2020 Journal

California Polytechnic State University Technical Association of the Graphic Arts VOLUME 37

Copyright 2020 California Polytechnic State University, San Luis Obispo Technical Association of the Graphic Arts Student Chapter Published in the United States of America

By Cal Poly, San Luis Obispo TAGA Student Chapter 1 Grand Avenue San Luis Obispo, CA 93407-0381USA Printed in the Graphic Communication Department California Polytechnic State University, San Luis Obispo

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Digimarc Technology This year our journal incorporates Digimarc barcode technology provided by Digimarc in order to create a more interactive journal. Scan the QR code above to download the Digimarc app. Use the app to scan photographs with the Digimarc logo shown above. If you have not done so already, please close the journal and scan the cover to view our Augmented Reality.

Production Process Scan this page to learn more about the production of our 2020 journal.

This year we produced our journal 100% in-house. The equipment we used included our department’s Konica Minolta C1100 Digital Press, MGI JetVarnish 3DS with clear varnish, Heidelberg Windmill, Kongsberg X24 iCut Table, Polar 92X Cutter, and Duplo Binder 280.

While we admittedly had some set-backs during production, they allowed us to learn more about the equipment we have in house. For example, this year our divider pages were a very porous material, which caused some difficulties with varnish. We had to adjust to doing lighter hits of varnish in multiple runs to prevent it from soaking into the paper.

Contents Introduction Letter From the President

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Articles The Secret Garden: Phoenix Challenge

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How Do We Define Color?

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The Influence of Varying Anilox Roll and Tint Sleeve on Soft Touch Coatings and Consumer Preference for Results

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Type Tasting

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Credits Cal Poly TAGA Executive Board

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Acknowledgments 79

Dear Reader, It is my honor to introduce you to the 2020 Helmut Kipphan Cup Journal Competition entry of California Polytechnic State University, San Luis Obispo’s TAGA Student Chapter. This journal comprises student-written research conducted on campus, and is the representation of the hard work and dedication of our students. Our goal was to provide innovative research, sophisticated and detailed design, and modern production techniques in the creation of this journal.

This year our theme is Reaching New Heights. Cal Poly’s beautiful campus is located between nine mountains known as the “Nine Sisters.” The team took inspiration from the surroundings and where we came from in the creation of this journal. Reaching New Heights is about not only meeting the requirements and industry standards, but creating our own path to exceed expectations. This desire to step up has lead our digital team to not only create a website, but also implement Augmented Reality effects within the journal. With our physical journal, the goal was to elevate the idea of a technical journal, and make it fun, interesting, and beautiful to read with a clean and inviting magazine-inspired layout.

Cal Poly is proud to continue the tradition of creating a journal by students.

Following Cal Poly’s “Learn By Doing” motto, all research and production took place on campus, with the help of our advisor Professor Brian Lawler, and technician Dr. Peter Schlosser, whom we can’t thank enough.

Similar to climbing one of the mountains surrounding Cal Poly, there were challenges in producing an entirely student-made journal. However, Reaching New Heights is not about reaching an endpoint, but more of growing from the challenges encountered along the way. I am extremely proud of my team for the effort, time, and perseverance put into this design process. That said, please enjoy our journal.

Sincerely,

Erica Taylor

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The Secret Garden: Phoenix Challenge PHOENIX CHALLENGE TEAM

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ARTICLE 01

WORDS: PHOENIX CHALLENGE TEAM

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The Phoenix Challenge is an annual competition where universities around the country are given the task of pairing with a local business to create three marketing products using flexography.

THIS PAST YEAR, California Polytechnic State University put together a team of eight students to apply their design and print knowledge to re-brand a small San Luis Obispo business and engineer innovative packaging and eye-catching graphics. The team gravitated towards working with a business that exhibited strong core values and presented opportunities to fully re-brand and repackage. Team members reached out to the owners of local small businesses to explain their goals and gauge interest in the project.

After evaluating the current packaging solutions of each potential client, the Cal Poly Phoenix Challenge team decided that The Secret Garden enabled the greatest freedom for developing an original solution for branding and packaging. The Secret Garden is a small brick and mortar tea and herb shop hidden deep in downtown San Luis Obispo. They are known for their high quality ingredients and organic products.

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FIGURE 1

Research To ensure that their strategies were well informed, the team conducted a variety of research before they dove into the product development process. They started with library database sources to direct their market research and followed up with in-store and online surveys to better understand The Secret Garden’s target audience. The team found in their in-store survey that the average respondent was 28 years old and that this average was likely to be skewed by the shop’s proximity to a college campus.

Kirstin, the owner of the store, noted that her most loyal customers tend to be in their mid-30s and above.

To solidify a direction for the re-branding, the team facilitated a focus group made up of one segment of The Secret Garden’s target market. The group consisted of fourteen participants, both men and women, between the ages of 30–75, and were given drafts of different logo iterations and asked to describe their initial perception of the brand. The participants were also asked on preference of color palettes, sealing mechanisms, and the overall look of the packaging. Because The Secret Garden falls into

FIGURE 1 Secret Garden packaging in production on Cal Poly’s Mark Andy press.

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FIGURE 2

the “small business” category of FDA regulations, the business’ packaging is exempt from many labeling laws meaning designs can remain simple and clean.

Concept After careful consideration of their options, the team decided to create three products that, when combined, form the contents of a gift box. The box would contain a reusable, branded tin filled with The Secret Garden’s best-selling tea, a small sample bag of another choice blend, and a small container of seeds to invite the consumer to start their own garden. The seed container doubles as a branded marketing piece, filled with information about the company. The gift box bundle serves to unite a variety of products and marketing materials into one box that embodies the brand, making it an excelFIGURE 2 Shown left to right: The three different packaging materials created by the team, including the seed container, tea bag, and tin label.

lent sales and marketing solution. The gift boxes also provide existing customers with a chance to introduce the company’s products to others.

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FIGURE 4 Shown here is the Secret Garden Tea shop in downtown San Luis Obispo, California.

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Sustainability Finding a substrate for the tea bag that featured appropriate barrier properties while simultaneously adhering to The Secret Garden’s eco-friendly values proved to be a difficult task. Loose leaf tea requires packaging that provides oxygen, moisture, and light barrier properties, but materials that meet these needs often compromise on sustainability features. After extensively researching alternative materials, the Phoenix Challenge team contacted Formosa America Packaging, a company that specializes in packaging materials for consumer good products. Formosa has a compostable material, LÜ-K, that can disintegrate by 94% within twelve weeks. It was developed and tested to meet ASTM (American Society for Testing and Materials) standards D6868 and D6400, and has the barrier properties required to keep the loose leaf tea products shelf stable (LÜ Compostable Packaging, 2019). Although this material has never been run on a flexographic press, the team did not want to give up this opportunity. LÜ-K is currently promoted as a rotogravure-suitable substrate, and because rotogravure and water based flexo inks share similar properties, the team anticipated that a flexo run, while challenging, would be achievable. After explaining the intent of the experiment with flexo on LÜ-K, Formosa graciously donated 250 meters of the substrate.

Design The Secret Garden’s original logo displays a whimsical, organic-shaped typeface to emphasize the natural essence of the company. However, the typeface, in small print, is too busy, off-balanced, and hard to read.

Throughout the years, Kirsten has changed her logo and some of her products still use her older logos. This lack of consistency can deteriorate the public’s perception of her company. In addition, Kirsten only possesses

FIGURE 3

small rasterized files of her current logo, making it

The new Secret Garden Tea package designs by the Phoenix Challenge Team compared to the original (bottom left).

difficult to use without it looking pixelated and low resolution. Presenting a high-quality product, like

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FIGURE 3

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The Secret Garden’s tea, with a pixelated logo, will give the customer a negative perception of the product itself.

Her branding lacked consistency between her different collateral, including on-site signage and offline branding, which rarely have the same fonts or lettering style. Her packaging lacked any color, especially her tea bags. She uses black rice paper bags with a white label applied on top. This label included the logo, product name, and ingredients all in black text. Thus, this primarily black color scheme does not match the colorful nature of her brand, and the large amount of text presented on a small package cluttered the label and impeded readability.

Execution Tin Labels The tin labels, as well as additional pressure sensitive marketing materials that were created for advertising purposes, were printed on 2 mil white BOPP, donated by Avery Dennison. The team chose this substrate because they needed a material that was water resistant and that would permanently adhere to the tins. The inks used on this product were Pantone 696, Pantone 7742, Pantone 4625, and a UV Matte Varnish. The labels were kiss cut on the press using a magnetic die, donated by Rotometrics.

SCREENING SPECIFICATIONS

PRODUCT

DOT SHAPE

RESOLUTION

TEA BAG

CIRCULAR EUCLIDEAN

4000 DPI

N/A

SEED CONTAINER

CIRCULAR EUCLIDEAN

4000 DPI

N/A

TIN LABEL

CIRCULAR EUCLIDEAN

4000 DPI, 150 LPI

ANGLES

Pantone 4625: 37.5° Pantone 7742: 67.5° Pantone 696: 7.5

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COLOR MANAGEMENT REPORT (SEED CONTAINER)

PMS

4625

PROOF

FINAL

L*A*B*

L*A*B*

DENSITY

DENSITY

PROOF

(FINAL)

1.31

1.28

34.43, 8.46, 14.00

35.1, 7.9, 13.6

∆Eoo

0.8

COLOR MANAGEMENT REPORT (TEA BAG) ∆Eoo

PROOF

FINAL

L*A*B*

L*A*B*

DENSITY

DENSITY

PROOF

(FINAL)

4625

1.39

1.33

36.19, 13.33, 19.34

35.8, 11.0, 17.3

1.9

7742

1.24

1.25

40.38, -20.96, 22.62

40.9, -20.8, 23

0.8

696

1.38

1.43

35.31, 32.39, 17.77

32.9, 31.4, 17.3

2.0

PMS

COLOR MANAGEMENT REPORT (LABELS)

PMS

PROOF

FINAL

L*A*B*

L*A*B*

DENSITY

DENSITY

PROOF

(FINAL)

∆Eoo

4625

1.51

1.53

32.37, 12.67, 21.84

30.8, 12.1, 19.4

1.7

7742

0.97

1.00

51.07,-25.26, 21.90

42.9, -24.9, 20.8

2.1

696

1.11

1.09

44.81, 32.61, 6.16

44.3, 32.7, 6.0

0.5

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FIGURE 5: TEA BAG ON MARK ANDY PRESS

Unit 2: Pantone 696 Unit 3: Pantone 7742 Unit 4: Pantone 4625

TEMP: 74 °F HUMIDITY: 50%

Tea Bag The tea bags were printed on LÜ-K, compostable, kraftlike substrate, donated by Formosa Flexible Packaging.

This commercially available substrate has never been printed on a flexographic press before, so like previously stated, the team partnered with Formosa to test the print quality of the substrate. LÜ-K has excellent barrier properties, aligns with the color palette of The Secret Garden’s new branding, and gave the client a more sustainable option for her packaging. The inks used for this product were Pantone 696, Pantone 7742, and Pantone 4625. No die was used during the run. The bags were cut off-press on our department’s Esko Kongsberg IXE cutting table.

Seed Containers The seed containers were printed on Georgia Pacific 60 lb. uncoated kraft, donated by Fleenor Paper. This substrate was thick enough to support the folded structure it would later be converted into, but still thin enough to run well on our Mark Andy press. The inks used on this product were Pantone 4625, UV white, and the scented coating.

The seed containers were cut off-press on our department’s Esko Kongsberg IXE.

FIGURE 5-7 The ink configurations on the Mark Andy press for each packaging component.

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FIGURE 6: TIN LABEL ON MARK ANDY PRESS

Unit 2: Pantone 696 Unit 3: Pantone 7742 Unit 4: Pantone 4625

TEMP: 74 °F Unit 6: UV Matte Varnish

HUMIDITY: 50%

FIGURE 7: SEED CONTAINER ON MARK ANDY PRESS

Unit 1: Scented Coating

Unit 4: Pantone 4625 Unit 6: UV White

TEMP: 74 °F HUMIDITY: 50%

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FIGURE 8

FIGURE 8-9 Above is the final gift box showcasing the Secret Garden’s newly-designed packaging. Left is the team’s innovative folding teabag box solution.

FIGURE 9

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Work Cited “Bigelow Tea.” Bigelow. 2019. https://www.bigelowtea.com/.

Cain, Charles. (2010, February 18). FDA Packaging Requirements for Tea. Retrieved January 10, 2019, from https://www.tearetailer.com/article_39.html “Celestial Seasonings.” 2019. http://www.celestialseasonings.com/.

Danziger, P. N. (2017, October 30). The Gifting Market Is A Year-Round Retail Opportunity, Not Just From Black Friday To Christmas. Retrieved October 29, 2018, from https://www.forbes.com/sites/pamdanziger/2017/10/29/the-gifting-market-is-ayear-round-retail-opportunity-not-just-from-black-friday-to-christmas/#435fb88d5534 Dejan, D. (2017). TOUCHING EMOTIONS. BrandPackaging, 21(8), 41-41,44. Retrieved from http://ezproxy.lib.calpoly.edu/login?url=https://search-proquest-com.ezproxy.lib. calpoly.edu/docview/2102830073?accountid=10362 Elise Riker, Andrea Morales, and Stephen Nowlis (2011) ,”What You Smell Affects What You Like: How Incidental Scents Can Affect Product Preference By Eliciting Emotion “, in NA - Advances in Consumer Research Volume 39, eds. Rohini Ahluwalia, Tanya L. Chartrand, and Rebecca K. Ratner, Duluth, MN : Association for Consumer Research, Pages: 819-820 Retrieved from http://www.acrwebsite.org/search/view-conference-proceedings.aspx?Id=1009854.

Euromonitor. (2018). Tea in the US- Market Sizes- Sales of Tea- Retail Value RSP - USD million - Current - 2004-2023. Retrieved from Passport, http://www.portal.euromonitor. com/portal/analysis/tab

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ABOUT THE TEAM This year’s Phoenix Challenge team consisted of Cal Poly Students, in order from left to right, Brienne Hong (Concept and Research), Caitlyn Royston-Murphy (Shadow), Cecilia Voigt (Co-team Lead), Emily Anderson (Concept and Research), Alan Nguyen (Co-team Lead), Linnea Landgren (Shadow), Professor Colleen Twomey, Amy Burke (Design), and Carly Lamera (Design).

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How Do We Define Color?

LINNEA LANDGREN

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Color matching is a challenging task that requires communication across many different parties; brand owners, printers, and ink companies all need stay in the loop regarding color management procedures.

COLOR MANAGEMENT is particularly important for international brands that print their brand colors at various plants worldwide and expect all of their print suppliers to maintain consistent color appearance across every press run. Color is usually proofed and monitored under the standard illuminant D50, but it is important to realize that the appearance of printed colors will change dramatically when there is a change in viewing conditions. A label seen under D50 light in the printing plant will not look the same under fluorescent lamps at a retail store or in an incandescently lit living room.

When studying the Spectral Power Distribution curves of each illuminant shown in Figure 1, this is quite apparent. An incandescent bulb produces a majority of long wavelength emissions, resulting in warm red-yellow light, fluorescent bulbs on the other hand emit more in the blue-green, short wavelengths, to produce a cooler light, and both of these commonly used lighting conditions emit very different wavelengths than D50.

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Introduction While incandescent and fluorescent light are not as dramatic as pure cyan light, they will still visibly change the way that printed colors appear to the human eye, relative to D50. This concept is connected to what we call metamerism. Metamerism occurs when two color samples appearing identical under one illuminant appear to be different colors under a second illuminant. In the print world, the root cause for metamerism is often a difference in pigment concentrations and selections between two inks that are meant to be the same color.

To minimize metamerism, we need to ensure that every printer uses the exact same pigment combination when an ink is mixed to match the brand color of a specific product on a specific substrate.

A challenge is that individual printers have their own methods of matching colors and mixing inks. Many printers use on-site ink technicians to handle their ink mixing, while other printers order their inks externally from facilities with better access to color specialists. Also, there are many ways to communicate ink color values, including L*a*b* values, Pantone ID numbers, L*C*h* values, CxF/X-4 files, etc.

The CxF/X-4 (Color Exchange File version 4) format is gaining popularity among brand owners because it can be fully integrated in their workflow starting in the design phase (enveloped inside Adobe Swatch Exchange files) and continuing through production. The CxF/X-4 format is a standard tool that not only includes L*a*b* values but also the spectral reflectance data (400-700nm) of a color; it allows us to digitally communicate color in a way to achieve a visual match across the entire spectral reflectance curve. This functionality is especially critical during the ink formulation process. While L*a*b* values represent a snapshot of a color under one lighting condition, the spectral data in a CxF/X-4 file provides the full

FIGURE 1

range of reflectance of the color. When used in selecting

CxF/X-4 files are written in XML and can be opened and analyzed in any text editor.

an ink formula, CxF/X-4 can help reduce metamerism.

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The data provided in a CxF/X-4 file allows ink technicians to choose pigments that align with the whole spectrum of reflectance. It is important to recognize that many pigment combinations may pass for one set of L*a*b* values while very few pigment combinations will align closely to the entire spectral curve.

FIGURE 1: L*A*B* VALUES FOR FIRST ROUND OF INKS

PANTONE #

ORDERING NAME

L*A*B*

123 C

CPL YELLOW

84.39, 12.40, 75.27

185 C

CPL RED

50.02, 77.49, 45.50

286 C

CPL BLUE

23.39, 21.02, -71.19

7436 C

CPL PINK

89.85, 11.31, -13.09

7507 C

CPL TAN

88.12, 10.34, 27.76

GREEN C

CPL GREEN

58.05, -77.30, -0.08

ORANGE 021 C

CPL ORANGE

60.66, 65.74, 85.40

VIOLET C

CPL VIOLET

19.15, 58.82, -74.99

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NORMALIZED SPECTRAL POWER DISTRIBUTION CURVE FOR COMMON ILLUMINANTS

NORMALIZED POWER

1.0

0.5

0 400

500

600 WAVELENGTH (nm)

INCADESCENT INCANDESCENT FLUORESCENT D50*

FIGURE 2 The visually perceived color of an object is dependent upon the spectral power distribution of emitted light that it is exposed to.

700

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Objectives Based on this knowledge, Linnea developed a research project to investigate the implications of using a CxF/X-4 workflow for ink mixing. The objective of the project is to numerically measure any reduction in metamerism as a result of using CxF/X-4 spectral data compared to using solely L*a*b* values during ink specification.

Design of Experiment Consulting with color specialist, Steve Smiley, Linnea chose eight spot colors from the Pantone 2014 library, some highly saturated and some pastel. She communicated with two ink companies who provided her with two sets of inks each. So that the inks would not be mixed in reference to a Pantone formula, she re-named the colors in her study. For the first round of orders, she named the colors with the prefix CPL and provided the ink companies solely with L*a*b* values, asking them to achieve the lowest dE00 possible at D50 and 2° observer angle with a target application volume of 2.88 BCM (See table 1).

For the second round of ink specification, Linnea named the colors with the prefix CPX and provided the suppliers with the spectral reflectance data in CxF/X-4 files. As shown in Figure 3, the CxF/X-4 file is an XML file that can be opened in any text editor and contains key information used in various software applications to describe the reflectance values at 10 nm increments.

Each ink company was asked to select a formula with the smoothest and closest match to the spectral reflectance curve, using as few pigments as possible. This can be easily done using X-rite’s InkFormulation Software, or an equivalent tool, which allows ink technicians to plug in the target spectral curve and choose from a list of possible pigment combinations (See figure 4).

For both trial groups, she provided the ink companies with samples of the substrate (Fasson 60# Semi-Gloss Elite ITC) and asked them to formulate the color using a D50 illuminant, 2° observer angle and specifying a

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2.88 BCM anilox. In total this experiment tested 32 inks; comparisons were conducted between groups as well as in relation to the reference color.

Analysis For each ink, Linnea conducted a draw-down using a Harper QD proofer and recorded color data using the Techkon SpectroDens tool. She extracted the spectral reflectance data between 400-700nm and used the “Metamerism index function� inside the Techkon device for each sample. To compare the reference color data to the experimental data, she entered all of the results into a spreadsheet and conducted statistical analysis using JMP as well as Excel.

Findings As a result, Linnea found that there was lower average deviation from the target curve, for each measured wavelength within the curve, in 13 of 16 CxF/X-4 samples as well as a higher correlation coefficient in 12 of 16 CxF/X-4 samples, in comparison with the L*a*b* samples.

There was a reduction in metamerism in the CxF/X-4 samples relative to the L*a*b* samples, particularly in relation to Illuminant A (incandescent light). Overall, the CxF/X-4 samples were more closely matched to the target color spectral reflectance curves than the L*a*b* samples were.

Takeaways Color is difficult to replicate without numbers. The CxF/X-4 format is a tool that allows us to communicate these numbers to a standard, facilitating consistency

FIGURE 3 X-rite’s InkFormulation Software is used to choose pigments that align to the spectral reflectance curve of the target color.

across printers and brand owners and pushing us toward gaining a global consensus on how to define color. Segmenting a color into chunks ensures that the entire wavelength spectrum is a visual match, which is the most reliable way to specify the characteristics a color.

Since the observed data set in this project is fairly small,

FIGURE 4 JMP statistical modeling software compares correlation coefficients between a reference color, in this case red, and the samples. A CPL sample is analyzed in Figure 3 and a CPX sample is analyzed in Figure 4.

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FIGURE 3: MULTIVARIATE CORRELATIONS SCATTERPLOT MATRIX 0.8 0.7 0.6 0.5

RED REFERENCE

0.4 0.3 0.2 0.1

RED REFERENCE

0 0.8 0.7 0.6

RED REFERENCE

1.0000

RED CXF

0.9979

0.5

RED CXF

0.4

RED CXF

0.3 0.2 0.1 0 0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

RED REFERENCE

0.9979

RED CXF

1.0000

0.8

FIGURE 4: MULTIVARIATE CORRELATIONS SCATTERPLOT MATRIX 0.8 0.7 0.6 0.5

RED REFERENCE

0.4 0.3 0.2 0.1

RED REFERENCE

0 0.8 0.7 0.6

RED REFERENCE

1.0000

RED LAB

0.9956

0.5

RED LAB

0.4

RED LAB

0.3 0.2 0.1 0 0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

RED REFERENCE

0.9956

RED LAB

1.0000

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FIGURE 5

it would be beneficial to expand the study to further investigate the implications of including CxF/X-4 in the ink formulation workflow. Further, she deliberately chose to keep the ink companies in the dark about the objectives of the study, particularly at the beginning, to keep the ink mixing process as standard to their regular procedures as possible. Deeper interaction and coordination with an ink color specialist would likely result in even closer color matches using CxF/X-4, which would be an interesting strategy to use in continued research on this subject.

There is still a lot more to learn about how to best replicate consistent color and she is excited to have participated in the exploration of this fascinating field of study.

FIGURE 5 Linnea celebrates her success among 32 bottles of ink.

HOW DO WE DEFINE COLOR?

Acknowledgments “This project was a team effort and I want to take a moment to appreciate everyone involved. I would like to thank my two incredible mentors, Steve Smiley and Professor Malcolm Keif, for spending countless hours working with me on this project. It was a pleasure learning both from you and with you. Big shout out to CGS, INX and Sun Chemical for your generous partnership in this study. Your contributions are what helped bring this project to life.”

“My deepest gratitude goes to Mr. and Mrs. Felice Rossini for generously supporting my vision for this project. I am honored to have been selected as a Rossini Research Scholarship recipient and I will forever treasure this experience.”

“Thank you for taking the time to read about my work! If you have any questions about anything written in this article, please feel free to reach out to me via email at elandgre@calpoly.edu.”

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ABOUT THE AUTHOR Linnea Langren is a student of Graphic Communication at Cal Poly with a concentration in Graphics for Packaging and a minor in Packaging. Over the past year she has taken part in the Phoenix Challenge Competition and completed a research project on color communication technologies after receiving the Rossini Research Scholarship in May 2018. She started as an intern at Apple’s Packaging Graphics division in January 2020.

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Sources Need to get these. None in the doc

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The Influence of Varying Anilox Roll and Tint Sleeve on Soft Touch Coatings and Consumer Preference for Results EMILY ANDERSON

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ARTICLE 01

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The FQC Gary Hilliard Memorial Scholarship, made available through The Flexographic Technical Association (FFTA), provides a grant for students to conduct a flexography-focused research project.

I WAS AWARDED this scholarship in 2018 to pursue a project examining how press setup variables influence soft touch coating results. Specifically, I wanted to discover if consumers could discern between samples generated through different press setups, and whether or not they showed a preference for particular variables.

So why focus on soft touch? With significant advancements in high-quality image reproduction, flexography is becoming an increasingly attractive option for high-end packaging. Gone are problems like the halo effect and dot bridging with new high quality presses.

Advancements to inks, aniloxes, plates and machines have all made high quality flexography competition with gravure. In this market, tactile coatings are trending as a way to engage with consumers and provide a luxury-feel to a package. Consumers often touch a package before purchase, so we should be investigating texture, as it is a fundamental element individuals notice during

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package handling. Textures can easily sway a consumer to purchase, so why not determine what would sell the most? In my research, I found that the sense of touch is extremely difficult to measure. However, its impact on multi-sensory communication is well recognized and I wanted to focus on consumer response instead of attempting to quantify tactile outcomes.

Statistical Design To generate distinct soft touch samples, I established a three factor, two treatment experiment, where the factors included tint sleeves, anilox rolls, and substrates.

Specifically, I used a 60 degree 12 BCM anilox roll, a high-volume alternate geometry anilox roll, 55 Shore A tint sleeve, 67 Shore A tint sleeve, polyethylene terephthalate (PET) substrate, and polypropylene (PP) substrate. These were chosen according to the range suggested by the manufacturer of the coating formula used. Additionally, the testing was limited to what was available in our on-campus labs at Cal Poly. All samples were printed on our Mark Andy 2200 press. I used a KS-9812 AQ Soft Feel Coating donated by Kustom Group. During the initial setup of the experiment, I had considered adding alternate coating formulas to the

FIGURE 1: SAMPLES USED

SAMPLE

SPECIFICATIONS

ANILOX 1

60° 12BCM

ANILOX 2

HIGH VOLUME ALT. GEOMETRY

SLEEVE 1

55 SHORE A

SLEEVE 2

67 SHORE A

SUBSTRATE 1

PET

SUBSTRATE 2

POLYPROPYLENE

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list of variables by exploring UV coatings, but the high temperatures of our conventional UV curing unit caused the plastic film substrates to warp, and thus these samples were unusable. Ultimately, I produced six unique press setup scenarios which I organized on a Microsoft Excel spreadsheet through which I printed the samples. To assess the consumer feedback on the samples, I used a choice-based (also known as conjoint) analysis.

The statistical design outlined above resulted in three null hypotheses: 1.

There is no statistically significant difference among consumer preference of soft-touch coatings applied on PET vs PP

2.

There is no statistically significant difference among consumer preference of soft-touch coatings applied with different anilox technologies

3.

There is no statistically significant difference among consumer preference of soft-touch coatings applied using different tint sleeve hardness

Because the samples generated in our press runs were produced for a consumer survey, it was important to simulate a real-world product as closely as possible without distracting from the task at hand, which was to evaluate the feel of the surface texture. To do this, I created a fictional product with a simple, one color design using a dieline for a small standup pouch for a coffee-tasting snack. With the help of the statistical software, JMP, I ordered the samples into six distinct pairings, and fastened them into booklets so that participants could engage with the fictional products side by side. Participants were encouraged to handle the samples as if they were real three-dimensional products, touching both the front and back. By doing this, I hoped to more closely simulate an in-store environment, rather than having participants simply run a hand over each sample.

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FIGURE 2

Measurements, Data Analysis, and Results of Experimentation As described, I conducted a choice-based study in which respondents were asked to select a preference for each of six paired sets of samples. Participants were selected as a convenience sample, and the majority of participants

FIGURE 2 The exploration of UV Coatings under conventional heat lamps caused the substrate to warp, and thus rendered them unusable in this experiment.

were recruited through Graphic Communication classes.

In total, I had 91 respondents in the study. The data were analyzed in JMP using the conditional logistics regression, or conditional logit model developed by McFadden (1974) and the bias-corrected maximum likelihood estimator described by Firth (1993) with a confidence level (or pvalue) of .05.

Through the data analysis, I found that all three

FIGURE 3 Whenever the p value is less than .05, it was determined that there is a statistically significant difference in consumer preference. Substrate showed clear difference, followed by tint sleeve, and anilox was still statistically significant although less than the former two.

variables were statistically significant. Thus, these results signified all three null hypotheses were rejected. The

FIGURE 4

results showed that the PP substrate was preferred over

Looking closer, we can still see the effect on consumer preference.

THE INFLUENCE OF VARYING ANILOX ROLL AND TINT SLEEVE ON SOFT TOUCH COATINGS

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FIGURE 3: EFFECT SUMMARY

SOURCE

LOGWORTH

PVALUE

SUBSTRATE

4.226

0.00006

TINT SLEEVE

3.779

0.00017

ANILOX

1.604

0.02489

TINT SLEEVE*SUBSTRATE

0.856

0.13935

ANILOX*SUBSTRATE

0.280

0.52510

ANILOX*TINT SLEEVE

0.111

0.77499

MARGINAL PROBABILITY

MARGINAL UTILITY

ANILOX

0.5848

0.17121

12 BCM

0.4152

-0.17121

ALT GEO

MARGINAL PROBABILITY

MARGINAL UTILITY

TINT SLEEVE

0.3616

-0.28425

55 SHORE A

0.6384

0.28425

67 SHORE A

MARGINAL PROBABILITY

MARGINAL UTILITY

SUBSTRATE

0.3483

-0.31320

PET

0.6517

0.31320

POLY

FIGURE 4: EFFECT MARGINALS

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the PET, and the 67 Shore A tint sleeve was preferred, particularly when on the PP substrate. The anilox rolls had the least influence among the variables, but there was still a notable preference for the 12 BCM anilox for this application. The interactions between the variables were not considered statistically significant.

With PET selected, this chart shows that the harder durometer was preferred. On this substrate, the anilox had minimal effect. When Poly is selected, the influence of the other treatments had a greater utility, and in this case, the conventional hex shape was preferred.

Industry Impact As expected, participants could discern between the different substrates used in the study and expressed a distinct preference. However, the preference for the harder durometer tint sleeve was somewhat surprising.

The most significant finding of this research showed that there is room for a better understanding of consumer preference for tactile coatings used in flexible packaging. While my data utilized a convenience sample of primarily students ages 17-22, there is room to expand this testing environment to a greater range of participants to conclude if these preferences expanded to different target markets and age groups. Studies like these should be investigated further to develop consistent research into texture preferences, as this information could drastically change the packaging industry. In addition, it raises the possibility that the flexo industry could further optimize soft touch coating results that appeal to the greatest number of consumers.

I am grateful to the FFTA for making this project possible, and for trusting me to present on stage at Forum.

FIGURE 5 With PET selected, this chart shows that the harder durometer was preferred. On this substrate, the anilox had a minimal effect.

I’d also like to thank Matt Apke from Kustom Group for his help with selecting and sourcing the soft touch coatings, as well as Mark Andy, Harper, Apex, and MultiPlastics for their support. A thank you to my supervising faculty, Professor Malcolm Keif, for having my back at every turn.

FIGURE 6 When the Poly is selected, the influence of the other treatments had a greater utility, and in this case, the conventional hex shape was preferred.

THE INFLUENCE OF VARYING ANILOX ROLL AND TINT SLEEVE ON SOFT TOUCH COATINGS

FIGURE 5: DATA ANALYSIS— UTILITY

PROFILER (PET)

55 SHORE A TINT SLEEVE

12 BCM ANILOX

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PET SUBSTRATE

1 0.5 0.5 -0.5 -1 -1.5 12 BCM

ALT GEO

55 SHORE A

FIGURE 6: DATA ANALYSIS— UTILITY

12 BCM ANILOX

67 SHORE A

PET

POLY

PROFILER (POLY)

55 SHORE A TINT SLEEVE

POLY SUBSTRATE

1 0.5 0 -0.5 -1 -1.5 12 BCM

ALT GEO

55 SHORE A

67 SHORE A

PET

POLY

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ABOUT THE AUTHOR Emily Anderson graduated from Cal Poly summa cum laude with a Bachelor of Science in Graphic Communication, concentration in Graphics for Packaging, and minors in Packaging and Integrated Marketing Communications. While at Cal Poly, Emily worked on Cal Poly’s 2018-19 Phoenix Challenge team as the Research and Concept lead. She moved to Minneapolis, Minnesota to pursue a career at SGS, where she works. There, she now works as an on-site account manager, supporting marketing production operations from Target’s corporate offices within the Beauty team of their In-Store Marketing department.

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Type Tasting MADISON GUTTROFF, DOMINIQUE LAU, AND CASSIDY TOWNE

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4

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Type Tasting is an ongoing project conducted and founded by Sarah Hyndman where she achieves to change the ways people talk and think about typography.

SARAH USES HER Type Tastings as a platform for researching type, perception, multisensory typography, and typefaces as cultural codes. Sarah researches and quantifies how we respond to typefaces through live experiments, surveys, and interviews. In order to collect more data for Sarah Hyndman, Professor Lorraine Donegan and Graphic Communication students Madison Guttroff, Dominique Lau, and Cassidy Towne have set up and conducted Type Tasting experiments to test the faculty and students of California Polytechnic State University’s perceptions of typography.

Here at Cal Poly, the students created their own experiments and surveys to test what effects different typefaces have on how we perceive and think about objects. Different typefaces were chosen for these surveys to see which one of the typefaces may produce more significant results. Some of the categories that the team tested on their participants about typefaces affecting their senses include quality, attraction, relevancy, and taste. The rest of the article will go into depth of the results given from the surveys conducted.

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Typeface Classification Each typeface used in the experiments are listed here, categorized by its respective typeface classification and assigned characteristics based on our data.

SERIF

Modern

Old Style

Baskerville Regular Baskerville Italic Baskerville Bold

Poster Bodoni Didot Regular Didot Italic

Big Caslon Medium

Attainable, relatable

Luxurious,formal

Trustworthy, professional

Thin

Bold

Rounded

Minerva Modern Regular

Gibson Bold Helvetica Neue Bold Helvetica Neue Cond. Bold Futura PT Extra Bold

Cocon Pro Regular VAG Rounded BT Regular Comic Sans

Affordable, cautionary, aggressive

Cheap, sad, childish, playful, unrefined, unhealthy, comforting

Transitional

SANS SERIF

Helvetica Neue Thin Benton Sans Medium Mr. Eaves Light Letter Gothic Std Luxurious, attainable, light, sophisticated, healthy, stylish

SCRIPT

Handwritten

Thick Candice Regular

Luxurious,creamy, sweet, appealing, flavorful

DECORATIVE

Decorative Trajan Pro Light Park Lane NF Phosphate Inline Indulgent, sour, playful

Nautica Regular Flemish Script BT Regular Luxurious, expensive

Brody Regular Bhatoshine Approachable, desirable, playful, feminine

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Experiment 1 The following experiment performed asked participants to rank nine typefaces from cheapest to most expensive in appearance.

Trends and Conclusions: The experiment showed that the majority of participants believed that heavy, sans-serif typefaces, such as options C and D were perceived as the cheapest.

The thin, modern typefaces, as well as the script typeface, were perceived as more expensive.

78% 42%

78% of participants believed that option I was the most expensive looking typeface.

The majority of participants (42%) believed that option D was the cheapest typeface in appearance.

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Experiment 2 Participants were shown nine options of typefaces reading “Date Me.� They were then asked a series of questions related to their perceptions of their date based on the typography used for each option.

Trends and Conclusions When asked to choose a name badge that best reflects oneself and that best reflects an ideal date, most chose badge #4 for both. The top name badge that individuals would not go on a date with is option #3, which surprisingly is the second-most popular typeface that best reflects oneself.

22%

22% of participants believed that option #4 best reflected themselves.

20%

20% of participants believed that option #4 best reflected their ideal date.

24%

24% of participants did not want to go on a date with option #3.

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Experiment 3 Participants were shown multiple options of imagery combined with text. They were then asked to select the most and least appropriate option for each scenario.

Trends and Conclusions The selections above represent the “most appropriate� typeface for the scenario associated with the text. The pie charts below summarize the overall views associated with the three typefaces.

97%

60%

97% of participants viewed Helvetica as trustworthy for warnings.

60% of participants viewed Baskerville as professional

70%

70% of participants viewed Comic Sans as childish.

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Experiment 4 Participants were given two envelopes containing jelly beans of the same color and flavor. One envelope instructed participants to “eat me” in a sweeter-looking typeface (A) and the other instructed the same in a more sour-appearing typeface (B). They were then asked to rate each candy on a sweet to sour scale.

eat me

eat me

Trends and Conclusions When asked “How sweet is it?” Typeface A was rated an average of 4.7 out of 10 while typeface B was rated 4.5 out of 10. When asked “How sour is it?” Typeface A was rated an average of 5.3 out of 10 while Typeface B was rated 6 out of 10.

3%

Typeface A was rated 3% sweeter than typeface B.

7%

Typeface B was rated 7% more sour than typeface A.

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Experiment 5 Participants were given a printed sheet with 20 words printed on it with either a light, italic typeface or a thick, bold typeface. In 30 seconds, participants were asked to circle all of the words where the typeface did not match/appeared inconsistent with the word given.

Trends and Conclusion This was the only test that had correct answers. Surprisingly, the population that had experience with typography received nearly the same score as the population with no typography experience.

74.4%

Of the population that had no typography experience, the average Speed test score of 74.4%.

74.6%

Of the population that had typography experience, the average Speed test score of 74.6%.

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Experiment 6 Participants were shown ten printed cards asking “What is my mood?” in different typefaces. They were then asked to place seven mood descriptors next to the typefaces they believed were most fitting for each.

Trends and Conclusions Decorative typefaces were most commonly associated as energized and playful. Thin sans serif typefaces were categorized as either calm or sad.

Thick, sans serif typefaces were often labeled confident or angry.

45%

50% 59%

50% of participants believed that option G was the most “playful” looking typeface.

59% of participants believed that option A was the most “calm” looking typeface.

45% of participants believed that option I was the most “sad” looking typeface.

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Experiment 7 Participants were shown different typefaces displaying the word “ice cream.� They were then asked multiple questions based off of their perception of the ice cream based off of the typography attributed to it.

Trends and Conclusions Most participants believed that a standard script typeface, such as option G, appeared the most expensive. Rounded, sans serif typefaces, such as option D, appeared the cheapest. Thicker, more decorative typefaces, such as option F, conveyed the following to our participants: the sweetest, the most appealing, and the richest and creamiest in taste.

59% 41%

59% of participants believed that option G was the most expensive looking typeface.

The majority of participants (41%) believed that option D was the cheapest typeface in appearance.

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FIGURE 1

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Improvements Throughout the process the team took notes on what could be further improved upon for later experiments.

Improvements that were noted include the following:

Speed Test Due to the limited time allotted for the test (30 seconds), students wasted most of the time trying to comprehend what they were looking at and how to best answer.

1.

Give more specific instructions. Explain the two typefaces that will be used and provide an example of what a correct pairing would be.

2.

Ask participants to circle the consistent typefaces, instead of the incorrect ones.

3.

Scatter the options so that participants do not compare words together.

Jelly Bean The candy provided should have both sweet and sour FIGURE 1 The Type Tasting research team collecting information from Graphic Communication classes around the department.

characteristics; however, not one that is too overpowering.

1.

Acquire candy that does not have two different flavors. For example, candy should not have one side that tastes different from the other side.

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About Sarah Hyndman Sarah Hyndman, the founder of Type Tasting, is a Londonbased type consultant and graphic designer. She received her Master’s degree in Typography and Graphics from the London College of Communication. Through Type Tasting, Hyndman explores the psychology behind type and dives deep into how perceptions are made based on typography. She has published her findings in her book, Why Fonts Matter. All of her findings are based on data accumulated from experiments, surveys, and interviews she has conducted to test people’s impressions of different typefaces as well as multi-sensory typography.

To learn more about Sarah Hyndman and Type Tasting, visit typetasting.com and follow her Instagram account typetasting.

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ABOUT THE AUTHORS The Type Tasting research was conducted by Madison Guttroff, Dominique Lau, and Cassidy Towne. Madison Guttroff is a graduating senior from San Diego.

She will be receiving her Bachelor of Science in Graphic Communication with a concentration in Design Reproduction Technology. Dominique Lau is a fourth year Graphic Communication major with a concentration in Design Reproduction Technology and a packaging minor. Lau is from Los Altos, California and shares an appreciation for typography and branding.

Cassidy Towne moved to San Luis Obisop from Vancouver, Washington. She is currently fourth year with a concentration in Design Reproduction Technology and graduates in March 2020.

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Cal Poly TAGA Executive Board CAL POLY TAGA 2020

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CAL POLY TAGA EXECUTIVE BOARD

ERICA TAYLOR PRESIDENT

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Erica Taylor is a third year Graphic Communication student concentrating in Design Reproduction Technology and minoring in Packaging. Originally from outside of Philadelphia, Pennsylvania, Erica came to Cal Poly because the Graphic Communication major combined her love of graphic design with her desire to obtain technical and managerial skills. As President, she facilitated meetings, created a timeline for the journal and set team deadlines, and coordinated with administrators and professors. As a member of TAGA since freshman year, she is proud to represent Cal Poly as TAGA President.

The experience has provided her with valuable leadership, responsibility, and time management skills she will take into her future career. She is proud of the challenges the team overcame and the creative boundaries that were pushed this year. Above all, she is thankful for the incredible opportunity, and for such an inspiring team to work with.

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AILEEN VASQUEZ VICE PRESIDENT

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Aileen Vasquez is a third year Graphic Communication major at California Polytechnic State University in San Luis Obispo and is concentrating in Design Reproduction Technology and minoring in Psychology. She chose to go into GrC because through the help of leadership programs in high school she became involved with planning school-wide events and fell in love with the world of graphic communication. Aileen aspires to work in advertising and to create ads of all kinds of media, from print to digital. She is from a small town called Seaside, located in the Monterey Bay of California. In her hometown, she enjoys taking walks on the beach with her dog and taking advantage of all the beautiful coastal trails nearby. Since she has moved to the warmer climate of San Luis Obispo, she loves to explore the mountain trails with friends. As the Vice President, her roles include handling internal affairs, managing funds, and overseeing the journal creation process. Aileen is excited to share all of her team’s hard work with this year’s journal.

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WILLIAM OLSON DESIGN DIRECTOR

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William Olson is a fifth year Graphic Communication Major concentrating in Design Reproduction Technology. He is from Hillsborough, California in the San Francisco Bay Area and was drawn to Cal Poly for its strong academic pedigree, amazing weather, and optimal distance from home. William has worked in nearly all areas of the design industry; from print to digital to environmental, with his most recent position being a product design intern at Carta. As design director he was responsible for coming up with and implementing the overall aesthetic direction of this year’s journal and accompanying materials. William’s favorite part of TAGA is being able to see such a large project through until the end.

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BAILEY YUEN DIGITAL DIRECTOR

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Bailey Yuen is from Moraga, California and is a fourth year Graphic Communication major at Cal Poly, San Luis Obispo. She chose to major in GrC because of her love of digital design, brand development and marketing. She is concentrating in Design Reproduction Technology and minoring in Integrated Marketing Communications in hopes to be a graphic artist or production designer, either in house or at an agency. In her free time, she enjoys hanging out with friends and exploring all that San Luis Obispo has to offer. In her role as Digital Lead, Bailey has learned valuable skills such as time management, team leading and being a team player. She is proud of her team’s accomplishments and how the team was able to produce the entire journal and collateral on campus with just the help of our peers and faculty.

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CHRISTINE PETERS PRODUCTION MANAGER

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Christine Peters is from Mountain View, California. She is a Graphic Communication major with a concentration in Design Reproduction Technology. Last year she worked at University Graphic Systems, a studentrun print company within the Graphic Communication Department, as the Specialty Project Manager. After graduation, Christine hopes to pursue a career in packaging or magazine design. In her free time she enjoys going to the beach with friends, painting and spending time in the outdoors. On the TAGA Executive Board, Christine served as the Production Project Manager and was responsible for overseeing and scheduling production runs as well as designing packaging for the journal. Christine’s favorite part of being involved in TAGA this year was getting to see the journal design go from theoretical to physical and developing real-world industry experience.

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ALICE ISH MARKETING MANAGER

CAL POLY TAGA 2020

Alice Ish is a third year Graphic Communication major concentrating in Design Reproduction Technology with a minor in Packaging. She is from Seattle, Washington, but was drawn to Cal Poly and California for the sun and this amazing program. She also enjoys being a lab assistant for the offset printing technology class, where she gets to assist in running a Heidelberg CD74. Her favorite thing about her classes is the hands-on creative work she gets to do every week. With these experiences, she hopes to pursue a career in the packaging design industry. In her free time Alice enjoys hiking and going to the beach with friends. As Marketing Coordinator in TAGA and as a TAGA Student Ambassador, she leads a team responsible for fundraising and maintaining the club’s social media. Alice’s favorite parts of TAGA are getting to see different club members’ ideas come together, getting to work with a team and help members develop their design and leadership skills.

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LUIS COREAS RESEARCH DIRECTOR

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Luis Coreas is a third year Graphic Communication major with a concentration in Design Reproduction Technology. He comes from North Hollywood California but enjoys the calmer life of San Luis Obispo and has been a part of TAGA for three years now. As the current Research Coordinator, Luis has been working with professors and students around the Graphic Communication Department to gather student research papers for the TAGA journal. Some activities he enjoys doing in his free time include hiking around San Luis Obispo, skateboarding in nearby parks, or simply hanging around with friends. The time he spent with the TAGA team and the professors have been delightful and looks forward to everyone enjoying the journal when it debuts at the 2020 conference in Oklahoma.

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MEMBERS

CAL POLY TAGA 2020

Pictured are the members-at-large of Cal Poly’s TAGA chapter. This group usually consists of younger students that help with the group’s production needs. Many of these members eventually go on to become members of the chapter’s executive board in their later years at Cal Poly.

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Acknowledgments The 2019-2020 Cal Poly TAGA Student Chapter would like to thank the following people for their help and generous contributions.

The Cal Poly, San Luis Obispo Graphic Communication Department, specifically: Professor Brian Lawler, Chapter Advisor Dr. Peter Schlosser, Technician Professor Colleen Twomey, Department Chair

Sponsors Cal Poly Alumni Association Brian Lawler, Cal Poly GrC Lou Caron, PIASC Jeff Clark, Steven’s Printing Paul Cousineau, Dow Jones and Company Steve O’Keefe, Spicer’s Paper Dan Nelson, Visual Media Alliance Jules Van Sant, Bubble & Hatch Jim Workman, Printing Industries of America

Supporters Dr. Malcolm Keif

Judith Albrecht

Molly McCarthy

John Bodnar

Michelle Sassano

Peter Olson

Mark Peters

Joe Polanco

Alice Miller

Nancy Cullins

Sudershan Virdi

Parham Farsi

Angela Lawton

Arely Hernandez

Larson Family

Shannon Nelson

Lauren Helms

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Colophon Design This journal was designed using Adobe Illustrator and Adobe InDesign. The text face is set in Optima Roman. Captions are set in Suisse Intl. Mono and Suisse Intl, and headers are set in Canela Light.

Production All work was done under the guidance of Graphic Communication professors Brian Lawler and Peter Schlosser.

Files were printed using EFI’s Fiery Command Workstation and the Konica-Minolta C1100 digital press.

The divider pages were printed digitally using the Konica-Minolta C1100 press, and enhanced with varnish on the MGI Jet Varnish 3DS. The slipcover is printed digitally on the Konica-Minolta C1100 press, and die cut on the Esko Kongsberg ISE Table.

The slipcover stock used is Mohawk Carnival Forest Green Vellum 80 lb cover.

The cover stock used is Curious Iridescents Cryogen White 89 lb. cover.

The text stock used is Starwhite Text Archiva Smooth 80 lb. text.

The divider stock used is Mohawk Keaykolour Matcha Tea 80 lb. text.

Finishing Substrates were cut to size using the Polar 92X Cutter, and the journal was perfect bound using the Duplo Binder 280.

Electronic Publishing The Cal Poly TAGA website (calpolytaga.com) was wireframed on Adobe XD, developed on Webflow, and published using Issuu. The Augmented Reality uses AR.js which is a library for AR on the web that uses marker based technology. In order to access the AR we used Digimarc barcode technology.