Industry Trends

Leasing Equipment – Buyer Beware

September 9, 2021

By David Spiel, Spiel Associates, Inc.

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

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

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

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

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

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

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

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

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

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

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

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

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

Women Making Their Mark in Finishing

September 9, 2021

By Hallie Forcinio, writer, PostPress

Like most businesses today, print finishing companies are having a hard time hiring entry-level (and above) workers. There are no easy answers to attracting and retaining talent, but one option is to encourage women, especially young women, to apply for positions in this traditionally male-dominated field.

In interviews with PostPress, a trio of women who are top executives at small, family-owned print finishing companies reminisce about how they found their way into the industry and discuss how others might follow. During the course of their careers, each woman has done virtually every job on and off the shop floor. Some continue to spend time on the shop floor today.

Each of the executives stress the importance of operator-friendly equipment and how print finishing offers the potential to begin forging a lucrative, lifetime career right out of high school.

How did you get started in the print industry?

Sonja Nagy, vice president, Texas Bindery Service in Cedar Creek, Texas: I got my start working with my dad at the shop when he needed help in the summer and on weekends. Dad (Keith Nagy) had been the president of a multimillion-dollar printing company and left to start his own trade bindery business in partnership with his sister (Sheila Nagy). My brothers and sisters and I grew up in the business.

I started out as a bindery helper. I enjoyed working with my father and always felt a responsibility to help make things easier for him. While supporting his dream, I found a place for myself in the printing and finishing industry. In 2006, my father and my aunt decided to end their partnership, and my father, brother and I founded Texas Bindery Service.

Becky Almeter, president, Hodgins Engraving, Batavia, New York: My business is a family business, started by my grandparents and continued by my father. I took over when my dad retired. As a young person, even through college, I had no intention of joining my father’s company. However, as life happened, I ended up moving back to the area and finding that it was a natural fit for where I was in my life at the time. The things that drew me back to the area are the same things that drew me back to the business: the importance of family and community, making an impact in a place that means a lot to many other people, taking pride in your work and surrounding yourself with people that mean a lot to you.

Becky Garrison, president, Becky’s Diecutting, Fort Wayne, Indiana: I’m very hands-on. I’m a country girl who grew up on a farm and learned how machines work from a mechanically inclined dad. My first job was with a start-up company. I was 18 and newly married when a neighbor asked if I wanted a job, and my husband said if I wanted to do it, I should do it.

The shop was producing sun-visor-like paper hats, which were cut on a clamshell diecutter. After two days, I asked Keith Sipe, the owner, if I could run the hand-fed machine. Shortly after, he began teaching me about the diecutting business. A few years later, after having two small boys, the ownership of the shop changed and the workload forced me to struggle with being a good employee or being a great mother. I wanted time with my family, so I told the boss I was quitting but offered to stay for six weeks or even a year. However, I was escorted out of the building and he immediately began calling customers to advise them I was no longer with the company. By the time I arrived home, I had several messages with job offers.

Knowing that people wanted to hire me, a friend of mine suggested that I should think about starting my own business. There were three customers that wanted to start a co-op and wanted me to run it, so I made the decision to start my own business without any outside help. I sold a knitting machine and bought my first Kluge. Although I didn’t accept their offer at forming a co-op, we still do business to this day with those same clients. The business has grown into a close-knit family of employees and customers. If you mention Becky around Fort Wayne, everyone knows me.

What roles have you had in your company?

Nagy: My current title is president, but I’ve served in every role at one time or another and continue to pitch in wherever needed. In a small company, it’s all-hands-on-deck when a job has to be shipped. My success stems from doing the best I can do every day.

Almeter: When I was a teenager, I worked in the production area and shipping during summer break, never anticipating that it was anything more than gas money for the summer. When I returned home after college, I began working as a customer service rep. From there, I got into attending some of the tradeshows and working on marketing projects, which I loved. I really enjoyed speaking with customers and potential customers about what we do and thinking more strategically about the products and services we offer and how to market them.

I got more and more involved in management from there. I managed the Customer Service team and, for a brief period, filled a vacancy in the production manager role where I scheduled jobs, staged work for operators, managed the finishing team, etc. I’ve worked in most areas, except pre-press, in some capacity over the years, and those experiences have proven to be invaluable as we prepared for my father’s retirement and for my assuming my current role as president.

Garrison: I’ve done everything in the company – billing, estimating, press operation, die ordering, foil stamping and embossing. My title is president, but I’ve turned the office over to my younger son. All the customers know and respect him. I’ve come full circle and spend most of my time on the shop floor. I still help my son and the production manager with die ordering and project planning so samples, dies and paperwork are completed in a timely fashion and the job progresses efficiently, but I love to run presses and can tell from across the room if a machine isn’t running right.

What role has a mentor played in your career?

Nagy: I’ve worked closely with my father for most of my adult life, and I worked with my Aunt Sheila early in my career and have always looked up to her. She worked in the industry for a long time and succeeded in what was a male-oriented and male-dominated industry. I’ve had the benefit of learning from their experiences.

Almeter: My strongest mentor has been my dad because he has been intently focused on my success and the future success of the company, instead of just looking toward retirement and hoping for the best. He has shared his perspective and experience while, at the same time, letting me forge my own path and figure things out for myself. He’s been a great example of how to be strategic and adapt to change, how to keep the big picture in mind and keep your focus on what’s important. He’s a person who always is ready to lend an ear and seems to always have the right advice, right when you need it.

There also are employees here who have watched me grow up and have been an invaluable resource. Although I was new to the leadership role, the team already in place enabled me to take on the challenges of the economy and the pandemic. Karen Kelley technically fills the roles of AP/Accounting/HR with our company, although, in reality, she is one of the people that you can find filling in anywhere a hand is needed. Karen has mentored me through my growth as a leader by allowing me to come to her with anything – when I don’t have answers, to admit my struggles, to ponder difficult situations – and to just be a wonderful friend and moral support. Her perspective has guided me through many difficult decisions.

Garrison: My dad has been my primary mentor and taught his five kids how to work hard. Four of the five siblings now are business owners. Dad owned a business and taught me finances and business realities, like you don’t stand around with your hands in your pockets.

Keith Sipe, my first boss, was another big influence. He was very particular and detail oriented. When you have that attitude, people know what you expect. One more influence was my grandma. When I was a kid, I made a mistake on an afghan I was crocheting. She ripped it out and made me rework that part. “If it’s worth doing, it’s worth doing right,” she said.

How do we get more young women involved and interested in manufacturing?

Nagy: We need to provide opportunities for women to learn that print finishing is not just a job, but a valuable career in which they can excel. This industry has opportunity and growth potential available to anyone who is willing to put the work into it.

Almeter: I believe schools need to promote trades and all aspects of manufacturing more to the graduating students, especially women. You typically hear about trade or manufacturing positions that are entry-level production positions, often presented as an alternative to college and aimed at young men. However, the support, administration, marketing, sales and leadership roles in these fields also are great options that might evolve from an entry-level position for someone with dedication and ambition. Many people who have been at our company for 20-plus years started on the shop floor in shipping or finishing and moved on to other roles.

Also, I think it’s important for schools to dispel the commonly held belief that going into a trade or going to college is an “either/or” choice. Getting a manufacturing job could fill a “gap period” between high school and college that could give young people time to think about what they want to achieve with higher education. Many companies can structure the working environment so that employees can attend school part-time. These are the messages that I believe young people need to be hearing, especially in times of economic uncertainty and turmoil. Beginning in manufacturing can be a stable, sensible starting point for a career that might evolve in many directions.

As we know, the field of printing and finishing has traditionally been dominated by older, white men. It’s my belief, and my company is proof, that as these men age out, they’re not going to be replaced by older white men. The people that are coming up into the industry are going to be more representative of the population in general, including women and minorities. I can’t speak for other companies, but I always look for employees who have work ethic, positive attitude and want a career, and then I train that individual in the specifics of our industry. That hiring philosophy has led to an evolution of our employees more broadly representing the population.

Garrison: I would like to see more women in production. They can make good money. Perhaps there needs to be program where people could come see what we do. I wish I knew how to reach high school freshmen or sophomores for an after-school job so they could learn about career options that don’t necessarily need a college degree. I have nothing against college, but I don’t believe everyone needs to go.

What’s the biggest challenge facing the print finishing industry and how are you solving that challenge?

Nagy: I try to be a cheerleader and provide opportunities for individuals to see firsthand the growth potential that is available in this industry. Most people aren’t aware of the print finishing industry or the long-term career possibilities available. A newcomer is only limited by how much effort he/she is willing to exert.

Almeter: In the current slice of time, economic turmoil is our biggest challenge as it comes with a host of issues including decreasing sales, reduced pool of potential employees, higher raw material costs, disrupted supply chains and, in general, a more stressful workplace (and life, too!). I hope that the worst of these challenges prove to be short-lived, but I do believe the pandemic has forced many companies to re-evaluate, re-focus and re-invent themselves to some degree.

However, asking this question in another six months or a year could very well generate a different answer, so a big challenge is simply that it’s tough to forecast, predict and plan. The most important thing seems to be resilience to overcome short-term challenges while positioning to adapt in the long-term. For our company, we have dramatically increased our efficiency and are going through the process of re-evaluating who we are, what we do, what’s important to our customers and where our potential lies to create a vision of what we could be in the future. I’m looking forward to announcing our new brand and rolling out additional e-commerce resources early in 2022!

Garrison: People used to go through apprenticeships and learn about the business. That doesn’t happen now, and people don’t understand how the machines work. People think with digital printers all you do is press a button and the job is done. They don’t understand alignment and registration issues or know how to select the proper die for a job.

Perhaps one way to attract people is with better equipment. We run Bobst diecutters and just bought a brand-new EcoSystems laminator from Italy. It’s the fastest in the area and automates the infeed and outfeed so only one person is needed to monitor the machine to make sure the sheets are moving through it.

What motivates you to get up each morning, excited to come to work?

Nagy: I love the creative problem-solving aspects of the business and coming up with ideas to create interesting and unusual finishes and products. Whether it is a print finishing solution, a production solution or a design solution, I really like being able to share my expertise and help customers develop a solution that makes them happy. I find a sense of fulfillment in project completion. Another big thing for me is to support the team. I’m not as hands-on anymore, but there always are questions that need answering. I like to be available to provide whatever information is needed.

Almeter: I am motivated because we are an amazing team producing awesome work. I have a building full of people who are working with heart, collectively producing fun, complex, amazing work every single day. I also enjoy problem solving, strategizing and working on continual improvement – which I have a chance to do every day!

Garrison: I love being a press operator and I’m thrilled when I go out in public and see a job we’ve done. I’d rather be here than anywhere else. If someone told me I could go to Hawaii for a month or go to work, I’d probably come to work. We’re family here, and I love this industry.

The Texas Bindery Service is a family business with 10 employees, including four women, which opened in 2006. It offers a complete array of bindery options, raised spot ultraviolet lamination, embossing, index tabs and digital foiling. It also runs two digital presses to serve the short-run book market and print-on-demand projects.

In addition to engraving, Hodgins Engraving, which employs a workforce of 24 with 15 women, offers traditional and digital offset printing, foil stamping, thermograph, variable data printing, letterpress, specialty finishing. It also produces dies and rubber stamps and supplies direct mail and design and consulting services.

As the name implies, Becky’s Diecutting specializes in diecutting. The company, which has 12 employees including three women, runs a variety of paper and plastic materials to produce brochures and other collateral. Other capabilities include micro-perfing and foil stamping particularly on bags and boxes for cannabis products.

Extreme Branding – Innovating a More Personal Future

September 9, 2021

By Christine Yardley, Print Panther

It’s hard to imagine a post-pandemic world, but history proves innovation and creativity prevail during times of crisis. The print industry is no exception to this. From direct mail to packaging, the future has changed. Tactile, meaningful and impactful print will be a clear winner coming out of a digitally saturated period of history. We all want to touch again and that will keep embellished print at the forefront.

Christine Yardley took extreme branding and her love for foil to a new level with her dress, skirt and boa made of MGI Matte Gold and Crown Roll Leaf Holographic Gold and Silver Foil. Kudos to Cary Mann and Jeff Yardley for art direction and creation. Photography: Jenn Grachow. The boa was a labor of love that took 10+ hours to stitch together. All foil used was remnants. No new rolls were harmed!

Everyone recognizes it. Brands have become dislocated from their consumers or customers. COVID-19 has exacerbated this. Everyone talks of the online experience, but what is the physical experience? What really is an online experience?

More importantly, has the perception of an online presence become so important that the people who create the connections between the brands and their customers forgotten how to make it physical? Have we forgotten how to create a physical experience?

Remember the days of shelf wobblers? Most likely many of you do not, but brands took a physical presence in stores to reach out to their existing and potential customers. They attempted to talk to them through a clever physical call out. We’ve come a long way – or have we? Is simply clicking on a button on a phone or laptop the same thing? Is a brand’s message delivered in a “pop up” or website within a website creating the experience most brands would seek? For most luxury brands, the answer would be a resounding no. They want every touchpoint with their customers to ooze the presence of their brand and the specialness of their customers. But what about more everyday brands?

For them, the truth is – in many cases – they are becoming disintermediated from their customers, (i.e., they exist on other brands platforms). They now work overtime on their relationships with their customers/consumers. But how to get personal?

For a lot of brands, getting something physical into the hands of their customers may not be feasible ahead of the customer receiving their product. But for many brands, a touch, feel and smell message can make the difference between a converted buyer, employee or even a possible investor and an unengaged consumer.

We know sensorial experience matters. It is why the Grand Hyatt hotels spray their reception areas and rooms with a particular fragrance. And let’s face it – we all have lost the sensorial experience we once enjoyed in these COVID-19 times. But that means it is more important than ever to offer something physical, tangible and, above all, sensorial.

The question for our industry is: Do brands and the people who serve them in creating their customers’ relationships understand what we can do? Opening a printed, laminated, foiled, varnished and personalized physical message can be so powerful – but do the brand managers and agencies that serve them understand what new potential exists?

As an industry, we need to rise to this challenge. We have the opportunity to legitimately help brands connect with their customers and have their customers feel special and cared for by the brands they choose, but we must show them the way.

I encourage my fellow embellishers in the industry to create enticing samples of what your capabilities are and what is possible with foil, specialty UV coatings, laminates and more. You can see a dramatic example of this in the production of the Konica Minolta/MGI Extreme Digital Guide that we produced in 2020 that won Best of Show Honorable Mention in the FSEA Gold Leaf Awards. More of this type of work is what we need to showcase our capabilities.

Let us not get stuck in the now, but think about the way in which we can innovate our own industry to make brands personal. We have the technology like never before and we have to embrace it. Above all, we need to make the brand managers, and the people who help promote those brands, understand what a difference these innovations can make.

Packaging Embellishments: Set Your Cannabis Company Up for Success

June 11, 2021

By Kim Guarnaccia, owner, Huzzah Marketing, LLC

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

Carton interior reflects gold mining branding

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

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

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

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

Medieval alchemy transmutes base package into gold

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

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

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

Gold embellishments hint at treasure within

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

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

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

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

Golden seal provides old world appeal

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

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

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

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

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

Utilizing Digital Printing for Greater Brand Awareness

June 11, 2021

By Hadar Peled Vaissman, independent creative consultant

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

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

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

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

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

Mind the gap

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

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

Two million different Diet Coke bottles

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

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

Save the elephants

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

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

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

Conclusion

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

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

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

Diecutters Go High-Tech

December 9, 2020

by Hallie Forcinio, writer, PostPress

Like virtually every other postpress operation, diecutting is becoming more automated and connected. Advanced features on flat platen diecutters reduce makeready time and ensure consistent running speed.

“We have identified connectivity, digitalization, automation and sustainability as the cornerstones of packaging production now and in the future,” explained Bodo Junge, product marketing director Folding Carton at BOBST North America Inc., Parsippany, New Jersey. “With these four cornerstones front of mind,” he said, “BOBST is aiming to create a seamless packaging supply chain where machines and tooling communicate with each other to deliver optimum quality and performance, while reducing errors, waste and costs at every point.”

Heidelberg_AGT_00003_Mastermatrix_F51_HG_weiss — A new MasterRake in the blank separator section of Heidelberg’s Mastermatrix 106 CSB diecutter simplifies positioning and fastening of individual rake rods and shortens the makeready process.

At BOBST, its MASTERCUT 106 PER autoplaten diecutter combines a high level of automation and ergonomics with its TooLink digital recipe management tool to deliver an entirely connected packaging production system that increases production flexibility, decreases job turnaround time and boosts machine productivity. Rated at up to 11,000 sheets of paper, paperboard or corrugated per hour, the machine can cut, strip and blank in one pass. Sheet sizes range from 13.78 x 15.74 inches to 29.37 x 41.73 inches.

The diecutter minimizes the need for operator intervention by automating functions and settings from feeder to delivery from a single point of control. A camera-based Matic Plus system completely automates stripping and blanking tool settings by measuring the position of tools and automatically aligning them in register to the printed sheet. The machine also features automated jam detection and setting and has a nonstop rack system in the delivery section. The new features shrink set-up time by 15 minutes.

The TooLink platform connects the diecutter with tooling to bring together the entire converting process. The unique digital ID of the diecutter enables instant recognition of tools. When the machine detects chip-equipped tools, the machine’s operator interface calls up a production-ready job recipe. This reduces waste, cuts changeover time and recalls jobs without any operator intervention.

“TooLink connects, digitalizes and automates converting,” said Alex Volery, head of Tooling Division at BOBST. “It creates a true converting ecosystem that addresses the key production concerns of efficiency, control, speed, quality and sustainability. With TooLink and its suite of IoT applications, packaging manufacturers have complete oversight of their dies, recipes and job histories and access to a higher level of production data and insight.”

The diecutter lineup from Heidelberg USA, Kennesaw, Georgia, addresses needs from entry-level to high-production blank-separating machines. “Combining the technology and productivity focus of Heidelberg with the engineering strengths of Masterwork, the diecutter range includes many features to help automate processes,” reported Chris Raney, vice president of Postpress/Packaging Product Management at Heidelberg.

High outputs depend on a continuous, reliable infeed. The Masterset optical registration system, available on Promatrix, Powermatrix and Mastermatrix diecutters, ensures sheets feed more consistently and are more precisely positioned because sheets are held by a vacuum plate and registered according to a printed mark, not to the sheet’s edge. “Conventional sheet registration using front and side guides is simple and relatively accurate but can be susceptible to stops due to misaligned sheets,” explained Raney.

In the cutting station, the use of a chase with quicklock saves considerable time – up to 15 minutes – when compared with the lock-up system used previously. It also is more precise and repeatable. The use of thin (1mm) cutting plates is widespread in the industry and allows the creasing matrix on an inexpensive plate to be saved for use when a job repeats. On Heidelberg’s latest model, the 9,000-sheet-per-hour Mastermatrix 106 CSB diecutter, the 1-mm plate can be locked into the machine without the use of any screws, further reducing changeover time.

In the stripping and blanking stations, makeready time has been cut by the implementation of fixed frames that can accept just the wooden tool. “In the past,” recalled Raney, “hours were spent setting up stripping pins in frames and creating blanking grids, etc. Today, thanks to . . . improvements . . . in the quality and accuracy of the tooling, the wooden stripping tools or the fabricated blanking grids quickly can be locked into the machine. Every frame in the machine offers a fine adjustment capability so that precise alignment of the tooling can be achieved once locked up in the machine.” As a result, on a 41-inch diecutter equipped for stripping or blanking, this makeready can be completed by one operator due to the light weight of the tooling and the simple lock-up.

MagicCarpet — The Magic Carpet blank interleaving device on Koenig & Bauer’s CutPRO Q 106 SB diecutter eliminates the use of traditional swords that require time and finesse to prepare for each job and cuts makeready time to zero.

Koenig & Bauer (US) Inc., DFW Airport, Texas, introduced its own diecutter in October 2020, the CutPRO Q 106 SB model. Under development for three years, it draws on engineering from the printing side of its business. The result is a machine with a unique blanking section that cuts costs and makeready time. “It’s fairly simple engineering, but different from anything that came before,” said Tom Fitzgerald, director, Post Press Products at Koenig & Bauer. Designed for higher performance and greater throughput of folding cartons, the CutPRO Q 106 SB diecutter features a zero makeready blank interleaving device called the Magic Carpet. This system eliminates the use of traditional swords that require time and finesse to prepare for each job. “Even with quick-lock or auto-locking sword systems, this process can take up to 10 minutes,” noted Fitzgerald.

KB-Cut2Print — The Cut2Print registration system on Koenig & Bauer’s CutPro Q 106 SB diecutter helps ensure high throughput and perfectly registered sheet handling with virtually any substrate.

Another new feature is the Cut2Print registration system, which was designed from the SIS platform on Koenig & Bauer’s Rapida printing presses. The Cut2Print system utilizes up to two cameras to read printed marks in the color bar or three cameras for sheet-edge reading. Capable of reading both the top and bottom of the sheet, the system is particularly well-suited for folding carton or litho laminate boxes. The CutPRO Q 106 SB diecutter also features a new driving device for the stripping and blanking frames and full memory recall for repeat jobs.

Diecutters from Young Shin USA Limited, Schaumburg, Illinois, the North American Division of Young Shin Industries – South Korea, also emphasize efficient set-up and shorter makeready times. Accommodating substrate sizes measuring from 40.9 x 29.1 inches to 98 x 67 inches, many Young Shin diecutters include non-stop feeders that facilitate rapid feeding and free the operator for other tasks. High-quality electronics support high output, ease of operation and low cost of ownership and generate higher production, superior accuracy and a rapid return on investment.

Young-Shinn-Revotec-106SB- — The flexible Young Shin REVOTEC 106SB (stripping and blanking) automatic flatbed diecutter offers on-pallet delivery when blanking or normal exit delivery when running as a standard diecutter.

Integrated pre-makeready tables expedite the preparation of the die for the upcoming job and also allow the operator to prepare the next job while the current job is running to maximize productivity. “The quicker an operator can get the next job up and running, the more rapid gains in profitability can be realized,” explained Phil Mack, vice president of Young Shin USA.

Other throughput-boosting features include automated set-up for feeder and stripping and delivery operations. In fact, some Young Shin diecutter models allow the operator to save up to 10,000 separate set-ups for later recall to substantially cut the time needed to begin the next job.

Dual touchscreens, one in the feed section and one in the delivery area, reduce the time needed to make adjustments. Most operators position themselves near the delivery area so if they wish to speed up the machine or make any adjustments, the second touchscreen allows changes to be made without walking to the front of the machine. “The placement of the two touchscreens, as well as other automation features . . . can save 10 to 15 minutes off each job’s normal set-up or makeready time,” said Mack.

Embellishments on Folding Cartons: Continued Growth and Opportunities

September 1, 2020

By Hallie Forcinio, writer, PostPress

Driven by the global focus on sustainability and virtually limitless decorating and finishing possibilities, the folding carton market is forecast to grow to nearly $150 billion by 2024 (a $40 billion growth over 2018). Rising volumes are expected across all market segments, with food and beverage continuing to dominate. Another strong market for folding cartons is cannabis and CBD products. “For these brands, having packaging as green as the products they contain is of the utmost importance,” said Irene Richard, senior product manager, Neenah^® folding board and cover materials at Neenah, a supplier of paper, folding board and other paper-based packaging.

Growing demand for embellishments

“Paperboard folding cartons are an ideal packaging medium because of their billboard space, decorative options, protective properties and sustainability attributes,” reported Dennis Bacchetta, director of marketing at Diamond Packaging, a WBENC-certified, global specialist in sustainable packaging. He noted sustainability is a major driver as brand owners shift away from plastics toward paperboard and observed, “The use of post-consumer waste (PCW) and uncoated paperboards are increasing. Specialty or textured paperboards, such as Neenah Folding Board or Ecological Fibers’ Flexpack Lumina Pearlescent, also have become more popular.”

In addition, decorative options are in demand. Folding carton embellishments – such as colored-base media, matte finishes, foil stamping, embossing/debossing, spot coatings, specialty coatings, unique effects, multiple coatings and diecutting – differentiate a product from its competition, reinforce premium positioning, invite closer inspection and interaction by consumers and deliver a quick return on investment by increasing sales.

Bacchetta reported, “We have seen an increase in the use of specialty coatings such as soft-touch, emboss, pearlescent, glitter and textured ultraviolet (UV) coatings on cosmetic and personal-care folding cartons. These specialty coatings increase shelf appeal by imparting additional visual and tactile elements to the printed graphics.”

“The cosmetic industry always has taken advantage of embellishments to be on-trend for the ‘next big/new thing,’” agreed Suzanne Hunt, marketing manager at FoldedColor Packaging, the online division of Thoro Packaging, which fulfills short runs of custom designs.

Hunt explained, “Quality packaging enhanced with embellishments will grab a consumer’s attention. We see a lot of spot coatings used in packaging. When done right, spot coatings can add dimension and an amazing overall look to the packaging. Customers are moving away from the overall glossy looks and are going for a flatter, matte finish. Matte provides a simple and more minimalist look, which is currently on-trend.”

Bacchetta agreed, noting, “The most popular coatings are matte and gloss combinations, or soft-touch and gloss.”

For example, said Hunt, “When using a matte coating finish, adding a small area of ultraviolet (UV) gloss can provide a lot of contrast for a more eye-catching design. Additionally, some customers choose to emboss areas and combine it with a UV gloss. Not only does this provide contrast, but it also has a more tactile feeling, which is something brand owners like to use to enhance the consumer’s unboxing experience.”

Another popular technique, foil stamping and cold foil transfer, is replacing foil/paperboard laminates due to eye-catching effects, sustainability benefits and cost savings. Studies support the use of foil to attract consumers. For example, packaging decorated with foil rates over 80% higher than non-foil packaging in quality, appeal, value and brand awareness.¹ Also, foil has been shown to attract consumers’ attention faster and retain attention longer than packaging without foil.²

“We continue to see a lot of growth in packaging for cold foil and hot stamping,” noted Doug Herr, director of sales, folding carton, at Bobst North America, a provider of converting equipment for packaging, commercial products and special products such as greeting cards.

Hunt agreed, noting, “Brand owners are venturing beyond the standard silver or gold foil stamping options and branching out to use a variety of bright foil colors, including holographic foils.”

She noted, “Foil stamping is more sustainable than foil/paperboard laminations. When board with foil stamping is recycled, the foil breaks down during the recycling process and the unrecyclable parts float to the top for easy removal. This process has a much smaller carbon footprint.” Conversely, with foil laminate cartons, the foil and paperboard have to be separated for recycling. “Not many facilities currently offer this service,” she said.

Both hot foil stamping and cold foil transfer have experienced growth in the last several years, although foil stamping requires a custom die to stamp the foil in the desired areas. “This effect primarily is used when aiming for a high-end and luxurious feel,” said Hunt. “Although this process does require the extra tooling needed for creating the die, it adds dimension and enhances the final look of the foiled area. Hot foil is applied after the printing process is complete and is ideal for foiling more detailed areas and fine lines.”

Bobst has seen substantial growth in hot foil stamping in recent years. Herr attributed the growing demand to three major technical advances: positioning rolls outside the machine to expedite changeover; camera registration so foil is laid down registered to the print vs. the mechanical edge of the sheet; and accessories that enable the use of large-diameter rolls for longer runs and increased uptime.

Cold foil most commonly is done inline with the printing press and does not require additional tooling. Hunt noted, “Cold foil also provides the option of adding print effects on top of the foil for a unique look.”

Bacchetta said, “We have seen growth in both inquiries and orders for cold foil over the last few years.” He attributes this expansion to a shift from foil laminate board to cold foiling due to cost, lead time and sustainability, as well as an investment in cold foiling modules. He explained, “Inline techniques, such as cold foil, are cost-effective and more sustainable, especially when factoring in the material and energy costs associated with multiple runs or offline production processes. This helps conserve raw materials and energy, reduce greenhouse gas emissions and minimize discards.”

In addition, he said, “The on-press application provides many new design possibilities – overprinting a virtually limitless palette of color options; precise registration between foil and overprinted inks or coatings; flexibility to produce large, solid areas with fine detail; and upscale product differentiation.”

Although cold foil continues to expand, it has not supplanted hot foil. “The two technologies complement each other extremely well,” said Herr, noting it can be advantageous to offer both options and therefore provide a one-stop shop to address the needs of the job’s run length, complexity, number of passes or printing process.

The choice between hot foil and cold foil mainly is determined by the graphic image. Bacchetta noted, “Cold foil works very well for a tight fit or registration to the graphics and the ability to drop foil where it is not needed. Hot foil works well for smaller images, such as logos and brand names.”

Sustainability demands drive growth

Consumer and brand owner preference for biodegradable packaging over plastic packaging ranked as the primary growth driver for the folding carton market, according to a December 2019 study by Grandview Research, “Folding Carton Packaging Market Size, Share & Trends Analysis Report by End Use (Food & Beverage, Personal Care & Cosmetics, Electrical & Electronics), by Region, and Segment Forecasts, 2019 – 2025.

Folding cartons offer a strong sustainability profile. Paperboard is a renewable resource increasingly sourced from responsibly managed forests, widely recycled and commonly contains recycled content.

Herr predicted, “Sustainability is definitely a trend that isn’t going away.” Richard at Neenah, agreed, “Most of our customers are looking for sustainable solutions. They are looking for responsible fiber sourcing, products made utilizing renewable energy and other conservation efforts with a high PCW content. Blue bin recyclability is important. Paper is an inherent part of a circular economy, and as education about the recyclability of paper (the fact that it can be reused up to seven times) increases, so does the demand for using paper as an environmentally friendly option.”

This emphasis on sustainability is encouraging greater use of products certified by groups such as the Forest Stewardship Council (FSC) or Sustainable Forestry Initiative (SFI), which ensure fiber is responsibly sourced and protect old-growth and endangered forests. Neenah, for example, only purchases fiber from sources that demonstrate sustainable practices and have third-party forest management certification programs. As a result, its complete portfolio of papers is FSC^® Certified. Thoro Packaging and Diamond Packaging both offer certified paperboards for sustainably conscious customers.

Suppliers agree education is key to addressing the need for greater sustainability. At Thoro Packaging, a well-informed sales team helps customers and brand owners make smarter decisions. Plus, Hunt noted, “We promote packaging sustainability on our website, blogs, tradeshows and other marketing materials.”

“We also believe in transparency and support,” said Richard. “We put our environmental resources front and center for our customers, be it downloadable logos, information regarding environmental certifications or environmental victories.” On the product side, Neenah has developed Hemp Fiber and 100% PC White folding boards, which combine sustainability with a premium presence and ultimately help create packaging that is part of a closed-loop, circular economy.

At Thoro Packaging, sustainability efforts also involve right-sizing orders to minimize waste, replacement of plastic inserts with paperboard, use of vegetable-based inks and a shift to clean (wind) energy. The company also offers carbon-neutral printing. Hunt explained, “For an added cost, customers can offset the carbon footprint of their cartons by donating to specific projects. Money can be used to plant trees, support wind power and a multitude of other carbon-reducing projects.”

Diamond Packaging also has implemented eco-friendly manufacturing practices, achieved zero waste to landfill and relies solely on wind energy. In 2007, it introduced its greenbox initiative to research, design and deliver innovative and sustainable products. The core of the initiative – designs, materials and methods – represents a comprehensive approach to packaging that minimizes environmental impact throughout the supply chain.

Bacchetta said, “Through creative design, careful material selection and best practices at the plant level, Diamond minimizes waste, reduces shipping costs and increases efficiencies.” Before and during packaging development, Diamond design engineers consider opportunities to eliminate or replace components, reduce package weight and material, and utilize embellishments and innovative shapes (e.g., trapezoid, pillow pack, curvilinear) to increase shelf impact.

Green Chic™ packaging, an offshoot of the greenbox initiative, incorporates multiple inline embellishment technologies, such as TruCOLOR™ expanded color gamut printing, specialty coatings (e.g., emboss, glitter, pearl, soft-touch, texture), Liquid Metal™ or MiraFoil^® metallic UV coatings, Cast and Cure holographic effects and cold foiling.

Other trends impact folding carton usage

Other folding carton trends include shorter runs, just-in-time production and an effort to shorten supply chains. “During the last 10 to 15 years, there was a migration of production to China and Southeast Asia,” recalled Herr. As the COVID-19 pandemic continues, brand owners now are seeking sources closer to home.

paperboard-box-blue — To maximize child resistance and sustainability, Diamond Lockbox™ designs feature laminated, tear-resistant paperboard outer cartons and customizable
paperboard inserts.

Structurally, Hunt reported, “We’ve noticed that roll side trays with lids are popular for kits where multiple products can be displayed attractively within an insert. They provide a better presentation and unboxing experience. Auto bottoms are popular because they are easier for fulfillment. We also still see a lot of basic tuck-end boxes because of their simplicity.” To stand out, some brand owners have become more creative with diecuts that give a preview of the product inside. “We have seen design requests for us to create detailed diecuts that outline a skyline, logo, etc.,” said Hunt.

For medical or recreational marijuana products, Diamond Packaging has introduced the upscale, child-resistant Diamond Lockbox™ folding carton. “Single- and dual-lock options feature finished edges and ample billboard space and can be decorated with a wide range of printing and finishing effects, including specialty coatings, foil, embossing and debossing,” said Bacchetta. The Lockbox folding cartons are Certified Child-Resistant in compliance with the US Consumer Product Safety Commission 16 CFR 1700.20 testing protocol.

References

Perception Research Services, “Foil Stamping Strengthens Brand Identity,” 2004.
Foil & Specialty Effects Association, “An Initial Study into the Impact of High-Visibility Enhancements on Shelf Presence,” 2014.

3 Hottest Print Design Trends of 2020

June 5, 2020

By Sabine Lenz, president, PaperSpecs

“The book’s design is beautiful but look at the production values – it’s basically falling apart.”

Designers always want to know what is fresh and impactful – trends are indeed an essential part of design – from typography to logos to the big reveal of Pantone’s Color of the Year. It is vital for designers, printers and finishers to maintain a working knowledge of what is currently trending, especially when it comes to out of the box designs and styles. For example, exposed binding for things like event programs and booklets currently is very much on trend. But, for those who are unaware of the trend, it could mistakenly be dismissed as bad craftsmanship.

This article explores this year’s top three print design trends to better help designers, printers and finishers shape their client’s vision from the very beginning.

Trend 1: Naked and exposed

matchbook — Visible thread and an exposed spine have become additional design elements in book sewing projects.

In the last few years, it has become more common to see books and booklets that proudly show off the thread that holds them together, resulting in exposed spines. From Singer sewing to Smyth binding, creatives have embraced the visible thread as an additional design element. Instead of trying to hide it or have it blend in, they use it to show off brand (and other contrasting) colors.

Some may question: Hasn’t this been trending for a while now? If so, why are people still talking about it? Looking at the way any trend develops, first there are the early adopters, then it becomes more popular, then it peaks and slowly fades away. That is, unless someone adds a twist to that trend.

While Singer sewing and exposed Smyth binding still are popular, what is trending now is a twist on the exposed spine – a combination of the naked spine and a hardcover book: meet Swiss binding.

While the text block in a normal hardcover book is attached to the case at the spine, in Swiss binding the text block is mounted onto the inside back cover, leaving the spine and its colorful thread exposed. Swiss binding can be used in combination with various text blocks. While Smyth sewn ones are among the most popular options, perfect bound and even side-stitched text blocks
can be used to create the same effect.

Trend 2: Vivid colors

color-foil — Bright, bold colors are achieved with 5-, 6- or even 7-color printing to expand the color gamut.

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 designers are going bolder, louder and brighter than ever in their printed pieces. The secret sauces (or, in the case of printers, inks) are neon or fluorescent inks.

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

But, it is not just about the neon effect. It also is about extending the overall color gamut that can be achieved. When talking about 5-, 6- or 7-color printing, it means adding more colors to a conventional 4-color process setup.

This is popular for two reasons:

Printers can increase the overall range of colors, which allows for really rich hues.
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 around 99% of Pantone colors can be matched.

Thanks to those expanded color options, expect color schemes in 2020 to get even more vibrant and luminous, even in the digital printing world.

Trend 3: Shimmer and foil

Zoma — Foil stamping lends attention-grabbing shimmer to print and packaging projects.

Granted, foil and shimmer have been on trend for a while now, but as a number of newer technologies are becoming more widely available, foil now is an option for super short to medium to very long print runs and even for variable data.

The key is knowing when to choose which option to add that extra shine, as well as when and how to steer clients in the right foil direction. Just because you have a hammer does not mean that every one of the client’s projects is a nail.

Hot foil stamping

When it comes to a true tactile experience, there is not much better than hot foil stamping. By choosing the right paper and pressure, a nice deep impression is achieved that designers and clients alike love. As the gold or silver foils are completely opaque, they can be used on white paper or go super dark; the sheen will never falter.

Cold foil

When it comes to longer print runs and the foiled image is quite large on the sheet, hot foil stamping may not be the best option. Cold foil can be the printer’s best friend in this case, especially when it comes to applications with large-run folding cartons or magazine covers. In addition, cold foil can be applied on the first station of the printing press and then overprinted inline, creating a range of metallic colors without multiple passes on the press.

Cold foil is run inline with two extra stations on an offset press. As the foil is put down first, this allows for a multitude of shiny colors when printing CMYK on top of the foiled areas.

Digital foiling

Enhance an offset and/or digitally printed piece with that extra-super shine with this offline option. As the process is digital, this means:

No die, plate or film is required.
There is no pressure used, thus no bruising on the back of the sheet.
It is ideal for short to medium print runs.
It offers the opportunity to use variable-data foiling.

Foil substrates

Printers also can turn their approach upside down by utilizing a foil substrate. Use offset or digital technologies to print CMYK right on top to enjoy the same multitude of shiny colors as with cold foiling. Remember though to underprint white in the areas where colors need to stay true.

Conclusion

Designers love the creative freedom the combination of foil substrates with digital printing and digital foiling allows. It gives them room to test different options, to push the envelope that extra bit further, to tweak and compare and decide which version matches their vision best.

No matter which of these trends speaks to designers, printers and finishers most, knowing what is trending allows them to guide their clients that much more expertly. It also gives them a chance to be part of the design conversation early on, helping to shape the client’s vision.

One of the most useful tools for designers, printers and finishers is The Foil Cheat Sheet, developed and produced by FSEA and PaperSpecs. It is a single, go-to source explaining the different techniques available for creating metallic foil finishes. From hot and cold foil to toner-based and varnish-based digital foiling, the guide describes each technique, showcases examples and provides the advantages and disadvantages of each. To order the Foil Cheat Sheet, visit www.fsea.com (FSEA member and quantity discounts
available).

Sabine Lenz is president of PaperSpecs.com, an innovative space for highly committed creatives who are in love with the tactile and interactive experience provided by paper and print. PaperSpecs inspires, shares insights and provides access to crucial, hands-on tools and resources to bring print creations to life. For more information, visit www.PaperSpecs.com.

Greeting Card Popularity Still Shines

December 17, 2019

By Hallie Forcinio, contributing writer
PostPress

Americans spend between $7 and $8 billion on approximately 6.5 billion greeting cards each year, according to Facts & Stats 2019 from the Greeting Card Association. With prices from $0.50 to $10, there’s a price point for every consumer. Cards at the top of the scale typically employ special techniques, intricate designs and new technologies and innovations – such as the inclusion of sound chips and LED lights.

As a result, the greeting card market is strong. According to the Greeting Card Association, seven out of 10 card buyers surveyed consider greeting cards “absolutely” or “almost” essential. Eight out of 10 of these buyers expect to continue to purchase at current levels going forward. Of the balance, twice as many card buyers plan to “increase” purchases than will “decrease” purchases in the coming year.

Online purchases appear to be capturing market share. The Facts & Stats 2019 sheet reports younger card buyers and those who are more technology savvy are most engaged in buying paper greeting cards online.

“Some will argue that the sales of cards online have increased the unit numbers of cards purchased,” says David Hutchison, CEO/managing member at BrightMARKS. So overall sales have not been affected, but the rise in online purchasing has impacted brick-and-mortar retailers. As a result, the amount of retail space devoted to greeting cards has shrunk. “This has pushed the move to higher-priced cards so that the value per square foot at retail remains acceptable,” explains Hutchison.

Although it may seem counterintuitive, social media seems to be exerting a positive impact on greeting card sales. According to the Facts & Stats 2019 sheet, “Most people now acknowledge many more birthdays than ever before because of social media, but they aren’t necessarily sending fewer cards as a result.”

A report from Sundale Research, State of the Industry: Greeting Cards in the U.S., agrees, noting, “Social media and other paperless communication technologies, once thought to be the demise of the greeting card industry, are keeping consumers more connected than ever before. This has been a positive trend as the industry is taking advantage of the increase in personal connections and is embracing technology to keep greeting cards relevant in today’s fast-paced society.”

The Greeting Card Association’s Facts & Stats 2019 sheet explains the tradition of giving greeting cards as a meaningful expression of affection continues to be deeply ingrained in children and young people. As a result, the practice of sending or giving cards is likely to continue as they grow into adulthood and become responsible for managing their own important relationships.

“Today’s younger shopper still is buying cards,” reports Rick Ruffner, president of Avanti Press. “They recognize the value of having something tangible, something that can be kept,” he explains, equating the difference between a card and a social media greeting to the difference between drive-through food and a home-cooked meal. “It takes longer, but is more satisfying,” he says.

“Technological advances are not only helping to provide more personalized greetings, they are creating a ‘wow factor’ that keeps greeting cards up-to-date,” according to the Sundale Research report. The report notes, “Advanced technology has led to improvements in greeting cards with sound, pictures and light. Not only is there a wide variety of songs and other sound clips to choose from, but recordable products have become very popular in the wake of the personalization trend.”

Other popular embellishments include embossed images, glitter, flocking, lenticulars, contrasting spot finishes, and foiling and metallic finishes, especially in copper and rose tones, iridescent hues and multiple colors.

“Lending itself to almost every design, style, occasion and event, there’s nothing that foiling can’t elevate,” comments Emma-Lee in “Your Definitive Guide to Greeting Card Trends for 2019,” a Nov. 12, 2018, blog post on printedblog.

However, embellishments should add value and create a visually stronger card. “Embellishments should help tell the story,” says Ruffner. He explains, “People don’t buy cards because of embellishments, but embellishments support the overall impact. Embellishments done properly help tell the story with an exclamation point.”

Hutchison agrees, noting, “It is fortunate that the finishing industries have a number of approaches to offer all of these effects. Every process method has a demand and every process method has a value to offer.”

Sustainability also is important to today’s card purchasers. The Sundale Research report notes, “Consumers have a renewed interest in eco-friendly items and are very conscious of planet-saving strategies like recycling. Anything considered organic or ‘green’ is extremely popular.” Ruffner says, there is more interest today in “what goes into the product, how it’s made, what it’s made of and ultimately what happens to it after it’s sent.”

Tomorrow’s cards will be more personalized than ever. Hutchison predicts, “The definition of ‘greeting card’ will broaden. Card givers will be looking for a greeting card with a perceived value to replace traditional gifts, gift cards will expand into the space of greeting cards and become more integrated into the culture of card giving. All of this will result in greater value for the printing and finishing industry.”

For the full report on State of the Industry: Greeting Cards in the U.S. from Sundale Research, visit http://sundaleresearch.com/consumer-products/state-of-the-industry-greeting-cards-in-the-u-s/. For the Facts & Stats 2019 sheet, contact the Greeting Card Association at www.greetingcard.org.

Industry Trends

By David Spiel, Spiel Associates, Inc.

By Hallie Forcinio, writer, PostPress

How did you get started in the print industry?

What roles have you had in your company?

What role has a mentor played in your career?

How do we get more young women involved and interested in manufacturing?

What’s the biggest challenge facing the print finishing industry and how are you solving that challenge?

What motivates you to get up each morning, excited to come to work?

By Christine Yardley, Print Panther

By Kim Guarnaccia, owner, Huzzah Marketing, LLC

Carton interior reflects gold mining branding

Medieval alchemy transmutes base package into gold

Gold embellishments hint at treasure within

Golden seal provides old world appeal

By Hadar Peled Vaissman, independent creative consultant

Mind the gap

Two million different Diet Coke bottles

Save the elephants

Conclusion

by Hallie Forcinio, writer, PostPress

By Hallie Forcinio, writer, PostPress

Growing demand for embellishments

Sustainability demands drive growth

Other trends impact folding carton usage

References

By Sabine Lenz, president, PaperSpecs

Trend 1: Naked and exposed

Trend 2: Vivid colors

Trend 3: Shimmer and foil

Conclusion

1. 10 Time-Consuming Tasks You Should Automate Now

2. Finishers Explore New Opportunities in the Cannabis Industry

3. Q&A: Solving Challenges with Perfect Binding

4. “A Baugh Christmas Story,” by D.E. Baugh Co.

5. Q&A: Laminating Films

By Hallie Forcinio, contributing writer PostPress

Greeting Card Facts*

By Hallie Forcinio, contributing writer
PostPress