Joint venture From fall 2005, the Zurich-based general contractors Linkgroup and Neidhart + Schön Group intend to operate a joint printing center by founding a pure production company called Unigena AG, in which they will hold equal shares. The two partners intend to contribute their technical resources to the company. The Neidhart + Schön Group's headquarters in Zurich-Wipkingen has been chosen as the production site, while the Linkgroup company Printlink's production site in Wetzikon is to be closed.

The Swiss did extremely well in Cannes. This is often celebrated, even by those who didn't directly contribute to the Lion win - after all, the national sympathy should also come first. And since around a hundred accredited Swiss and a few additional "wild" Swiss were in Cannes this year, here is a small typology: the first group hardly sees a film, mainly parties and can be found on the Martinez terrace until the early hours of the morning. There is a subspecies of this group that can at least be seen on the golf course in the late afternoon.
The representatives of the second group are there purely out of professional interest and soak up as much advertising as possible. The linguists even attend the specialist seminars. They meet representatives from other network branches and usually see them for the first time, if at all, at the Swiss party at the end of the week. You don't know them and never will, as they confuse advertising with creative accounting and never show up at events in Switzerland. Despite their passable expertise, they lead a wallflower existence in their agencies, as they are naturally not taken seriously by or in the creative department.
The third group tries (in true Swiss fashion) to reconcile all their interests. These people can be seen at parties and on the Martinez terrace, and they even go to half-day movie screenings. However, as no one can keep this up for a week, this species only turns up in Cannes in the middle of the week - just in time for the Dutch party.
And then there are the real workhorses. This year they were Daniela Jakab, Ralf Doller and Mike Krüll - they were all members of the jury. And there are - apart from the work of the shortlisted author
does not guarantee a tougher job in Cannes.
Beat Fritsch went to jail in Cannes. And one of the worst kind - led by the notorious Flying Dutchman
Hans Brouwer - full of ... pardon ... full of Dutch, German, French, English and other compatriots, including a few Swiss. There was also a lot going on in Cannes: Markus Gut got various acquaintances an invitation to the Publicis party at the trendy Le Bâlio venue, and Cinecom with Matthias Luchsinger hosted the big Swiss party on Friday.
Many more pictures from Cannes can be found at: www.werbewoche.ch/shortlist
The Lion winners (with all spots as Quick-Time streams!): www.canneslions.com
Still organizing the wildest party in Cannes: Hans Brouwer from Massive Music with Claudia Roy from Diesel Montreal.
Every visitor to Cannes knows the two leopard ladies who are always happy to pose for a photo - for free!
Art buyer Ines Rimmele and Ralph Halder enjoyed themselves at the Publicis party in the "Bâlio", the Cannes branch of the Buddha-Bar.
Christian Hansen (left), Managing Director of Fisch Meier Direkt, met Colin Hearn, Worldwide CEO of Publicis Dialog, at the "Bâlio".
Beer-soaked CDs: Markus Gut (l.) and Ralf Kostgeld (r.), Publicis Zurich, with Alasdhair Macgregor-Hastie from the Milan branch.
Leading figures in the Publicis family - Zurich CEO Kaspar Loeb (right) with his New York counterpart Gill Duff.
Hosts at the Plage Miramar - the Swiss festival presenters Matthias Luchsinger and Nicole Steinegger.
Squinting into the sun: Serge Riedener (l.), CD at Inhalt & Form, with Andy Lehmann, CEO of Aegis Media.
Thomas Ulrich, Marketing Communications at Swisscom Fixnet, with pink double Nadine Borter from Contexta.
A little marked after a week in Cannes, despite a light program: Jean-Claude Bruhin (right) and Daniel Pauletto from Cinecom.
Nadine Baumann (l.), radio jury member Daniela Jakab (looking surprisingly fresh despite the jury stress) and Jean-Marc Demeulemester.
Making themselves comfortable on the sunny sofas: Pascal Baumann (left) from P-Formance and Martin Stulz from Advico Y & R.
A deep look at the Plage Miramar: Willem Baumann from McCann-Erickson and Daniela Berther, freelance TV producer.
Almost like sisters: the two film women Michela Trümpi (affectionately called s' Trümpeli by MF) and Lea Rindlisbacher (right).
It was also cozy on the sofa of Martin Fueter (MF) from Condor Communications and Evelyn Dössegger.
Sebahat Derdiyok, SFLB-FFF-Producer and in Cannes the slyest of the sly (Internet-Shortlist from Saturday!), with director Rainer Binz.
Andy Lehmann with Hanspeter Lebrument (left), President of the Swiss Press Association, who clearly felt at home at the Plage Miramar.

Nicole Trasatti (l.), co-owner of Lang Gysi Knoll (LGK), and Caroline Demeulemeester were clearly in a good mood.

Other members of the LGK delegation in one of the cozy Miramar sofa corners - Nadine Baumann and Alfredo Trasatti.

Talking shop under the stars - Swiss director Luzius Rüedi (l.) and Martin Heynecke, producer from Cape Town.

Unfortunately they didn't organize their own party this year, but they took time for themselves - Dina and Markus Gyhr from Ultra-Film.

The first official photo of Hélène and Christian Lindgens after their surprise wedding coup three weeks ago.

A must at the Swiss Cannes party - Publicis CD Markus Gut (l.) and director/producer Patrick Senn.

Even though there were no Cyber Lions for Switzerland this year, Grace and Roger Rüegger from Futurecom were in the best of spirits.

Rudi Haller (right) from Solid & Haller Film, with Patrik Rohner from SFLB, looked into the camera with a slightly blurred expression.

Producer Michael Kindermann from Snap-Film with Wirz-FFF-Producer Kerstin Reulen, each one of the very sunny Cannes minds.

Found late at night in one of the back corners of the Miramar beach bar - Thomas Ulrich with Advico CD Urs Schrepfer (right).

Remy Fabrikant was the very first Swiss on the red carpet and was therefore allowed to pose all by himself.

Shortly afterwards, Wirz-CD Matthias Freuler, Peter Rettinghausen, McCann-Erickson and copywriter Alain Picard arrived.

Gentleman Rettinghausen once again, who quickly positioned himself in front of the Wirz ladies Valentina Herrmann and Kerstin Reulen.

Business women: Adelia Rzaeva (l.), Client Service Director, and Vera Bondarenko, Media Director, from Mediastars, Moscow.

We've caught him better: Michael Conrad, Dean of the Roger Hatchuel Lions Academy and Zurich resident by choice, with his wife Helga.

The Bernese on the red carpet: Bene Abegglen and Nadine Borter, Contexta, with Thomas Ulrich from Swisscom Fixnet (from left).

After eight days in Cannes, Jean-Claude Bruhin and Nicole Steinegger were not dissatisfied that it was slowly coming to an end.

And the Publicis delegation led by Markus Gut also made it to the award ceremony for the coveted Gold Lions in time.

Petfood Every fourth dog is fed the Migros brand Asco - usually unknowingly. Exxtra aims to make it better known to dog owners.
The dog population in Switzerland has been shrinking for several years and now numbers 490000. Sales in the food market are declining accordingly. While some manufacturers have responded to this and to the increased importance of the animal family member by introducing high-margin specialty food, which has slightly weakened the retail trade compared to specialist retailers, others have pushed down average prices with aggressively priced hard discount products.Despite these changes, the Migros brand Asco has remained the best-selling dog food in Switzerland in terms of volume. However, the pleasing figures are offset by sobering passive brand awareness: The brand is virtually unknown. In the Brand Asset Valuator brand study, which will be published in three weeks' time, Asco falls far behind. A wasted leadership position. Migros now wants to conquer this position by upgrading Asco to a strategic own brand and substantially increasing its advertising budget.
A new campaign is aimed at dog owners who are quality and price-conscious when buying dog food. The Exxtra team led by CD Dieter Hofmann is doing this with a TV commercial that is different from the classic implementations in this product category. One reason for this was that Asco had not been advertised for a long time and first had to establish a face that clearly stood out from the competition.
It is not the composition, the effect or the price of the food and its ingredients that are advertised. Rather, the hook is its popularity, which has led to the claim "Asco. There's something in it". In the commercial, a small mongrel rearranges an entire living room so that his tired master can enjoy a special view from the window in the evening: Parked outside is a van with a large depiction of a dog's bowl and the Asco claim. The charm of the story is underlined by the perfectly chosen soundtrack: Lee Dorsey's 60s hit "Working in a Cole Mine". In addition to the commercial and reminder, various accompanying measures such as a dog magazine and PR are planned.
So that the master knows what is good for the good dog: a clear view of Asco.
Luca Aloisi

Local press Residents of the Burgdorf region have had a first look at the planned free newspaper Burgdorfer Samstagsblatt (Burgdorf Saturday paper), a 16-page first edition of which was distributed to letterboxes last Friday, as reported by the Bund. Despite the name, the Samstagsblatt will continue to be published on Fridays for postal delivery reasons. To finance the definitive launch, the initiators want to distribute 1,000 share certificates of CHF 250 each. By the beginning of June, 99 certificates had been subscribed.

Newspaper The sparrows have long been whistling from the rooftops that the Solothurner Zeitung of the Vogt-Schild publishing group would rather renew its contract with the Mittelland Zeitung than join the Espace Mediengruppe (Bund, Berner Zeitung). It is now clear that Peter Wanner, publisher of the Aargauer Zeitung, can only secure the continued existence of his Mittelland newspaper model in the long term by acquiring a stake in the Solothurner Zeitung from PubliGroupe in two stages, taking over its 35 percent stake in Vogt-Schild AG and in return transferring the advertising management for the AZ Media Group's newspaper division to the latter. This time, the four media companies AZ-Medien Group (Aargauer Zeitung), Vogt-Schild Group (Solothurner Zeitung) Dietschi AG (Oltener Tagblatt) and Zofinger Tagblatt AG (Zofinger Tagblatt) are confirming their cooperation in the Mittelland newspaper model for an indefinite period. They can thus operate with a total circulation of 190000 copies and 380000 readers.
(rw)

TV From 2006, TSR television in French-speaking Switzerland will be broadcasting news continuously from 7 p.m. to 8 p.m. The game program, which currently separates the "19.00 des régions" and "19.30" magazines and causes a drop in ratings, will be postponed until later, as Le Temps reports. The regional magazine is to be expanded and the strict division of regional and national material between the two programs will be relaxed. A visual overhaul is also on the cards. The late news edition, previously broadcast at 10.30 p.m. on TSR 2, is also to be moved to TSR 1 and no longer broadcast at a fixed time, but flexibly at the end of the prime-time program.

On the occasion of the Adobe Creative Suite 2 Tour, Werbewoche talked to Klaus Kurz, Business Development Manager Creative Pro at Adobe Systems, about products and technologies.WW Mr. Kurz, how do you position the new edition of Creative Suite?Klaus Kurz Creative Suite 2 as a product suite represents a modern and comprehensive platform for publishing. It enables companies to efficiently prepare and deliver or publish information for different media.
An important update within the suite is the one for the layout program InDesign. What are the highlights here?
The InDesign CS2 application, which has been expanded by a number of functions and options, meets the needs of agencies and prepress/printing companies. For example, many companies have been waiting for the now possible creation and placement of marginalia or footnotes. So for those who need these functions, these are the highlights.
However, due to the numerous outstanding new functions, it is difficult to present the absolute highlights. Depending on how the product is used, different users appreciate different functions and possibilities in each case. From my point of view, the "small" functions are especially interesting: For example, the table import has been improved, the baseline settings can be changed per text object and no longer only per page, the import options of text/Word documents now also allow the integration of paragraph formats. And with the application of successive style sheets to texts, formatting is made much easier.
The new so-called snippets are also practical. They allow components of a page to be reinserted in exactly the same position in another document or on another page. Elements that belong together, and especially recurring elements, for example in periodicals, can thus be integrated into a document very quickly. This allows the layout artist to insert objects or groups of elements quickly and easily, even without templates (sample pages). For this reason, the snippets are also a great relief when designing advertisements that always have to be placed in the same position.
Another new feature of InDesign CS2 is the optimized PDF import. Now, multi-page PDF documents can be loaded into placeholders by simply clicking page by page.
Adobe Bridge is a new, included working environment. What advantages does Bridge offer agencies, publishers, or prepress/print stores?
Adobe Bridge is a file browser that provides quick access to production data and allows consistent color and PDF settings to be made within this environment. Additional services can also be used within this environment, such as the new Adobe Stock Photos for online research and
-The new Help Center and the RSS news feed are just a few examples. With the latter, for example, an editor of a daily newspaper can have the Bridge News displayed in RSS format after starting up.
A RAW batch converter is also integrated into Adobe Bridge. Without having to use Photoshop, it can be used to automatically make adjustments to selected images, for example from a photo shoot, perform conversions and the crop function, and make color adjustments in batch mode, i.e. in the background. The files are versioned immediately afterwards. These are enormous productivity advantages!
Is Bridge an Adobe-exclusive, enhanced file browser, or can it also manage and display documents from other programs?
The bridge can accommodate all data per se. This means that documents with administrative information - such as invoices - can also be managed in a production process. Adobe will offer a developer package (SDK) for third-party vendors so that they can integrate their products with Adobe Bridge.
No. Adobe Bridge is also included with the standalone products Photoshop, InDesign, Illustrator, and GoLive.
With the CS2 applications or with the CS2 suite, a new version of the Cue version is also delivered. Can you briefly introduce this?
For the user, Version Cue is simply a folder - the files managed in it can be accessed as usual. Instead of the classic file system, the user can manage versions much better. In addition, users in a team have the advantage of data security and consistency, because variants and versions can be accessed from a central location. The file name additions that have been common up to now, such as .001 or _New, are now definitely a thing of the past. It is also possible to see who made which change to the document and when; this makes it possible to track an order/document at any time.
From data organization to PDF checkingWithin the Adobe Bridge working environment, objects, data, etc. can be organized or searched for to produce printed matter or websites. The data formats fade into the background, as native formats, standard formats or export formats can be opened.
The Bridge Center feature within Adobe Bridge acts as a control center. Within this environment, for example, RSS news feeds (compressed Internet news) can be retrieved or color settings can be made (so that images within the Creative Suite applications are always displayed and edited with identical color values). Or you can automate workflows using so-called scripts. However, Bridge Center is available only to Creative Suite owners, but for standalone products, file management with Adobe Bridge is fully available without the Center.
The Cue version allows access to older or alternative versions (e.g. language versions), enables the creation of projects and can be used by individual users or by workgroups. Of particular interest are the options for online verification of PDF data. Such reviews can be initiated, started, and PDF reviews can be participated in or paused within the Cue version.
Interview: Jürgen Franck

Television The project for a regional language television channel previously known as Elevator TV will be launched under the name CH3, according to the program magazine Tele. An agreement with Cablecom regarding the connection to its network and the Federal Council's licensing decision are still pending. However, all parties involved are optimistic that CH3 will be given the green light.

Newspapers II Two and a half jobs are being cut at the French-speaking Swiss daily La Côte. The newspaper, which is owned by publisher Philippe Hersant, is thus drawing the consequences of the poor economic result in the first half of the year.

Rubriken Car4you (Switzerland) takes over the Car4you newspaper from Tamedia, which the Zurich-based publishing house launched last October in cooperation with the operator of the online marketplace of the same name.Rubriken Car4you (Switzerland) takes over the Car4you newspaper from Tamedia, which the Zurich-based publishing house launched last October in cooperation with the operator of the online marketplace of the same name. Tamedia will continue to ensure prepress, printing and distribution. The change of hands is intended to make better use of synergies. Three people will be made redundant at Tamedia.

Column The Macdonaldization of the media is progressing, but is no reason for state intervention. Haim Saban has made enough money; in any case, he wants to sell ProSieben Sat 1, one of the two large German TV conglomerates, again. Germany is speculating whether Axel Springer Verlag will venture into the television business. It would cost a lot of money and would not be easy to retain the majority. Above all, however, it would massively change the German media landscape: the pronouncedly liberal-conservative press group could not simply turn the entertainment channels into political agitation programs. But it would have a news channel (N24), it could broadcast political magazines on ProSieben or Sat 1 and launch Bild newspaper campaigns on television. Legislators would have no means of preventing this, because "cross-media ownership rules", as they exist in the USA, are currently unthinkable in Germany.
Nobody knows whether Springer CEO Mathias Döpfner will really dare to take this big step. After all, it would not only greatly increase Springer's power, but also severely restrict its future financial leeway. Some competitors are already rubbing their hands together. Nevertheless, the deal is not out of the question.
In terms of media concentration of power, Switzerland is still an island of the blessed. Here, too, there is noticeable consolidation in the regional press. In television, however, the SRG has unchallenged superiority. In addition, different companies call the shots in different parts of the country. Of course, Switzerland is influenced by German, French and Italian broadcasters. But politics is made in Switzerland. And when it comes to newspapers, voters have a choice: If they no longer like the Blick, they take the Tages-Anzeiger and vice versa. These are comparatively happy circumstances.
You have to be aware of the major trends: Newspaper circulation will fall because the younger generation informs itself more frequently via digital media than the older generation. And free newspapers such as 20 Minuten are becoming serious competitors worldwide. As good as some of these papers are, they have nothing to do with traditional journalism.
Where public broadcasters still have more or less of a monopoly, they can afford cultural programs such as DRS 2 for minorities. But only there. Television, on the other hand, is becoming a highly consolidated entertainment economy where the only thing that matters is ratings. This leaves the new possibilities of the Internet, which radically individualizes the flow of information. However, the really socially relevant topics are rarely corrected by this subversive medium. So what can be done?
There is no point in reverting to the 1970s, when the recipes were "expropriate Springer", public newspapers or cross-media ownership rules. Capitalism is more inventive than parliaments. It cannot be defeated confrontationally. But democracies must ensure that citizens are properly informed about what is going on. This in turn means that media politicians must also become ever more cunning. In Germany, for example, there is a regulation that large television chains must carry counterfeits. In jargon, this is called "broadcasting rights for independent third parties". The camel must tolerate a small monkey on its hump. The hippopotamus must tolerate birds that keep its maw clean. Hysteria is not the order of the day, but imagination is. Otherwise we, the readers, listeners and viewers, will be fobbed off and macdonaldized.
> Peter Glotz is a publicist and professor emeritus of media at the University of St. Gallen.

Envelopes Soon "Swiss Post" will know no quarter for the previous design of addressed letters. So it's high time to look for suppliers for envelope printing, special designs and stock envelopes.
As handed down from Egypt and Anatolia, business correspondence is quite a common practice already in the 19th century BC. The Babylonian language and cuneiform writing were used. To preserve the secrecy of letters, clay tablet letters were wrapped in a layer, also made of clay. This mailing envelope was opened by the recipient by turning it into shards, and without damaging the clay tablet inside. This worked because "letter and envelope" did not bond with each other during the clay firing process.Letter secretThat Switzerland's first postage stamps saw the light of day in 1843
is well known, as is the beginning of the Federal Post Office six years later. But what is known about the envelope, also known as the envelope or envelope? "Until about 1860, envelopes were rarely used. As a rule, one wrote on one side of the letterhead only, then folded it inward from all four sides and secured the flaps with a lacquer or wafer seal. The relevant address was written on the blank outside, where space was also left for the stamp and the postmark imprint. "1)
While today such letters are at most suitable for direct mails of a special kind (in which case the burnt clay material would have to be padded), the classic form of the envelope dates back to 1820 and the idea of the paper merchant Brewer in the English seaside resort of Brighton. For allegedly, according to legend, the honorable and well-heeled visitors to the seaside resort were very concerned about maintaining the secrecy of letters. Until that time, no one really took offense at the curiosity of the delivering letter carriers, the employed staff or state institutions. After all, "Reading letters is like talking to a partner who is not present." 2)
Envelope industryThe development of the first envelope machine also came from England, that was around 1840. After the London World's Fair in 1851, industrial production of envelopes began on the European mainland. No sooner had the telephone been invented in the same century than the demise of the letter was prophesied. With the end of the triumphant advance of the fax in the 1980s, the fate of the conventional letter seemed to be sealed. Since another communications revolution conquered the world with the e-mail, the rumor still persists that the enveloped letter will soon be obsolete.
A German market survey carried out in 2000 still reported annual growth of around one to two percent and saw no direct competition between the Internet medium and the envelope. The European Federation of Envelope Manufacturers (fePE), which in 2002 employed over 20,000 people in around 175 companies and produced a total of around 115 billion envelopes, achieved a total estimated annual turnover of the equivalent of around 3.5 billion Swiss francs. In the same year, the difference in per capita consumption between Eastern and Western European countries is considerable. The Eastern Europeans do not even manage 40 envelopes per year, while the Western Europeans consume 280, i.e. seven times as many. In other words, there is plenty of market and growth potential.
To round off the perspective on this branch of industry, the statement made by the leading engineering company for envelope machines, Winkler + Dünnebier AG in Neuwied (D), at the 2005 annual press conference must also be mentioned at this point: After the market for envelope machines had declined sharply in recent years, there were now signs of stabilization. However, the propensity of envelope manufacturers to invest is still restrained, especially as there are capacity overhangs in the markets.
One thing seems certain: The envelope is far from being obsolete. If you look at the figures from our neighbor to the north, for example, you can't help but be amazed. Despite the constantly growing use of e-mail, 50 million letters are sent out every working day. The largest German envelope manufacturers, including Mayer-Kuvert from Heilbronn, obtain about 50 percent of the paper for this from Stora Enso. The company produces envelopes not only in Western, Northern, Southern and Eastern Europe, but also in Israel and West Africa. This "global player" has established itself in Switzerland.
At the same time, competition here at home has not become any easier. Ordinary business correspondence is no longer done by mail as it used to be, but as a rule simply, quickly and efficiently by e-mail. This naturally has an impact on envelope demand. In addition, every time postage increases, envelope manufacturers, distributors and printers come under new price pressure from their customers. Nevertheless, the pressure-sensitive adhesive seal with cover tape and generally straight flap should no longer be dispensed with for manual inserting. In contrast, the wet-glue seal with gummed edges and round flap is a must for automatic inserting. The range of envelopes is generally limited in companies to a few formats with and without fens.
and a few paper grades and colors for everyday business correspondence. The fact that the long format C5/C6 is disappearing more and more from everyday office life is only perceived as a disadvantage in very rare cases.
Nevertheless, the consumption of customized envelopes seems to be increasing. After all, only such letter mail is even noticed by recipients. The envelope is therefore the first communicative impression and thus the door opener par excellence. While envelopes for direct mailing campaigns often can't be flashy enough, seriousness is still practiced in everyday business correspondence. Because (almost) everyone adheres to this, the senders, regardless of whether they are a company, institution or private individual, are hardly noticed, if at all. In Switzerland, however, foreign companies, even those of distinction, stand out negatively because they use the poorest quality paper, the thinnest grammages, stamped (and smeared) senders and other image-damaging external features for their envelopes.
Envelope selectionA Swiss envelope manufacturer has over 300 types in stock. The total stock number may well exceed 100 million and the daily production may well exceed seven million pieces. In addition, there are numerous ranges of creative business papers with envelopes. The full four-color envelope plays a rather minor role. In addition, however, a large number of individual envelopes are produced. The prerequisites for a very special design are therefore abundant. Or if you have a choice, you're spoiled for choice - see also "Envelope manufacturers, dealers and printers" of standard and special designs.
Source note:(1) Artur Wyss: Die Post in der Schweiz. Its history through 2000 years; Hallwag Verlag, Bern and Stuttgart, 1987; (2) Wolfgang Zielke: Informiert sein ist alles. Using the flood of paper sensibly; Econ Verlag, Düsseldorf and Vienna, 1977.
This is how it is windowedAbout a year ago, Swiss Post informed about new design guidelines for the sender zone for addressed letter items. According to these guidelines, old envelopes that do not meet the new standard may still be used until 31 December 2005 - after that, a surcharge of 15 centimes must be paid for these special items. Everything is regulated in the standard "SN 010130:2004 - Business letter", which was adopted in a revised form by the Swiss Association for Standardization in August 2004. "The standard standardizes the external form of letters of everyday business correspondence by means of a clear design."
This is what the Union Schweizerischer Briefumschlagfabrikanten USB (Union of Swiss Envelope Manufacturers), based in 8030 Zurich, wrote in a statement to the trade press on January 27, 2005. And it goes on to say: "With regard to addressing, the standard adheres to the regulations of the Swiss Post Office. In addition, it contains guidelines for the division of a letter sheet, which are also relevant for the dimensions of window envelopes." And these are as follows: To ensure that Swiss Post's automatic sorting machines do not confuse sender information with the recipient's address, sender zones must be correctly observed.
Anyone who wants to be sure can contact the following offices in connection with the "Good to print" for new envelopes: Swiss Post, PostMail Region Central, "Good to print" Account Team, P.O. Box 5861, 3001 Bern, T 031 386 47 91, [email protected], or Swiss Post, PostMail Region East, "Good to print" Account Team, P.O. Box, 8021 Zurich, T 044 296 28 90, [email protected].
Failure to comply with the regulation will result in the aforementioned additional costs and possibly delays in delivery. Nevertheless, Swiss Post also knows that unusually designed mailings attract more attention among recipients and increase the chances of success. And the sender knows that the better effect justifies higher postage, right? In this respect, the following still applies at Swiss Post: Any design is possible! hjl
Envelope manufacturers, dealers and printersThe following is an alphabetical list of specialized suppliers of standard and special designs on the Swiss market - without any claim to completeness. Not included are ranges of fine and creative papers available from paper merchants with envelopes in a variety of designs.
J. Bochsler AG, The envelope factory 6031 Ebikon, www.bochsler-kuverts.ch
Product range: Standard envelopes; special formats and special papers; transparent envelopes with window; special designs, including special window sizes or positions; envelopes for advertising and PR campaigns, for voting, banks and debt collection offices; various folded envelopes with long, short, pointed or no flaps, gummed or ungummed, with or without adhesive strip; single or multi-color printing, single or double-sided as well as edge-to-edge or full-surface printing; color or security inside printing; also with hot foil and blind embossing.
Elco Paper Ltd.
4123 Allschwil, www.elcopaper.com
Envelope range: standard envelopes for manual and automated mail processing with and without printing, e.g. Elco Mailquick, Prontfix, Prontfix FSC, Standard and Deuil; special designs in terms of paper, format, cut shape, internal/external printing, window size and position, closure, cover paper and packaging.
H. Goessler AG
8045 Zurich, www.goessler.ch
Product range: Standard envelopes for manual and automated mail processing, e.g. G-Line Prestoform and Novoform with internal printing that protects against third-party inspection; over 300 stock types and 120 million envelopes in finished stock; envelope innovations, e.g. G-Windows with large advertising window on the front and addressing window (left/right) on the back, "C5-Mini" as reply envelope unfolded and easily packed in C5 standard size, "Transparent" (C4 and C5) for transparent direct mail and "C4-200g" for durable mailing of catalogs, annual reports, etc.; special designs, e.g. with several windows, in special shapes, with tear-off flap; envelope printing, also full-surface.
Hess Printing AG
8560 Märstetten, www.hessdruck.ch
Envelope printing: one to four-color, sophisticated subjects in a single pass, e.g. four-color on one side or two-color on both sides with margins on three sides; UV drying; C6 to B4 formats and special formats within these sizes.
Mayer-Kuvert Switzerland AG
8370 Sirnach, www.mayer-kuvert.ch
Partner of the Fair-Druck Group with Druckerei Sirnach AG, Sirnach, and Rota-Druck AG, Dietikon; range of products: standard envelopes; expertise in the solution/production of specialties.
Mettler Couvert AG
9425 Thal, www.mettler-couvert.ch
Delivery range: Standard Day and Color Line Collection; over 150 stock grades in various formats, paper qualities, colors and closure types; inside and outside printing; all paper grades are also stocked in various grammages as sheet formats for business stationery; special envelopes.
Rivoli-Couverts AG, 4411 Seltisberg, www.rivoli-couverts.ch
Range of products: standard envelopes with/without window, adhesive or gummed; 130 stock types, 12 million envelopes available; envelopes with 20 mm gussets (to take advantage of the favorable postage rate), in square shape, white envelopes with white cardboard back; Maxi Windows, i.e. envelopes with large advertising window; envelopes in 25 colors and 271 sizes; custom-made envelopes.
Rüesch Printing AG
9424 Rheineck, www.ruesch-kuvert.ch
Envelope printing: C6 to B4; edge-to-edge printing all around; also with UV inks for a stronger print image; with/without window, adhesive or gummed.
Seetal Schaller AG
5201 Brugg, www.seetalschaller.ch
Product range: Standard envelopes and business envelopes (outside or inside printing, the latter also with company logo/advertising message) in C6 to B4, closures for manual ("Optifix") and machine ("Optimail") processing, various paper qualities, e.g. "FSC", "swhite power" (tear-resistant), "swhite" (high white), "profutura" (natural white), "sycling" (made from recycled paper) and "swhite" (high white).e.g. "FSC", "swhite power" (tear-resistant), "swhite" (bright white), "profutura" (natural white), "sycling" (made from recycled paper) and "security" (security inside printing); 250 types of standard envelopes in stock; know-how/solutions for individual promotional envelopes, e.g.e.g. with one or more windows in all sizes and (incl. fantasy) shapes; subsequent imprints on finished envelopes; the new "SPrint" flexographic printing line, which produces four-color envelopes on uncoated and coated papers in a single pass with minimum production time.
Sihl + Eika Papier AG
8800 Thalwil, www.papier.ch;
Product range: Standard envelopes with and without window, with adhesive/gummed, various designs; Schneidersöhne Kuvert in Ettlingen/D produces (for the entire group of companies approx. 7 million envelopes per day, more than 300 stock types plus special designs) the in-house line PlanoJet from Swiss paper production in 29 designs and RecyStar (from 100% waste paper) in 14 designs. Schneidersöhne Kuvert in Ettlingen/D produces (for the entire group of companies approx. 7 million envelopes daily, over 300 stock types plus special designs) for S+E the proprietary line PlanoJet from Swiss paper production in 29 designs as well as RecyStar (from 100% recovered paper) in 14 designs; in addition, the envelope range includes the envelope line "swhite premium" in 16 designs and formats as well as "Kraft", a line with particularly high tear strength.
Sonderegger AG
9500 Wil, www.sonderegger.ch
Product range: unusual, sophisticated solutions that transform an envelope into a trademark; combinations of modern manufacturing technology with classic craftsmanship; trendsetters for special
envelopes, e.g. made of wallpaper and tracing paper, book cover material as well as other precious printing materials in special formats and with special embossing, closures, windows.
Spörri Printing AG
8952 Schlieren, www.spoerridruck.ch
Envelope printing: four-sided edge-to-edge, with additional windows or classic for any run length; several million envelopes in various formats, paper types and designs available from stock.
Zurwerra AG, 3904 Naters, www.kuvertdruckzurwerra.ch
Envelope printing: C6 to B4 formats with/without window with business imprint; in multicolor advertising printing also on both sides. hjl
In addition to standard solutions, most envelope specialists also offer endless possibilities for special designs. Photo: Seetal Schaller
A good address for unusual and sophisticated envelope solutions can also be found in Wil SG. Photo: Sonderegger
The shape and number of windows can be individual, and even when closing the envelope, you don't just have to rely on the usual types. Photo: Seetal Schaller
The tear-resistant envelope "swhite power" was recently awarded the innovation prize of the Swiss Direct Marketing Association. Photo/Drawing: Seetal Schaller
Why not a transparent advertising envelope solution for once, if no postal secrecy is violated?
Hans Joachim Laue