Monday, August 20, 2012

I95 Business - Independent Can Company



According to research, only 12 percent of family-owned 
businesses are still operating and viable by the third generation. 
With two fourth-generation progeny at the executive level, 
Independent Can Company, a family owned business since 1929, 
has already beaten the odds.

“We operate the company from a core set of values we developed 
with our employees,” explains company President and CEO, 
Rick Huether. “Fair, Flexible, Market, Customer and Improvement 
Driven, Dedicated, Responsible, and committed to Teamwork. We 
hire, fire, retire and promote using those values to guide us. It’s 
what’s allowed us to not only survive but also thrive over the years. 
We work hard, but we’re committed to having fun while we do it. 
We all agree that if that ever changed, it would be time to do something else.”

While he has no day-to-day responsibilities, second-generation
owner, Doug Huether, must still be having fun. The 86-year-old
chairman of the board reports to work every day, making his
way through the 370,000-square-foot company headquarters in
Belcamp, transporting the mail, greeting employees and asking
questions that he expects to be answered. He still maintains an
offi ce and regularly challenges staff members regarding customer
care and product movement. “He overheard me once explaining
the difference between two cans to a customer and was concerned
they would be jeopardizing their product if I was switching them
to a lower grade can,” remembers Donna Sichette, company
marketing specialist. “I explained to him that I was reaffi rming
their decision to stay with the better can for quality. He’s very in
tune to everything we do here.”
A popular adage about family businesses states that the fi rst
generation starts it, the second generation builds it, and the third
generation kills it. A third-generation member of the business, Rick
Huether defi es that notion. “One of the fi rst things my dad had to
get used to was me wanting to obsolete things,” Huether admits.
“When I started working here and tried to change something, he
would argue that the company already made an investment and
we should run like before. I had to show him that our customers’
desires were changing and that if we didn’t give them what they
were looking for, someone else would.”
“Rick has a gift for knowing what we should be involved in,” says
sister and fellow board member, Cathy McClelland, who works in
sales. “He’ll have us invest in tooling for a new product before any
of our customers actually ask for it. That way he knows we can be
ready to deliver when the time comes.”
Huether joined his father’s company in 1975 after a call from
then-sales manager Bob Link, a.k.a. “Uncle Bob,” asking if he was
interested in a sales position that was opening up. “There was never
a plan to just follow in the family business,” he declares. “I worked
here every summer and holiday since I was 14. I never worked
in the offi ce. I was usually the dirty one under the equipment or
packing stuff that came off the equipment. I always enjoyed it. I
also enjoyed working with Uncle Bob. I was in graduate school
and needed a job, so I interviewed.”
Cathy McClelland moved from New Jersey when her husband,
Mac McClelland, was hired by Independent Can – a job she
didn’t even know he had applied for. “I was planning on redoing
my kitchen in New Jersey when Mac announced, ‘We’re moving
to Baltimore,’” she adds. She later joined the company when her
brother asked her if she would run an outlet store he was planning
to open in the front of their new location in Harford County. “I
said yes only if I could leave whenever my kids had something at
school or needed me. Of course, part-time eventually turned into
full-time and the outlet store was eventually relocated several times
then closed because we needed the space for more productive
ventures. Currently I work in inside sales, but I’m planning to join
my husband in retirement very soon.”

The Fourth Generation
Joining Huether and McClelland at the executive table are sons
Bob McClelland, executive vice president, and Ryan Huether, the
newly minted vice president of business development. Both sons
worked at the company during summer breaks and holidays, but
like their parents, never assumed a role would be offered or waiting
for them in the family business.
“I interned in the engineering department for two summers,”
remembers Bob McClelland, who graduated from Virginia
Polytechnic Institute and State University. “I was actually studying
structural engineering but changed to industrial engineering after
interning and really liked it. I was part of ushering in the CADD
systems during that time. When I graduated, someone called and
said they liked what I was doing while I was here and would I be
interested in interviewing for an unexpected opening. I said yes.”
The family members agree that a job within the family business
is not an entitlement. “My sister even asked me once why had I
never asked her to join Independent Can,” says McClelland. “It was
never in my thoughts. We don’t ask people to participate. We treat
it as a professional business – not a family business.” In fact, when
the company responded to the economic recession by evaluating
their employee base and eliminating positions, Rick’s daughter
didn’t make the cut. Moreover, when both his son and his nephew
looked to him for advice about joining the company, he did his
best to discourage them. “Family members have to work twice as
hard to gain employee respect. If you don’t have the respect from
the people on the fl oor, you can’t get anything done,” Huether
emphasizes. He also demanded a two-year commitment from both
Bob and Ryan telling them, “You’re not worth anything to us until
you’ve learned everything, and it will take at least that long.”
McClelland joined the company in 1995 and learned his way
around the company working in several departments, the machine
shop, facilities management of their Ohio plant, and eventually
running the engineering department. When his father retired,
in addition to heading up engineering, the younger McClelland
assumed management of administration, which included IT and
fi nance. “It would be hard if I didn’t have really good people to
support me,” he admits.
His younger cousin Ryan started running errands and helping
at the outlet store when he was nine. His summer job experiences
changed as he got older, packing popcorn cans at 14 and working
on equipment when he was 16. While attending college in Florida,
Ryan interned at the company’s distribution plant in California. He
was planning to attend graduate school when the California plant
manager called needing someone in sales. Although his father gave
him the same “unsell” advice, the appeal of California won him
over and Ryan headed west to become a sales representative in
2003. Ryan moved quickly from inside sales to outside sales, which
grew into roles in logistics and overseas sales support. He became
the distributions and sales manager and managed the California
plant from his Belcamp offi ce. He was recently promoted to vice
president of business development, a responsibility his father has
had for the last 25 years.
The family may discourage other family members from joining
the ranks, but the company’s employees feel a different way. “We’ve
had third-generation families working alongside us,” claims Cathy
McClelland. “They’ve watched us grow up.” Marketing specialist
Sichette adds, “More than 20 percent of our 259 employees have
a relative who is currently or was previously employed by the
company. That doesn’t include seven married couples on staff.”

From Lard to Litho
Independent Can Company was founded on South Howard and
Ostend Streets in Baltimore City during the early years of the
depression, making and selling cans that were used to hold lard
from the city’s slaughterhouses and package fresh food for the
growing seafood industries. These simple products were the focus
and sustaining force of the company for more than 40 years.
As technology and computers started to impact the world in the
’80s and ’90s, Independent Can kept pace adding 3-D modeling,
robotic packaging and metal plate lithography. The addition of
the latter allowed ICC to enter the market of decorative tins –
internationally known as “fancy cans” – as well as nostalgic signs,
specialty closures and high-end packaging. The company has
made huge capital investments in equipment and machinery that
gives its customers like Disney, Target, Nestlé and Elizabeth Arden
options like embossing, textured surfaces, specialty varnishes and
photographic quality.
Becoming their own printer in 1991, ICC secured a way to not
only guarantee quality control of their product from start to fi nish,
but also enabled them to provide a faster response to customer
request.
“We are very customer driven,” says Rick Huether. “Our
customers change what we do every day. We schedule manually
so that we can make the arrangements to get our customers their
products when they want them, not when we can do them.”
This fl exibility can be credited to sustaining the company as the
country continues to weather a diffi cult economic recovery. Huether
explains, “We were on schedule to have a record year in 2008, when
the door slammed shut. Our sales went down 25 percent over the
next 14 months. We took the opportunity to not only make sure
all our employees were on board with our philosophy, but that our
manufacturing would be ready when the business returned. We
spent the most money in the company’s history during that time
on new equipment and upgrades. A lot of it we did because we
were able to purchase $7 million of equipment at recession bargain
prices – probably 25 to 30 percent below normal pricing. We also
hired and trained a lot of people so that they could concentrate on
new projects and be ready to lead. 2011 was a record year and 2012
should outpace that record.”
That investment has paid off. “We’re booming and we need space
for new opportunities and new growth. We have to look for ways to
make room for new items to our line,” says Bob McClelland. “And,”
adds Huether, “we are always looking for talented machinists, 
mechanics and lithographers. These are highly-skilled, high paying 
jobs that don’t always require a college degree.” While pundits 
talk about foreign competition and sending jobs overseas, Independent 
Can sees a different problem – or opportunity. “We’re less threatened
by overseas markets then we were 10 years ago. We’re more flexible
 and better at the technology. We may go over there to learn,
but we’ll bring it back and do it better,” he adds. “China is going through their
Industrial Revolution now,” states Ryan Huether. “The United States did it over
100 years while China is doing it in 20. But the second generation over there is killing
it. The Chinese wages are going up, so the price differential is lessening. Workers are
getting savvy about demanding higher wages and threatening to walk out of a
factory during critical production times. Companies here are worried that a factory
delay or container hold in China could keep products from reaching their stores,
so they are coming back to us. They consider that 10 percent price differential
insurance for quality control and delivery assurance.”
Rick Huether continues, “We’ve reshored several million dollars in product
because we’re more fl exible. Because of the recession, retailers are pushing their
commitment and buy dates to keep inventories low. This forces suppliers to
reconsider overseas manufacturing and packaging because they may only have six
weeks to fi ll an order.” Although the company is growing, growth is not a company goal. Huether
points out, “Our mission statement is ‘To be the best not the biggest.’ We’re
committed to strategic planning, but we work on the things that will support
growth. We don’t aim for a number. It goes back to our values card [referencing a
wallet-size card employees carry with the company mission, vision and values]. If
we’re doing the things on that card, then growth will be a successful by-product.”
I95

Ryan D. Huether
Independent Can Company
http://www.independentcan.com 

Friday, August 3, 2012

Independent Can Racks Up Productivity and Quality Control with Esko’s Automation Engine 10 | Package Design

Independent Can Racks Up Productivity and Quality Control with Esko’s Automation Engine 10 | Package Design


Posted: July 26, 2012 by
Package Design Reader
Tim Downey (left), Independent Can Prepress Manager and Scott Anderson, Prepress Coordinator, review a workflow they created within Esko Automation 10.

World leader in the manufacture of specialty tins uses Esko’s advanced workflow server to streamline workflows, increase throughput and efficiency, and tackle complex design and prepress files — while controlling quality
Maryland-based Independent Can (http://www.independentcan.com)  has migrated from the Nexus platform workflow to Esko’s advanced server workflow, Automation Engine 10, streamlining its operation, reducing errors, and automating prepress tasks for dramatic increases in productivity.
Founded in 1929, Independent Can is a world leader in the manufacturing of specialty decorative tins and metal lithography. Its product line has grown from the wholesaling of large cans for fresh and refrigerated foods to an extensive array of items serving a wide variety of markets, including custom-printed cookie, candy and popcorn tins. To uphold its company mission, “To be the best, not the biggest,” the company follows an unhurried and well-thought out plan of continuous investment and innovation.
Independent Can’s prepress department processes approximately 960 files annually, for printing on the shop’s KBA Metal Star six-color press with Trail UV Coater, the only one of its kind in the United States, or its Metal Star II four-color UV press. With two high-speed presses continually ready for action, time to market shrinking, and design files becoming increasingly complex, the need for a more robust yet simplified prepress workflow became apparent.
Automation Engine 10, the backbone of Esko’s Suite 10 packaging and print pre-production software, answered the call. The prepress server, installed at Independent Can in March 2011, provides high-level quality control and increased throughput and efficiency, simplifying the entire file management process and delivering extensive automation for job tracking and prepress functions.  Pre-setting of repetitive tasks, such as trapping and step-and-repeat, result in reduced operator manual control and reduced errors.
Simplifying workflows
“Previously, we were using around 10-12 different workflows—we had workflows for proofing, plating, an initial importing workflow and ArtPro workflows,” says Tim Downey, Prepress Manager, Independent Can. “Now, we have one workflow that we use to output a proof and for dielines; it also generates a low-res PDF for archiving. The workflow is user interactive, asking ‘yes’ or ‘no’ questions. ‘Should I output proof? A dieline?’ The user just answers the questions and the workflow does the rest—it’s all automated.”
A main challenge (with Nexus) was that certain tasks required prepress operators to go back and forth between native Adobe Illustrator, Photoshop files and ArtPro, increasing the amount of time to complete a job as well as the possibility of mistakes being made. With designers building more intricate files with assorted complex elements, not being able to work in the native file became an issue—like when building the transparency of the image to take advantage of the substrate’s (metal) reflectivity.
“When files were taken from Adobe® Illustrator® and Photoshop® and brought into Nexus, the system would choke and wouldn’t recognize some of the filters that were being applied,” explains Downey.  “With Automation Engine 10, we can stay in native Adobe applications.”
Remaining in the Adobe family also saves time when sending files to customers. “There are lots of times customers want a working Illustrator file sent back,” notes Downey. “Before, we would convert the Illustrator file to an ArtPro PDF file, and then export an Illustrator file out of ArtPro. Doing that in ArtPro, we would lose preference settings of the file; there wasn’t a smooth transition for getting the working file to the customer. Now we just send the PDF and a normalized file, and we don’t have to go in and out of Illustrator.”
Managing files streamlined
The entire process of managing files is now very streamlined, as job organization and data management tools allow for fast location of product status and data throughout the prepress workflow. “We are able to keep everything pertaining to the job right there,” says Downey. “We no longer put paper in job jackets—we’re all digital now. All the information relating to the job is in the folder, and anyone in the department can find out what they need to know.”
The process of normalizing PDFs is also much more efficient. When the file was rasterizing through Nexus, depending on the file complexity or size, it could take upwards of an hour to travel through the workflow. With the file now staying in Illustrator or as a PDF, it takes between 30 seconds to a minute to normalize.  “It’s not quite instantaneous, but it’s about as close as you can get to it,” says Downey.
Trapping, too, has become simplified running Automation Engine 10. “We did upgrade the server that was running Nexus before we bought Automation Engine 10, but it didn't fix a lot of the problems,” notes Downey. “We deal with a lot of agencies and they get as creative as possible and the files are pretty complex. The trapper would have problems; it wouldn’t know what to do with some areas. So we would have to delete what the program did and manually do it. Now, it’s all automatic, and instead of it taking us 20 minutes to trap a file, it’s done in 2-3 minutes. Occasionally we edit that traps, but 85% of the time it traps just fine.”
Mistake-free production
Automation Engine 10’s extensive quality control tools allow the prepress department to run “an environment that is more mistake-free,” says Downey. The Viewer module lets the prepress operators find errors early in the workflow—95% of mistakes are caught ahead of time. “We can compare the customer-supplied file to the one we are working with, making sure all the corrections are applied,” Downey explains.
Automation Engine 10’s automated imposition or step-and-repeat reduces the need to prepare impositions manually. “We used to manually step-and-repeat in ArtPro,” recalls Downey. “Now we take the engineering drawing, type in the stepping data, get a ticket and it is automatically stepped. When setting up a job it takes about a minute to enter the data; if it’s a difficult job it takes another four minutes — if it’s a one-color job maybe it takes 30 seconds. All told, a job usually takes under 5 minutes; it used to take us 20 minutes. Also, we are making fewer mistakes, because we are catching them earlier during set-up, before we step-and-repeat.”
Since the Automation Engine 10 implementation, everything is faster, says Downey. “We are trapping faster, stepping faster,” he says. “We have no paper trail—instead of spending time looking for paper we are double-clicking on a folder to find info. It all adds up.”
Job turnaround times have been reduced by a full day, from five days to four, and even the most complex projects are running smoother. “A couple of times a year we receive a job from a high-profile customer,” notes Downey. “The job always choked on Nexus—it would take days to get fixes to run through. We just completed 5 jobs for them, and were able to stay in Illustrator to build the files. There were no issues—it all went very smoothly.”
Looking ahead, Downey hopes to be able to take advantage of Automation Engine 10’s advanced JDF-based MIS integration capabilities, tying in the company’s administrative systems and prepress production for an even more efficient process. Independent Can is not at that stage—yet. “We know Automation Engine 10 is MIS capable, but our company’s MIS software is not,” says Downey. But, we're ready whenever the company makes that move. Automation Engine 10 has simplified our workflow, and offered us another QC element to rely on. We’re able to manages jobs and files a lot more efficiently.”
About Esko (www.esko.com/)
Esko is a global supplier of integrated solutions for packaging, sign and display finishing, commercial printing and professional publishing. Esko products and services help customers raise productivity, reduce time-to-market, lower costs and expand business and improve profitability.
Portfolio
Esko is the worldwide market leader with software for artwork creation, structural design, pre-production, workflow automation, quality assurance and online collaboration. Esko solutions support and manage the packaging and print processes at brand owners, retailers, designers and packaging manufacturers.
CDI flexo computer-to-plate imagers and Kongsberg digital finishing systems complete the portfolio for the packaging, label, signage and display industries.
Enfocus, with its suite of PDF tools for graphic designers and print production professionals, is part of Esko.
Facts & numbers
Esko employs around 1200 people worldwide. Its direct sales and service organization covers Europe, the Americas and the Asia Pacific region, completed by a network of distribution partners in more than 50 countries.
Esko is headquartered in Gent, Belgium, and has R&D and manufacturing facilities in five European countries, the United States, China and India. 

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Company Name: 
Esko

TIN STAGES A COMEBACK


Below you will find excerpts from Tin Stages a comeback. An article by written by James  Krouse
"Metal packaging, at one time, dominated store shelves. From cans to metal tins, the packaging was durable, protected goods from being crushed, and sealed in freshness. While cans have remained a staple of practical packaging, metal tins were relegated largely to occasional holiday container for cookies. Today, however, metal tins have seen a bounce back due to some of the inherent advantages of the material as well as unique applications leveraging its advantages to redefine entire product arenas.
Package designers and brand owners can take advantage of tinplate's unique packaging properties taking a cue from innovative applications that range from cat nip to software to adult entertainment products. Manufacturers can help along the way to help designers realize the full benefits of this time-tested form of packaging.
Unique appeal
In most retail product categories, tinplate is such a unique packaging material that it automatically gains attention. Often, this can rejuvenate not only a brand but an entire product category. The famous tin for Altoids mints is a good example. Although the tin package was used for the product since the 1920s, it was widely introduced in the U.S. in the 1980s and the unique metal tin along with a quirky ad campaign quickly launched the product into widespread success. Today, dozens of product categories are taking advantage of the "something different" factor in metal.
Cosmetics and personal care products are another good example of a product category that is taking advantage of the unique properties of metal. 

"Gourmet foods are still, by far, our largest product category," says Neil DeFrancisco, v.p. of sales at the Independent Can Company (www.independentcan.com) in Maryland. "Retailers in any sector are looking to get the most bang for their buck out of shrinking shelf space and demands for less packaging from retailers. Tin packaging can provide that quite well." 
 There are a number of applications that take full advantage of metal's unique look on store shelves. Bosch, for example, has launched a new line of handheld, cordless power shears in a custom metal tin. The container features an irregular, tube-like shape decorated in light green and silver.
Life after purchase
While many designers may be focused on leveraging metal's properties for initial sale, most manufactures point out that consumers often consider the use of a package in their home. A Google image search under "Altoids Tins," for example, reveals a huge trend in reuse for the package for everything from storing paper clips to creating custom MP3 players and portable speakers.
The reusability factor is a plus for brands looking to extend their image, promote the longevity of a product, and to give consumers an option of not throwing away a package.
Package uses and reuses also play into concern for the environment. As retailers and consumers call for less packaging, metal packaging is answering the call. The material is 100% recyclable, over and over, and recycled metal uses less energy to process than new metal does. Design flexibility can also impact the environment, as Independent Can's DeFrancisco points out. "We're seeing more and more requests for tapered designs of metal buckets which can be nested during transportation before they are filled, " says DeFrancisco. "A small change like this can reduce fuel and other transportation costs."
Challenges and benefits
For many designers, working with metal for the first time can present some challenges in execution and changes in thinking. Color, for example, plays differently on metal as opposed to paper.
"The PMS guidelines are based on paper and come out much darker on metal," says DeFrancisco. "We can do several things to accommodate for this effect, but there is a learning curve for designers. In addition, designers often don't know about all that is available to them with metal. We can selectively print a background color so the natural color of metal shows through or use a variety of varnishes in combination to highlight a design. "
In addition, tinplate can be manufactured with different properties to enhance a design such a pebbly textured varnish that is often used in combination with a printed label. There are so many possibilities with tins that most manufacturers point out that working with the material is more of an art than a science.
"We can do so much in the way of varnish combinations and coatings on the same package, " says Neil DeFrancisco. "That, in combination with embossing and printing, can really make a brand pop. We employ people who work with designers to help them achieve their vision but also leverage everything that tinplate packaging has to offer. For many designers, it's like working with a brand new medium even though it's been around for hundreds of years."
Getting back to basics
Tinplate packaging has been, for years, a staple of holiday cookies and candies, and although this form of packaging has clearly evolved to other applications, some of its basic benefits still apply.
Neil DeFrancisco points out that, although there are some new technologies they still build on the basic benefits of metal packaging. "We've seen the advent of six color printing and we're seeing concentric dot technology that can produce nearly 300 dpi print clarity, but many of the basic features of the metal like shaping, embossing, and varnishes are really new for designers in many markets, " Neil DeFrancisco explains."
Excerpts quoted from the original article written by James Krouse. James Krouse served as a consultant and writer for the packaging and printing industry for the past 10 years, covering package design for food and beverage, pharmaceuticals, and a wide range of retail goods




LIZ CLAIBORNE TRUSTS INDEPENDENT CAN TO PRODUCE PASTEL HUES THAT EXTEND THEIR CURVE PERFUME LINE


The Curve brands of men's and women's fragrances are tied irrevocably to the rectangular tin cans that enclose every product in the line. When Liz Claiborne wanted to introduce a limited run line extension called "Curve Wave" for the summer season, they relied on their partners at Independent Can Company in Belcamp, MD.
The first Curve package was introduced in 1996, with a green tinted can for the men's fragrance and a blue tinted can for the women's. The recent introduction of the Curve Crush line was designed to appeal to a younger audience than the cosmetic company's flagship Curve brand, and Independent Can supplied the hot pink and gray metal tins to house the Crush fragrances.
Paul McLaughlin, creative director at Liz Claiborne, explains the appeal of the tins as differentiating in more ways than just presenting a category-defying material. The bright fluorescent lighting in most department stores helps illuminate the shiny colors on the smooth metal, which also reflects "shadows" of nearby darker objects. McLaughlin believes that the tin has an inherently stronger appeal to a younger audience.
Independent Can was able to determine color schemes and develop new tooling in a very short period of time in order to meet Liz Claiborne's launch date of the Crush project. "Independent Can was selected as the vendor for this project based on their reputation for print quality and reliability," says Michelle Barreres, director of packaging at Liz Claiborne. "We both maintained a continuous line of communication every step of the way on this critical project. The results have been exactly what we expected."
The four-color offset printing process uses UV inks and a UV curing system. "Colors had to be created, then matched across all media," explains Neil DeFrancisco, senior sales representative at Independent Can. The can is only one part of a complete retail strategy that includes the perfume the can, the bottle itself, the nozzle tab, the protective insert, advertising, collateral, and gift boxes. Independent Can's technical team in lithography developed a several-stage process that involved hand-mixing the inks as well as curing and varnishing stages.
Liz Claiborne's expectations were also high for the Curve Wave seasonal line extension. In both projects, they confirmed color approval on press, trusting that Independent Can's production would match the quality of the samples they ran. The Curve Wave cans were run on a machine that is the first of its kind in metal lithography in the U.S. The Bauer & Kunzie Metal Star II printing press with "continuous grip" was able to achieve the tight registration on this six-color printing job.
The colors for the Curve Wave packages were inspired by the ingredients of each fragrance. The women's orange glow comes from the citrus emphasis and the men's green shimmer comes from the aquatic hints in the fragrance. DeFrancisco was well aware of the weight of brand expectation that came with the responsibility of extending the signature Curve brand to both the Crush and Wave lines. "The brand almost seems identified with the tin," DeFrancisco explains, ultimately very pleased with the results. "I think the men's colors are spectacular."
Independent Can Company
Ryan D. Huether
Vice President of Business Development
Originally Published by: http://www.packagedesignmag.com/content/liz-claiborne-trusts-independent-can-produce-pastel-hues-that-extend-their-curve-perfume-lin