a magazine from iggesund paperboard issue 49 2015 · the movable 3d greeting card to a new level....

A MAGAZINE FROM Iggesund paperboard ISSUE 49 2015

editorial

There’s always an app, a program or at least a cloud service that can solve your problem.

or is there really? are there not occasions when creativity, good judgement, a sure hand and long experience can trump all the digital assistance we surround ourselves with? and most systems, however sophisticated, still suffer from the old problem of gigo. gigo stands for “garbage in, garbage out”, and was minted by system

developers back in the 1960s, when they had not the least idea of the computer power we would all have in our pockets half a century later. the term means that whatever a computer turns out is only as good as the data that humans enter into it – a fact that is as true now as it was then.

But of course gigo means there is hope yet for human creativity. Because without human imagination, creative expertise, gut feeling and the impulses we receive from

our senses, the results of what we input into our advanced systems would be poor indeed. Moreover, we would not have the ability to critically assess what the computer spits out at us – the very ability that enables us to choose the most appropriate result.

in this issue of Inspire, you will meet various people whose creativity and craftsmanship simply defy digitalisation. ø

GarbaGe in, GarbaGe out

RIkARd PAPP, Director Asia Pacific & Merchants Europe,

Iggesund Paperboard

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Inspire, a source of inspiration, provided by Iggesund Paperboard, home of Invercote and Incada.

Inspire aims to inform and entertain with stories 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's 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.

The CoVer is offset printed in one colour (black) on the reverse side of the upgraded Invercote G 280 g/m2. The reverse side has a light coating to make it more consistent and enhance the printing properties. All tools have a copper hot foil stamping and the bigger tools are also embossed in different levels. The Inspire logo is die-cut and the logo letters are blind embossed.

addressIggesund PaperboardSE-825 80 Iggesund, Swedenphone: +46 650 280 [email protected] • iggesund.com

publisherJessica Tommila (reponsible under Swedish press law)

editor in ChiefElisabeth Ö[email protected]

editorial committeeVéronique Lafrance, Lydia Lippmann, Winnie Halpin, Ian Huskinson, Staffan Sjöberg, Elisabeth Östlin

publishing agencyOTW CommunicationPO Box 3265, SE-103 65 Stockholm

editor and project managerAnna-Lena Ahlberg Jansen, [email protected]

art directorskristian Strand, kajsen Burell

ContributorsMichael dee, Petra dokken, Isabelle kliger, Shelah Linde, Anna McQueen, Jonas Rehnberg, Nils Sundström, Staffan Sjöberg

photos and illustrations Petra Berggren, Camilla Hey, Anna karlsson, Rolf Lavergren, Jann Lipka, Julian Love, Sotarn OTF TranslationsComactiva Language Partner AB

prepressdone, Stockholm

printingdreyer kliché, Herlev, denmarkStrand Packaging, Malmö, SwedenStrokirk-Landströms, Lidköping, Sweden

Issn 1404-2436Inspire is printed in English, Chinese, French, German, Japanese and Swedish

4 PaPer fashionistasBea Szenfeld spent last summer cutting out 10,000 pieces of paper. Wang Lei uses toilet paper and old dictionaries. Isabelle de Borchgrave creates fashion out of wallpaper. Meet the artists behind the new wave in paper couture.

23 quick PickA high-quality finish to a package is the fastest way to a consumer's heart. dreyer kliché boosts products with foiling and embossing.

14 keePing it realThe design duo MinaLima makes stories and films come alive. Harry Potter and Titanic are just two of many.

18 PaPer engineeringSantoro Graphics Swing Cards has taken the movable 3d greeting card to a new level.

10 hands-on creationsArtist Inger drougge-Carlberg has 20 years experience of making art out of paper and pulp.

8 back to basicsAll The Way To Paris is a graphic design studio based in Copenhagen that knows the power of traditional crafts.

InspIre on InsTagraMMake sure you follow Inspire on Instagram for editorial sneak peeks and inspiration from the everyday lives of designers. @inspirebyiggesund

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PaPer couture

In a digitalised age ruled by computer screens, handmade items can seem rare and unusual. But behind the scenes, craft is making a comeback. Around the world, designers are making a mark in the world of paper fashion design.

Not just a piece of paper. This work of art was made by hand by fashion designer Bea Szenfeld. “What did I do last summer? I spent it cutting 10,000 paper sequins,” she says.

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OnCe upon a TIMe we did everything

to our clothing by hand. We patched, mended and altered, took in and let out. Sewing by hand is something Swedish fashion designer Bea Szenfeld has adopted, making unique clothes out of paper. Her creations have been worn by global stars such as Madonna and lady Gaga. the garments are nonwashable, handmade and unique – only one of each

exists. the collections take several years to create.

“i don’t think the world can handle paper collections any more often than

that,” she says with a smile.Her studio in Stockholm is packed full of

beautiful objects that inspire the collages she often uses in her creative process. everything is done by hand, a process that has to be allowed to take the time it takes.

“if someone asks what i did last summer, the answer is usually that i spent it cutting 10,000 or so paper sequins,” Szenfeld says.

she skeTChes, CuTs and drapes, but above all she delights in the details, the fuss, the time spent.

“i never ever work at a computer,” she says. “everything’s done by hand. the actual handiwork is fundamental and crucial to everything i do. the creativity is in the hands.”

the world has seen fashion made of everything from metal to vegetables, and nowadays we weave and stitch clothing fabrics from all kinds of plant fibres and synthetic materials. →

PaPer couture

TexT: peTra Dokken phoTo: Joel rhoDIn / MInk MgMT., soTarn oTF

5InspIre #49

“there’s a big difference between, say, paper and fabric,” Szenfeld says. “the fibres’ resistance to water, their fragility, extremely different expressions – they are after all completely different materials.”

Szenfeld has also experimented with different materials, and the attraction of paper is that the difficult material challenges her needlework.

“Paper is so heavy,” Szenfeld says. “a creation can weigh 45 kilos. So i attach collars made out of foam rubber – fabric isn’t strong enough. other than that it’s just paper, cobbler’s thread and a few glass beads.”

She says she likes clothes and fashion, but she has never felt at home in the fashion industry. to be able to create, she needs her own set of rules, not micromanagement and high profit requirements. She is called a fashion designer because when she creates for a body, she creates beauty.

although Szenfeld eschews trends, she is actually part of a major contemporary movement, working manually, choosing organic, following her heart.

“in this latest collection, Haute Papier, i’ve scaled down so i only work with paper that’s 100 percent organic and recycled,” she says. “it’s white and i use two different thicknesses: a 250gram paperboard and an 80gram paper sheet.”

“there’s so much amazing paper to work with!” she says. “it’s so hard to choose.”

Rice and shine! This beautiful garment of woven rice paper was made by artist Wang Lei.

PHOTO: kLEIN SUN GALLERy, NEW yORk / WANG LEI

Bea Szenfeld sketches, cuts and drapes, and every detail is important. She never works at a computer.

→

6 7InspIre #49 InspIre #49

artist Wang lei works in China, and like Szenfeld he works with recycled material – but in his case it’s toilet tissue and book pages. He literally knits texts from a Chineseenglish dictionary into models of imperial robes from the Qing dynasty.

“No one questions a dictionary,” he says. “We always refer to it as infallible.”

For him, an emperor’s new gown remade out of paper is about more than just fashion – it’s an artistic expression.

The MIsTress of paper is the internationally renowned isabelle de Borchgrave, whose creations include clothing details for fashion designer John Galliano when he was chief designer for French fashion house Christian dior. it is said that she is unique, and she has been compared to a virtuoso playing her instrument. the preface to the monograph Paper Illusions: The Art of Isabelle de Borchgrave states: “With a sheet of paper (she always starts with one sheet, paints and brushes) she can create the most stunning dresses, the finest suits, or simply a necklace of white roses.”

de Borchgrave is Belgian and worked as a freelance artist in the 1970s. twenty years later she started dreaming of fashion and paper. Her first collection consisted of a fashion journey across 300 years, Papiers à la Mode, from elizabeth i to Coco Chanel.

“in 1994, i visited the Metropolitan Museum in New York. i wanted to possess all the costumes i saw, but i’m not a stylist, i don’t know how to create them as clothes but i know how to create them as sculpture.”

de Borchgrave paints the clothes between folds and pleats, using pen and brush. For one assignment she was asked to recreate Jacqueline Kennedy’s wedding dress in paper for an american museum.

“the silk was dead – you could no longer touch it,” she says. “it was preserved like a relic. the original is dead, but the paper version breathes life back into the dress.”

She also creates haute couture to order, including a magic dress called robe antelope – a minimalist creation made of wallpaper that looks as if any French fashion house could have designed it. Her creations become exhibitions that tour the globe. Prestigious museums have her works in their collections, and private collectors put a premium on her creations. ø

Everything’s done by hand. The actual handiwork is fundamental and crucial to everything I do. In the hands is where the creativity is.”

de Borchgrave’s haute couture dress Robe Antelope, made of wallpaper.

PHOTO: ARTE INTERNATIONALE

Artist Isabelle de Borchgrave recreates famous fashion designs in paper. “Paper is the most basic and easiest material,” she says. “It is so full of possibilities.”

PHOTO: ANdREAS VON EINSIEdEL

“


lasT year, the design exhibition “the Future is Handmade” was shown in several locations in Sweden. the acclaimed exhibition depicted how crafts in various forms affect fashion, graphic design and product design.

among the participants was all the Way to Paris (atwtp), a graphic design group based in Copenhagen. the group exhibited collages made with the cutandglue method and also designed the catalogue for the exhibition. the catalogue had rectangular embossing on the front page, to which silver foil was attached by hand to all 600 copies.

Petra olsson Gendt, cofounder of the studio, describes why the manual tradition of the craft still matters.

“Since we have a background in book design, a genuine, centuriesold craft, tradition and history still matter a great deal to us. even though today’s graphic designers use different tools, you need at least some sort of idea about the craft that lies behind the physical book in order to be a skilled designer.”

do printed physical objects still have a role to play in the era of e-books and ipads?“i think there will always be printed material. if there was

no demand for printed information and entertainment it

Craftsmanship is making a comeback in the design world, as many young designers find different ways to refer to a traditional craft. The Danish-Swedish design studio All The Way To Paris is proof of this. TexT: Jonas rehnberg

Interactive catalogue for an exhibition at the National Gallery of denmark, Copenhagen.

3d collage for a Cd project with children’s fairy tales. The collages were photographed and used as illustrations.

Collection of carpets for Danish furniture maker &tradition

the dimension

tactile


would be gone by now. the tactile dimension is important to us humans, and our desire for tactile experiences cannot be satisfied simply by looking at a screen. Packaging and other threedimensional applications will obviously always be physical objects.”

why do you think craft and handmade design represent such strong trends today? “experiencing genuine craft and handmade design represents a form of meeting. Handmade objects carry an element of the human behind them, which may be lost in a digital experience.

“this need will never go away, and these days, when so much around us is digital and electronic, the need for the authentic and handmade is stronger than ever before.

“to many people, myself included, handmade is synonymous with quality, exclusivity and something that is well made. it signals attention and care and the notion that someone has cared about creating something.”

do you draw inspiration from other crafts besides graphic design? “Yes, the textile craft is one example. We recently designed a collection of carpets, where we approached the textile tradition by applying our expertise in graphic design to physical objects.

“the carpets are woven in india, where they use a different technology, and we learned a lot from this tradition. the collaboration resulted in a collection for the danish furniture maker &tradition.

“that’s a creative development path that we at atwtp would like to pursue further. Based in our roots in book design we transform our design into other areas, where clients seek our help, but the clients’ needs always remain our point of origin.” ø

Children’s toys in beech wood, developed for danish furniture maker Hay. The name comes from the shape and was inspired by the designers' own twins.

about atwtP

ATWTP is a danish-Swedish graphic design studio based in

Copenhagen, founded in 2004 by Tanja Vibe and Petra Olsson Gendt.

The agency works conceptually with visual communication on small and

large scales for a host of clients, including Copenhagen County, Sjaelland Symphony Orchestra,

Malmö City Library, String Furniture and White

Architects.

“If you have a genuine interest in typography, you want to learn the manual origins of the craft even if you only ever work in front of a screen,” says Petra Olsson Gendt, co-founder of graphic design studio All The Way To Paris.

PHOTO: MAGNUS EkSTRÖM


handmademagic

Right in the thick of Iggesund Paperboard’s ultra-modern mill in Iggesund, a most artistic endeavour is under way: paper-making by hand. School pupils and designers learn the art.10

alongsIde IndusTrIal paper production, where mills are becoming larger as they shrink in number, there is an increasing interest in the genuine craft of making paper by hand.

in a workshop for making paper by hand, course participants can create their own unique sheets of paper in a couple of hours. it fascinates children and adults all over the world.

one person who knows this is artist inger drouggeCarlberg, who for two decades has been making art out of paper at the iggesund mill site in iggesund, northern Sweden. alongside her artistic activities, she holds courses in making paper by hand for school pupils and adults alike. She has organised several international paper symposiums for young artists, architects and designers, has taught the art of papermaking by hand in Mexico, india and Japan, and also helps out when iggesund’s visitors want to learn about the craftbased origins of papermaking.

“they have to take off their jackets, roll up their sleeves and put on boots and aprons in my workshop for papermaking by hand,” inger says during a tour of her premises.

on ThIs parTICular day, pupils from Hudiksvall are visiting inger’s workshop as part of their workinglife experience at forest company Holmen, iggesund’s parent company. they are making their own a4 sheets in their choice of colour, with inset paper cuttings and rosehip leaves.

“it’s such a joy to see how focused the pupils are and how quickly they learn each stage,” inger says as she walks around instructing the pupils.

“it’s great to make your own paper,” says 15yearold amanda Brink, who worked together with Sofie axelsson.

inger uses a tap to pour out warm cellulose fibre straight from the mill, which is then used for the handmade paper. in her own art over the years she has experimented with all kinds of fibres for papermaking. She makes public decorations several metres long by joining sheets of paper, each measuring 1 by 1.5 metres. With inset wool and linen threads in the pulp, which also has blockprinting reliefs, she creates paper artworks with an almost textile feel.

she soMeTIMes uses a weaving technique in her work, and at other times some artistically innovative technique. in her workshop she has a vacuum table that allows her to sculpt with paper, as well as equipment for spraypainting paper.

“When i started out as a textile artist in the 1970s, making pictures from textiles was regarded not as a form of art but more a kind of handicraft,” she says. “i can see much the same development with paper art. only now are paper objects being acknowledged as a form of art. the unique thing about making paper by hand is that each sheet can be a piece of art. it’s tremendously exciting to be involved, to influence and demonstrate the possibilities of paper.” ø

Interest in handmade paper is growing. For 20 years, textile and paper artist Inger Drougge-Carlberg has been experimenting with the very essence of paper in her art, and she teaches the magic of the craft at Iggesund.TexT: nIls sUnDsTrÖM phoTo: peTra berggren

Textile artist Inger drougge-Carlberg has worked exclusively with paper for the past 20 years. She holds workshops where the participants make their own unique A4 sheets, with inset paper cuttings and rose-hip leaves.

11InspIre #49

The beauty of imperfection

“people Take paper for granted today – it’s just something they use – but when kids come here most of them find it quite magical,” says Sue Woolnough, who is responsible for school visits and adult education at Frogmore Paper Mill outside london.

the mill is a living museum that is run by the charity trust apsley Paper trail. one growing activity at the mill is courses for papermaking professionals from mills around the uk. at Frogmore Paper Mill, they learn more about the fundamentals of papermaking and how small changes in fibre and machinery affect the finished result.

“it brings people back to the very basics of craftsmanship,” says Jim Patterson, who operates one of the paper machines at the mill.

He is also the owner and manager of two rivers Paper Company, the only com

mercial manufacturer of handmade paper in the uk, which has one of its production sites at Frogmore Paper Mill.

Patterson is a fourthgeneration papermaker who has spent his entire career working in the paper industry, in larger

mills both in england and elsewhere, before making paper by hand.

“twenty years ago there were only fine artists who asked for handmade paper,” he says. “Now creative people in the broad sense buy our products for marketing and advertising.” ø

Increased interest in handmade paper is also noticeable in the Uk. Every week Frogmore Paper Mill receives several hundred visitors to make their own paper.

the history of PaPerThe art of making paper by grinding and soaking vegetable fibres and pressing them together has intrigued mankind for almost 2,000 years. The technique was developed around 100 AD and is generally attributed to Cai Lun, an official at the imperial court in China. The invention spread west to the Islamic world in the mid-8th century.

The writing material papyrus, which was used in ancient Egypt and Greece, is a kind of fabric of dried, pressed strips from the stalks of the papyrus plant, and is not actually paper.

“Anything that is handmade is imperfect, by definition,” Jim Patterson says. “The measure of craftsman-ship is how little variation there is from sheet to sheet, and that’s what people find attractive to the eye.”

Jim Patterson

Frogmore Paper Mill is the world's oldest mechanised paper mill.

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how to make your own PaPer

1. PulPn Break up a sheet of pulp, or some old newspapers, and soak in a bowl for a few hours.n Mix the paper pulp into a loose porridge and thicken with starch and boiled water.

2. shaPingn Soak a mould covered with a fine mesh. dip the mould with the deckle (the removable wooden frame) on top into a vat with the pulp and water and fill the mould.

n Carefully lift and shake the mould sideways while the water runs through the mesh. This makes the sheet smooth and ensures that the fibres point in different directions to make the paper strong. n Remove the deckle and tilt the mould so the water can drip off.

3. dewateringn Lay a wet blanket or a piece of felt on a table. With a rolling movement, press the mould onto it so the paper sheet is transferred onto the blanket.

n Lay another wet blanket over the wet sheet of paper.

4. Pressingn Lay the blanket-and-sheet “sandwich” between two pieces of chipboard. Use clamps to squeeze the water out.

5. dryingn Lay the blanket with the wet paper onto a drying table, with the paper facing down. Carefully pull the blanket back off the sheet.

n Place each sheet of paper on a bed sheet, towel or piece of brown paper to dry.n Once your paper sheets are dry, stack them on top of one another and weigh them down with some-thing heavy to press them even more. After a few days they will be nice and smooth.

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13InspIre #49

A pair of designers who specialise in recreating an imaginary past explain how they produce the authentic-looking artifacts featured in the Harry Potter films. Hint: It just looks like magic.TexT: MIchael Dee phoTo: JUlIan love

tradITIonal handson techniques combined with digital technology. that’s the working process behind the extraordinary projects of

Miraphora Mina and eduardo lima. While you may not have heard of them or their company, Minalima design, there’s a good chance you are familiar with their work. they designed all the graphics, props and merchandise for the Harry Potter films, plus all the graphics for diagon alley, a Harry Pottercentric section of Universal Studios’ Florida theme park. “Period and fantasy films are our speciality,” Mina says.

MInalIMa also worked on the recently released film The Imitation Game, set during the Second World War. it’s about alan turing and the cracking of Nazi Germany’s enigma Code. right now the pair are working on a new tarzan film set in the 1890s, scheduled for release in 2016.

But there’s more to Minalima design than film work. Working out of a studio in central london, they also design books, book covers, tea mugs, posters and much

more. and they sell limitededition prints through their own company, the Printorium. it was the Harry Potter films that brought the two together.

“i had worked as a prop designer for many years when in 2000 i was hired to work on the very first Harry Potter film,” Mina says. “it didn’t seem such a big deal at the time. the books were still very much a niche thing, but it was a wonderful world to enter into.”

lIMa CaMe onboard for the second Harry Potter film.

“i’m from Brazil where i worked as a graphic designer,” he says. “i wanted to move to london, so i called a friend and he suggested i contact Miraphora. ‘She’s working on a film about some wizard,’ he said. Well, i got on a plane, and we have

worked together ever since.” Creating props and graphics for the Harry Potter films

was a huge job, Mina says. “We designed everything from signage and wanted

posters to the newspaper the daily Prophet and the fivefootlong Marauders Map,” she says. “We put great effort →

Wizards of desiGn

14

Eduardo Lima and Miraphora Mina in their studio where they design props and graphics for fantasy films, among others.

15InspIre #49

into making the props as real as possible, so there were no blank pages in the books.”

lima adds, “We made The Book of Potions, and daniel radcliffe said it was when he opened its pages that he truly felt like a wizard.”

MakIng a prop is an opportunity to help tell a story, he says. if they make a book, they ask themselves a long list of questions. if it’s an old book, how should it be aged? Should it have a stain? Notations? and if so, what kind of handwriting? they are constantly on the hunt for source material, such as old books and letters, which they then scan.

“We are meticulous about getting all the details right – the fading and foxing on a page,” lima says. “We even scan black lines, as the printer’s ink is slightly uneven on an old poster. it just wouldn’t be the same if drawn on a computer.” once they have all the source material they start designing on the computer, but they may end up ageing an object with sandpaper or coffee.

Limited-edition prints cover the walls of MinaLima's studio. “We use a photocopier a lot. The old ones are the best."

See MinaLima’s work live at diagon Alley at Universal Studios in Florida.


the choice of paper is important, says Mina. “When it comes to prop making we use an array of

papers. We are always on the lookout for interesting paper, with the caveat that it can’t be bright white – the camera doesn’t like it.”

sInCe MosT of TheIr work is about reproducing and creating historic items, they tend to equip themselves with an array of stocks, from reproduction parchment to waxed brown translucent paper.

“Weights vary, but really lightweight – newsprint, Bible paper, glassine – is great for achieving a correct period feel,” Mina says. “Basically, variety is the key, and not using the modern ‘a’ sizing system – we even get paper supplied in foolscap size to be authentic.”

the choice between litho and digital printing depends on the size of the print run.

“if we need, say, 1,500 copies of a prop magazine we’ll use litho, but most of the time we use digital printing, as fewer copies are usually required,” Mina says. “our printing techniques for prop making are pretty rudimentary. We use the photocopier a lot. the old ones are the best, as they don’t mind us abusing them with our fancy papers. For our limitededition prints, we own an epson Stylus Pro 7900.”

In 2012, The paIr set up the Printorium. “We got a licence from Warner Brothers to print and

sell artwork we had produced for the Harry Potter films,” lima says. “the work belongs to the film company, but we sign the limitededition prints. the prints are printed digitally, but we finish them by adding gold by hand.”

Mina and lima are also about to launch a new line of stationery, Hogwarts House exercise books, which look exactly like the ones used by the pupils in the Harry Potter films.

asked if the pair ever worry about being pigeonholed, lima replies, “Well, it’s quite a weird and wonderful pigeon hole anyway – historical, fantastical and idiosyncratic – so we are quite pleased with it.” ø

Variety is the key, and not using the modern ‘A’ sizing system – we even get paper supplied in foolscap size to be authentic.”

Left: Mina and Lima were given the task of repackaging Wreck and Sinking of the Titanic (HarperCollins Publish-ers) whilst retaining the period look of the original. The pages look faded, the result of scanning old books, one of the duo's many methods.

Right: This poster was originally designed as part of the background dressing for the set of the Quidditch World Cup in the film Harry Potter and the Goblet of Fire.

Woop Studios has also launched a collection of homeware, in-cluding trays and tea and coffee mugs with collec-tive nouns.

“The English have a long tradition of playing with language. MinaLima’s Woop Studios has added to the tradition with a series of books and postcards. Its book A Compendium of Collective Nouns has such gems as a zeal of zebras, a raft of otters and a pound of pianists.


IT all began wITh a small design studio on a little road off Carnaby Street. Santoro Graphics was lucio and Meera Santoro’s smallscale venture into innovative graphic design. today their work is found around the world, and they have won some 50 international awards for their designs, greeting cards and 3d books.

the company’s first big success came with its Swing Cards, a series of movable 3d greeting cards that are sent flat but that unfold themselves when they are removed from the envelope. over the years the collection has gradually expanded and it now consists of more than 90 different cards, which are sold worldwide.

“If I’d realIsed how much work is involved in every card, i never would have started this,” says lucio Santoro in the company’s showroom at the current headquarters at rotunda Point in Wimbledon. “this must be the highest level of construction using paper materials.

“But at the same time, the demanding construction work has also protected us from copies and plagiarists. there are many other products which are far easier to copy.”

it was while working on the original Swing Cards collection during the first half of the 1990s that the studio first encountered the paperboard called invercote made by iggesund Paperboard. Since then, all the studio’s advanced collections have been made using invercote.

“invercote maintains a very high and consistent quality,” lucio Santoro says. “For our purposes, though, a few of its unusual features are the most important. its very high tear resistance enables us to create finer details, while at the same time the construction is more durable.

“another important property is dimensional stability. Few people realise that when you are working in three dimensions you not only have to ensure perfect register between the printing inks but also with the printed image on the reverse. dimensional stability is crucial for this.”

over time Santoro Graphics has built up a portfolio of designs, which the studio now licenses to other users, an activity that currently brings in almost half the company’s revenue. designs by Santoro are now printed on everything from bags and gift articles to notebooks and coffee mugs. lucio and Meera have also produced three 3d nonfiction books: Journey to the Moon, Wild Oceans and Predators.

sophIsTICaTed greeTIng Cards are still an important part of Santoro Graphics’ business. a couple of years ago the company launched its Pirouettes collection of popup card sculptures, which has good prospects of emulating the popularity of the Swing Cards.

“We believe strongly in Pirouettes – you have to when it takes about two years to develop a collection,” lucio said. “Sales have gone well so far, but it will be a few years before we can see how the collection measures up to Swing Cards’ 20 years of popularity.” ø

TexT: sTaFFan sJÖberg phoTo: rolF lavergren

“Invercote’s tear resistance and dimensional stability are incredibly important to us as a company making sophisti-cated movable constructions from paper material,” says Lucio Santoro.

a 3d wonderland

Painstaking paper engineering is behind the worldwide success of Swing Cards and other sophisticated creations from Santoro Graphics.

18 InspIre #49

a 3d wonderland

short factsMovable 3d greeting cards are the core business of Santoro Graphics. About 60 people work at the headquarters in London, and the studio has another 120 employees around the world.

19InspIre #49

Paper folding as an art form dates back to China’s Han dynasty in the 3rd century B.C., while origami in Japan dates from the 6th century A.d. Inspire takes a look at some of the most creative artists working in the world of paper today. TExT: ISABELLE kLIGER

a corrugated chameleonChameleon Cabin, a house made entirely of paper, is the brainchild of Mattias Lind, architect and partner at Scandinavian practice White Arkitekter. Shimmering like marble in black and white, its appearance changes depend-ing on the angle you view it from.

The design is based on a corrugated outer surface, which increases its stabil-ity and makes the house change colour as you move around it. Chameleon Cabin is about 3 metres high, consists of a total of 95 modules and weighs 100 kilograms.

Lind believes more buildings in the future will be made from paper, a renewable resource. The emergence of innovative new design, drawing and cut-ting tools will make it possible to create new forms of architecture, he says. øPHOTO: RASMUS NORLANdER

a touch of madnessChristine kim’s love of paper grows and grows. She works in illustration, cut paper, collages and installations, often describ-ing her creations in terms of volume and weight.

Her collages started by accident – a drawing of a figure that was poorly planned. In an attempt to salvage it, she started cutting and realised that, in doing so, she had liberated the figure from the confines of the original surface.

Soon she began to layer-cut paper frag-ments, watercolour washes and illustra-tions. In her two most recent works, A Touch of Madness I and II, kim used a mix of graphite, charcoal, pastel, watercolour, cut paper and ink to create multi-layered collages that revolve around the gestures of falling and being folded into land-scapes, shadows and colours. ø

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a cuP of artoriginal T-bag designs is the collective name of a group of passionate artists from Hout Bay, outside Cape Town in South Africa, who make “functional art” from recycled tea bags. The used tea bags are dried, emptied, ironed and then painted, after which the miniature works of art are applied to stationary wooden items such as boxes, trays and coasters, or to fabric. Each artist uses his or her own individual styles and patterns – no two painted tea bags are ever identical. For a group of previously disadvantaged people in South Africa, a cup of tea has created a unique form of community, love, excitement and financial security. ø

Perfect silhouetteskaren bit Vejle is a danish-Norwegian papercut artist and one of Europe’s few experts in psaligraphy, the art of cutting out silhouettes. Her art has been shown in museums throughout Scandinavia and the United States. In a world where everything moves fast, Bit calls psaligraphy “a perfect antidote”. In 2008, Bit featured as festival artist at the Winter Chamber Music Festival in the Norwegian town of Røros.

The result was the monumental commission Shostakovich’s Piano Trio No. 1 Op. 8, which measures some 5 by 10.5 metres. “during the nine months I spent cutting the Shostakovich piece, my heart and soul were at peace,” says Bit. “With the scissors in my hand and the paper dancing between the blades, I felt inspired and happy, while listening to the wonderful music.” ø

climate cut-outsswedish paper artist Fideli Sundqvist’s current project Arka addresses the problem of global warming. Her cut-paper illustrations, each of which repre-sents a different aspect of how climate change threatens the environment, was displayed as part of a group exhibition at Gallery young Art in Stockholm in december 2014. Sundqvist has com-mitted to donating 50 percent of the proceeds from the sale of the limited-edition Arka pieces to WWF. øPHOTO: OLIVIA JECZMyk flying sculPtures

diana beltran herrera is a Co-lombian artist who uses paper as the primary medium in the pro-duction of her work. She makes intricate paper sculptures of birds that seek to capture their natural movement. Herrera was recently commissioned by Penn-sylvania’s Longwood Gardens, one of the premier botanical gardens in the United States, to create six garden bird species for an exhibition.

“I was really glad to partici-pate in this project, especially because Longwood Gardens chose to purchase paper sculptures rather than stuffed animals,” says Herrera. ø

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green stePs draw noticeIggesund has embarked on a substantial initia-tive to reduce its environmental impact, which is now gaining worldwide notice.

In October 2014 the pulp and paper industry organisation PPI presented Iggesund with its Bio Strategy of the year award in recognition of the company’s extensive invest-ment programme to reduce fossil carbon emissions.

“For several decades Igge-sund has been systematically working to free itself from dependence on fossil fuel, switch-ing the source of energy required to power our mills to bioenergy and at the same time increasing our energy efficiency,” says Arvid Sundblad, vice president of sales and marketing for Iggesund. “We are satisfied with

what we have achieved and pleased at the signs of recognition from the outside world.”

Also in October, the Holmen Group, which includes Iggesund Paperboard,

was elevated to the A List of the CdP Climate Performance Leader-ship Index 2014. This means the Holmen Group is now one of 187 globally active companies that are considered the most advanced for the actions they have taken to reduce carbon

dioxide emissions and to manage the business risks associated with

climate change.Just over a year ago, the Holmen

Group was added to the United Nations Global Compact Index of the world’s 100 most

sustainable companies. This year’s evaluation results have just been announced, and Holmen remains on the list. ø

a shimmering winter’s nightIggesund has a tradition of using its Christmas card as an ambassador for paperboard and to display various printing techniques. This year’s edition was designed by Papersmyths of Bristol, England. The card is in the form of an altarpiece whose laser-cut doors form the outline of a for-est. They open to reveal a city skyline in several layers.

“I wanted to convey the feeling of both the forest, which is the starting point for Iggesund’s products, and the Scandinavian winter night,” explains Iain Smyth of Papersmyths.

The shimmering effect is created with a clear holographic twinkling foil, with the moon and

stars reversed out. The for-est and city silhouettes are finely laser-cut and decorated with spot UV ink stars, with Christmas greetings in silver foil blocking to create an enchant-ing scene. The card consists of five parts, which were assembled into one unit. A special envelope was created to underline the idea of a Christmas present. ø

insPiration in shanghaiIn october 2014, Iggesund held an inspiration-al event, xPerience Iggesund, for Shanghai’s design elite. The event featured contributions to Iggesund’s design project The Black Box as well as a number of examples of perfume, chocolate and wine packaging in Invercote. To further emphasise the creative theme, the premises had been decorated with a forest-inspired tunnel system made of paperboard.

Most inspiring was a seminar by New york-based designer Isabel Uria, who presented some of her intricate creations while also involving the audience in folding paperboard. In honour of the occasion she had also created a gift box for dumplings.

“The response was fantastic,” Uria said after the event. “I have seldom met with such an enthusiastic audience, especially people who didn’t hesitate to roll up their sleeves and try it for themselves.” ø


Innovative use of foils and one-off dies can help brands make a strong statement in the market-place. High-quality packaging has a big influence on a consumer’s purchasing decision.

ConsuMers aVerage less than three seconds to make up their minds about which product to pick from the shelf. this is why companies like denmark’s dreyer Kliche, which specialises in the production of highquality foiling and embossing dies, insist that graphic finishing is more than just decoration. it’s a marketing tool that brands need to take seriously if they want to catch the consumer’s eye and optimise their own potential.

dreyer Kliche’s customers are mainly print houses and finishing companies. “We supply them with innovative precisionmade bespoke dies and hotfoils from our business partner Foilco to complete their printing solutions,” says Conni dreyer, the company’s ceo. “they might come to me with a layout and ideas for foils, embossing

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dreyer kliche specialises in high-quality dies.

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relief inwards,” says dreyer. “our multilevel embossing dies are produced using threeaxis machining. each die is made to our customers’ individual requirements and depends on a range of issues such as board thickness and surface.” the dies take up to three days to produce, depending on the complexity.

when IT CoMes To book covers or luxury packages, there is a growing awareness of the importance of quality. Studies have shown how quickly consumers make purchasing decisions, and adding a highquality finish to a package can really make a difference. “We know that foiling, embossing or a combination of both make a product more appealing and can boost market share,” says dreyer. “When Colgate toothpaste added a holographic foil to one product pack in their range, consumers thought the product in question was the flagship product, even when it wasn’t.”

over the last few years, dreyer Kliche has been developing new products and techniques. “our strategy is firmly grounded in quality, innovation and service rather than price – there’s nothing cutprice about the services we provide,” dreyer says. “However, we are always seeking to innovate, and we recently developed espialle, a cheaper alternative to hologram foil that can include two or three images in the die.” dreyer Kliche has also recently developed a bubble die that, when printed with foil, gives a 3d mirror effect on a flat surface.

“whaT Makes us different is our overall approach to graphic finishing,” dreyer says. “at dreyer Kliche we understand the marketing power of our finishes and know how they trigger an emotional response with the consumer, resulting in better sales. We’re optimising packaging potential at the point of purchase, and this is where the focus needs to be. Customers who truly understand this are looking to companies like ours and asking for more, which makes this a fascinating field to be in with huge potential for innovation.” ø

techniques and varnishes, and we’ll discuss which foils to use and how we can create a die to suit the materials they want. after that, they’ll send us a pdf file, and from that we’ll create the die in either magnesium or brass, which they mount on their own embossing machine.”

Magnesium flat foil dies are ideal for short to mediumrun foiling. an average printing house could achieve up to 25,000 to 50,000 prints depending on how the printer treats the die and the material to be printed onto. “We generate a negative film from the customer’s pdf image,” dreyer explains. “this is exposed onto the magnesium plate, which is then placed in an acid etching bath. the resulting image stands up on the die, to a height of normally between 1.5 and 2 millimetres.”

brass flaT foIl dIes are more expensive and are generally used for medium to highvolume runs, up to 250,000 to 500,000 prints. these are machined using carbide tools in a computer numerical control (cnc) machine.

“We also produce embossing dies that raise the image out of the paperboard and debossing dies that push the

We know that foiling, embossing or a combination of both make a product more appealing."

technique facts1. Facet embossing with a copper foil and a holographic foil on top of each other. All embossing details are in the same tool, a multi-level embossing tool.

2. Package showcasing multilevel combination technique. The golden finger is a combination of hot foil stamping and embossing. The black circle with the W has a snake pattern.

3. Golden hot foil with an Espialle effect, which means that texture is used in the foil. See the small skulls in the eyes.

4. Blind embossing in several layers. Made from a brass tool with both a male and female part.

5. Engraving of a brass tool. This tool was used for a book cover with hot foil stamping. The same tool can be used for embossing.

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24 InspIre #49

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OBJECTS FROM IGGESUNd

Passion for peatLatvian artist Edgars Ameriks sees peat as more than just a material for gardens and farms. With the help of 11 other artists, he launched Peat Projects, an exhibit and calen-dar that featured 12 sculptures created by dif-ferent artists who all have used peat as their medium. The exhibit aimed to show peat from an artist’s perspective as well as dissem-inate information about its various uses. peatprojects.com

printer: Livonia PrintMaterial: Invercote Creato 240 g/m2printing techniques: Four-colour offset printing and dispersion varnishfinishing techniques: die-cutting

tasteful infusionsWhen Taylors of Harrogate launched its new Infusions range of fruit and herbal teas in partnership with Royal Botanic Gardens, kew, it needed a packaging solution that would mirror the premium nature of the product.

“The packaging needed to reflect the pre-mium nature of the product whilst offering styl-ish simplicity that stands out on the shelf,” says Suzie knight, Taylors’ head of design.

Having worked with Iggesund in the past, Taylors’ Supply Chain Manager Conrad Hart-Brooke says its products were a natural choice for the shortlist.

“We wanted a great-quality board from a sustainable source, and Invercote fulfilled that

brief,” he adds. “Invercote’s excellent mechanical and tactile properties reflect the quality of the infusions we’re packing.”

Company: Taylors of Harrogatedesigner: Suzie knightMaterial: Invercote G 300 g/m2printing technique: 4-colour offset printing on the print side and 1-colour printing on the uncoated reverse sidefinishing technique: Matte varnish, embossed logos with spot varnish printer: Clondalkin Northampton

fifteen years of artVertigo, by Swedish painter and artist Nils Olof Hedenskog, is a book containing samples of his work over the past 15 years. The picture pages of the book are printed entirely on Invercote.“Invercote delivers excellent printability and makes it a pleasure to hold the book between your thumb and index finger,” he says.

Hedenskog believes Vertigo is the first example of an art book being printed on pa-perboard, and he says he is very pleased with the result.

“I’d used Invercote for a previous print job and was happy with it, so it wasn’t a big step for me to use it again for a full-bodied art book,” he says.

publisher: kulturkossan Förlagdesigner: Maria Norén & Joakim BrolinMaterial used: Invercote Creato 200 g/m2 and Invercote G 180 g/m2printing technique: 4-colour offset printingprinter: Gävle Offset

exoTexT: Isabelle klIger & shelah lInDe phoTo: Jann lIpka

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ExPO

slice of perfectionA hanger card for a cheese planer, designed by Sten Jauer & LAND Designlab in Copenhagen, was named a winner at the prestigious Euro-pean Design Awards 2014. Jauer says he chose Invercote Creato as the material for the hanger because of its outstanding performance, look and strength.

Osti, which produces the cheese planer, wanted a clear, distinct overall feel that matched the simple design and aesthetic of the product, while being as competitive and easy to use as possible.

“Since LAND Designlab was chosen as Osti’s design lead, it has been my clear intention to simplify and optimise Osti’s packaging to

minimise cost and resource usage, and maximise quality, product exposure and brand feel,” says Jauer.

“As experts in packaging design, we know that material choice is pivotal. We chose Invercote Creato 350 g/m2 because it clearly outper-formed other high-grade paperboards with its superb strength.”

The end result resembles a normal hanger card, but with a twist: The board has no mount-ing components. “We made two die-cut flaps, opposed upwards and downwards, so that when collapsed and inserted through the cheese planer’s cutting hole, they would flip back and hold the planer in a tight grip,” Jauer explains.

“Given the requirements of stability, flexibil-ity and high-tensile fibre strength, we looked at several board options,” he says. “Invercote Creato proved to be the perfect match. The result speaks for itself – it looks and performs stunningly.”

Company: Osti / Rollex ApS, Denmark designer: Sten Jauer for LAND DesignlabMaterial: Invercote Creato 350 g/m2 printing technique: 3-colour offset printingfinishing options: Die cut and silk varnishPrinter: Centertryk, Denmark

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a magazine from iggesund paperboard issue 49 2015 · the movable 3d greeting card to a new level....

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