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Second Scheufelen Symposium exceeds expectations

Friday, November 05, 2010

Press release from the issuing company

More than 250 participants, experts and up and coming talent from the paper, printing and design sectors came to the Papierfabrik Scheufelen Symposium in Lenningen on 22 October 2010. A multifacetted programme all about the fascination of design, printing, production and premium paper was waiting for the guests. Lectures from professionals, an exhibition, a creative competition, live demonstration and a look behind the scenes of paper manufacturing.

In his welcoming address Dr. Michael Spallart, CEO of Scheufelen, introduced the long standing company. For example, the paper manufacturer not only introduced the first coated paper in Europe 155 years ago, but also conceived a fire resistant paper for the first journey to the Moon. With the absolutely white paper heaven 42 on the market, Scheufelen is now offering a challenge for demanding creative people. Work is being done on exciting new premium paper developments. Alongside economy and ecology, Dr. Spallart sees sustainability also in the development of talent in the company. He challenged the participants to see themselves as ambassadors for the paper industry, for Scheufelen, to contribute their own initiative and to take with them enthusiasm for premium paper as a sustainable product.

Before Britta Schweinhage, the presenter of the event, introduced the programme agenda and handed over to the four lecturers, she summarised the varied expectations the audience had for this event: inspirations for using paper and design tips, background knowledge about manufacturing, quality and marketing paper. Ideas and contacts for choosing their own profession.

The founder and coowner of Schaffner & Conzelmann, designers factory in Basel/Switzerland, Jean Jacques Schaffner, has been involved in interdisciplinary concepts to convey messages, brand images and knowledge for over 30 years. With his "Seven Commandments for a Communications Designer" he explained to the participants not only what differentiates a designer from an artist but also radically cleared up additional, impractical ideas. Schaffner opened eyes when he talked about the "Relationship boxes" and the different interests between customers-designersretailers and manufacturers. He challenged future designers to see paper consultancy as part of the whole creation service and to take over the coordination between everyone involved. Also important, because at many companies the tendency is increasing largely to exclude creative people from the production process through worldwide tendering (global purchasing). From his point of view companies are like people. Companies also strive to be unique, to be singular, and this has to be communicated. Practical examples conveyed to the participants why paper is always a message too – sensory, something that can be experienced and felt. In a digression the listeners were also led into the world of photography, pre-press and production. Schaffner's credo: "Paper is not hardware, but always part of the whole communication package".

"Beyond good and evil, about the pitfalls in every production facility", lectured Sylvia Lerch, Managing Partner of the material and production agency König & Lerch in Munich. Using vivid pictorial material Lerch showed how production facilities could fail, if the individual areas are not carefully planned and coordinated. The reason why something can go wrong is frequently a lack of time. One example is an increased ink order and too little time for the ink to dry. This means that the ink smears both on the surfaces and on cut edges. At overprint varnishers there is the danger of sticking together (blocking). Imprecise registers as a result of paper stored under different temperatures, unforeseeable reactions in the material mix, inattention in processing and finishing – a range of defect sources that are to be avoided. "Something good needs time, to consider, to try out, for improvement – and stable relationships with the business partners who will be involved," Lerch advised the participants, in order to achieve professional results using common experience.

Scheufelen is opening the new internet portal in mid-November 2010. Udo Sanne, Managing Director of the Stuttgart advertising agency Sanshine Communications, explained the new online presence in his lecture "Paper goes digital". The aim is to offer the user real value added. With an idea pool, a presentation platform and a range of information and services. The world of paper will be open to community members, offered to them by Scheufelen. In unique design approaches punching and embossments on paper will be almost tangible; special depth effects and finishes will be comprehensively visible. The user will find realised applications and paper concepts from A-Z. Recommendations of which paper is suitable for which production process will be given to the user in a paper finder they can set up themselves. In the Creative Shop sample folders and paper samples can be ordered as desired with the Express Service. Sanne encouraged the participants to use the prepared terminals in the design area to take an early look at the internet site, which has not yet been activated.

During the lunch break all interested participants were encouraged to take part in a creative competition. Painting and drawing utensils were made available in a separate area for the young artists. The finished works were hung on billboards in the pre-prepared "Creative Street" for later evaluation and prize giving by the jury. At the end of the event ten winners from among the participants were each rewarded with a copy of the new Scheufelen calendar 2011.

The Managing Director of the Stuttgart design agency Strichpunkt, Jochen Rädeker, was deliberately provocative with his 20 theses on the issue, "Good design doesn't need any advertising". From his point of view classic advertising has greatly changed. While statements were believable and comprehensible until just a few years ago, now the advertising sector tries to outbid itself with entertainment, exaggeration or even lies. Advertising has to be authentic, honest. He supported the idea that, "Good Design Kills Advertising" with the example of publications from the "Typology of Wishes", Burda 2010. According to this, value oriented purchase decisions are made according to design and not to the brand in varied sectors studied such as hi-fi, fashion and cars. A cheap product becomes an upmarket product through an appealing packaging design. "Good Design Creates Appreciation". Conversely it is sometimes a designer's tasks professionally to carry out the customer's assignment through reduction. He explained, "Good Design Is Simple" using packaging that presents stylised contents from Würth. In terms of catchy logos Rädeker showed their significance, shape and colour associations, the values communication. The Mercedes logo (star) made clear to the participants what happens when careless interference is made to well thought out logo concepts. A huge amount of the budget was "burned" here before the realisation that they had to go "back to the roots" took hold. Apparently 90% of smokers cannot differentiate the cigarette brands offered to them. "Good Design Is Not Reasonable". Idea worlds and lifestyle feelings dominate. Good communication does not convey reason but emotions, including fun. This means permanent high performance in order to communicate adequately. Rädeker advised the up and coming creative talents to take on responsibility. For him design is not just a job but an approach and an attitude to life – without emphasising that, "Good design without good ideas is nothing".

After the informative lectures and accompanying activities, the company tours of the manufacturing facility started. An exciting practical area that was received with enthusiasm by the up and coming talent. Most of them had never been able to follow the production of paper before - from raw materials up to packed, customer specific sheet goods. Scheufelen's apprentices simultaneously prepared a "Paper Street" in the design area, which graphically demonstrated the various steps in paper manufacturing with samples and tools. For example, Linotype introduced how to deal with fonts in a lively manner in a special exhibitor area. Pirk sample card technology illustrated how sales aides and professional sample cards can be implemented. Implementation examples from the Lerch Agency proved that it is worth taking time for a project and allowing the use of special materials. Alongside paper samples from Scheufelen, there were numerous examples of high quality print productions from customers – partly with elaborate processing and finishing, such as calendars, annual reports, brochures, direct mailing, folders and books – to leaf through, touch and assess.

Finally Irmgard Glanz, Head of Marketing and Communication, said goodbye to the participants and contributors with the reminder that Scheufelen will also be realising a comparable symposium with new issues next year.


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