Inspire 35 in English - PDF

CO10007E
A magazine from Iggesund Paperboard Issue 35 • 2010
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CONTENTS
#35
04composting friendly
Invercote Bio is a new paperboard that is coated
with a bio-plastic polymer. Both the paperboard
and the polymer can be composted.
06
06flourishing font design
cyrillic
font design
In the Soviet era, the Cyrillic alphabet offered
only about five typefaces. Now there is a dramatic
development in new fonts.
Russian graphic
designers work to
break new ground.
11art with a scalpel
Designer Rob Ryan creates his romantic and
fragile art using paper and scalpel.
12a modern classic
Intermezzo, Erika Lagerbielke’s glass with the
distinctive blue drop in the stem, has become a
classic, found in homes around the world.
15adding something extra
04
11
p e t e r c e d e r l i n g i , e d m i l e s , k a r i m o d é n , i l ya r u d e r m a n
With foil, lacquer and embossing print finishers
Gräfe Druck und Veredelung can give paper and
paperboard products a wealth of sensory effects.
16objects of desire
An exclusive wallcovering swatchbook, a calendar
shaped like a chair and a centenary book with a
cover that looks like stainless steel.
23ON THE MENU
The printed menu is the first delicacy served at
restaurants around the world. Inspire takes a look
at menus of five fine restaurants.
24The future is digital
A customised product made on demand is what
today’s customers want and expect. In the printing
business, the answer is digitalisation.
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www.iggesund.com
2010-05-21 15:50:57
Inspire, a source of inspiration, provided by
Iggesund Paperboard, home of Invercote
and Incada.
Address
Iggesund Paperboard
SE-825 80 Iggesund
Sweden
phone: + 46 650 280 00
fax: + 46 650 288 21
www.iggesund.com
Publisher
Carlo Einarsson
(responsible under Swedish press law)
Editor in Chief
Elisabeth Östlin
[email protected]
Editorial Committee
Winnie Halpin, Wout van Hoof,
Astrid Korf, Véronique Lafrance, Didier
Saindon, Ian Harris, Staffan Sjöberg,
Elisabeth Östlin
A new ­
platform
Publishing Agency
Appelberg
PO Box 7344
SE-103 90 Stockholm
Managing Editor and
Project Manager
Karin Strand
phone: + 46 8 406 54 13
[email protected]
Art Director
Markus Ljungblom
Editor
Alessia Wistén
Language Coordinator
Helena Åkesson
Contributors
Linas Alsenas, Tobin Auber, Richard
Beer, Mat Fahrenholz, Tove M Gjessing,
Michele Jiménez, Michael Lawton, Susanna
Lindgren, Theta Pavis
Photos
Rolf Andersson, Peter Cederling,
Robert Hagström, Irmelie Krekin, Ed Miles,
Thomas Müller, Sanna Skerdén, Per Trané
Illustrations
Nils-Petter Ekwall, Kjell Eriksson,
Kari Modén
Printing
Strokirk-Landströms, Lidköping
Gräfe Druck und Veredelung (cover)
Within a few years, the Iggesunds Bruk mill
will be powered exclusively by biofuel and be
self-sufficient in terms of electricity. To meet
that goal we are taking the vital step of building a new soda recovery boiler, the heart of our
integrated pulp and paper mill.
This is a major investment, our largest in
modern times, and it enables us to realise our
vision of a mill with zero fossil fuel emissions –
a vision we formulated a number of years ago.
This will clearly demonstrate the unique
strength of the forest industry and paper-based
materials – the ability to produce recyclable products from renewable materials with
minimal impact on the environment and high
financial sustainability.
Iggesund is in this position today because
of decades of creative industrial thinking
in which efficient use of raw materials, lean
­production and consideration of the environment have yielded results. What we are now
building is a platform for Invercote’s future
development where low environmental impact,
service and consistent high quality go hand
in hand.
This issue of Inspire has a cold-foiled cover,
a technique you can read more about on page
20. We also take a close look at Cyrillic font
design and digital printing technology as it is
unfolding in the industry.
Staffan Jonsson
Mill Director, Iggesund
Inspire aims to inform and entertain with
s­ tories and photos that are not restricted to the
scope of Iggesund’s own business. As its name
­suggests, the idea is to be inspirational and
not to infringe on a company or person’s image
rights or intellectual property. Products that
are made with Invercote, Incada and other paperboard from Iggesund are marked in the text.
www.iggesund.com
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quently overprinted with a
4c-print. It was printed on
Incada Silk 240 g/m², and
the sheet was protected
with a durable matte foil
lamination.
“It was exciting to see
how the cold foil technique could be used to
create different effects,”
says Inspire art director Markus ­Ljungblom.
“We chose an overprinted alternative that
literally mirrors ­different
colours from the close
environment in quite an
­interesting way.”
A magazine from Iggesund Paperboard Issue 35 • 2010
Photo: Rolf Andersson
The cover
of this
issue of Inspire demonstrates how a cold foil
technique can be used
to create striking effects.
Using inline cold foil
transfer, the bicycle’s
gears and bolts are coloured in silver and subse-
CO10007E
ISSN
1404-2436
Inspire is printed in English, Chinese,
French, German and Swedish.
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inspired
Compostable
Text Alexander Farnsworth Illustration Kari Modén
SORTING
OUT WASTE
By choosing packaging made out of
paperboard coated with compostable
bio-plastic polymer, the food service
industry can substantially reduce
handling costs.
Invercote Bio is a paperboard that is coated with a
bio-plastic polymer made from renewable resources.
Both the paperboard and the bio-plastic polymer are
certified as biodegradable. The final
converted product can therefore also be certified by
the brand owner after testing the whole product with
inks and glue etc. The certification shows the product
can be composted in industrial composting facilities
within a certain time and with a given quality level.
“Unlike competitor products, the renewable parts
of Invercote Bio are sourced from non-genetically
modified plants, which speaks volumes for our
sustainability credentials,” says Jonas Adler, business
development manager at Strömsbruk, where Iggesund
manufactures its products with additional benefits and
functions.
Invercote Bio is particularly suited to the food
industry, as food and packaging materials do not
need to be separated prior to composting. Industrial
composting takes 12 weeks and, unlike incineration,
returns valuable nutrients such as phosphor to the
ground.
Paperboard is basically made of wood, so it has
always been biodegradable, Adler says. Nevertheless,
as of January 2010, Iggesund can supply paperboard
from the Invercote range that is certified in accordance
with the European standard EN 13432. This is the
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2010-05-27 16:46:59
ADLER CITES SOME EXAMPLES to explain Invercote
Bio’s possible advantages over other paperboards covered with polyethylene.
“Take a food company filling trays with food,” he
says. “There is a disturbance in the production line and
a whole batch has to be thrown away, sorted by type of
waste – plastics, paperboard and food. This requires
manpower, storage space and three separate transports
from the factory.”
“The same goes for a supermarket chain that has
to throw out packaged foods that have expired, or a
catering firm at a big fair, or a school or hospital. If all
the waste is the same, then you don’t have to sort it.
The handling costs can be reduced by choosing the
right packaging materials to begin with.”
Invercote Bio was commercially launched in
January 2009 and is currently being used by cup and
tray customers.
Photo: sanna skerdén
harmonised European standard to which packaging
products can provide proof of their compostability.
“For the food and food service industry, Invercote
Bio packaging could be a real game changer, as companies will no longer need to sort their waste,” says
Adler.
“Paperboard coated with bio-plastic has a fantastic
future because it fits into all the waste scenarios
prescribed in the EU’s packaging directive, be they
recycling, energy recovery [incineration], composting
or anaerobic treatment.”
More traditional packaging is coated with polyethylene, which is also waterproof and offers sealing
properties but is not biodegradable. Still, when using
paperboard as a carrier for the plastic, the amount of
plastic used can be reduced to about a fifth of what
would have been required for an equivalent plastic
container.
Technically
demanding
IGGESUND STARTED a cooperation
with Novamont, a manufacturer of the
biodegradable and bio-based polymer,
in spring 2007.
“Learning how to process these
kinds of polymers takes both time
and resources, not only in our mill but
also in converter processes,” says
Ola Buhrman, technical manager for
Iggesund’s products with additional
benefits and functions.
The product is delivered as small
pellets to Iggesund’s converting plant
in Strömsbruk, where it is melted and
extruded into a thin film (approximately 20 microns) to be applied to the
Invercote paperboard.
According to Buhrman, the extrusion of the thin film is technically very
demanding.
“We are all still learning after a year of
operation,” says Buhrman. “It is a long
learning curve. But Invercote Bio is the
right product at the right time.”
OPPORTUNITY FROM WASTE
IN A WORLD where resources are
limited, waste in the form of plastics, paperboard, paper, glass and
building materials has in recent
years become a valuable resource.
There is an increasing demand
from stakeholders such as energy
companies that want to incinerate
the waste to create electricity or
heat and recycling companies that
want to break down the compo-
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nents of the waste and resell them.
“The beauty of Invercoat Bio
is that it fits all waste scenarios,”
says Jonas Adler, business development manager for Iggesund’s
products with additional benefits
and functions.
“It can be recycled, incinerated
or composted.”
“Companies that want
sustainable packaging solutions
are also prepared to pay for a
material that rationalises their
waste management,” he says.
“Instead of having to handle many
different categories of waste, for
instance at trade fairs, coffee
and ice cream bars and at various
catering events, they can reduce
their overall handling, storage and
distribution costs by choosing the
right materials.”
Jonas Adler, Iggesund.
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2010-05-27 09:32:06
The Cyrillic alphabet has
enjoyed centuries of status quo, interspersed with
brief periods of dramatic
reform. Today is one
such period, as Russian
graphic designers work
to break new ground and
to meet the demands of
discerning clients.
Text Tobin Auber Photo Getty Images
The A to R
of the Russian
Alphabet
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2010-05-27 16:45:28
Jan Willem Stas 60 by Vera Evstafieva
Under the
Soviets, there
weren’t dozens
of publications, and
there weren’t
any adverts.”
Vladimir Yefimov,
art director at ParaType
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C
Letter yo cookie by Vera Evstafieva
yrillic, the alphabet used in Russia and
elsewhere, is in the middle of a revolution. Older
Cyrillic fonts and typefaces are getting a facelift,
and new ones are being created, thanks to the efforts
of a group of young graphic designers dedicated to
improving the look of the Russian language – on the
screen and on the page.
In 862–863 AD, two Greek monks, Cyril and
Methodius, were sent to Eastern Europe to spread
Christianity. To that end, they translated the Bible
into the language of the local peoples, now known as
Old Church Slavonic.
Drawing on their Byzantine traditions, the two
monks used the Greek alphabet, but they added certain letters for uniquely Slavic sounds that couldn’t be
rendered by the Greek letters. Thus the first Cyrillic
alphabet was born, an alphabet of 43 letters.
At various points over the centuries there have
been attempts to improve both the alphabet’s content
(the number of letters) and its form (the look of those
letters). In the early 18th century, for example, Russian Tsar Peter the Great lopped off several letters and
stipulated that Westernised forms of the letters be
used rather than the tall, narrow letters that characterised the previous alphabet.
There were other minor changes over the centuries,
but it was the Soviets who carried out the most radical
Writing schemes by Vera Evstafieva
adjustments, further reducing the number of letters to
just 33 and creating the Russian alphabet as we know
it today.
Vladimir Yefimov, art director at ParaType,
a Moscow-based design agency that specialises in
creating new Cyrillic fonts, notes that the changes
brought about by the Soviets in 1917–1918 did little
to improve the look of the written language and in fact
heralded a prolonged period of stagnation.
“Under the Soviets, there weren’t dozens and
dozens of publications, and there weren’t any adverts,”
Yefimov says. “As long as there was something to
assemble the type in, that was enough. There were
only about five typefaces for the whole of the Soviet
Union, and it never even occurred to anyone that there
was any shortage.”
But with the fall of the Soviet Union, that situation
changed, and a massive new demand for Cyrillic typefaces appeared – a demand that is still far from being
met, Yefimov says.
“THERE ARE STILL far fewer Cyrillic fonts than Latin
fonts,” he says. “At ParaType we’ve been trying to
change that situation.” One approach the company
employed was to run a competition for font designers,
K2009, timed to coincide with the 300th anniversary
of Peter the Great’s reforms of the Cyrillic alphabet.
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Leksa by Alexandra Korolkova
Belladonna Pro by Alexandra Korolkova
Fourty-Nine face (left) and Gorodets (right) by Alexandra Korolkova
Leksa by Alexandra Korolkova
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Alexander Konoplyov, a professor and graphic
design lecturer at the Moscow State University of
Printing Arts, served on the jury of K2009. He says
that it’s events like K2009 that are crucial in spurring
interest in Cyrillic font design. “As a person who uses
typefaces rather than creating them, I’m a typical user,
and I’m always finding myself faced with a shortage of
fonts,” he says.
Konoplyov notes that Cyrillic is in some regards
playing catch-up. “The range on offer in the Latin
alphabet is huge,” he says. “I couldn’t tell you how
far behind the Cyrillic alphabet is; I can only say that
there’s still a lot of work to be done.”
As a graphic designer, Konoplyov wants to see new
Cyrillic fonts that have a universality that allows both
Cyrillic and Latin versions to be created. Specific barriers hampering that universality include letters that are
unique to the Cyrillic alphabet, such as Ж, П, Э, Ы
and Ч, and letters that are common to both alphabets
but differ in their construction, such Д and Л for D
and L respectively.
BUT UNIVERSALITY shouldn’t mean merely taking Latin
fonts and adding in the missing Cyrillic letters, argues
K2009 prize winner Sophia Safaeva. “Even if you’re taking an excellent font that’s been created by real artists
and just filling in the gaps with the additional Cyrillic
letters, there’s much less creativity involved,” she says.
“You avoid all those limitations if you create a new joint
Cyrillic and Latin font from scratch. Both the Latin and
Cyrillic letters are improved.”
Another prize winner at the K2009 competition,
Ilya Ruderman, also stresses the importance of starting
the design process from a clean sheet. “Graphically, I
think the Cyrillic alphabet, with all its traditions and
capabilities, is incredibly beautiful, but when you’re
designing a new font you really have to work in parallel
on both the Cyrillic and Latin, because some things you
can do with one alphabet just won’t work in the other.”
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2010-05-27 09:32:57
Only someone who first
learned to read in Cyrillic is
really capable of feeling the
Cyrillic alphabet.”
Ilya Ruderman
Right: BestLife, Cyrillic type
design by IlyaRuderman.
Belladona in use by Alexandra Korolkova
Prorok in use by Alexandra Korolkova
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Left: Legends of rock
calendar by Vera Evstafieva.
Ruderman, a curator and teacher at the British
Higher School of Art and Design in Moscow, also
points out that, in his view, simply being a very capable designer of fonts isn’t enough when it comes to
Cyrillic. “I think that the creation of any localised font
has to be done by someone who learned their ‘ABCs’
in that alphabet,” he says. “Only someone who first
learned to read in Cyrillic is really capable of feeling
the Cyrillic alphabet.”
However, although the creative challenges of
developing new Cyrillic fonts remain, the future looks
bright. General trends on the Russian market are
encouraging, says Yefimov.
“The current economic crisis has had a negative
effect,” he says, “but there are an increasing number of
customers looking for new fonts, ranging from foreign
companies looking for a Cyrillic style to match their
company style to publishing houses or magazines and
newspapers looking for something distinctive.
“The general culture in this sector is improving,”
he says. “People are getting formal education in
design and beginning to understand the advantages of
acquiring the rights to good fonts in order to improve
quality and to make sure no problems arise during the
printing process.”
Safaeva agrees. “Major clients have begun to realise
that they need their own fonts for their printed
materials and publications,” she says. “They may still
have a far keener sense of this in the West, but Russia
is improving at a frenetic pace, and the situation is
beginning to balance out.”
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Major clients
have begun to
realise that
they need their
own fonts for
their printed
materials and
publications.”
Sophia Safaeva,
K2009 prize winner
Award-winning Novinka by Sophia Safaeva.
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2010-05-27 09:33:12
PROFILED
Papercutter
Text Alessia Wistén Photo Ed Miles
DESIGNS
WITH
DEPTH
Rob Ryan creates art with
paper and a scalpel.
DESIGNER ROB RYAN’S art is romantic, fragile
and whimsical. His designs often depict young
lovers, fairytale settings, garlands and small
birds. The pictures are almost always accompanied by memorable or amusing words.
Oddly enough, it was precisely to avoid words
that Ryan gave up graphic art, with all its letters,
and chose to cut his motifs from paper instead.
“I tried to find a method that made it impossible to use text,” he says.
Gradually, however the words have begun to
creep back in.
“I realised that if I didn’t fold the paper, so
the motif was slightly asymmetrical, I could cut
words out.”
Ryan has achieved his greatest successes with
his papercut designs. He has created many record
and book covers, collaborated with fashion
designer Paul Smith, made a fairytale dress
from paper for British Vogue and a cover for the
Times Style & Design supplement. He takes his
inspiration from everything around him.
“Primarily I’m inspired by being alone, but
it could be anything from sorrow, city parks
and good people to children who are lonely
and wise.”
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Rob Ryan has achieved
his greatest successes
with his papercut
designs. He has also
written and illustrated
the book This is for you.
2010-05-27 09:33:26
Mystery
in a glass
Intermezzo, Orrefors’ glass with the blue drop, has become a classic. This year
the international best-seller celebrates its 25th anniversary.
Text Susanna Lindgren Photo Peter Cederling (portrait) and Orrefors
E
rika Lagerbielke is one of Sweden’s
best-known glass designers, and her
most famous creation is the Intermezzo glass – the glass with the mysterious
blue drop – that she designed for Swedish
glassmaker Orrefors early on in her career.
Lagerbielke started at Orrefors when she was
22 years old, fresh from the University College
of Arts, Crafts and Design in Stockholm. Dragging a bright red suitcase, the cosmopolitan young
woman stepped off the railbus into the small industrial
community in southern Sweden where the glassworks is
situated. In addition to standing out against the grey wintry
landscape, the red suitcase was a promise of things to come
– of the many colourful visions Lagerbielke was to bring to
Orrefors during her long career there.
Lagerbielke’s first brief was to design a new set of glasses.
“The assignment was to design a youthful glass,” she recalls.
“Since I was the youngest designer I was considered the most
suitable [for the task]. Colour was exactly what Orrefors
needed at the time, but I didn’t truly understand the challenge
I was facing.”
In 1983, when Lagerbielke came to Orrefors, the Swedish
design climate was still strongly influenced by the recession
of the 1970s. Everything was colourless. Food processors were
white, vacuum cleaners were beige.
“The 1980s marked a return to visual pleasure,” Lagerbielke
remembers. “Consumer goods began taking on colour – coffee
makers in mint green, for example. But the idea of
introducing colour in formal glass production
was met with scepticism.”
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Orrefors management proved to be quite
open, however, she says. While Lagerbielke
was instructed to retain the Orrefors’ formal,
­timeless look, she was also asked to somehow
make it new.
W
hat Lagerbielke came up with was a glass
with a coloured drop in its stem, and it
was a design classic even on the drawing
board. Of course having air in a glass stem was not new.
But the fact that the drop was to be blue was new, and it was
a challenge. You couldn’t colour the air blue; the glass itself
needed to be coloured. The question was – how?
“I think only Erika and I thought it would succeed,” recalls
Hans Johansson, an instructor at Orrefors at the time and the
glassblower responsible for producing samples for new products. Although several of the masters at the glassworks said that
what Lagerbielke wanted couldn’t be done, Johansson had already
worked with Lagerbielke and knew her capabilities.
“She was talented, persistent and determined, and she refused
to compromise,” he says. For his part Johansson had more than 30
years under his belt as a glassblower and had succeeded in translating most design ideas into reality so he was equally determined,
even though Lagerbielke’s idea took him into new territory.
“This was a technique that hadn’t yet been invented,” Johansson
explains. “It involved blowing the bubble and then finding a good
way of colouring it.”
It took a full year to develop the technique to the extent that the
glass could be produced at the same rate as other wine
glasses. Sometimes the colour was wrong, and even
when it turned out right sometimes the colour ran.
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2010-05-27 16:46:00
When designing
a set of glasses, it’s
essential to focus
on the way a
mealtime evolves.”
Erika Lagerbielke
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In the end Orrefors management told Lagerbielke and
Johansson to stop. The experimentation was taking up
far too much valuable production development time.
But Johansson had the keys to the glassworks and
continued working on the project on his own time.
“Problems like these are there to be solved,” he says.
“That’s the fun part.”
says. “How do people socialise? How are the tables
set? What is considered desirable, beautiful, pleasant?
It’s not just about the objects, but also about habits
and customs. You have to keep an ear to the ground
and think about the role glasses play in people’s lives.”
The dining table plays a central role in Lagerbielke’s
creative process. Since Intermezzo she has designed several popular sets that have won awards both in Sweden
and internationally. Today she is a freelance designer
with her own studio on the site of the old glassworks.
Her own glassware fills the shelves and windowsills –
a colourful frame to her work.
Lagerbielke divides her working life between
Orrefors, a studio in Stockholm and a professorship
in glass design at Linnaeus University in Kalmar and
Växjö. Many glassworks have closed in Sweden’s glassmaking region, and production has become increasingly centralised. But Lagerbielke remains optimistic
about the future of her field.
“I can see parallels with the food sector, where the
trend is towards unique, small-scale, locally produced
food,” she says. “Not all people fit into all the target
groups. I believe there are opportunities for profiled
small and medium-sized producers.”
But, Lagerbielke emphasises, to succeed glassworks
must be good at clarifying the difference between
mass-produced glass and unique, hand-blown glass.
“The branding aspect has to be clear and
strong,” she says.
Left: Glassblower Hans
Johansson developed the
process that made
Intermezzo possible.
Intermezzo has been
Orrefors’ best-selling glass
since it came to the market.
J
ohansson carried out much of the experimental
work alone or with other skilled craftsmen and
women. “All of a sudden,” recalls Lagerbielke,
“one day I saw several glasses that looked quite good.”
The first tough step towards the success that Intermezzo would become had been successfully taken.
This year Intermezzo is celebrating its 25th anniversary. No one is willing to reveal how the challenge
was eventually resolved, but since that time around
the world glasses have been raised that carry the
mysterious drop, mostly in the classic blue but also
in green, black and most recently white. Johansson,
who is now retired, would like to see a gold drop and
believes that it might be accomplished someday.
Looking back, Lagerbielke says, “I think Intermezzo is a tremendously good piece of craftsmanship,
particularly the champagne flute. The shape harmonises so well with the drop itself.”
She recalls how she developed the shape at the
kitchen table in the small apartment she was renting in
Orrefors. “I sketched and erased, sketched and erased,”
she says. “I was new and didn’t have the craft-related
experience I have today, but it was incredible fun.”
“When designing a set of glasses, it’s essential to
focus on the way a mealtime evolves,” Lagerbielke
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2010-05-27 09:33:50
PROFILED
Adding extra
Text Michael Lawton Photo Thomas Müller
Printers who want to add
something extra to a
magazine cover, a label or
a packaging turn to Gräfe.
FEELINGS
IN PRINT
Less is often more at Gräfe
“TECHNOLOGY IS SECONDARY,” says Oliver
Hermey. “You’ve got to have all that, of course,
but what’s important are feelings and messages.”
Hermey is sales manager for print finishers
Gräfe Druck und Veredelung, founded in 1928
and based in the northwestern German town of
Bielefeld. The company offers outstanding finishing of printed products, and its aim is to give
customers what they really want – even if they
don’t really know it yet.
“We have all the machines,” says Hermey,
“so we can always choose the best technology for
each particular project.”
Hermey picks up a commemorative book
prepared for the 110th anniversary of electrical
goods manufacturer Miele. “Look at this,” he says,
pointing to the cover, which looks like it’s made
of matt stainless steel but is in fact paperboard.
That was the challenge of the project – to create
a cover that looked like the few that were actually
produced in steel.
“We used cold-foil transfer,” Hermey explains.
“The silver foil on the front is over-printed in
four colours with a fine pattern to give the foil the
structure of the matt steel.”
Hermey is enthusiastic about the possibilities
opened up by cold-foil transfer, but he says it will
remain a niche product. “It makes up perhaps
10 to 15 percent of what we do,” he says, “but it
won’t replace hot-foil stamping.”
Most of Gräfe’s work is for printers (the Miele
book was an exception), who typically want to
add that extra something to a magazine cover, a
label or packaging. With foil, lacquer, embossing
and print, Gräfe can give paper products a wealth
of sensory effects.
But, warns Hermey, the user mustn’t be overwhelmed. “We sometimes try to put the brakes
on our customers,” he says. “Less is often more.”
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DESIRED
Photo Robert Hagström
Objects
A DATE TO
REMEMBER
Calendar
A calendar is the ideal way of showing your
know-how and expertise. At least that’s certainly
how Ichikudo Printing of Japan see it. Last year it
attracted a great deal of attention with its chair
calendar, which won bronze at the International
Calendar Show in Stuttgart. The people at Iggesund
Asia fell in love with the calendar and asked
Ichikudo Printing to make one for them. The result
is an exquisite calendar that can be hung on the
wall, stood on the desk or, most creatively of all,
folded into a small chair with the back showing the
current month.
The calendar is printed on Invercote Duo
770 g/m². The January–June sheets are printed in
four-colour with red hot foil stamping, and the July–
December sheets in two-colour also with red hot
foil stamping. For the beautiful envelope, which is
printed on Invercote G 240 g/m², six-colour printing
and a semi-matt varnish by silk screen are used.
The calendar is die-cut manually.
ALESSIA WISTÉN
Client: Iggesund Asia.
Designer: Hosoyamada Design Office.
Printing: Ichikudo Printing.
Techniques: Two-, four- and six-colour printing,
red hot foil stamping, semi-matt varnish by silk
screen and manual die-cutting.
Material: Invercote Duo 770 g/m² for the calendar,
Invercote G 240 g/m² for the envelope.
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www.iggesund.com
2010-05-27 16:46:16
DESIRED
Objects
Photos Robert Hagström
WALLCOVERINGS
IN NEW GUISES
Wallcovering book
Vescom produces exclusive wallcoverings
and textiles that adorn everything from hotels to
palaces. The company has previously released
classic wallcovering swatch books with samples of
the various patterns, including Swarovski crystals,
but this time it wanted to do something different.
Vescom decided on a book containing both traditional swatches and interior images featuring the
wallcoverings.
“Experienced architects need only a small piece
of material to make a decision,” says Kerstin Jacobs
of Vescom. “But many of our products are used for
hotels and private homes. These customers don’t
really have the experience to be able to envisage the
end results from just a sample.”
Vescom entrusted the task of producing the book
to Melvin Bruschke at Kunstdrukkerij Mercurius,
who brought together bookbinders, paper consultants and technical specialists from the printing
works to discuss how to achieve the desired result.
They decided that the book’s spine should be
Client: Miele, Germany.
Design: A3plus Integrierte Kommunikationsprozesse.
Cold foil cover: Gräfe Druck & Veredelung GmbH.
Printing and binding: Kösel GmbH und Co. KG.
UV printing: Heidenreich Print GmbH.
Cover material: Invercote Creato 400 g/m².
Techniques: Cold foil transfer, flocking, blind embossing,
various lacquer combinations, matt foil lamination,
glossy UV-spot varnish, creasing and binding.
bound by glue binding and reinforced with a linen
strip. Lasercutting was used for the pages that were
printed on paper and paperboard – Invercote Creato
300 g/m².
One major challenge in the process was gluing
the wallcovering swatches. It was extremely important that the pieces were cut with high precision
because the silk in the wallcoverings frays very easily,
and were someone to accidentally cut one of the
Swarovski crystals, the blade would break.
ALESSIA WISTÉN
Client: Vescom, the Netherlands.
Designer: Dirk Laucke, Grafisch Ontwerp.
Production and printing: Kunstdrukkerij Mercurius.
Paper consultant: Menno van den Bosch, Proost
en Brandt Papier.
Binding: Binderij Patist.
Material: Invercote Creato 300 g/m².
Techniques: Offset printing on a Heidelberg XL, diecutting,
lasercutting, embossing and glue binding.
110 YEARS OF HISTORY
Anniversary book
When Miele celebrated its centenary 10 years ago, the company
took the opportunity to produce a
book about what had happened at
the company and in the wider world,
since the beginning. The book was
very much enjoyed by employees,
customers and business partners.
Since then, it has become even
more important to nurture business
relations, according to Advertising
Material Manager Jürgen Lindhoff.
“When we communicate with
international business contacts,
it’s important to show what a long,
tradition-rich history Miele has. For
that reason we decided to reprint our
popular centenary book and add a
chapter on developments in the past
10 years.”
Two versions of the book were pro-
duced. One is an expensive, exclusive
version with the Miele logo embossed
into the stainless steel cover. The
other has a cold foil cover instead.
Miele put a lot of energy into
producing the books, which have
been printed in eight languages. The
exclusive version also contains five
special pages with different papers
and printing techniques. One page
was made from wood veneer. The
other pages contained flocking,
blind embossing and various lacquer
combinations.
The cover is converted quite extensively: Inline cold foil transfer and
printing inline on the cold foil transfer
with a 4c-print, matt foil lamination,
glossy UV-spot varnish, blind
embossing, creasing and binding.
ALESSIA WISTÉN
Do you have any ideas for the Desired Objects pages? We’re looking for innovative packaging design and graphic products that feature material from Iggesund Paperboard.
Please send in samples, along with background information to: Inspire, Iggesund Paperboard, SE-825 80 Iggesund, Sweden.
www.iggesund.com
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STEFAN HERMSEN
Packaging consultant for Dutch
branding agency Design Bridge, making designs happen in production.
“ I’m getting inspired about inspiring other people. I love to learn about
techniques and to think about how
something done in one area can be
translated to other areas. Here we see
how texture can be added to paperboard. That sparks questions, like
whether some of these methods used
could be alternative ways to create
texture in other materials, like glass.”
MARCO
MIRABELLA ROBERTI
Owner of MStudio, an Italian design
firm specialising in corporate identity
(e.g., magazines, sustainability
reports, annual reports, brochures
and exhibitions).
“I thought this was an experience I
could not miss. I know Invercote very
well and use it often. I was curious to
see the mill, to see how the paperboard is produced from tree to finished product. The spirit here at
Iggesund is good.”
KIRSTEN GROSSMANN
German freelance producer for various advertising agencies in Germany
and smaller direct customers who
receive all-round development,
including creation.
“Paper is a very big passion of
mine, and I love working with it. The
combination of Scandinavia and
paperboard is perfect.”
JÖRN PLENZ
Deputy Head of Production at
Muehlhausmoers Kommunikation,
a German agency that produces
customer and employee magazines.
“ I have a lot of experience with
paper but not as much with paperboard, so I am learning a great deal. I
was in Sweden 10 or 12 years ago,
and this is the first time since. It’s
fantastic to visit the Swedish forest,
especially now, in winter.”
FIELD TRIP
The Designers Club of Iggesund Paperboard
inspires and educates its selected members
and develops their awareness of the quality
and potential of Invercote. Club members are
also sometimes invited to visit the mill.
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Text Linas Alsenas
Photo Per Trané
EIGHT MEN AND WOMEN stared down in awe
at the expanse of paperboard rolls filling the
warehouse facility in Iggesund, Sweden – a
massive landscape of finished product just
waiting to be put to use by paper professionals like themselves. For most of these Designers Club members, it was their first trip to
www.iggesund.com
2010-05-27 16:46:34
MENNO
VAN DEN BOSCH
Paper consultant at Dutch paper
merchant Proost en Brandt.
“I find it fascinating to see what
Iggesund does in the forest to
become CO2 neutral, not just to get
the right quality for their products.
I’m a spider in the web of relationships involving paperboard, so it’s a
wonderful opportunity to talk to
others in the Designers Club.”
ELLEN LUIJCKX-RUST
Paper consultant at Dutch paper
merchant Proost en Brandt.
“I’ve been working for Proost en
Brandt for 16 years, and it’s the best
job there is. When you work with
paperboard for a long time, it’s nice to
go back to basics – to actually see the
mill, for example. It’s also nice to
interact with clients and producers at
the same time, learning from other
countries and seeing what they deal
with on a daily basis.”
Sweden, and a unique opportunity to observe
the paperboard-making process in person.
“I’m really proud of this event,” says
Melodie Logan, who runs Designers Club
from Iggesund’s Amsterdam office and helps
guide the visitors in Sweden. With roughly
85 members in eight different countries,
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10INS35_endesigners_1899.indd 19
STÉPHANE ARNAULT
Prototype consultant at Studio
Goustard, a French agency working
with packaging needs for cosmetics
and alcohol.
“I’m here to see and understand
what I use every day. It’s quite different to actually see the huge rolls of
paperboard, compared with my
regular office experience. It’s amazing to see the forest and the mill, and
it’s particularly interesting to observe
the company’s sustainability and
ecological practices.”
the club sometimes offers mill visits as an
opportunity for members to meet and share
experiences. The visit itself is an experience, a chance to view the huge scale of the
paperboard-making process in a uniquely
intimate way. Not only do visitors tour the
forest, the mill, the paperboard plant and
BART DIJS
Project manager for Dutch print
management company Platform P.
“At my company, we don’t have our
own print capacity, but we manage
the process for our clients. We select
the best supplier to produce the
product and take responsibility for
the planning and quality. It is my first
time visiting Sweden, and I’m very
excited about this whole trip.
Iggesund takes great care of us. It’s
a once-in-a-lifetime experience.”
other company facilities, but they also create
their own signature papers with resident
artist Inger Drougge-Carlberg at her studio,
workshop paperboard with designer Niklas
Fagerholm, and learn about Iggesund’s
sustainability practices with PR Manager
Staffan Sjöberg.
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The art of
cold foil
In contrast to other special effect foil applications,
cold foil application can be made in an offset
printing machine. The applied foil can subsequently
be overprinted, which makes it possible to achieve
a wide number of colour nuances.
Text Karin Strand Illustration Kjell Eriksson
Glue (yellow) with a high tack level is
applied as a spot ­application using an
offset ­inking unit and offset plate.
The foil (red) is
applied to the printing stock using
pressure. The foil is
carried by a plastic
backing (dark blue).
Paper sheets (blue)
Photo:xx xx
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www.iggesund.com
2010-05-27 09:34:55
BRILLIANT
EFFECTS
AND GLOWING
COLOURS
The cold foil technique results in a
shimmering surface
and if overprinted the
foil creates a variety
of glowing colours
and striking effects.
The backing is removed
along with the foil waste and
the cold foil remains stuck to
points on the sheet to which
glue was applied. Its high
tack level leads to extremely
precise results.
The areas colored
red on this image of
Inspire’s cover shows
the gear wheel with
cold foil application
in silver overprinted
with four colours.
The result is brilliant metallic effects for fine details and
print on the foil can create a variety of colour tones.
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10INS35_eninfographic_1896.indd 21
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PROFILED
Paper specialist
Text Karin Strand Photo Irmelie Krekin
THE RIGHT
CHOICE
Eva Knapp knows what
does and doesn’t work
in choosing material for
books, catalogues and
brochures.
Eva Knapp, a mine of
paper knowledge.
WHEN PRINTER Fälth & Hässler in Värnamo,
southern Sweden, receives an order, all kinds of
staff become involved in the creative process.
For example, sales executive Eva Knapp often has
opinions and suggestions on the choice of paper
or paperboard.
“I have a background in Svenskt Papper and as
a freelance foreman,” she says. “I know what does
and doesn’t work, in choosing both a material and
a format.”
Fälth & Hässler primarily prints and binds
books, catalogues, brochures and posters. Before
any printing takes place many hours are spent
adapting the images.
“We all have different interests and skills, and
it’s nice to bounce solutions off each other,” Knapp
explains. “This kind of teamwork leads to a good,
high-quality product.”
“I often have views on the choice of material,”
she continues. “It’s important to look at the function and make your choice accordingly. You have to
have the courage to tell customers if they’ve chosen
something that doesn’t work.”
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www.iggesund.com
2010-05-27 09:35:26
M
PL EN
EA U
SE
Before any food reaches the table, diners at fine
restaurants around the world are always served
an initial delicacy: the printed menu.
1. WARSAW
Poland
Situated a spring roll’s throw
from the stunning Lazienki
Park, Lemongrass brings
top-class Oriental cuisine to
Warsaw’s restaurant scene
– and also surprises with its
innovative interior design.
With its natural materials and
subdued coloured lighting,
this is one of the only eateries
in Warsaw that features “free
space”. In a city where the
laminated and spiral-bound
menu reigns supreme,
Lemongrass stands head
and shoulders above the
competition. Its menu has a
matte black-embossed card
cover and is held together
by an insert pocket on which
the restaurant’s modernist
logo is unobtrusively printed
in gold ink.
Lemongrass, Al. Ujazdowskie
8, 00-478, Warsaw
MAT FAHRENHOLZ
1
5
2
3. RIO DE
JANEIRO
Brazil
Swedish minimalism is not
something you’ll find at
Brasserie Le Rouge in Gamla
Stan, Stockholm’s Old Town.
In fact, it is more reminiscent of the Moulin Rouge
or a French boudoir with its
red velvet walls, cut-glass
chandeliers and padded
chairs. The brasserie is one
of the latest additions to the
Swedish restaurant empire
F12, owned by chefs Melker
Andersson and Danyel
Couet. Even the printed
menu is evocative of fin de
siècle France with its classic
Renaissance typeface, ornamentation and illustrations of
cancan dancers.
Brasserie Le Rouge, Brunnsgränd 2-4, Stockholm
It´s hip and high-end –
without losing any of Rio´s
informal charm. Overlooking
the Lagoa waterfront on the
Jardim Botânico side, Mr.
Lam is not only Brazil´s best
Chinese restaurant, it’s proof
of growing cosmopolitanism
in Rio. Since its opening in 2007, Mr. Lam has
impressed Rio´s beautiful
crowd with its contemporary
style and revamped Beijing
cuisine. “Mr. Lam is sophisticated but easygoing, and
this is reflected in our menu
presentation: no complicated
layout, but a Vergé luxury
paper,” explains manager
Yann Lesaffre. “The Chinese
aspect is only discreetly suggested by our sun logo and a
stylised dragon watermark.”
Mr. Lam, Rua Maria
Angélica, 21 – Lagoa
ALESSIA WISTÉN
RICHARD BEER
2. STOCKHOLM
Sweden
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10INS35_enmenus_1897.indd 23
5. BRUSSELS
3
Belgium
Set inside the Time Warner
Center, the restaurant serves
American Nouveau and
French cuisine. Like the
muted tones of the dining
room, the printed menu is
understated. Its creamy,
heavyweight – but supple –
paper, 14 inches long, is a
pleasure to hold.
Per Se, Warner Center,
10 Columbus Circle
Belgians are very demanding, and they eat out a lot.
Among connoisseurs, one of
the most talked about places
is Bon-Bon. This restaurant
has been fully booked since
chef and owner Christophe
Hardiquest opened it seven
years ago. The clientele is a
mixture of trendsetters, business people and tourists, and
they go there to experience
organic and origin-certified
products that Christophe
Hardiquest transforms
into taste sensations. The
printed menu relies on two
paper qualities: The cover is
chosen to be durable, and
the inside, an ordinary paper,
is replaced every third week
as the menu is renewed.
Size wise, the menu is small;
otherwise you won’t be able
to look at your company
while reading it.
Bon-Bon,
Rue des Carmélites, 93
THETA PAVIS
TOVE M GJESSING
4
4. NEW YORK
USA
In this restaurant-obsessed
city, it’s sometimes hard
to remember that there’s a
recession going on. Fancy
Italian eateries, hotel restaurants and USD28 hamburgers are recent trends. The
highly regarded Per Se
restaurant may look sedate,
but its food is sensational.
You’ll find celebrities, media
elite and well-heeled food
lovers here, eating in rapture.
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2010-05-27 09:35:46
Dig that
digital!
“I want the red one!” Although this sounds like the whine of
a cranky 3-year-old, most businesses know that a customised
product on demand is what today’s customers want and expect.
Enter the world of digitalisation …
Text Michele Jiménez Illustration Nils-Petter Ekwall
T
hanks to digital technology and the opportunities it creates for product customisation,
consumers today often select for themselves the
features of the products they buy. This presumption
of choice is especially strong in the printing industry,
where customers are requesting smaller print runs,
and they want them more quickly. How are printers
responding to this challenge?
One of the most obvious changes in print technology
is the reduction in “make-ready” – the number of steps
in the set-up time for press-related, pre-print tasks. In
recent years, widespread use of digital files has reduced
make-ready from several hours to just a few minutes. In
addition, modern printing presses incorporate a substantial amount of digital technology into the printing
process itself, which has led to less waste and lower
labour costs in contemporary printing operations.
But despite these efficiencies, classic print technologies such as offset and gravure continue to involve
a certain amount of make-ready. They also permit
only limited customisation of the print job. They are,
therefore, best suited to long print runs where many
copies of the same thing are needed.
Digital printing, however, uses different technolwww.iggesund.com
10INS35_enprint_1895.indd 25
ogy. The ink or toner does not permeate the material
to be printed (the substrate) as does conventional ink.
Instead, it forms a thin layer on the surface and may
sometimes be additionally adhered to the substrate
using a fuser fluid with heat (toner) or ultraviolet
curing (ink). No printing plates are required, which
virtually eliminates make-ready.
C
opies printed digitally can be customised
quickly and easily, making digital printing
an attractive option for projects with variable data. But its cost per sheet is high compared with
offset or flexography. Until recently, it has been costeffective mainly for short runs (500 sheets or fewer).
To address the cost-effectiveness gap between
standardised long runs and customised short runs,
some printers have turned to hybrid machines, which
offer, for example, both offset and digital printing.
But hybrids are a transitional solution, says Frank
Romano, Professor Emeritus of the Rochester
Institute of Technology in the United States.
“Over time, digital machines will replace hybrid
ones,” he predicts.
“Recent changes in digital print technology are
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“Printers who prosper in the future
will be those who can meet a
variety of needs using the most
cost-efficient technology to do it.”
Frank Romano, Professor Emeritus of the Rochester
Institute of Technology, United States
making it a very competitive alternative to offset
lithography and flexography,” explains Romano,
whose belief in the future of digital printing has
earned him the nickname of “Mr Digital”. Based on a
trend projection he’s done, Romano says that within
10 years, half of all offset and flexography will be
replaced by digital printing.
There are two types of digital printing: laser and
inkjet. Laser is a toner-based technology that uses a
“click-charge” model. Each time an item is “clicked”
or selected, there is a fixed cost for printing it. Inkjet
technology follows a “volume” model, where economies of scale can be achieved by adjusting the amount
of the desired item.
H
ow? “There are two kinds of inkjet printing
– continuous and drop on demand,” explains
Romano. “Continuous involves a steady flow
of ink to the substrate. Drop on demand uses heat or
pressure to produce a bubble of ink for each image.”
“With the new kinds of printer heads being developed, it is now possible to produce high-quality printed materials such as labels and promotional materials
at high speeds cost-effectively,” he says. “Inkjet
technology today can compete with high-speed offset,
HIGH-QUALITY
PAPERBOARD
TODAY AND
TOMORROW
The focus today is structure.
As presses get faster, the
tolerance levels for substrate
deviation such as shape,
strength and flatness are
quite small. The structural
quality of the substrate is
very important for a particular application or for a
specific press.
The focus of tomorrow is
finish. New coatings and
finishing techniques such as
cold foil stamping and online
varnishing are flourishing.
With digital printing, entirely
new coating and finishing
technology will emerge for
extraordinary colours.
flexography and other traditional technologies.”
It also allows the advantage of customisation.
In high-end packaging, toner-based technology is
currently in use, but the paperboard must be coated
and finished to meet the print specifications for each
type of toner device, which makes it a relatively
expensive choice. As inkjet technology, which requires
less substrate specification, improves, it will become
a more attractive option in packaging.
Of course, flexography, gravure and lithography
will not disappear, Romano says. But their use will
become more specialised and limited to jobs that best
suit their particular strengths.
In the end, it comes back to consumer demand
– giving customers what they want, when and how
they want it. Printers who prosper in the future will
be those who can meet a variety of needs using the
most cost-efficient technology to do it, says Romano.
They’ll be the ones who know how to profitably satisfy
the customer’s inner child!
DEFYING THE TREND: Central and Eastern Europe
Small printers are disappearing
as demand for print media declines. But small print operations
in Central and Eastern Europe
and Russia are booming, largely
because of a few specific factors.
Pent-up demand: Before the
collapse of communism in the
late 1980s, the print industry was
state-owned and tightly controlled. Following the events of 1989,
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small private print shops sprang up
overnight. New printers, who were
starting from scratch, accessed
state-of-the-art technology. This in
combination with low labour costs
allowed them to thrive.
Rapidly growing regional print
market: The forecast growth of
the print market in Central and
Eastern Europe is 51.4 percent
for 2006–2010.
Proximity: As manufacturing in Western
Europe shifts eastward,
printers in the region have
found themselves at the
heart of new manufacturing and, consequently,
new packaging and printing opportunities within
their own borders and in
nearby countries.
www.iggesund.com
2010-05-27 09:36:02
INFORMED
Iggesund news
A graphics
handbook
for inspiration
WHAT CAN I ACHIEVE by using paperboard
instead of paper for graphics applications?
Iggesund Paperboard’s Graphics Handbook
answers this and many other questions. The
book, which is aimed at both graphic designers and printers, gives examples of many
different paperboard techniques and
describes how to achieve them.
“The techniques described are
relevant to anyone who wants to
develop their creativity to new and
exciting levels,” says Jonas Adler,
applications specialist at Iggesund
and one of the book’s authors.
A technical section in the book
advises printers on how to achieve success
with paperboard.
“Throughout much of the graphics industry there is uncertainty about paperboard as
a material,” Adler says. “People would rather
use a thick grade of a brand of
paper that they know,
even if they lose out on
the many advantages
paperboard would have
given them.
To see an excerpt of
the Graphics Handbook
and to order it, visit
www.iggesund.com.
IGGESUND ANCHOR
MATERIAL ON THE WEB
KNOW-HOW IS ESSENTIAL in achieving the
best results in the printing process and in packaging manufacture. To help its customers to
achieve the best results, Iggesund Paperboard
has systematically compiled an extensive body
of knowledge material, the Iggesund Anchor
Material. It consists of the Paperboard Reference
Manual, the Product Catalogue, the Graphics
Handbook and Paperboard – the Iggesund Way.
The Reference Manual is the most extensive
and technical of the Iggesund Anchor and is primarily meant as a consultative document. The
Product Catalogue comprises facts and figures
about the properties of Invercote and Incada,
product specifications and general technical
information about paperboard handling, quality
assurance, product safety regulations, sustainwww.iggesund.com
10INS35_ennews_1900.indd 1
ability and paperboard terminology. Specifications for Invercote, Incada, board laminates,
plastic coatings and foil and film laminates are
available at Iggesund’s website in a downloadable pdf format. Paperboard – the Iggesund Way
contains basic facts about Invercote and Incada
and the paperboard manufacturing process,
customer support and service. The Graphics
Handbook (see above) provides technical information for graphic designers and printers.
Most of the Iggesund Anchor Material is
available in e-magazine format. As an extra
service Iggesund Paperboard is now providing
the Iggesund Anchor Material on its website,
www.iggesund.com. The online version will be
continually updated and thus will prevail over
the print publications.
INVERCOTE
CERTIFIED
COMPOSTABLE
INVERCOTE from Iggesund
Paperboard is now certified for industrial composting. The certification guarantees that the material is
biodegradable in accordance with the European
standard EN 13432.
Since Invercote is used
for the new bioplasticcoated product Invercote
Bio, Iggesund can now
offer a material with documented biodegradability.
The bioplastic material
used is Italian company
Novamont’s well-tested
Mater Bi.
“We firmly believe
that both the baseboard
and the barrier material
should live up to the same
quality demands in terms
of resource, energy and
environmental strategies,”
says Jonas Adler, commercial manager of Iggesund’s
value-added products.
“A paperboard coated
with bioplastic has a
fantastic future,” he says,
“because it fits into all the
future waste scenarios prescribed in the EU’s packaging directive, be they
recycling, energy recovery,
composting or anaerobic
treatment.”
inspire • inspire 27
2010-05-12 10:57:25
CO10007E
10INS35_encover_1887.indd 28
2010-06-04 10:50:51