we all do want to be informed of offers that meet our needs. Personalization beyond a simple mail-merge approach offers meaningful, relevant customer communication.

        While the technology for this – variable data printing – has been around for a while, few brands are fully embracing it. Successful brands need to focus on good customer data, insightful analytics and, above all, ensuring that they protect customer privacy.

        8. Augmented reality (AR)

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

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

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

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

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

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

        9. Sustainability

        Sustainability is an overarching trend – one that goes beyond recycled paper but encompasses the whole printed piece. No, this trend does not sparkle or shimmer, but I encourage you to be aware of the sustainability, recyclability, etc. of the papers, printing and finishing techniques and embellishments you offer.

        For any print project this means:

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

        • Right-size. This is not only important to the final cost of the product, but also to its perceived environmental impact.
        • Print on demand. Ask yourself: What is the quantity my customer needs right now? What is the longevity of the piece? Thanks to digital printing and finishing, there really is no need to overproduce.
        • Reduce overall waste. Here is your chance to help creatives understand how to best utilize a press sheet. They’re eager to be more sustainable and open to your advice.

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

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

        And beyond simply using recycled materials, ensure that the packaging or marketing materials you help create are recyclable.

        There are misconceptions aplenty about recyclability of transfer foils and laminates, to name just a few. Be ready to provide your clients with insights and statistics to help them understand that we as an industry are pulling in the same direction they are, and we’re doing everything we can to ensure our materials and technologies are used in the most economic and sustainable ways possible.

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

        PaperSpecs.com is an innovative online hub for brand owners and graphic designers who actively spec paper and print, and refuse to be limited by short print runs or tight budgets. Through videos, hands-on/virtual “[unboxed]” events, blog posts and more, PaperSpecs provides trends, insights and access to crucial, hands-on tools and resources to help creatives craft printed pieces that WOW their clients. Learn more at www.paperspecs.com/get-weekly-tips.

        DVC Highlights Striking Foil Capabilities Using Cast and Cure™ and Cold Foil

        March 15, 2023

        edited by Erin La Row, editor, PostPress

        A company’s success is tied to its employees telling the brand story and effectively showcasing capabilities to potential clients – something the crew at D’Andrea Visual Communications (DVC), in Cypress, California, knows all too well. The company began in 2005 as a lithographic printer. It has since expanded in-house with grand format printing and custom fabrication. Today, the company is a visual communications producer for Fortune 500 brands as well as start-ups.

        Cold foil is a DVC hallmark – the company needed a visual way to demonstrate its capabilities to clients. Using previously designed graphics the company had on hand, designer Franz Dreikorn, prepress/pressroom manager at DVC, got to work designing a sample booklet.

        “We needed to show what we can do as far as foil and Cast and Cure™,” Dreikorn said. The result: an eye-catching booklet that pops with color and shine – showing potential clients the DVC team knows how to help their businesses get noticed and excite customers. Dreikorn said 100 lb. book-weight stock was used. “We wanted to show the difference between cover stock and book-weight stock,” he added.

        The Cast and Cure film was supplied by Breit Technologies and the cold foil was supplied by Univacco Foils Corporation. The machinery used in the production of the booklet included a KBA Rapida 106 press with an Eagle Systems cold foil unit. The six-page booklet took home Best Use of Film Casting (Cast and Cure) from the Foil and Specialty Effects Association’s 2022 Gold Leaf Awards.

        “I was pretty happy,” Dreikorn said about the award.

        The inside pages of the DVC booklet include an example of cold foil only, showcasing its ability to do both larger solids and reversed-out type. Another page demonstrates reversed-out 4-color litho with a Cast and Cure clear holographic background, and the middle of the booklet includes a beautiful two-page spread of a city skyline with a pass of silver cold foil that then was overprinted with 4-color litho – all inline on the KBA press and Eagle cold foil unit. The last two pages showcase a color chart of CMYK colors available for printing or overprinting with silver foil.

        The DVC booklet includes a reversed-out, 4-color image with a Cast and Cure™ clear holographic background.

        Cast and Cure is a decorative process that uses UV/EB varnishes and specialty films to create diffractive surfaces that produce unique finishes for the printing and packaging industries. It forms a consistent high-quality surface that can incorporate ultra-high gloss, matte and holographic finishes on a variety of substrates.

        “It gives you a better sheen,” Dreikorn said. “It’s brighter – more of a mirror effect.”

        Tim Cain, president of Breit Technologies, Overland Park, Kansas, said, “D’Andrea understands that the Cast and Cure process is more of an overall effect and not just a highlight. Many people use foil as an accent. Due to the reusability of the casting film, an overall Cast and Cure effect can be applied to the whole piece for the same cost as a traditional foil highlight.”

        Cain added, “One of the undiscussed benefits of the Cast and Cure process is the enhanced gloss level. The casting film works to calendar the coating to a consistent level, enhancing the gloss level and offering an additional boost with the holographic effect.”

        Breit Technologies is credited with introducing Cast and Cure in North America. PostPress previously sat down with Cain to talk about the Cast and Cure process. Cain said it is used in everything from liquor and beverage labels, printed collateral and direct mail to magazine and book covers, and even food and pharmaceutical cartons.

        “Brand owners find the clear holographic patterns are an excellent way to grab the consumer’s attention when they’re applied to a carton or label,” Cain said.

        The process has many benefits. Since the Cast and Cure film works as a type of mold for the cured UV coating (the film is not actually applied to the substrate), it can be used up to a dozen times – sometimes more – and volatile organic compounds (VOCs) are eliminated with the use of UV/EB varnishes. Less money is spent on shipping fees and warehousing compared to other decorating methods, and the casting films are recyclable.

        When asked about clients’ reactions to the booklets, Dreikorn said, “Everybody loves them!”

        Rethinking Paper Choices for Distinctive Designs, Sustainability

        March 15, 2023

        edited by Erin La Row, editor, PostPress

        Neenah Paper, headquartered near Atlanta, Georgia, manufactures writing, text, cover,
        packaging and specialty papers. The company has a rich history of 150 years of innovation, service and growth. Paper choice can make or break a project; today, there are more choices than ever. PostPress magazine talked to Victoria Apenteng, senior manager, marketing services at Neenah, about paper choices and marketplace trends.

        What are the biggest trends driving paper decisions in today’s marketplace?

        The biggest trend that has infiltrated not only paper decisions, but everyday life, is sustainability.

        However, we don’t like to call it a trend. It’s more of a movement, and we hope it is here to stay! US paper mills have been making paper with post-consumer waste, using renewable energy and practicing conservation for over 30 years, but the popularity of recycled paper has waxed and waned over time. The current conversations around sustainability in all aspects of life have created both renewed awareness and demand for “sustainable” papers. But what exactly does that mean? For some, the biggest concern is using less virgin pulp, so they are seeking high post-consumer content. For others, using responsibly sourced fiber is critical, so third-party certifications, such as FSC®, are the priority. And for some, just simply using uncoated or “earthy” colors is enough.

        How do different types and colors of paper communicate to specific audiences?

        Imagine the same product in two different white boxes – same graphics, but one box is coated board and the other is uncoated board. The common perception is the product in the uncoated box is better for the environment, easier to recycle and maybe even healthier. Papers that have a natural or kraft shade have the same effect. This is critical when it comes to personal care products, as consumers naturally gravitate toward what seems healthy and feels more natural.

        Distinctive use of color also is powerful, and using specific colored paper for direct mail or packaging is a great way to not only differentiate but also communicate subconsciously. For example, bright red packaging definitely attracts attention and also might convey a sense of energy and action – perfect for food and beverage, or maybe the cannabis market. When it comes to beauty, brands need to communicate not only beauty and elegance, but care and nurturing. Soft tones; uncoated, textured papers; and minimalistic design are trending in this vertical.

        Sustainability continues to be a hot topic with brand owners and others. What can be shared about Neenah’s commitment to sustainability?

        At Neenah, we strive to minimize negative environmental impacts by conserving energy and natural resources. Every product we make carefully is crafted, ensuring the highest standards and practices in pulp sourcing, energy consumption, water usage, packaging, shipping and more. Third-party certification for pulp is an increasingly important part of educating consumers about the use of trees in papermaking, certifying that paper mills and pulp suppliers are harvesting trees responsibly. Trees are one of Earth’s most renewable resources. At Neenah, we want to be as transparent as possible, educating our customers on the sustainable features of our products by including information such as post-consumer content and third-party certifications on all of our marketing materials.

        Neenah educates customers on the sustainability of its products, including information on post-consumer content and third-party certifications on its marketing materials.

        What additional considerations and trends are influencing paper
        and board specifications?

        Consumers have become increasingly aware of excess packaging, recyclability of materials and general environmental practices by the brands they interact with. When it comes to paper and board, this is a big driver in the minimalist trend: smaller packaging, less decoration and more papers that intrinsically feel “responsible.”

        Another trend is color – using distinctive colored papers for packaging, direct mail and print communications. For example, a brand may choose a bright blue paper for its packaging, which becomes the “anchor” to the overall brand. When it comes to packaging, it is a surefire way to stand out on the shelf and build brand recognition.

        What types of paper choices are being made in growing markets, such as cannabis, craft beer, wine and spirits?

        Colored papers attract attention and can convey a sense of energy and action.

        Distinctive papers! New brands trying to establish themselves are seeking something new and different. They’re looking for color, texture and anything unexpected. It’s all about standing out. The last thing they want is to blend in on the shelf.

        When it comes to the beverage market, the competition is overwhelming. People naturally are attracted to a unique label, especially something that feels hand-crafted vs. mass-produced. As established brands look to grow and evolve, that might mean an updated label that subconsciously communicates sustainability or just has a different look to it! Texture is a great way to get attention.

        PostPress would like to thank Neenah Paper for its assistance with this article. Learn more about Neenah Paper at www.neenahpaper.com.

        American Forest & Paper Association Design Guidance for Recyclability: “A Resource for Paper-Based Packaging Designers”

        March 15, 2023

        By Terry Webber, vice president, industry affairs, AF&PA

        The Design Guidance for Recyclability was developed as technical guidance to aid packaging designers and brands in the design and manufacture of packaging to help meet recyclability goals.

        The Design Guidance is the culmination of work by the American Forest & Paper Association (AF&PA), its members and partners in the paper-based packaging manufacturing industry:

        • Fibre Box Association, which represents North American corrugated packaging manufacturers
        • Paperboard Packaging Council, which serves paperboard box makers and suppliers
        • Recycled Paperboard Technical Association, which provides technical assistance to improve the recycled paperboard industry

        AF&PA also appreciates the input received from the Foil and Specialty Effects Association on recent research on the recyclability of paper-based packaging with foil treatments, and from packaging designers from six consumer brands companies who reviewed the draft report with AF&PA and provided feedback on its content and readability.

        The findings in the report are the result of an AF&PA member survey of company mills in a range of sectors in the United States and Canada. The survey had a 75% response rate. In total, data for 86 mills was reported. The 86 mills represent 74% of the total amount of recovered fiber grades that AF&PA members consume that are likely to include the types of recycled paper-based packaging found in the scope of the Design Guidance project.

        What purpose does it serve?

        The objective of the Design Guidance is to present research-based findings on how various non-fiber elements affect the recyclability of paper-based packaging. It is intended to inform individuals and groups that specify and design packaging and make determinations about the recyclability of paper-based packaging.

        The Design Guidance is not meant to be mandatory or a standard for the packaging industry.

        Packaging designers want to make their packaging more sustainable. AF&PA’s Design Guidance is a tool for designers to use when they are making decisions about packaging performance, appearance and recyclability.

        Who is AF&PA’s Design Guidance for?

        The Design Guidance presents technical guidance for members of the paper-based packaging manufacturing supply chain to use, if desired, in designing and manufacturing packaging to meet customers’ needs in terms of recyclability.

        Scope of AF&PA’s Design Guidance for Recyclability

        The Design Guidance focuses on seven common types of recyclable paper-based packaging – corrugated, bleached and recycled paperboard; carrier stock cartons (soda and beer multipacks); kraft paper bags; multiwall shipping sacks and molded fiber containers.

        It also identifies the kinds of non-fiber elements often attached to those types of packaging – adhesives, inks and dyes, coatings and barriers, decorative foils, tapes and more.

        Segments of AF&PA’s Design Guidance for Recyclability

        The Design Guidance final report was produced in an interactive PDF format, which allows easy navigation between sections. The links in line items in the Table of Contents will take readers to that section in the report. The segments in the report are:

        • Description of how paper recycling works in paper mills
        • Ease of Recyclability – a high-level matrix that identifies which non-fiber elements are more easily recycled or may present a recycling “challenge” on each type of paper-based packaging covered in the report
        • Individual pages that provide a deeper dive into how different non-fiber elements affect recyclability for each type of paper-based packaging in the report
        • Appendices that provide more detailed information on a number of topics

        Recycling “challenges” slow a mill’s pulping process

        AF&PA’s Design Guidance identifies non-fiber elements that may become recycling “challenges.” The Design Guidance notes that something becomes a challenge when it slows down a mill’s pulping process, plugs screening systems or leaves residue on finished paper or paperboard.

        The ease of recyclability of any type of paper-based packaging with non-fiber elements depends on an individual mill’s capability. Being a “challenge” does not make something not recyclable. It is important to note that each non-fiber element applied to each kind of packaging described in the Design Guidance was rated by some mills as not a “challenge” or more easily recycled.

        One question that often is asked is, “How much is too much?” At what point does a non-fiber element become a “challenge” to recyclability? This guidance does not capture that. The answer to the question is highly dependent on each mill’s repulping capability and the product being made on the paper machine there.

        Ease of recyclability

        The legends in the ease of recyclability matrix (above) describe how each of the non-fiber elements affect the recyclability of each packaging type.

        Green dots indicate that a packaging type with that non-fiber element is more “easily recycled” in mills. Gray dots indicate that a non-fiber element may create a “challenge” to recyclability for that type of packaging in mills. Hollow dots indicate that the non-fiber element typically is not present on that type of product.

        To be categorized as a “challenge,” 33% or more of the mill survey respondents had to rate the non-fiber element as such on a particular type of packaging. This does not mean that the non-fiber element is not recyclable, but rather that it creates problems in some mills by slowing down the pulping process, clogging machines or leaving residue on finished paper or paperboard.

        AF&PA explored several scenarios with the project working group and ultimately decided that the 33% threshold for being a “challenge” best reflects the mills’ recycling experience.

        Recommendation by product type

        The Design Guidance final report has a detailed product page for each type of packaging with four segments:

        • Description of the type of packaging
        • List of the non-fiber elements that are more easily recycled when they are on it
        • List of non-fiber elements that create recycling “challenges” on that type of packaging in paper mills
        • “Bottom Line” box that cites a key takeaway for each type of packaging

        Notes at the bottom of the product pages remind readers that definitions of each of the non-fiber elements are in the appendix.

        Additional information in the appendices

        The Design Guidance has an appendix with six parts, which readers are urged to explore.

        There they will find more detailed resource information:

        • Definition of recyclable
        • Definition of non-fiber elements
        • Insights on foils and wet strength resins
        • Recyclability standards and testing facilities
        • Endnotes with reference sources

        Key insights from mills into recycling packaging with foil treatments

        Improvements in recycling technology and the ability to use thinner foils have made foil treatments easier to recycle than they have been historically. A majority of mills reported that there is no meaningful difference between how the different kinds of foil treatments are managed.

        An analysis of responses to the mill questionnaire that rated one or more of the foil treatments as easier to recycle showed the following:

        • The majority of mills in this group use predominantly recovered fiber for furnish (76 to 100%). Among them:
          • 55% rate “stamped foils” as easier to recycle
          • 60% rate “metalized foils” as easier to recycle
          • 56% rate “laminated foils” as easier to recycle
        • A sizeable minority of mills (26 to 50%) use less recovered fiber for furnish. Among them:
          • 32% rate “stamped foils” as easier to recycle
          • 25% rate “metalized foils” as easier to recycle
          • 26% rate “laminated foils” as easier to recycle
        • Products manufactured:
          • Nearly three-fourths of the mills manufacture containerboard
          • A minority (14%) manufacture uncoated recycled boxboard.
        • Pulping process:
          • The great majority (approximately 80%) of these mills utilize continuous-low consistency pulping.
          • Mills in this group utilized other pulping processes: 9% of mills reported utilizing batch, continuous-high consistency and/or drum pulping.
          • NOTE: Mills were able to select more than one response option for this question.
        • Observations about the different kinds of foil treatments:
          • Metal on poly is easier to deal with. It’s easier to get the poly off the board than metal and very thin metal will stick to the poly.
          • Stamped foil is not as severe [because] stamping tends to involve less foil.
          • Metalized coatings are more problematic than stamping.
          • Metalized films are very thin, and the plastic backing is difficult to separate.

        The Design Guidance for Recyclability is available for free download: www.afandpa.org/statistics-resources/afpa-design-guidance-recyclability

        The American Forest & Paper Association (AF&PA) serves to advance US paper and wood products manufacturers through fact-based public policy and marketplace advocacy. The forest products industry is circular by nature. AF&PA member companies make essential products from renewable and recycled resources, generate renewable bioenergy and are committed to continuous improvement through the industry’s sustainability initiative Better Practices, Better Planet 2030: Sustainable Products for a Sustainable Future. Visit AF&PA online at www.afandpa.org or follow it on Twitter @ForestandPaper.

        PDF Files Can Help Streamline the Embellishment Process

        March 15, 2023

        By Andrew Bailes-Collins, head of product management, Ultimate TechnoGraphics, and technical officer, Ghent Workgroup

        Digital embellishment is a really hot topic in the world of printing and finishing these days – and with good reason. The ability to differentiate oneself from competitors and increase the services offered to potential or existing customers are reasons enough. But increasing margin and profitability on each printed piece makes an investment in digital embellishment a no-brainer for a lot of print service providers.

        The return on investment is not always about the ability to offer digital embellishment as a service, but also in capturing costs that currently are incurred by outsourcing embellishment to third parties. It’s now totally feasible to bring embellishment technology in-house. Even labor is not an issue. After a training course, almost anybody can run a digital embellishment device – previous printing or prepress knowledge is not required.

        The ISO processing steps standard encourages the use of special layers in PDF files. There is metadata attached to each layer that the user cannot see. Image courtesy of Ghent Workgroup.

        What is important, especially with regard to workflow efficiency, automation and capturing that increased margin, is making sure that customer-supplied PDF files are submitted correctly. Don’t eat into profitability by spending additional time in prepress fixing files to make them usable for embellishment!

        The following information is part of a presentation I originally gave at Amplify Print in June 2022. It’s based on work done by the Ghent PDF Workgroup (www.gwg.org), which now is an ISO standard (ISO 19593-1). That standard provides the basis for the recommendations that follow, but certain parts of the specification have been ignored to focus on the specific requirements for digital embellishment and to provide some best practices that can be achieved with standard desktop applications like Adobe InDesign or Adobe Illustrator.

        Different embellishment devices have different guidelines on how PDF files should be created, and different printing companies have different workflows and ways of handling embellishment files. But what follows are some recommendations for creating PDF files for embellishment that will work in any digital workflow scenario and also are applicable for analog embellishment techniques.

        Workflow

        There are two main workflow scenarios for handling PDF files for embellishment. The first is that the PDF file in its entirety is moved through the workflow, and the front end of the embellishment device can take the parts it needs from the PDF by utilizing PDF layers and ignoring the unneeded content. The second way of working is that the PDF file is broken down into several different PDF files – one for each required process. Think printing, cutting, varnish and foil, for example.

        The optimal scenario would be that customer-created files could be received, pass quality control and then be imposed or nested, sometimes with PDF files from other customers, and then be output without any manual intervention, problems or correction.

        The more likely situation is that received files require some degree of correction or editing, preferably automatically. But even that requires the incoming PDF files to already meet a certain quality and be created in a way that they are editable in the first place.

        Object stack

        When creating PDF files for print that are having embellishments added to them, creators should have a mindset that they are creating two separate jobs in one PDF file. They initially should create the design to be printed and then, on top of that, add the elements to be embellished. There are some recommendations on how to do that.

        An object stack represents the stack of objects in the file, one object on top of the other.

        A PDF file contains what is called an “object stack.” This represents the stack of objects in the file, one object on top of the other. Some of these objects can be seen – like text, graphics and images – and some are not visible – like masks and forms and other content – that, all combined, make the PDF view and print as it was intended.

        The objects in an object stack interact with each other by knocking out, overprinting or blending together using transparency effects, like “multiply.”

        A basic rule for creating files for embellishment is that the embellishment objects should be at the top of the object stack. The objects that will be printed should be at the bottom of the object stack. There should be separate objects for printing and for embellishment – no object should do both!

        The embellishment objects should overprint and not interact in any way with the objects to be printed that are underneath. There almost should be an invisible wall between the print objects and the embellishment objects. The embellishment objects should not knock out or use transparency effects at all. All of the embellishment objects should be able to be deleted, and the printed file remain unchanged in appearance.

        Spot color separations

        Spot color separations is a fundamental way of working; it’s a technique that pre-dates PDF and digital workflows.

        The embellishment file should overprint the print file.

        In the case of embellishments, each object that needs the type of embellishment is colored with an overprinting spot color with a unique name that represents the embellishment it is for – emboss, spot varnish and foil, for example. There should be only one color separation for each embellishment type.

        Some embellishment devices require strict separation naming conventions that describe the effect required, but these names easily can be corrected in preflight software or even in the embellishment device front-end software. Multi-color inks, such as CMYK+, that involve embellishment objects should be avoided at all costs. These will cause separation problems and require extra manual work to correct.

        Typically, embellishment objects should be solid colors, 100% of the required spot color. The only exception to this would be objects that are going to utilize the “3D varnish” effects that some embellishment devices can produce. For these effects, tints are used to define the different levels of thickness of the varnish. This is the only case where tints should be used to define embellishment effects.

        Layers in PDF

        With the release of PDF version 1.5, layers – or to give them their correct name, optional content groups – became part of the PDF specification. Using them with production PDF files has become a common workflow practice. They especially are useful for complex files, such as packaging that contains not only print content, but also structural, cutting and finishing information. The use of layers also is recommended for PDF files containing embellishment – they are an addition to the use of color separations, not an alternative.

        The use of layers starts in desktop design applications. Adobe Illustrator and InDesign, for example, both allow creators to work with layers, making the grouping, moving and hiding of objects very convenient for the designer. In desktop applications, a layer also represents the position in the object stack of the objects on it – this is not the case for PDF files as layers have a different purpose in PDFs.

        In PDF files, layers mainly are used to show or hide objects in the PDF. As a result, they are extremely useful for soft proofing as a customer can turn the layers on and off to see the file with and without the embellishment objects. Even the free Adobe Acrobat Reader version supports the use of layers, so this approach is popular, easy and affordable.

        One thing to know is that PDFs only support the use of layers in PDF version 1.5 and above, so when the customer is exporting a design with layers to a PDF, the correct PDF version must be selected or the layers will be flattened on export. If the customer specifies the PDF/X ISO standard for incoming PDF files, then PDF/X1a or PDF/X-3 will not be suitable. They do not support layers. The customer must request a PDF/X-4 file or higher.

        Potential pitfalls

        If a customer is working with images and wishes to pick out parts of an image with embellishment, then it is likely being done with an application like Adobe Photoshop. The temptation when doing this is that the customer will save the file as one CMYK+ image. This is not what production wants.

        Typically, embellishment objects should be solid colors, 100% of the required spot color.

        What is required is that the customer makes two images – one for the print and one for the embellishment – and combines them in the page layout application with the embellishment file overprinting the printing one. This approach means the PDF file can be separated properly and will work correctly with layers. With the layered approach, the entire object is assigned to a layer. It is not possible to put just parts of an image on a layer. Hence the need for a separate image for embellishment.

        Another thing to watch with images is that they have hard edges. Soft, feathered edges do not work well with embellishment. Images also should have a good resolution, especially if they contain fine elements like text or thin lines.

        White knockout

        I talked a little before about knockout and overprint. In PDF, when an object overlaps another object, the default behavior is that the uppermost object knocks through all objects underneath it. This can be used in a design to create certain effects. For example, it may be desirable for a foil or varnish to sit directly on the substrate, not on any ink or toner. Allowing it to knock out everything underneath it will achieve that effect.

        In such a situation, it would be easy to create the knockout effect simply by using the embellishment object as a knockout, but that is not the correct way to do it. Remember that the print design still should remain intact if the embellishment objects are removed, and there should be no interaction between the printing objects and the embellishment ones.

        The correct approach is that the designer should create an additional white printing object that creates the knockout needed, rather than relying on any embellishment objects to do that.

        There is a trick for times when the designer actually requires embellishment objects to knock out each other. If they are overprinting each other, how can that be achieved? The trick is to use a 0% tint of the overprinting embellishment separation color. Using that approach, the 0% color gives the visual appearance of a knockout white hole, while still overprinting the other objects beneath it.

        Future

        In the future, there are several things that would help aid the adoption of embellishment by the design community. The first would be to make it easier to create embellishments when designing a job, and by this, I mean in the desktop design applications. If tools were available to make visualizing and creating embellishment designs easier, I think that would help adoption.

        In addition, within the packaging community, there is increased adoption of the ISO processing steps standard (ISO 19593-1) by software vendors. Packaging files can be extremely complex and difficult to communicate about and automate, especially internationally. This standard encourages the use of special layers in PDF files, but the clever part is that there is metadata attached to each layer that the user cannot see. This metadata identifies the layer, so any software can read it and know what the objects on the layer are meant to be. They could be the dieline, the emboss, the foil or any one of many other finishing or embellishment processes. The name of the layer itself actually becomes irrelevant as it’s no longer needed for the production of the job.

        This standard provides a standard way of working, creating PDF files and supplying PDF files, which improves communication and increases the opportunity for automation.

        For this to happen requires the ability for designers to implement this standard during the creation of the job. This means the functionality has to be available to support it in the desktop applications, and it must be easy to use. To support the complete production chain, the standard also has to be adopted by the finishing and embellishment manufacturers. It’s already included in the Rips/DFEs from Adobe and Global Graphics that drive print engines, and the Ghent Workgroup already has been working on this topic, creating preflight standards and defining best practices to support the standard and help drive its adoption.

        It remains to be seen if this standard will be able to make the jump from the prepress arena into finishing, but it would be hugely beneficial to the industry if it could. If interested in more information on this topic, a white paper about it can be downloaded at www.gwg.org/technical-specifications/processing-steps.

        Andrew Bailes-Collins is the head of product management at Ultimate TechnoGraphics, a leader in imposition and finishing automation software based in Montreal, Canada. He also is the technical officer of the Ghent Workgroup and an evangelist of PDF best practices, standards and automation, with over 40 years of experience in the printing industry.

        Taylor Box Company Creates Premium Packaging for Cincoro’s Extra Añejo Tequila

        March 15, 2023

        By Liz Stevens, writer, PostPress

        Cincoro is the tequila label created by five National Basketball Association team owners, and the Spanish word cincoro (cinco oro) translates to “five gold” – a tribute to the company’s owners and their premium tequila, a liquid gold. The five are Michael Jordan, NBA great and principal owner of the Charlotte Hornets; Jeanie Buss, controlling owner of the LA Lakers; Wes Edens, co-owner of the Milwaukee Bucks NBA franchise; and husband-and-wife Wyc Grousbeck and Emilia Fazzalari, owners of the Boston Celtics.

        Cincoro produces a crystal-clear Blanco, a medium gold Reposado, an intense amber Añejo and a deep copper Extra Añejo. Extra Añejo is Cincoro’s top-tier offering – a rare tequila that is aged 40 to 44 months in Tennessee whiskey barrels and only produced in very limited quantities.

        When Cincoro was ready to launch its Extra Añejo Tequila, the company wanted the packaging to reflect the refinement of the tequila itself and to be as much of a keepsake as the beautiful black and gold bottle that holds this connoisseur-worthy spirit. On Cincoro’s behalf, packaging and printing powerhouse Oliver, Inc. reached out to Taylor Box Company, Warren, Rhode Island, for a collaborative effort to design and deliver packaging that would wow the sports world’s most discerning influencers.

        “The goal was to have the complete delivery of both the bottle and box be eye-catching and something that would be kept and displayed by the consumer,” explained Judith Sheehan, CDMP, marketing & communications at Taylor Box Company. “The design of the box and its embellishment play off of the five tequila leaves in the company’s logo, which represents the five founders.”

        Taylor Box created a five-sided matte black box with a gold foil lining. The box opens via “double doors” with a magnetic closing that crisply snaps shut. A custom-designed acrylic stand within the box holds the neck of the bottle securely and provides optimal presentation upon opening. The box’s gold foil lining features an embossed step-and-repeat pattern of the five leaves in the company’s logo.

        The box is constructed of ESKA board and wrapped in black Corvon Mano from Neenah, which is a very popular soft-touch material. Hazen’s Econo Red Gold foil in #221 Taffeta emboss from Semper Paper was used on the blackboard from Newman, which was foil stamped in General Roll Leaf’s B17-RFX. The acrylic neck stand for the bottle was created by Precision Laser and heat-bent by Schofield.

        A five-sided belly band outer sleeve encases the box in the same rich matte black and features the hot foil-stamped Cincoro label along with the five-leaf logo in a raised spot UV step-and-repeat pattern. Oliver, Inc. supplied the outer sleeve.

        Taylor Box used an SBL diecutter for the base and folder components and a Thompson diecutter for insert components. The company used a Kensol for foil stamping the exterior tray wrap, a Kluge for the lining (step and repeat), an Emmeci casemaker for tipping of the folder, and a groover for creating the center panels of the outside folder.

        “This was not a shape that we had ever done prior to this project,” Sheehan said. “The unique shape of the tray – designed to match the shape of the tequila bottle – could not be made by machine, so it was engineered to be assembled by hand. To make the matching folder work, we did a combination of grooved board and loose panels.”

        “From a foil-stamping and embossing perspective, this project ran smoothly, especially considering the complexity of the step and repeat pattern,” said Ron Pontbriant, master foil stamping and diecutting technician.

        “Taylor was able to produce the box to the customer’s quality standards and ship on time for the product launch,” said Sheehan. “The quality exceeded expectations, resulting in a premium package and presentation that met the level of expectations from both the A-list creators of the label and its discerning consumers.”

        “With foil stamping and embossing being one of the first stages of production,” said Pontbriant, “I receive all the materials for each project in flat sheet form.” When the foil stamping, embossing or diecutting is completed, a project moves on to the construction stage, and Pontbriant typically doesn’t see the assembled pieces. “Seeing this project in its final form – and how elegant a piece this was – provided a sense of pride and accomplishment to be part of it,” Pontbriant said. “It has been an honor to have my work be part of a project that has received so much recognition and so many awards.”

        This elegant and beautiful project was the Gold Winner – Best Use of Foil/Embossing – Rigid Box (Best Engineered) in the FSEA 29th Annual Gold Leaf Awards (2022), and Rigid Box of the Year (2022) by the Paperboard Packaging Council.

        Direct Mail in a Different World

        March 15, 2023

        By Trish Witkowski, president of Foldfactory

        It’s 2023, and two of the greatest things that came out of the past three difficult years have been the rediscovery of and appreciation for tangible experiences – whether that’s a piece of mail, a visit to a store or an in-person meeting. Digital overload was a very real thing, and although it provided entertainment and helped everyone to communicate, the novelty wore off. The desire for multisensory experiences became greater than ever and continues to this day. Overall, this has been great for print marketing, and the industry needs to pounce on the opportunity.

        First, why digital-only marketing has a problem

        The days of boasting that digital marketing is cheaper and easier than print now are solidly in the past – the pandemic created an accelerated increase in online competition, due to the shift from in-person experiences to e-commerce. That competition has driven up digital ad pricing, with the average cost per click (CPC) on Google ads between $1 and $4, and the average cost per click on a Facebook ad at 94 cents (WebFX). And that’s just for a click. In 2017, that Facebook click was 28 cents. It was hard to beat the digital pricing argument at 28 cents, but at $1+ per click? Digital marketing is not the low-budget wonder that it used to be. It’s still essential in today’s marketing mix, but a cheap and easy strategy? Not a chance.

        In addition to the rise in costs for digital marketing, the other – possibly greater – challenge of digital-only is that the rules always are changing. Here are four examples:

        1. In January 2022, Facebook removed thousands of detailed targeting options related to topics people might perceive as sensitive, such as causes, organizations or public figures that relate to health, race or ethnicity, political affiliation, religion or sexual orientation. Facebook did not provide a list of the targeting terms that were removed, either. They were just gone.
        2. Ninety-seven percent of Apple iOS15 users have opted into its new Mail Protection Privacy (MPP) feature, which prevents email marketers from tracking users’ email behavior.
        3. Google Chrome, which holds 63% of the browser share, is set to remove third-party cookies by late 2023. Safari and Firefox already block them.
        4. According to eMarketer, more than 40% of internet users are using ad blockers. Additionally, an Edelman study determined that 45% pay for streaming video services that don’t contain ads or that have reduced ad loads.

        So, whether it’s the platform or the user blocking the path of marketers, it is getting a lot tougher to get digital marketing content consistently in front of the right customer or prospect.

        Print + digital for the win

        Whereas the argument used to be “which is better?,” it’s now become much clearer and easier to prove the position that a hybrid, print + digital marketing strategy truly is the best way to enhance the customer journey and drive sales. According to an SG360 study, 92% of direct mail recipients report being driven to digital activity. So, the two work together as a powerful sales team.

        Each marketing channel has a role to play – digital marketing works to engage and track (view, click, visit, read) and print is used to slow down customers, narrow their focus and drive them to action. More than just a nice to-do, it’s actually become an expectation that brand experiences will be more nuanced and dimensional. In fact, 85% of consumers indicated that they expect and appreciate a blend of digital and physical engagement with brands (CMO Council).

        Making that print touchpoint count

        Direct mail has a lot going for it these days (and the data to back it up), but rising postage and paper costs, supply chain challenges and inflation mean there are big investments and risks to print marketing as well, so there’s no room for error. With everything on the line, print customers need more help than ever to make sure that their mail campaigns succeed.

        The great news is that, as print professionals with a wide array of techniques and tools that can enhance the experience and the engagement of a printed piece, there are so many ideas and strategies designers can bring to the table (translation: VALUE) to help their customers succeed in their campaigns.

        I spend a lot of time analyzing different strategies for mail, and I’ve compiled five of my go-to mail enhancement ideas:

        1. Special print effects

        Special effects

        I’m starting with special print effects because this category is huge, incredibly powerful and can be applied to everything from short- to long-run print jobs. What I love about special print effects these days is that there are many ways to get the effect designers are looking for. Let’s take clear gloss, for example. Designers can use gloss varnish, gloss UV coating, gloss aqueous coating, clear gloss digital enhancement ink, sleeking, gloss laminate or clear gloss foil. I have not even touched upon metallics, raised textures, specialty inks and all of the other great effects in this category. There’s something for everyone and every budget. Sometimes a designer or marketer just needs to know where to apply the effects.

        2. Technology

        Technology

        How can one leverage print technology to create engaging communications? Oh, there are so many ways, and not all of them will bust clients’ budgets. My top three technologies are variable data personalization, QR codes and direct mail retargeting/direct mail automation. For variable data, there’s a lot more than first-name personalization – consider batch targeting using imagery and customized content for different audiences. QR codes are a no-brainer these days. Everyone knows how to use them, so make the destination worthwhile. And for direct mail retargeting and automation, check out Lob, PebblePost and Postalytics, to start.

        3. Un-envelopes

        Un-Envelopes

        Supply chain issues with envelopes led to a lot of forced creativity in the folded self-mailer (FSM) category, and one of my favorite solutions is the un-envelope or faux-velope. The concept is to create a folded self-mailer that looks like an envelope, but it is not an envelope. The easiest way to do this is to add a short flap that is glued down and gives the appearance of an envelope, but designers can get really creative by shaping the flap with a point or tab to open.

        4. Interaction devices

        Interaction device

        Creating clever and simple ways for someone to interact with the mail piece is a really easy thing to do. For example, adding a zip strip (or paper zipper) as an opening mechanism creates a great sound and a fun experience to tear it away. In the process, it engages three senses – touch, sight and sound – and the more senses one can engage, the greater the experience and brand recall. Another way to add interaction is with a peek-a-boo panel. If two panels are glued together, leave a section free of glue and perforate the top panel so that it can be peeled up to reveal a message or image below. Fun and easy!

        5. Texture and dimension

        Texture

        Adding texture draws attention and sensory interaction, and this can be achieved through print embellishments to mimic known textures like rubber, woodgrain, leather, sand and more. Paper texture is another way to make an impression. Paper itself is dimensional and can be cut and folded in different ways to create pop-up sections and memorable dimensional experiences.

        Bring fresh print marketing ideas to the table

        So, now I’m going to give the readers of this article some homework: Go back through client work to see if anything has been produced that could be considered a good example of any of the five categories listed here. If examples are found, set them aside to share with customers (if allowed). If there are no examples, I would suggest that making some “house samples” that demonstrate the concepts and can be handed out. Basic order of magnitude pricing scales would be helpful as well. Designers and marketers are visual, and they have to live by their budgets, but if they are shown something that can increase their visibility, engagement and return, they just might jump on it.

        Trish Witkowski is president of www.Foldfactory.com, curator of the world’s most exciting collection of folded print and direct mail samples, and host of “60-second Super-cool Fold of the Week” on YouTube. Witkowski also is an instructor for LinkedIn Learning and the author of several books on folding and direct mail strategy.

        Industry Influencer: Emilio Corti

        March 15, 2023

        Emilio Corti is the region business director, Americas for BOBST.

        Emilio Corti is fluent in four languages – something that likely has come in handy over the course of his expansive career. Today, Corti is based in the United States, serving as region business director for BOBST, where he’s responsible for the company’s capital business throughout the Americas. PostPress magazine posed questions to Corti to tap into his expertise in folding cartons and find out what he thinks of the future of the industry.

        How did your career develop in the folding carton and packaging industry?

        I have worked in the industry since the early 1990s, specializing in initiating, restructuring and managing local sales and services branches. I joined the BOBST team in 2003 as marketing and sales manager of the folder-gluers product line.

        My earlier career with BOBST included a move to Mexico, where I became CEO of the North Latin America business. Working with outstanding teams, I was able to re-establish the company’s leading market position in Central America, Mexico and the Caribbean by building new working procedures and processes and increasing overall efficiency. From there, I moved to Switzerland, where I led capital sales worldwide for the folding carton and corrugated board industries. In January 2021, I moved back to the US to serve in my current role.

        Over the past two years, we’ve seen tremendous growth in certain segments of folding cartons, such as pharmaceuticals and food. Do you expect this to continue in 2023?

        Yes, absolutely. Demand for folding cartons is predicted to grow in several end-use segments, including “on-the-go” eating, pharmaceuticals and beverages. “On-the-go” eating growth is due to continuing urbanization, busier lifestyles, more working women and single-parent/single-person households, and time pressures.

        Growth in the pharmaceuticals sector, meanwhile, partly is due to changes in regulations, and partly because growing health awareness among consumers, especially since the pandemic, is increasing demand for cartons for pharmaceutical products.

        Folding cartons are one of the most sustainable forms of packaging. Do you see more brand owners switching to folding cartons as a more sustainable solution?

        Demand for sustainable packaging remains a main driver for growth, and many brand owners have committed to sustainability goals – such as 100% recyclable packaging by 2025. There certainly is an increased utilization of paper instead of plastic and increasing government regulations and legislation for non-recycled material.

        Sustainability covers the entire packaging spectrum, and it requires collaboration. We are in a very exciting period for sustainable packaging, and at BOBST, we believe we’ve reached a defining moment. We have introduced oneBARRIER FibreCycle, which is a full paper, mono-material, recycle-ready solution, developed in response to increasing demand in the industry for more paper-based packaging options.

        Both as an industry and as a society, we need to keep collaborating and talking. Education is a significant part of this; we need better home education for consumers on waste sorting and recycling, and improved collaboration, not only with the entire packaging spectrum but also with waste management companies, for example. It is a process, but huge steps forward have been made.

        What are the biggest challenges facing the print/packaging/folding carton industry? How should the industry respond to successfully grow and thrive?

        There have been some significant pressures on our industry in the last year or so, due to factors including global economic instability, global supply chain challenges, human resource shortages and the energy crisis.

        As we look at the year ahead, our hope is that many of these challenges settle down, but the human resource shortage is an example of a challenge that likely will be ongoing for some time. When we speak with converters, we still are hearing that many of them are struggling to find skilled machine operators or to retain or find skilled personnel.

        Companies, like BOBST, can help, whether that’s supporting the training of operators or through the automation and digitalization of the production process. This includes automating the setup of the machines and changeovers, making production for our customers easier, more reliable and therefore more efficient; or automating the machine to enable it to process a PDF file to set up the machine automatically for production – right up to the end product being ready to be shipped to the client.

        It’s a challenge but also an opportunity. We can make the process smoother and faster. This industry always has been about adapting and evolving, and we will continue to do that and help our customers to do the same.

        What other trends in folding cartons do you predict for 2023 and beyond?

        There are three key trends we foresee in 2023: zero-fault packaging, automation and digitalization.

        Zero-fault packaging will continue to be a non-negotiable factor. Zero-fault packaging puts the onus on the manufacturer to provide completely fault-free packaging in short lead times. Low quality is not sellable. It means waste and higher costs, and it lowers the converter’s profitability.

        Automation of plants will continue to be a key focus. With job runs getting shorter, automation is required for quick changeovers. The ongoing challenges around the lack of skilled manpower and increased production rates will drive further automated solutions. In the near future, companies will have to offer solutions to answer the latest market demands, including robotics and more.

        Meanwhile, the digitalization of the industry will continue throughout the complete supply chain. Cloud-based reporting integrated into the quality assurance monitoring systems of equipment enables converters to receive real-time data.



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