Archive for September, 2009

Sustainable Cigarette Papers?

Tuesday, September 29th, 2009

FSCRollingPapers 002A smoking colleague drew our attention to this innovation – Forest Stewardship council (FSC) certified liquorice rolling papers. Glad to see the tobacco industry getting on board with ethical packaging.

We have one question: is it just the packet that’s FSC certified, or the papers themselves? Is the liquorice Fair Trade? Actually, we’re not just being facetious. Our guidance from FSC UK changed recently, so that as FSC certified printers we’re now only allowed to apply the FSC ‘ticktree’ to a product that is made up wholly from FSC certified material. For instance, we printed the inner pages of a brochure for architects Feilden Clegg Bradley Studios on Regency Gloss, which is FSC Mixed Sources, but would not have been able to certify the book unless the cover was also on FSC material (in this case, Revive Pure 100 Uncoated, which is FSC 100% recycled).

Whether the papers in the Rizla packet constitute ‘pages’ of a ‘book’ is doubtless something the FSC police could debate for hours, so we won’t waste their time by referring the question on this occasion.

Many years ago, Calverts produced printed materials for Death Cigarettes, which came in a matt black packet with foil white skull and crossbones, and the most lurid health warnings. The guys behind the Death claimed it was an ethical brand, because they were telling the truth about their product. They were doing really well, until the change in the rules on unlimited import of fags for personal use; they had set up a scheme whereby Death, as appointed ‘agents’, would import cheap European tobacco for their ‘clients’ and thereby avoid UK duty. Unfortunately, Customs & Excise begged to disagree, they lost their appeal in the European Court – and Calverts didn’t get paid.


The Dark Monarch

Monday, September 28th, 2009

Pics9Oct09 001Calverts has been chosen to print and finish a catalogue for Tate St Ives, to accompany the exhibition ‘The Dark Monarch – Magic and Modernity in British Art’, which opens on 10th October.

The exhibition will explore the influence of folklore, mysticism, mythology and the occult on the development of art in Britain over the last century.

Designed by Simon Josebury (Secondary Modern), the format is 230mm x 170mm portrait, 216pp plus cover and 8-page jacket, section sewn. Mono text folios will print on 115gsm Think White (50% recycled and FSC certified), with colour plates featuring works from the Tate and major loans from private and public collections, which will print on Maine Gloss 170gsm. Cover stock is Colourplan Vellum White 350gsm, wire embossed in the paper grain and spine orientation, and the jacket is on China White 135gsm. We will be using Novavit Bio high performance inks, which are soya and linseed oil based and contain low levels of oxidising catalysts and volatile organic compounds (VOCs).

The exhibition and book take their title from the infamous 1962 book by artist and writer Sven Berlin. Focusing on the way the British landscape is encoded with various histories – geological, mythical and magical – they reveal how artists have used these ideas to express the anxieties, trauma and instability of a turbulent and uncertain world. The Dark Monarch brings together over 160 works, as well as books, manuscripts and other ephemera, by artists active throughout the twentieth century.


Revolution on paper

Thursday, September 24th, 2009

ROP

When the British Museum wanted to produce a programme of the upcoming Revolution on Paper exhibition they approached Calverts.

The brief – to achieve a critical colour match on the cover image, an original Diego Rivera print from 1932 and with a mix of pre-press wizardry, unbleached recycled paper + a bit of old-fashioned press passing we got finally got there. Or rather we will do, it’s still whizzing through the press at 10,000 sheets an hour.

Mexican printmaking flourished in the early part of the twentieth century, following the country’s first socialist revolution. The strong left-wing government which emerged emphasised art as a way of promoting revolutionary values which led to a pioneering programme to cover the walls of public buildings with vast murals, and later to setting up print workshops to produce works for mass distribution and education.

The British Museum’s Revolution on Paper exhibition will be the first in Europe focusing on the great age of Mexican printmaking in the first half of the twentieth century. The exhibition runs from 22 October – 5 April 2010. Admission free.


Wet Black Greyboard

Friday, September 18th, 2009

BMurray 001Hot off the press and very very wet, these are simple cards for Jess Tully at Studioilse, to market their ‘furniture that brings people together’.  We’re literally watching the printed stack every five minutes, to see how fast the ink sets. Although we’re using special oxidising-only foil inks (vegetable oil based), printing on a material like this – 500 micron rough greyboard – is quite tricky.

 

It may seem counterintuitive, but litho ink sets much faster on coated paper than it does on uncoated. That’s because the solvent and oil in the inks is sucked up quickly by a china clay based coating, whereas paper fibre barely absorbs them at all. Sometimes we have to wait several days before the work is dry enough to finish (creasing, cutting, binding). Sometimes we even have to wait days between printing one side and printing the reverse. Such are the perils of life as a printer. It doesn’t mean the clients won’t want their printing today, and in this case it really is today. Doesn’t help that we use printing inks with a very low level of additives such as cobalt compounds, which are conventionally added to catalyse oxidation and have nasty environmental impacts.

BMurray 002Also hot off the Heidelberg 74VP press is this first in a series of promotional mailers, designed by the Calverts for Bargate Murray solicitors. Printed litho CMYK on Splendorgel 350gsm smooth uncoated white board, it’s a concertina folded strip of five cards, with a perforation across each fold. Each panel features one of the partners, and we have to have this one finished in time for next week’s Superyacht Fair in Monaco. (Don’t ask.)


Celebrating FSC Friday

Friday, September 18th, 2009

25th September is FSC Friday. Along with other Forest Stewardship Council people, we’re celebrating and promoting the nearest thing we have to a globally recognised and respected mark for sustainable forest products. For Calverts, that means paper containing virgin fibres.

In the design and printing world, the FSC  ‘ticktree’ is an occasionally misunderstood mark. What it does is to certify, via a chain of custody stretching from the forest through the pulp mills, papermakers, paper merchants to us, the printers, that that the paper in a piece of print comes from fibre from plantations that meet the high standards of the FSC scheme, from other controlled sources, or a mixture of such fibres with post-consumer recycled material – or, indeed 100% recycled material.

When you see the FSC claim on a printed item, it includes what kind of FSC material it’s made from, the ticktree mark and the printer’s certificate number. Any other use of the FSC mark or name is invalid  -  for instance, the ticktree on its own, or a piece of text saying something like  ’printed on FSC certified paper’, without a certificate number. This is how the chain can be checked; we as printers have to check in turn that our paper supplier has the correct certification, and that all the paper work relating to the purchase, storage and transportation of that paper has to check out (we are thoroughly audited on this every year) to make sure that it has not become mixed with non-FSC material. Calverts is certified by Oxford Timber Audits, who are accedited by FSC. Each year they check  the jobs for which we have made an FSC claim, to make sure we’re operating the scheme correctly. At our last audit, in June, OXTA said that Calverts is certifying more jobs as FSC than any other printer they audit - and not only that, we’re doing it almost 100% right (we had one minor corrective action this year, which was the way we use the FSC ticktree on our own letteheading!) Anyway, here are examples of the FSC claim which we put on work for our clients:

MS_BlackTxtRecycled_BlackTxt

So, a big thank you to all the clients who worked with us over the last year to specify FSC certified papers and were willing to include the FSC claim in the artwork for their print. Here are a few of them:

Thomas Matthews (everything under the sun)
The British School of Osteopathy (Prospectus on Symbol Freelife Satin, designed by Calverts)
The School for Social Entrepreneurs (Sustainable Paths Report, on Revive 100 Offset)
Royal College of Art (Prospectus on Challenger Offset, designed by Happily Ever After)
Airside (2009 Calendar on Revive 100 Uncoated, design by Airside!)
Greenbelt Festivals (Festival programme on Revive 100 Uncoated, design by Wilf Whitty at RatioType)
CDS Co-operatives (Annual Report on Nine Lives Offset, designed by Calverts)
Feilden Clegg Bradley Studios (Places for Art and Places for Learning Brochures, on Regency Gloss, designed by Jannuzzi Smith)
Harris Museum and Art Gallery, Liverpool (Group Show Catalogue on Satimat Green)

Calverts is committed to maintaining and if possible increasing the amount of 100% recycled and FSC certified  print we produce for our clients over the coming year, and it’s one of our objectives under towards our IS014001 environmental management accreditation. So if you want your work to be certified, just get in touch!

Click here for more info on the Forest Stewardship Council, their criteria for FSC certification and FSC Friday.