• Home
  • Article
    • Article Archive
    • Digital Archive
    • ENews Archive
  • Buyers Guide
    • Buyers Guide
    • 2025 Online Form
  • Advertising
    • Ad Options
    • Media Kit
    • Editorial Calendar
    • Electronic Files
  • Awards
    • FSEA Gold Leaf
  • Subscribe
  • Video Vault
  • Webinars
  • Amplify
  • Contact
  • Events
    .smi-preview#smi-preview-10580 { --smi-column-gap: 10px; --smi-row-gap: 20px; --smi-color: #ffffff; --smi-hover-color: #90c43c; ; ; --smi-border-width: 0px; ; --smi-border-radius: 0%; --smi-border-color: #3c434a; --smi-border-hover-color: #3c434a; --smi-padding-top: 15px; --smi-padding-right: 0px; --smi-padding-bottom: 0px; --smi-padding-left: 0px; --smi-font-size: 20px; --smi-horizontal-alignment: flex-end; --smi-hover-transition-time: 1s; ; }
    • Skip to main content
    • Skip to secondary menu
    • Advertise
    • Subscribe
    • Contact
    • Events
      PostPress

      PostPress

      Print Decorating, Binding and Finishing

      • Home
      • Articles
        • Article Archive
        • Digital Archive
        • ENews Archive
      • Advertising
        • Ad Options
        • Media Kit
        • Editorial Calendar
        • Electronic Files
      • Buyers Guide
        • Buyers Guide
        • 2025 Online Form
      • Awards
        • FSEA Gold Leaf
      • Subscribe
      • Video Vault
      • Webinars
        • Upcoming Webinars
      • Amplify

        Sustainability

        Sustainability and Shine: Tendero Collaborates with Gasperini for Luxury Box

        March 12, 2021

        By Lara Copeland, writer, PostPress 

        Currently in a period of expansion, Envases Tendero, a specialty packaging company based in Alicante, Spain, recently opened its new logistics center. To commemorate the 2019 event for this family-owned business, the company held a gala and introduced customers to a new machine for manufacturing luxury boxes. Tendero needed special packaging to demonstrate its capabilities, one that would standout and shine; therefore, the Tendero luxury box was created and manufactured as a gift for its guests.

        “The Tendero Box fully achieves that goal,” exclaimed Technical and Sales Manager Giulia Gasperini at Gasperini, hot foil and emboss specialists in Prato, Italy. Gasperini collaborated with Tendero on this special project by providing the engravings to create the unique glitter effect to decorate the inside and outside of the box. “Tendero has chosen to rely on Gasperini for the creation of an innovative glitter effect achieved with a hot stamping technique, which makes the finished product entirely recyclable and, therefore, sustainable,” Gasperini commented. 

        Tendero-BoxThe design and concept of the box were created by Tendero in partnership with Gasperini. First used and made famous by Apple, the rigid box was manufactured with sharp edges. This technical solution is in high demand in the rigid box market. It also meets a popular need increasingly desired by customers – it is made of a single material. 

        A truly recyclable product – since only paper and paperboard were used in manufacturing it – the box is unique due to the aforementioned glitter effect that was hot stamped with Gasperini’s copper dies. Typically, screen printing is the technique used to achieve a glitter effect. “The Gasperini dies provided the excellent result on the finest details, with incomparable precision and sharpness,” Gasperini stated. Made with 99.7% pure copper, the dies also are eco-sustainable and totally recyclable, a theme seen throughout production at Tendero.  

        Pulp-dyed papers were used in creating the box. Gruppo Cordenons supplied Black Plike paper for the lining of the box, a “very beautiful, fine paper with soft-touch finish that is perfectly suited for hot stamping,” Gasperini said. The inner box is lined with Metalli Lucidi paper from Icma. Gasperini said this echoes the golden finish of the hot stamping on the lid. A Saroglia FUB/D 56×74 cm machine was used for the hot stamping, and the rigid box manufacturing was done on an Emmeci MC2018. No other printing process was involved. A cooper metallic foil was used to create the glitter effect and wording on the top cover of the box.  

        Tendero takes corporate social responsibility seriously by focusing on sustainable development goals, objectives created by the UN in 2015 to help protect the planet, among other things. Working in collaboration with Gasperini and its hot stamping technology aided Tendero in honoring its sustainability policy. “As we know, there is always great attention toward eco-sustainability, and this contributes even more to the complete recyclability of the product,” Gasperini noted. The project was reportedly smooth sailing with no particular problems related to creation or manufacturing. “Tendero and Gasperini worked side-by-side and everything went smoothly,” she explained. 

        With Gasperini’s glitter effect designed by its technical department and the manufacturing at Tendero facilities, the box was deemed a success. This inventive collaboration was recently recognized, winning Gold in the Foil or Embossed Rigid Box category as part of the 2020 FSEA Gold Leaf Awards. Gasperini reported that customers loved the box. “It needed to get attention, and that goal was fully achieved,” she said. With this success, Tendero now is working on projects for 2021.  

        Metallic Decorating and Sustainability

        March 12, 2021

        By Jeff Peterson, executive director, Foil & Specialty Effects Association

        When I have presented at tradeshows and conferences on behalf of the Foil & Specialty Effects Association (FSEA), I’ve told audiences that it wasn’t too many years ago that when a brand owner or printer wanted to include a metallic decoration on printed material, the only real choice was hot foil stamping.

        Today, there are many other choices in the marketplace, including cold foil transfer, toner-based digital foiling and polymer-based digital foiling, as well as pre-metallized paper and/or board.

        Although many of our FSEA members have had concerns about the emergence of other metallic decorating processes – especially those who have relied on more traditional hot foil stamping – what actually has happened is that the addition of these new processes has helped market and showcase the use of metallic decorating, creating more activity for all the different techniques. In addition, as I will explain in more detail throughout this article, each type of metallic decorating process has advantages and disadvantages, and, in most cases, fits specific applications.

        Metallic decorating and sustainability

        FoilRecycle_logo
        FSEA commissioned a study that demonstrated the recyclability/repulpability of transfer foil decorated paper or board.

        Before we discuss metallic finishes in detail, I want to address the sustainability issue with metallic decorating processes. There continues to be confusion with brand managers and consumers who want to include all metallic finishes into one category. As our industry is aware, there is a huge difference between transfer metallic foil processes and foil laminated board/paper in terms of recyclability. We must educate brand managers that hot, cold and digital foils are applied through a transfer process and the plastic film carrier is not applied to paper/board. With foil laminated board, the metallic finish is applied to the board along with the plastic film, creating a more difficult product to recycle or repulp.

        FSEA recently commissioned a new study entitled “Repulping of Foil Decorated Paper.” The study demonstrated that transfer foil decorated paper or board does not create problems in the recyclability/repulpability of paper or board in a common repulping process. Again, it is important that we educate those who ask about the difference in these processes and promote transfer metallic processes as a sustainable choice when selecting a metallic finish for printed materials. If readers are interested in the new study, contact me for a copy of the report.

        It has been suggested – and I am in favor of developing a plan as an industry – to begin using the word “transfer” when selling and discussing the use of transfer foil processes such as hot, cold and digital foil decorating. In other words, FSEA members and others would begin to refer to it as hot transfer foiling or hot transfer metallic, rather than hot foil stamping. Cold foil would be referred to as cold foil transfer, and digital foiling would be digital foil transfer. A strategic plan to begin identifying transfer processes so they are not grouped with foil laminated paper/board can help in the education process to distinguish between the two. FSEA will be providing more details on this and other sustainable solutions in the coming months.

        Hot foil stamping (hot transfer metallic)

        HotFoil
        Hot foil is the most versatile process, working on a broader range of paper stocks and providing the ability to
        foil and emboss in one pass.

        As discussed earlier, hot foil stamping has been the conventional way to apply foil for decades, and it still is the most popular choice of metallic decorating worldwide. By far it is the most versatile process when applying foil – meaning it has a much broader range of paper stocks it can work on; it encompasses the broadest range of foil colors and adhesives; and it provides the ability to create finished decorated looks that other foil processes cannot, including foil and embossing in one pass and refractive (micro-etched) patterns onto the surface of the foil. It also provides the greatest array of equipment choices in the marketplace to foil stamp different sizes of sheets and substrate choices.

        The disadvantage of hot foil is the cost of the tooling – the foil stamping dies (engravings) needed to apply the foil. With both cold and digital foil processes, there are virtually no tooling costs to apply. However, the tooling cost is only relative to the size of the foil job; although, if the run length of a job is small, it can be a significant cost. Hot foil stamping also is a secondary process that happens once a sheet is printed. This can add time to the job and, of course, costs.

        Cold foil transfer (cold transfer metallic)

        Cold foil transfer for sheet-fed applications is not new by any means, but it has become more popular for many applications due to the advent of better foil products that run faster and keep a metallic sheen when they are applied. Improved adhesives and technology in cold foil transfer machinery also have been a part of growth in recent years.

        The main advantage of cold foil transfer is in its elimination of a secondary process. Cold foil can be applied in the first two stations of an offset press, and then the additional stations on the press can apply CMYK over the top of the foil, creating virtually any color under the rainbow. Cold foil also does not have to utilize tooling (dies). It is an excellent choice for projects where significant foil coverage is required. In those instances, cold foil transfer is a great alternative to foil laminated board, where the entire sheet has a metallic finish. In most cases, white opaque ink is needed for certain areas on the sheet (especially with folding carton work), adding an additional station and printing plate needed on the press. In addition, white ink is notorious for being difficult to work with. Cold foil transfer allows the areas that need to be white to be “knocked out” of the foil design, eliminating the need to use white ink.

        From a disadvantage standpoint, cold foil transfer does not provide the full versatility of hot foil stamping as it relates to the paper stocks. Although there has been some success recently with cold foil on uncoated stocks, it is most effective on coated papers. Cold foil also is not usually the best choice when foil is required only in specific areas of a design. Because the foil is running through the press at high
        speeds, there is less control of the foil. If the design doesn’t call for a large usage of foil, hot foil stamping may be a better choice.

        Both hot foil and cold foil transfer processes are better choices for medium- to larger-sized runs, mainly due to the set-up time required with cold foil and the higher tooling costs of hot foil projects. Smaller runs often are better suited for digitally applied foil.

        Digital foiling (digital transfer metallic)

        Digital foiling processes have caused some confusion in the industry because there are two processes identified as digital foiling – one which uses printed toner as the adhesive for the foil and one that uses an inkjet-applied polymer as the adhesive. FSEA and its Foil Cheat Sheet (which was produced in cooperation with PaperSpecs) has identified the two processes as toner-based digital foiling and polymer-based digital foiling. Let’s take a look at each type.

        Toner-based digital foiling

        Toner
        In toner-based foiling, rich black toner from a digital printing press is used as the adhesive.

        This is a simple two- or three-step process utilizing a rich black toner from a digital printing press (not inkjet) as the adhesive and then using a heated lamination process to adhere the foil to the toner images. This process can be referred to as “sleeking.”

        A key advantage of this process is the lack of any tooling or dies needed to create the foil image, making it a great choice for shorter runs or prototypes. Because a digital printer can be used to print out the images that will include foil, every sheet can be personalized or include different information in foil without adding costs. Personalized invitations or gift cards are a great application for toner-based digital foiling. In addition, using a silver metallic foil, the foiled sheet can be sent back through a digital printing press where all types of metallic hues can be created by printing over the top of the foil layer.

        The primary disadvantage of toner-based digital foiling is that it is not a feasible option for larger runs of foil. Because it takes multiple steps to create an image, it is best suited for shorter runs and would not be recommended for any type of large-run application. It also is limited to mostly coated stocks or stocks specifically created for digital applications.

        Polymer-based digital foiling

        There now are specific machines on the market today that can apply a polymer through an inkjet process to a printed piece; then the foil adheres to the areas where the polymer has been applied. Adding a thicker layer of adhesive also allows for the foil to be raised above the paper level, providing an embossed look to the foiled image. Sensors on the digital decorating inkjet press can ensure registration of the print and polymer adhesives. Some systems in the marketplace apply the polymer and foil in one pass and others apply the polymer prior to the foil being laminated in a process similar to toner-based digital foiling.

        One advantage of this process – as with toner-based digital foiling – is that dies or plates are not needed to apply the foil; instead, it is done through an inkjet process. As with the toner-based process, personalization is possible using foil where this is not a feasible option for hot or cold foil processes. Another advantage of polymer-based digital foiling is that a clear polymer (coating) can be applied in a separate pass over the foil or in other areas on the printed piece, offering specialty spot coatings and foil in one design to create spectacular looks for all types of printed materials.

        The process produces spectacular work, but it is suited for targeted application types. One of the disadvantages of polymer-based digital foiling is that it is best suited for small- to medium-sized runs – it is not set up for a 50,000- to 100,000-sheet run. This type of foil decorating also is not recommended when applying large areas of foil due to how the adhesive is applied (digital inkjet). Because of this limitation, it is not commonly overprinted with 4-color process. And, as with toner-based digital foiling, there are limitations on paper stock – coated stocks or stocks designated for digital printing are best suited.

        Foil substrates

        There still are many applications, especially in the folding carton arena, where foil laminated or foil transfer paper/board is popular. Foil laminated board often is used for very large runs where the carton or sheet has heavy coverage of a metallic finish.

        The obvious advantage of using a foil laminated substrate is the ability to create the needed metallic finish in one pass on an offset press without the use of a retrofitted cold foil unit or foil stamping the sheet in a separate process. This can provide cost savings for very large runs where the metallic finish is used throughout the design of a carton or label.

        However, there are several drawbacks to using a foil laminated substrate. First, the cost of the material can become quite expensive. It can be more cost efficient to add cold foil inline on standard SBS stock for heavy coverage or to foil stamp in a second pass when the metallic finish is to be added in specific areas only, especially in medium to large runs.

        In addition, when using a foil substrate, there usually are areas that need to have a white background, especially on cartons and labels. In those cases, white opaque ink must be applied, which means a separate station on the printing press must be used to apply it. As mentioned previously, white opaque ink is not easy to work with and can cause many challenges on press.

        FoilCheatSheet_cover
        The FSEA Foil Cheat Sheet identifies the two digital foiling processes – toner-based and polymer-based.

        Last, but certainly not least, is the sustainability issue with foil laminated substrates that was raised earlier. The Foil & Specialty Effects Association has invested in two separate studies and will be conducting more in the future to demonstrate and reinforce that transfer foil decorated paper and board do not create problems in the recycling/repulping of paper and/or board in a common repulping process. This includes transfer hot foil, cold foil and digital foil processes. This does not include foil laminated products, since plastic film is included with the metallic finish. This is a key difference between the processes and must be considered when determining which metallic decorating process should be used in the production of a metallic finish.

        Selecting a metallic finish for printed materials is an entirely different adventure than it was several years ago, with many factors to consider. It is important to look at all factors involved to choose the right process for the right application. FSEA is available for consultation when there are questions. It’s a jungle out there!  

        Jeff Peterson, FSEA executive director, has been involved in the foil industry for more than 30 years. He has written numerous articles for FSEA’s official magazine, PostPress, and other industry-related publications. He also has conducted seminars at print industry events, including GRAPH EXPO, PRINTING United and Odyssey Expo.

        Much of the information found in this article is summarized and illustrated with foil decorated examples in FSEA’s Foil Cheat Sheet. This half-sized guide is available through FSEA by visiting www.fsea.com.

        FSEA Releases Repulpability Study in Response to Sustainability Concerns

        December 29, 2020

        The Foil & Specialty Effects Association (FSEA) has released a new study on the repulpability of paper decorated with transfer foils, produced in conjunction with the Georgia Tech Renewable Bioproducts Institute. The association has been proactive in working to separate the decorated products that FSEA members provide (produced via hot foil, cold foil or digital foil transfer processes, as well as transfer metallization of board or paper), from the use of foil laminated paper or board, which includes the plastic film and can be more difficult to recycle or repulp.

        The study demonstrates that transfer foil decorated paper and board do not create problems in the recyclability/repulpability of paper and/or board in a common repulping process.

        To receive a copy of the new study, click here – Repulping of Foil Decorated Paper

         

        Two Sides North America Launches ‘Love Paper’ Campaign

        July 14, 2020

        Two Sides North America, Chicago, Illinois, a global initiative by companies from the graphic communications industry, has announced the launch of Love Paper, a new campaign designed to raise consumer awareness of the unique and inherently sustainable characteristics of print, paper and paper-based packaging. The centerpiece of the campaign is a consumer-friendly website, lovepaperna.org, where people can learn about how print and paper products contribute to a sustainable future.

        “As consumers become increasingly concerned about the environmental impacts of the publications they read, the products they buy and the packaging those products come in, they need factual, science-based information to make informed purchasing decisions,” said Phil Riebel, Two Sides North America president. “But all too often, they have little more than unsubstantiated marketing claims like ‘go green, go paperless’ or ‘going paperless saves trees’ to guide them. We created the Love Paper campaign to make it easy for anyone to get verifiable facts about the sustainability of print and paper products from a wide variety of trusted sources.”

        A key element of the Love Paper campaign is a series of print ads that promote the sustainability of print and paper. The ads, which focus on the sustainable forestry, recycling and renewable energy advantages of paper, are available to newspaper and magazine publishers free of charge. Editor & Publisher (E&P) magazine, the authoritative journal covering all aspects of the newspaper industry, is among the ad campaign’s most enthusiastic supporters.

        For more information, visit www.twosidesna.org.

        Going Green: Texas Bindery Creates Uniquely Vibrant Label

        June 5, 2020

        By Brittany Willes, editor, PostPress

        With its extensive manufacturing and production knowledge, Texas Bindery Service, Cedar Creek, Texas, is no stranger to creating unique projects for its clients. “We specialize in implementing unique finishes and print embellishments into our hard- and softcover projects and for any project where quality, memorability and brand awareness is significant,” stated Vice President Sonja Nagy.

        When Organic Distribution LLC needed a distinctive label for its line of kratom (an evergreen tree used in some natural medicines) products, Texas Bindery was ready to help. Working closely with the printer/broker who reached out on behalf of Organic Distribution, Texas Bindery set out to create something truly special.

        “After reviewing the information presented, we had a clear vision of some options we wanted to offer to provide the highest value and impact for the client and the brand,” said Nagy. To create the label, Texas Bindery first had to determine which stock would be the best. “We tested multiple label stocks to find the perfect fit,” explained Nagy. After testing different label materials, it was determined the best stock for production was Wassau 12 x 18 DP19005 3.4 Mil White Flex Vinyl with permanent adhesive 80# scored back liner.

        With the label design and stock selected, it was time to put the project into production. “Our first step to creating this unique label design was to add the application of toner for the digital foil process,” Nagy noted. “Then we placed the label in our Duplo laminator and foiling machine to apply the digital foil to the toner areas.” The foil for the label was provided by two different vendors – a silver foil was provided by Nobelus, along with additional red and silver foils from Infinity Foils.

        Once the foiling was complete, CMYK printing was applied to the foiled label using a Ricoh 7210SX Digital Press. “At this stage, we printed CMYK colors to create the black, graphite gray, red and green colors on the Wasauu label stock,” said Nagy.

        Because three different labels were produced – each a different color – the next stage for the gray and red label was adding a soft-touch lamination to the label sheet. “We chose to use Nobelus Karess Lamination,” said Nagy, “applying the lamination to the label sheet after the final CMYK layer was completed using our Duplo laminator and foiling system.”

        The green kratom label required an extra step in the production process. “We wanted to achieve a more vibrant green color,” said Nagy. “After performing multiple tests, we determined the best way to get the result we were looking for was to run an additional press pass on the green color only.”

        Currently, the digital foil is limited in the color selections available. Texas Bindery found that by laying down a silver foil and overprinting CMYK on top of the silver, it could create additional custom colors to achieve a wider color variety. “Combining the extra pass on the green layer only, along with opacity and density adjustments on the printer, provided us with added flexibility to create slight hue changes to generate the best final piece possible,” Nagy said.

        The final stage of print and embellishment design for all three labels consisted of applying a raised spot UV coating. “We used our Duplo DDC-810 UV equipment to apply UV coating to precise areas in the label design,” said Nagy.

        Along with achieving a more vibrant color for the green kratom label, Texas Bindery also faced an additional challenge when it came to registration. “We knew registration line-ups through multiple passes would be our biggest challenge with label creation,” Nagy stated. “Once we established the precise settings needed on our Ricoh printer, we were able to fine tune everything to create the registration needed throughout all the printing, foiling and spot UV processes.”

        Despite the challenges, the end results are stunning, as noted by nearly all who have seen the label. “Our client was thrilled with the final piece,” said Nagy. “We have shown the labels to other clients and vendors, and people have been very impressed with the results we were able to achieve. They haven’t seen anything like it before.

        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:

        1. Printers 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 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.

        Evolution of Sustainability and Circular Economy and Their Influence on Printing Operations

        June 5, 2020

        By Gary A. Jones, director, EHS Affairs, Specialty Graphic Imaging Association

        Despite what many may think, the concept of sustainability is not new and has been evolving for decades. To some extent, the roots of sustainability were born with the conservation movement that was spearheaded by President Teddy Roosevelt, who worked hard to establish the national parks system. Since then, the focus of sustainability has grown to encompass an examination of just about all aspects of daily life and a search to find approaches, products and services that have a positive impact on the planet.

        Sustainability background and emergence of the circular economy

        Modern sustainability emerged in the mid to late 1980s with the publishing of a report titled “Our Common Future,” also known as the “Brundtland Report,” in 1987 by the UN’s World Commission for Environment and Development, chaired by former Norwegian Prime Minister Gro Harlem Brundtland. The report defined the principle of sustainable development as, “development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

        There was a period after the release of “Our Common Future” before the sustainability movement became a hot topic for the printing industry. The question about what is a “green printer” began in earnest in the mid 2000s and reached a crescendo near the end of the decade. In response, the printing industry created and launched the Sustainable Green Printing Partnership (www.sgppartnership.org), an independent third-party certification program addressing sustainable print manufacturing.

        During the last decade, sustainability in the print industry focused on the packaging and point-of-purchase displays market, with many print customers requiring their products to be both sustainable and manufactured in a sustainable fashion. Then, in 2018, a sustainable tsunami hit the world, with tremendous ramifications.

        Two events focused targeted attention to the issue of sustainability. First, National Geographic launched a campaign to reduce waste from plastic products, such as single-use bags and straws, called “Planet or Plastics?” The National Geographic initiative not only included an awareness campaign about plastics pollution but also addressed investments in research programs and partnerships.

        The second action, and perhaps the one that had the greatest impact, was China’s implementation of its Blue Sky program that set strict regulations about the scrap material imported into the country. Over the last decade, China has accepted a wide variety of wastes from many countries in the world – including the United States, Canada and Europe – for recycling. It only was able to use a small fraction of the material received, and the rest was either landfilled or left to accumulate. To combat the overwhelming amount of waste that could not be recycled, China outright prohibited certain materials from being imported, and for those they were willing to accept, it set an extremely low contamination rate of 0.5%. The targeted materials for ban included plastics, scrap paper, certain metals and textile materials. China continued to set bans around additional materials and may completely ban all materials.

        This positive leap for China to achieve its national environmental health goals has caused major repercussions for the rest of the world. The ramifications for the US have been particularly impactful as approximately 40% of the total materials collected for recycling were being exported to China. While other countries such as Indonesia, Vietnam and Korea are willing to take some wastes, the amount they can process is not large enough to absorb what China was accepting. These countries, along with other Asian countries such as Malaysia and the Philippines, have been closing their doors to these waste products.

        Push for a circular economy

        The actions taken by China and other countries highlighted the limitations of the linear economy. The linear economy is characterized by the take-make-dispose approach to producing products and services. This approach tends to consume finite resources to produce products which end up in landfills or incinerators. The launching of a new model was seen – the circular economy.

        The circular approach, as envisioned by the Ellen Macarthur Foundation, entails gradually decoupling economic activity from the consumption of finite resources and designing waste out of the system. The circular economy incorporates renewable energy and is based on three principles: designing out waste and pollution, keeping products and materials in use, and regenerating natural systems.

        Sustainability_chart
        Figure 1. Linear, Reuse and Circular Economic Models (Source: Government of the Netherlands, www.government.nl/topics/circular-economy/from-a-linear-to-a-circular-economy)

        The illustration in Figure 1 offers a clear illustration of the differences in material flows between linear, reuse and circular economic models.

        Achieving a circular economy is not an easy path to take as it is difficult to fully eliminate waste. Some products, such as those made from renewable resources, readily are adapted to the circular economy model while others are more challenging. There are many practical barriers to establishing a closed-loop economy. However, changes toward closed-loop or circular economy operations are achievable within specific sectors, companies or product categories.

        One business strategy for closing the production-use-disposal scenario includes shifting from selling products that the consumer owns and eventually disposes of to providing a service with an agreement in which the products remain the responsibility of the manufacturer to repair, replace, refurbish or repurpose. This shift in ownership incentivizes the manufacturer to design for less waste, produce a more durable product and create loyalty with their customers.

        For example, a recent assessment by Ricoh concluded that by 2050 there will be an insufficient supply of many virgin materials at a reasonable cost to support its manufacturing needs. As a result, Ricoh has revised its business model using life-cycle analysis as the basis for decision-making and establishing a series of “Resource Smart Solutions” for product design and manufacturing, re-use, collection, maintenance and materials recovery. Since the company owns 60% of what it sells, it can engage its customers in new business solutions derived from a circular economy approach.

        Government action

        Many argue that government intervention is needed to both encourage and instill a more sustainable environment. Several approaches have been proposed, using the circular economy model, to address reaching this goal. Approaches under consideration involve the imposition of mandates to use a specified amount of recycled materials in products, banning the use of certain products and implementation of Extended Producer Responsibility (EPR) programs. EPR programs are designed to shift the waste management cost or physical collection partially or fully from local governments to producers.

        EPR as a concept is not new in the US, with almost every state having some type of producer responsibility laws covering consumer products such as automobile batteries, electronics, mobile phones, paint, pesticide containers, carpet, thermostats and pharmaceuticals. Several states have enacted landfill bans which have had an increasing positive impact on product recycling.

        Packaging and paper have not escaped the grasp of EPR. Many provinces in Canada and many countries in the European Union have had EPR programs extending to packaging or printed paper for many years. So far, none have been enacted by a state or local government. However, that may soon change with the states of Maine, Massachusetts, New York, Oregon and California.

        Maine’s legislation has come the closest to being enacted. It was debated in this year’s legislative session, but failed to pass. Maine’s legislation would see producers with more than $1 million in annual gross revenue paying into a managed fund, with participating municipalities then eligible to be reimbursed for recycling and disposal costs. The costs imposed would be done on a sliding scale of how “readily recyclable” a material is and those that are difficult to recycle would be charged a higher fee. Unless there is a special session called, it will not be considered again until next year.

        While there has been activity, virtually all government legislative and regulatory activity has occurred at the state and local level. The combination of the National Geographic focus on plastics, including ocean plastics, and China’s Blue Sky program and its ramifications spurred many state and local government entities to ban the use of certain types of plastic-based products.

        Many states have implemented bans on plastic bags, plastic straws, polystyrene food containers and other single-use plastic products. Likewise, some corporations have initiated their own programs. A good example is several large hotel brands are eliminating the use of individually packed toiletries such as shampoo, conditioner, etc. in guest rooms.

        Some states have taken the approach of focusing on setting requirements for certain types of packaging. For example, California has established, through legislative action, a program that sets requirements for state-controlled food service packaging. This new program requires state-owned food service facilities, those operating on state-owned properties or those under contract to a state agency to dispense prepared food using food service packaging that is reusable, recyclable or compostable.

        Marketplace responses

        There are bright spots. Emerging trends around both the use and manufacturing of alternative substrates that are easier to recycle is on the rise. While there is a movement to increase infrastructure recycling using existing technology and new technologies such as chemical recycling, it will be some time before it comes online and sufficient capacity exists to relieve the downward pressure.

        Some brands are shifting away from plastic to paper-based products. Several examples include using paper-based material to replace six-pack rings or the recent announcement by Procter & Gamble Beauty that it will start offering both Old Spice and Secret brand deodorants in all-paper, plastic-free, tube packaging. There is no mention if the paper tube is recyclable.

        For textiles, there is movement to use cellulosic fibers, recycled poly, organic cotton and Better Cotton Initiative (BCI) cotton, which is a cotton sustainability program. For labels that are being used on PET-based containers, there is a move to use labels that are compatible with the recycling process and for other plastics, work is being done on polymers that are more compatible to both mechanical and chemical recycling.

        It also is important to understand that, in addition to new substrates and recycling technologies, there are companies exploring reductions in packaging and package-free options. Lightweighting a package is not necessarily new, along with concentrating certain products to reduce package size. The new options being explored involve selling a single product where the package can be reused multiple times with the subsequent purchasing of super concentrated product that is reconstituted by the consumer.

        A corollary to this approach is refillable packaging, where the consumer returns to the store to refill their individual container from bulk dispensing units. Package-free options already are being explored by smaller grocery stores where products are not sold prepackaged.

        How this impacts the printing industry

        For those facilities involved in packaging and labels, the sustainability and circular economy movement is real. Companies such as Wal-Mart, Target and Unilever have adopted sustainability goals related to the reduction of packaging materials. While attention has been focused on the use of plastics and packaging, increasing attention has been turning to the fashion industry. The drum beat to reduce the impact of “fast fashion” is increasing and getting louder every day. The effect is hitting both the products being produced for customers and the manufacturing operations.

        The pressure on brands to address the waste associated with their products has been growing and will only continue to increase. A second, and possibly most important, impact of China’s Blue Sky program is felt around the country as municipalities have stopped or suspended local recycling programs.

        With China no longer accepting most of the US-generated recycling, the market has disappeared. With the approaches that many brands and other companies are taking to address these issues, those that are producing products, packaging, labels and other supporting material need to understand they could have their businesses severely interrupted and threatened. Imagine the impact if someone’s primary business was producing packaging or labels and the company’s number one customer decided to offer its products as package free.

        With the focus on textiles, packaging and paper waste increasing, printing operations need to become engaged on several fronts. They need to become educated about the changes occurring with respect to new substrates, advances in recycling technologies and recycling services, such as those offered by TerraCycle. This education provides the ability to offer solutions when requested by the customer.

        Establish a dialog with customers to educate them about the current and future changes being driven by pressure from consumers, consumer groups, environmental organizations and government regulation. Given the economic pressures being applied to local municipal recycling programs, it is almost certain that there will be additional government regulation imposed on those that produce products, even if they are currently readily recyclable.

        The benefit of having this type of dialogue is it allows the printing operation to gauge the understanding and options being considered by the customer. Customers are not monolithic. Some are proactive, while others will wait until circumstances dictate action on their part. If some of the ERP laws come to fruition, understanding the impact of various substrates and alternative options that are more readily recyclable would enable customers to pay less of a fee due to their ability to be recycled.

        The education about the changing landscape also allows printing operations to understand the possible changes occurring and potential shifts by their customers to new substrates or the abandonment of current substrates. There are a host of issues that need to be considered, including performance, cost, printability, waste, etc. Understanding how to work with these new or “new to you” substrates will allow for a competitive advantage and allow for a fast response to changes in demands from customers.   

        Conclusion

        The building of a circular economy is not going to be easy. There are many considerations that need to be evaluated as the linear model and the mindset associated with it will be difficult to transform. Nevertheless, the physical realities of the linear model have reached a tipping point as the world has quite simply run out of places to put the waste generated by modern society. Landfilling waste is not a solution as it is just long-term storage and more eloquent solutions are mandatory.

        The path forward for many products is not clear. The key to expanding the circular economy is the engagement of consumers, business, academia and government to provide the demand and proper incentives to find solutions. With government now adopting circular economy legislation, more consumers demanding solutions and some brands adopting circular approaches across their value chain in order to mitigate reputational, supply chain, financial, environmental and regulatory risk, printing operations will need to adopt new business models that align with an emerging reality that discourages waste and encourages resource efficiency with design and innovation. This means they need to become more cost efficient, incorporate renewable technologies and resources, partner with like-minded suppliers and engage with emerging approaches to remain relevant and competitive.

        Gary Jones is SGIA’s director of environmental, health and safety (EHS) affairs. His primary responsibility is to monitor and analyze EHS regulatory activities at all domestic and some international government levels. He provides representation on behalf of the printing and specialty graphic imaging industry. For more info, visit www.sgia.org.

        Sustainability in Packaging: Corporate Commitment

        March 10, 2020

        by Dianna Brodine, managing editor, PostPress

        Consumer demand for reduced and recyclable packaging is receiving attention at the highest levels of corporate towers, with many of the world’s largest brands devoting entire websites to their sustainability initiatives. These brands are working actively to reduce their consumption of plastics and ensure ethical sourcing of paper products. Packaging design is scrutinized as brands try to reduce the amount of materials required, ensure those used can be recycled and still create a package that has consumer appeal on the retail shelf.

        Yet, while everyone in the packaging supply chain is working to understand what materials are recyclable and then retooling existing package designs to comply with those standards, many communities around the globe – and here at home in the US – do not have the ability to effectively recycle their waste. In fact, the US Environmental Protection Agency acknowledges, “America’s recycling infrastructure has not kept pace with today’s waste stream.” However, the pressure of public perception is on the brand owner (and subsequently, those creating the packaging) – for now, the recycling community is off the hook.

        To address consumer concerns, PepsiCo, Mars Wrigley and Estée Lauder have addressed sustainability initiatives on their websites. In this article, some of their efforts are summarized – because when the largest companies set their priorities, it is important to pay attention to what will trickle down to smaller members of the print and packaging supply chain.

        PepsiCo

        “Packaging plays an essential role in safely delivering our products to customers and consumers,” according to the drink and snack company’s sustainability practices website. “As a business, we design our packaging materials around several critical criteria, including compliance with food safety regulations, freshness and quality of the product, environmental sustainability, affordability, and consumer preferences, including convenience. At the beginning of every packaging design effort, we balance these criteria to arrive at a final packaging design.”

        Pepsi’s goals include designing 100% of its packaging to be recyclable, compostable or biodegradable; reducing virgin plastic use; and using 25% recycled content in its plastic packaging. The company’s 2018 data indicated that 89% of its packaging globally was fully recyclable.

        Pepsi has placed an emphasis on reducing the plastic used in its packaging, although the bottles it uses for its beverages would seem to slow that effort. In 2018, according to the company, “plastic represented just under half of the total packaging material PepsiCo used, with aluminum, glass and fiber making up most of the balance.” However, the company also tries to ensure its paper-based packaging is “responsibly sourced” and “will not knowingly accept from its supply chain paper-based packaging that may contain wood fiber harvested illegally or sourced from protected forest areas.”

        Base material, such as plastics and wood fiber, aren’t the only materials being scrutinized by PepsiCo. In designing its packaging, the company is reviewing all elements – including those that add shelf appeal. The company explained, “While much of our beverage packaging is recyclable, we recognize that there are components of our packaging that may inhibit recyclability. To address this, we are currently integrating design for recyclability into our ideation and design process for all new products through a business-wide program. Some impediments such as non-recyclable labels, colorants and PVC have already been phased out in some markets.”

        Mars Wrigley

        Mars-Wrigley-Sustainability
        Mars Wrigley is redesigning it’s product packaging to address
        sustainability concerns.

        From candy to pet food, Mars Wrigley has a variety of point-of-purchase products that rely on packaging appeal. Perhaps that’s one reason its work in sustainable material use lags behind that of PepsiCo. “Today, 19% of our plastic packaging is recyclable in practice and at scale,” its website acknowledged. “Even more is technically recyclable where infrastructure exists. While it’s a start, we clearly have more work to do.”

        This work is taking the shape of packaging redesigns that focus on recycling and reuse. Mars Wrigley has committed to a 25% reduction in its use of virgin plastics by 2025 and aims for 100% of its plastics packaging to be reusable, recyclable or compostable. The reduction in plastic use will be the result of a shift to more paper packaging. According to the company, “This paper-based packaging will be 100% sourced from certified, verified or recycled sources by 2020.”

        The company acknowledged that this is an immense effort that will have a business-wide impact. “We’re proud of our products, but deeply concerned about the impact of packaging waste on land and in the ocean…Too much of it ends up in the environment. This is unacceptable and we are committed to addressing this, even if it means redesigning much of our packaging or our business models.”

        Mars Wrigley’s message to consumers on its website conveys the rock-and-a-hard-place problem in sustainability conversations. Consumers rely on packaging to protect the product, preserve freshness, provide nutritional information – and even, as the company explained, “differentiate our brands.” Brand owners like Mars are attempting a delicate balance between satisfying consumer demand for sustainable practices while also appealing to consumers at the moment of purchase.

        Estée Lauder

        As one of the world’s premiere beauty brands, Estée Lauder understands that balance – and is unapologetic about the importance of an appealing and well-designed package to its consumer’s experience. “The design and aesthetic of our packaging must reflect the prestige of our products,” according to the company’s website.

        Because packaging is such an integral part of its cosmetic line, Estee Lauder “maintains a top-quality package development operation that launches thousands of packages a year for its skin care, makeup, fragrance and hair care products.” The company’s package designers and engineers have access to an online training program through the Sustainable Packaging Coalition, which “help our teams make more strategically sustainable choices and achieve ELC’s sustainable packaging commitments.”

        Currently, 39% of Estee Lauder’s product packaging is created from post-consumer recycled content or renewable materials.

        Much of its packaging is enhanced with print decoration that includes foils, embossing and intricate diecuts – and those elements are not going away. “For many consumers, packaging is the first introduction to our products,” the site explained. “As with everything we do, we maintain a high aesthetic for the design and usability of our packaging, which must conform to our brand standards and meet the expectations of our consumers. We believe that packaging can meet these needs responsibly.”

        Conclusion

        Although brand owners are investing in sustainability efforts, consumers also bear a responsibility. No matter how recyclable a package is, it’s materials can’t reach the recycling facility without consumer intervention – which could be as simple as placing a cardboard shipping box into the recycling bin. In addition, communities must ensure the recycling infrastructure is in place. Each of the companies mentioned in this article address this conundrum.

        According to the Mars Wrigley sustainability plan, “Even when a package is designed to be recyclable, reusable or compostable, it won’t be without the right consumer behaviors, collection, sorting systems and infrastructure. Today, valuable materials are being thrown away every day in every market where we operate around the world. To advance a future where packaging never becomes waste, we need the recycling and regulatory environment to evolve in significant ways.”

        Reference Websites

        1. PepsiCo: https://www.pepsico.com/sustainability/packaging
        2. Mars Wrigley: https://www.mars.com/sustainability-plan/healthy-planet/sustainable-packaging
        3. Estée Lauder: https://www.elcompanies.com/en/our-commitments/sustainability
        4. Proctor & Gamble: https://us.pg.com/environmental-sustainability/

        Sustainable Printing: The Why, The What and The How

        December 17, 2019

        Reprinted with permission by the Great Lakes Graphics Association

        Pressing-SustainabilitySustainability has been in the forefront of business operations for more than a decade. Educated consumers understood that for their children to live in a better world, everyone needed to embrace sustainability. The power of the consumer drove Walmart, the world’s largest retailer, to make sustainability central to its business decisions. This, in turn, sent shock waves down its supply chain. Whether it’s packaging, apparel, labels or signage, printing is a link in that chain.

        As all print processes then were being asked about their sustainability programs, there became a need for an independent organization with a certification program to define and validate sustainable printing practices. The Sustainable Green Printing Partnership (SGP) was developed through a transparent and credible process by a stakeholder group that included representatives from facilities of all print processes, their suppliers, customers, environmental groups, government agencies and the leading organizations representing the printing industry. The SGP program was created more than a decade ago, has evolved to better reflect the most current knowledge of sustainable business practices and continually offers even more benefits to the industry.

        Defining sustainable printing practices was the first step. SGP’s certification criteria takes a holistic approach and is specific to printing. It lays out elements that were created “by the printing industry for the printing industry.” It is holistic in that it doesn’t address only single attributes like paper sourcing or ink chemistry; nor is it just for environmental issues. To address sustainability, it must encompass the three Ps – people, planet and profit. The SGP criteria encompasses the entire printing facility and includes environmental, health, safety and labor practices. Because the printing industry developed the criteria, it is specific to printing, yet includes all printing processes – flexography, lithography, screen, digital and gravure. The criteria are flexible and expansive so they can be adopted by any type of printing facility, whether it is large or small. SGP is the only certification program for the printing industry in North America, and it has the endorsement of all major print organizations. The list of SGP Printers continues to grow and includes multiple locations of the same corporation.

        The SGP certification criteria are sustainable printing practices which are, in essence, good business practices. SGP certification helps printers optimize operations to be more efficient, cost effective and responsible. SGP Printers decrease waste, increase recycling, reduce energy use and greenhouse gas emissions, and improve worker safety, thereby validating themselves as implementing sustainable business practices. Printers that meet SGP’s multi-faceted criteria are using best practices that provide their customers with a premium product that meets corporate responsibility standards and save money!

        The SGP Impact Tracker is the newest addition to the SGP program. It is a cloud-based dashboard that tracks sustainability initiatives, operating expenses and other metrics. It displays data from a company’s sustainability program, illustrating the operational benefits and cost savings that result from a commitment to best practices. The software provides an easy way to benchmark data, track implementation, set goals and showcase success. Whether it’s carbon footprint, kilowatts of electricity, therms of natural gas or gallons of fuel, the Impact Tracker accepts the data and offers a user-friendly benefit of allowing everyone in the facility to enter information.

        SGP Printers differentiate themselves from their competitors, creating real cost and resource savings. By becoming certified, printers validate a place as a true link in a sustainable print supply chain. By being a sustainability leader, they are more preferred by print buyers.

        But, growing the adoption of sustainable business practices in the printing industry takes a community approach. In addition to the numerous SGP Printers, the SGP Community includes SGP Patrons, SGP Brand Leaders and SGP Resource Partners. Every organization that values corporate responsibility and a sustainable future has a role to play in supporting sustainable printing.

        SGP Patrons are suppliers to the printing industry and recognize SGP’s continuing role in advancing the benefits of SGP certification to both the print and buying communities. They are commited to transforming the marketplace and leading inclusion of sustainable business practices in the industry.

        SGP Brand Leaders are consumer products companies and other print buyers that want to be assured a more sustainable print supply chain. By working with SGP Printers and encouraging their print vendors to become certified, SGP Brand Leaders are aligned with companies that help them achieve an overall lower environmental footprint and improved sustainability profile.

        SGP Resource Partners are organizations that encourage their members to become more sustainable and assist them on the journey to become part of the SGP Community. They include Flexographic Technical Association, Specialty Graphic Imaging Association, TLMI, RadTech North American International, National Association of Printing Ink Manufacturers, Printing Industries of America and Great Lakes Graphics Association.

        Together, the SGP Community has made great strides in promoting sustainable printing practices. It brings together a community of printers, print buyers, suppliers and supporting organizations that work together to drive sustainable business practices that today’s customers demand and everyone should want. Another leap forward for SGP will be the introduction of a certification program for the suppliers to the printing industry.

        For more information on the certification program, access the Resources tab of the SGP website www.sgppartnership.org. There is an extensive list of archived webinars, fact sheets, guidance documents and certification criteria, along with applications. The website also includes the list of current SGP Printers, SGP Patrons, SGP Brand Leaders and SGP Resource Partners. Also, feel free to email SGProgram@sgppartnership.org.

        This article was originally published in the October 2019 issue of Graphics Journal, the membership magazine of the Great Lakes Graphics Association.

        Elevating Magazine Covers with Embellishments

        September 12, 2019

        by Katy Ibsen, managing editor
        PostPress

        First impressions mean a lot, especially for print magazines and catalogs. A cover image carries significant responsibility, capturing enough of a reader’s attention to be picked up. Iconic artwork isn’t going away, but many publications now are incorporating texture and specialty effects on covers for added impact.

        “Neurological studies show that humans gather their information through all senses, and people remember things longer and more clearly if they address more than just the eyes,” said novum Editor-in-Chief Christine Moosmann. “Consumers quite happily spend more money on packaging that is well designed and uses a paper with interesting haptics or elaborate printing.”

        novum is known for eye-catching covers that feature a variety of applications, but the magazine isn’t alone. Overwhelmingly, consumer, business to business (B2B) and catalog publishers are seeing embellishments as a critical value-add to differentiate themselves from competitors or to elevate their brand.

        PostPress explores this trend by visiting with a few magazine publishers that have found print embellishments beneficial to their brand awareness.

        Worth magazine

        WorthWorth is a global media brand connecting to an audience that embraces worth beyond wealth. “Worth informs and inspires a community of affluent, influential and aspirational individuals to be their best selves,” said Amy Petriello, art director.

        The quarterly print magazine regularly uses spot gloss for its masthead/logo and dull UV on the balance of the cover to create a matte effect.

        “We almost always feature an original illustration on the cover and have [art] submitted to us as vectors, so that the illustration can have spot UV applied on portions we’d like to highlight,” she added.

        Worth’s “Power 100” edition, recently released, features a 4-color silver metallic ink with gloss UV coating.

        “This is our 10th Annual Power 100 issue, about the most powerful people in the world of global finance, so it is a special issue that we wanted to celebrate,” she said.

        According to Petriello, postpress applications have helped to emphasize Worth’s covers, which showcase beautiful lasting artwork, intended to be kept, displayed on coffee tables and collected.

        novum – world of graphic design

        novum Magazinenovum, a cult design magazine, was founded in 1924 under the name of Gebrauchsgraphik. Published in German, English, French and Spanish, novum is read by designers all over the world.

        “Now in its 95th year, novum has certainly written design history and still has a very high standing in the design community,” said Christine Moosmann, editor-in-chief.

        As one would expect, a design magazine strives to set itself apart and novum doesn’t disappoint readers with its captivating covers, featuring many variations of specialty applications. In 2000, the brand began experimenting with fine papers and various print finishing techniques on the cover.

        “In the beginning, we just did it for fun, but we got a strong response from our readers. They loved the papers, the finishings and the inspiration they got this way,” said Moosmann “Eventually, paper manufacturers and printers realized that our covers were a great marketing tool for their products and services. So, whenever a new paper or a new printing technique came up, we got the chance to try it out on our cover – designer’s heaven!”

        While Moosmann believes specialty effects are an important element of communication today, they can be overused.

        “It is important to use papers and finishings intelligently,” she said. “A lot of ‘bling bling’ foils do not necessarily make a successful product. Sometimes, a rough paper combined with an unusual printing technique will do the trick. It is important to design with care; readers and consumers can sense that.”   

        A sampling of novum covers include foil on the entire cover, diecut stacking dolls and even a cover which featured a playground for stickers found inside the magazine. The cover of the August 2019 edition showcased a highly pigmented silver on deep black cardboard for a visual and textured effect.

        mg

        mg MagazineServing the cannabis industry is mg magazine, a B2B publication covering retail, business and branding. According to its publisher, Darren B. Roberts, the magazine’s mission was to create a reflection of who is really behind the industry, not just on a manufacturing level, but on a legal level.

        “We strive to put out an image that represents the level of professionalism, skill and education [in cannabis],” he said. That mission allowed the magazine to be more creative.

        “Most B2B publications are not spending money and exploring what can be done in print – some industries don’t require it,” he said. “I think that for B2B, service companies or products, whether they be printed products, panels or whatever it is they are putting out there, it’s important that they reflect the personality and the people of the industry. And in this particular industry, you have a mix of professionalism and creativity.”

        mg has achieved respect within the cannabis marketplace, elevating itself as a creative, yet trustworthy resource for industry leaders. In part, it has reached that designation as a result of its attractive covers.

        An edition that covered the vape sector featured a multi-layer emboss with both high and dull varnishes. The “50 Best Companies to Work for in Cannabis” featured a matte varnish, gold foil and trapped emboss. Roberts explained that mg wanted to represent all the various sectors of the industry on the cover, which was designed by The Hybrid Creative.

        “Applications really do have an impact. And it does matter,” said Roberts. “Just the coating that you use on the cover will keep somebody reading the publication longer … and it’s all on a subconscious level. It’s very fascinating.”

        Sustainability with Ecofoil®

        Crystal Ecofoil
        Crystal’s Ecofoil process allows foil to be added to the inside pages of magazines or brochures at a feasible cost.

        Mark Kempster, Managing Director of Crystal Press Ltd, has seen brands and publishers wanting more and more foil embellishments, with multiple colors and more complex foil designs. To achieve this, many have used a metallized polyester (MetPol) material and printed over the top. However, sustainability has become an serious issue for MetPol users due to it being a PET laminated stock which cannot be recycled. As a solution to this issue Crystal recently launched its range of Ecofoil boards that apply the foil without the need for the lamination process. The Ecofoil board range contains no PET or any other plastic product so it is 100% recyclable and can be branded as such.

        “In my opinion the use of MetPol is one of the single biggest issues facing the packaging industry and it seems likely that it is only a matter of time before there is a huge backlash against packaging materials that contain MetPol. However with the introduction of Ecofoil there will still be a cost-effective and practical way to produce foil-based packaging in all run lengths,” stated Kempster.

        The Ecofoil process also provides an economical way to add a metallic foil to other pages within a catalog or magazine beyond just the cover. Crystal has one customer who has used hot foil stamping on its covers for several years; however, switching to its Ecofoil process has allowed them to add foil within the inside pages of their high-end brochure at a feasible cost.

        “Ecofoil has created a massive change in our business,” concluded Kempster. “I believe it will become the biggest part of our business within the next 12 – 18 months.”


        From the Printer With Love

        Direct SupplyPrinters are equally in tune with the emerging trend of distinguishing covers. Chris Haag, director of sales at Royle Printing, spoke to the printer’s role in helping deploy embellishments to create unique catalog covers – which must stand out among other printed matter.

        “We have actually seen an uptick in interest in applying creative covers in particular to printed materials, whether that’d be in catalog form or magazine form,” he said. “Both of those segments are exploring it, and there has been a recognition that print provides a much more tactile delivery of information than electronic means.”

        Royle’s capabilities include gloss and matte UV in line on the web press; gloss, dull or satin varnish on sheet-fed press; soft touch, UV or aqueous coatings in line; strike through (such as spot gloss UV) with a dull varnish; and reticulated strike through UV.

        According to Haag, cost of applications is a factor for many publishers, suggesting that embellishments often are used for annual, anniversary or special issues.

        Diesel Forward“You’re going to see those [applications] in a higher value catalog that is displaying products that are higher dollar volume, and in particular those catalogs are meant to have a one-year shelf life. So, we see them a lot in those applications,” he said.

        Examples of catalogs printed by Royle include Direct Supply and Diesel Forward.

        In general, Haag has seen an increase in applications over what was used 10 years ago. As for the next 10? Hopefully, more of the same.

        “People are recognizing that print is really mission critical to a multichannel approach. And so, even brands that might live and start online are coming into print. And then, once they get into print, they’re looking for ways to stand out in the mailbox and raise response rates, too.”

        « Previous Page
        Next Page »



        The Official Publication of the Foil & Specialty Effects Association
        © 2025 All Rights Reserved
        Peterson Media Group | publish@petersonmediagroup.com
        785.271.5801
        2150 SW Westport Dr., Suite 501, Topeka, KS 66614