Apm4 by Arab Print Media

‫اﻟﻌﺪد اﻟﺜﺎﻟﺚ ‪ -‬أﻛﺘﻮﺑﺮ ‪٢٠١٥‬‬

‫ﻣﺠﻠﺔ ﻣﺘﺨﺼﺼﺔ‬ ‫ﻓﻲ ﻣﺠﺎل ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ واﻟﻨﺸﺮ واﻟﺘﻐﻠﻴﻒ‬

‫ﺗﻘﻨﻴﺎت‬

‫ﻏﻴﺮ ﻣﺄﻟﻮﻓﺔ‬ ‫ﻓﻲ ﻣﻌﺮض دروﺑﺎ‬

‫ ول ﻣﺮة‬ ‫ﻓﻲ ﻣﺼﺮ‬

‫ﻣﻌﺮض ﺧــﺎص ﻟﺘﺮوﻳﺞ‬ ‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﻤﺼﺮﻳﺔ‬

‫ﺗﻄﻮﻳﺮ‬ ‫اﻟﻜﺘﺎب‬ ‫اﻟﻤــــﺪرﺳﻲ‬

‫‪ ٥٠‬ﺷﺮﻛﺔ ﺗﻌﺮض ﻓﻲ ﻣﻌﺮض‬

‫‪P‬‬

‫‪ME‬‬

‫‪PAPER‬‬ ‫‪2015‬‬

‫‪MIDDLE EAST‬‬

‫ﻏﻴﺮ ﻣﺨﺼﺼﺔ ﻟﻠﺒﻴﻊ‬

‫ ول ﻣﺮة‬ ‫ﻓﻲ ﻣﺼﺮ‬

‫ﻣﻌﺮض ﺧــﺎص ﻟﺘﺮوﻳﺞ‬ ‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﻤﺼﺮﻳﺔ‬

‫ﻣﺠﻠﺔ ﻣﺘﺨﺼﺼﺔ ﻓﻲ ﻣﺠﺎل ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ واﻟﻨﺸﺮ واﻟﺘﻐﻠﻴﻒ‬

‫اﻟﻌﺎرﺿﻮن ﻓﻴﻪ ﻫﻢ اﻟﻤﻄﺎﺑﻊ اﻟﻤﺼﺮﻳﺔ وﺷﺮﻛﺎت اﻟﺪﻋﺎﻳﺔ واﻹﻋﻼن واﻟﺘﺠﻬﻴﺰات‬ ‫اﻟﻄﺒﺎﻋﻴــﺔ واﻟﺨﺎﻣــﺎت زواره ﻣﻦ اﻟﺸﺮﻛــﺎت و اﻟﻤﺆﺳﺴـــﺎت اﻟﺘﻰ ﺗﻘﻮم ﺑﺸــــﺮاء‬ ‫اﻟﻄﺒــــــﺎﻋﺔ ﻣﻦ اﻟﻤﻄــــﺎﺑﻊ داﺧــــﻞ ﻣﺼﺮ وﻣﻨﻄﻘﺔ اﻟﺸــــﺮق اﻷوﺳـــــﻂ وأﻓﺮﻳﻘﻴــــﺎ‬ ‫ﻣﺜﻞ ﺷﺮﻛﺎت اﻷﻏﺬﻳﺔ واﻟﻤﺸﺮوﺑﺎت واﻻدوﻳﺔ وﻣﺴﺘﺤﻀﺮات اﻟﺘﺠﻤﻴﻞ واﻟﺒﻨﻮك‬ ‫ودور اﻟﻨﺸــﺮ واﻟﺘﻌﺒﺌﺔﻋﻠﻰ ﻫﺎﻣـــــﺶ ﻣﻌﺮض ﺑﻴﺒﺮ ﻣﻴﺪل إﻳﺴﺖ ﻓﻰ ﺷﻬﺮ أﻛﺘﻮﺑﺮ‬ ‫‪ ٢٠١٦‬إﻧﺸﺎء اﻟﻠﻪ ‪.‬‬

‫اﻟﻤﺤﺘﻮي‬

‫ﻣﺪﻳﺮ اﻟﻨﺸﺮ‬

‫وﻟﻴــــــﺪ ﻗـــﺮﻳﺶ‬

‫ﻣﺴﺘﻘﺒﻞ ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ‪ ....‬اﻟﻰ أﻳﻦ ؟‬

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‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫اﺳﺘﺨﺪم ‪ Print@home‬واﻟﻨﻘﻞ اﻟﻤﺠﺎﻧﻰ إﻟﻰ ‪drupa‬‬

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‫د‪ .‬ﺟـــﻮرج ﻧﻮﺑـــــﺎر‬

‫أﻟﻤﺲ اﻟﻤﺴﺘﻘﺒﻞ‬

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‫أﻟﻮان اﻟﺒﺎﻧﺘﻮن ‪Pantone Colors‬‬

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‫ﺗﻄﺒﻴﻘﺎت ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ ﻓﻰ ﻣﺠﺎل اﻟﻄﺒﺎﻋﺔ و اﻟﺘﻐﻠﻴﻒ‪...‬‬

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‫ﺗﻄﻮﻳﺮ اﻧﺘﺎج اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ ﻋﻠﻲ اﻟﺤﺎﺳﺒﺎت اﻟﻠﻮﺣﻴﺔ )اﻟﺘﺎﺑﻠﺖ(‬

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‫اﻟﺒﻴﻪ ده ‪ ......‬اﻳﻮه اﻋﺮﻓﺔ‬

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‫ﺻـﺤــــﺎﻓــﺔ أرﻣﺎﭬﻴﻨﻰ‬

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‫اﻟﻤﻄﺒﻌﺔ اﻟﻮﻃﻨﻴﺔ ‪ ....‬أﻗﺪم ﻣﻄﺎﺑﻊ اﻻردن‬

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‫ﻣﻌﺮض اﻟﺸﺮق اﻷوﺳﻂ اﻟﺪوﻟﻰ اﻟﺜﺎﻣﻦ‬ ‫ﻟﻠﻮرق واﻟﻜﺮﺗﻮن واﻟﻮرق اﻟﺼﺤﻰ وﺻﻨﺎﻋﺔ اﻟﺘﻌﺒﺌﺔ واﻟﺘﻐﻠﻴﻒ‬

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‫‪ 20‬أ ﺷﺎرع ﻋﺪﻟﻲ وﺳﻂ اﻟﺒﻠﺪ اﻟﻘﺎﻫﺮة ‪ 1121‬ﻣﺼﺮ‬ ‫ﺗﻠﻴﻔﻮن‪0223938999 :‬‬

‫‪Touch the Future‬‬

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‫‪drupa 2016...‬‬ ‫‪Use Print@home and free transport to drupa‬‬

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‫‪george@arabprintmedia.com‬‬ ‫‪walid@arabprintmedia.com‬‬

‫ا ﺧﺮاج اﻟﻔﻨﻲ و اﻟﺘﺼﻤﻴﻢ‬

‫ﻟ ﺗﺼــــــﺎل‬ ‫‪Arab Print Media‬‬

‫اﺳﺘﺨﺪم ‪Print@home‬‬

‫واﻟﻨﻘﻞ اﻟﻤﺠﺎﻧﻰ إﻟﻰ ‪drupa‬‬ ‫ﻳﻔﺘﺢ ﻣﺘﺠﺮ اﻟﺘﺬاﻛﺮ ﻋﺒﺮ اﻻﻧﺘﺮﻧﺖ ﻓﻰ اﻟﺜﺎﻧﻰ ﻣﻦ ﻳﻨﺎﻳﺮ‬ ‫ﻟﻠﺴﻔﺮ واﻹﻗﺎﻣﺔ‬ ‫ﺳﺘﺘﻮاﻓﺮ اﻟﺘﺬاﻛﺮ اﻟﺨﺎﺻﺔ ب ‪ drupa‬دوﺳﻠﺪورف ﻟﻠﺘﺴﻮﻳﻖ واﻟﺴﻴﺎﺣﺔ‬ ‫‪) ٢٠١٦‬ﻣﻦ ‪ ٣١‬ﻣﺎﻳﻮ ﺣﺘﻰ ‪ ١٠‬ﻳﻮﻧﻴﻮ )‪ (DMT‬ﺗﻘﺪم ﺧﺪﻣﺎت ﻣﻤﺘﺎزة ‪.‬‬ ‫‪ ( ٢٠١٥‬ﺑﺪاﻳﺔ ﻣﻦ ‪ ٢‬ﻳﻨﺎﻳﺮ ‪ ٢٠١٦‬ﻋﻠﻰ‬ ‫‪ .www.drupa.de‬ﺳﺘﻘﺪم اﻟﺘﺬاﻛﺮ ﻫﺬه اﻟﻤﻨﻈﻤﺔ اﻟﻤﺤﻠﻴﺔ ﻟﺪﻳﻬﺎ‬ ‫اﻷﻟﻜﺘﺮوﻧﻴﺔ ﻏﺮﺿﺎ ﻣﺰدوﺟﺎ‪ :‬ﻟﺘﻮﻓﻴﺮ أﻓﻀﻞ ﻟﻤﺤﺔ ﻋﺎﻣﺔ ﻋﻦ اﻟﻔﻨﺎدق‬ ‫وأﻣﺎﻛﻦ اﻹﻗﺎﻣﺔ اﻟﺨﺎﺻﺔ اﻟﻤﺘﺎﺣﺔ‬ ‫اﻟﻮﻗﺖ واﻟﻤﺎل ‪.‬‬ ‫واﻟﻤﻨﺎﻃﻖ‬ ‫دوﺳﻠﺪورف‬ ‫ﻳﻤﻜﻦ ﻟﻠﺰوار ﺷﺮاء اﻟﺘﺬاﻛﺮ ﻋﺒﺮ ﻓﻲ‬ ‫اﻹﻧﺘﺮﻧﺖ وﻃﺒﺎﻋﺘﻬﺎ ﻋﻠﻰ ﻃﺎﺑﻌﺘﻬﺎ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ ﺧﻼل ﻓﺘﺮة ﻣﻌﺮض‬ ‫اﻟﺨﺎﺻﺔ أو ﺗﺤﻤﻴﻠﻬﺎ ﺑﺎﻋﺘﺒﺎرﻫﺎ رﻣﺰا ﺛﻢ ‪. drupa‬‬ ‫اﻟﺴﻔﺮ إﻟﻰ اﻟﻤﻌﺮض ﻣﺠﺎﻧﺎ‬ ‫ﻧﻄﺎق اﻟﻔﻨﺎدق اﺗﺴﻊ وﺗﺰاﻳﺪ ﻣﻨﺬ أﺧﺮ‬ ‫ﺑﺎﻷوﺗﻮﺑﻴﺴﺎت واﻟﻘﻄﺎرات ‪.‬‬ ‫ﻣﻌﺮض ‪. drupe‬‬ ‫ﺑﻺﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﻓﺈن اﻟﺘﺬاﻛﺮ‬ ‫اﻹﻟﻜﺘﺮوﻧﻴﺔ أرﺧﺺ ﺑﻜﺜﻴﺮ ﻣﻦ أي ﻳﻮﺟﺪ ﺣﺎﻟﻴﺎ ‪ 79000‬ﺳﺮاﺋﺮ ﻓﻨﺪﻗﻴﺔ‬ ‫ﻣﺘﻮﻓﺮة ﻓﻰ ﻣﻨﻄﻘﺔ اﻟﻌﺎﺻﻤﺔ‬ ‫ﺗﺬﻛﺮة ﺗﺸﺘﺮﻳﻬﺎ ﺧﻼل اﻟﻴﻮم‪.‬‬ ‫دوﺳﻠﺪورف ‪.‬‬ ‫اﻟﺘﺬاﻛﺮ اﻟﻴﻮﻣﻴﺔ ﺗﻜﻠﻒ ‪ € 45‬ﻋﻠﻰ‬ ‫اﻻﻧﺘﺮﻧﺖ ﻓﻲ ﺣﻴﻦ أن اﻟﺴﻌﺮ ﻓﻲ ﻓﻰ ﻧﻄﺎق ﻣﺪﻳﻨﺔ دوﺳﻠﺪورف‬ ‫ﻣﻜﺎﺗﺐ ﺑﻴﻊ اﻟﺘﺬاﻛﺮ ﻓﻲ اﻟﻤﻌﺮض وﺣﺪﻫﺎ ﻳﻮﺟﺪ ﺣﻮاﻟﻰ ‪ 1000‬ﺳﺮﻳﺮ‬ ‫ﻓﻨﺪﻗﻰ ﺟﺪﻳﺪ ﺗﻢ إﻧﺸﺎﺋﻬﻢ ﻓﻰ‬ ‫ﻓﻲ دوﺳﻠﺪورف ﻫﻮ ‪ 65‬ﻳﻮرو‪.‬‬ ‫اﻟﺴﻨﻮات اﻷﺧﻴﺮة و‪ 900‬ﺳﺮﻳﺮ ﻓﻰ‬ ‫اﻟﺰوار اﻟﺬﻳﻦ ﻳﺮﻏﺒﻮن ﻓﻰ اﻟﺤﻀﻮر اﻟﻤﺪن اﻟﻤﺤﻴﻄﺔ ‪.‬‬ ‫ﻗﺒﻞ اﻟﻤﻌﺮض ﺑﻴﻮم ﻳﻤﻜﻨﻬﻢ‬ ‫اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﻌﺮوض اﻟﻤﻘﺪم )ﻣﺜﻞ إﻳﺴﻦ – ﻛﺮﻳﻬﻔﻠﺪ – ﻣﻮﻧﺸﻦ‬ ‫ﺟﻼد ﺑﺎخ – أو ﻓﻮﺑﺮﺗﺎل( )‪e.g.‬‬ ‫ﻋﺒﺮ اﻻﻧﺘﺮﻧﺖ ‪.‬‬ ‫‪Essen, Krefeld, Möncheng‬‬‫ﻛﻤﺎ ﻳﺘﻮاﻓﺮ ﺑﻄﺎﻗﺔ )ﺗﺬﻛﺮة( ﻟﻤﺪة ‪. ( ladbach or Wuppertal‬‬ ‫ﺛﻼﺛﺔ أﻳﺎم ﻋﺒﺮ اﻹﻧﺘﺮﻧﺖ ب‪ 120‬ﻳﻮرو‬ ‫ﻓﻘﻂ ﺑﺪﻻ ﻣﻦ ‪ 175‬ﻳﻮرو وذﻟﻚ ﻋﻨﺪ وﻗﺪ وﺿﻌﺖ ‪ DMT‬ﺣﺰﻣﺔ ﺧﺪﻣﺎت‬ ‫ﻣﺘﺎﻛﺎﻣﻠﺔ ل‪ durpa‬ﻋﺒﺮ اﻻﻧﺘﺮﻧﺖ‬ ‫ﺷﺮاﺋﻬﺎ ﻣﻦ اﻟﻤﻮﻗﻊ‪.‬‬ ‫وﻫﻰ ﺑﺎﻟﺘﺄﻛﻴﺪ ﺗﺴﺘﺤﻖ ﻧﻘﺮة ‪:‬‬ ‫ﻋﻨﺪ ﺷﺮاء ﺗﺬﻛﺮة ﻟﻤﺪة ﺧﻤﺴﺔ أﻳﺎم ‪http://business.duesseldorf-touris-‬‬ ‫‪./mus.de/messe/drupa‬‬ ‫ﻳﻤﻜﻨﻚ ان ﺗﻮﻓﺮ ﻣﺎ ﻳﻘﺮب ﻣﻦ ‪100‬‬ ‫ﻳﻮرو‪ ،‬ودﻓﻊ ‪190‬ﻳﻮرو ﺑﺪﻻ ﻣﻦ ﺳﻴﻜﻮن ﻣﻔﺘﻮح ‪ drupa‬ﻣﻌﺮض‬ ‫‪ 290‬ﻳﻮرو ﻋﻨﺪﻣﺎ ﻳﺘﻢ ﺷﺮاؤﻫﺎ ﻣﻦ ﻳﻮﻣﻴﺎ ﻣﻦ ‪ 10‬ﺻﺒﺎﺣﺎ ﺣﺘﻰ ‪ 18‬ﻣﺴﺎءا‬ ‫اﻟﻤﻌﺮض‪ .‬ﺗﻮﺟﺪ ﺗﺬاﻛﺮ ﺑﺄﺳﻌﺎر )وﺣﺘﻰ ال ‪ 17‬ﻣﺴﺎءا ﻓﻰ أﻳﺎم‬ ‫ﻣﺨﻔﻀﺔ ﻟﻠﻄﻠﺒﺔ واﻟﻤﺘﺪرﺑﻴﻦ ﻋﺒﺮ ‪ drupa‬اﻟﻌﻄﻼت (‪ .‬ﺟﻤﻴﻊ ﺗﺬاﻛﺮ‬ ‫اﻻﻧﺘﺮﻧﺖ ‪ 15‬ﻳﻮرو ﺑﺪﻻ ﻣﻦ ‪ 25‬ﻳﻮرو ﺗﺸﻤﻞ رﺣﻠﺔ اﻟﻌﻮدة ﻣﺠﺎﻧﺎ إﻟﻰ‬ ‫اﻟﻤﻌﺮض ﺑﺎﻷوﺗﻮﺑﻴﺲ ‪ ،‬اﻟﻘﻄﺎر‬ ‫ﻋﻨﺪ اﻟﺸﺮاء ﻣﻦ اﻟﻤﻌﺮض‪.‬‬ ‫واﻟﺘﺮام داﺧﻞ ﺷﺒﻜﺎت اﻟﺴﻔﺮ‬ ‫إذا ﻛﻨﺖ ﺗﺒﺤﺚ ﻋﻦ ﻣﻜﺎن ﻟﻺﻗﺎﻣﺔ ‪ (VRR‬اﻟﻤﺤﻠﻴﺔ – ﻣﻨﻄﻘﺔ راﻳﻦ –روﻫﺮ‬ ‫راﻳﻦ‪-‬زﻳﺞ‬ ‫و‬ ‫ﺧﻼل ﻓﺘﺮة ﻣﻌﺮض ‪ drupa‬ﻓﺈن )‪(Rhein-Ruhr‬‬

‫‪ ٢٠١٦‬ﻋﺮوض ﻣﻐﺮﻳﺔ‬

‫اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ)( )‪(Rhein-Sieg VRS‬‬ ‫ﻣﻦ اﻟﻘﻄﺎرات ﺗﻜﻮن ﺑﺪون رﺳﻮم‬ ‫إﺿﺎﻓﻴﺔ( ‪.‬اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻤﻌﻠﻮﻣﺎت ﻋﻦ‬ ‫ﺷﺒﻜﺔ اﻟﻄﺮق ﺗﺠﺪوﻧﻬﺎ ﻋﻠﻰ‬ ‫‪http://www.vrr.de‬‬ ‫‪www.vrs-info.de.‬‬ ‫ﺑﺈﻹﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﻳﻮﺟﺪ ﻋﺮض ﻣﻐﺮى‬ ‫ﻣﻘﺪم ﻣﻦ ﻫﻴﺌﺔ ﻣﻌﺎرض دوﺳﻠﺪورف‬ ‫ﺧﺼﻴﺼﺎ ﻟﺰوار ‪DMT‬واﻟﻘﻄﺎر اﻷﻟﻤﺎﻧﻰ و‬ ‫اﻟﺬﻳﻦ ﻳﻌﻴﺸﻮن ﺧﺎرج ﻧﻄﺎق ‪drupa‬‬ ‫ﻫﺬﻳﻦ اﻟﺸﺒﻜﺘﻴﻦ ﻟﻠﻨﻘﻞ ‪ :‬ﺑﺈﻣﻜﺎﻧﻜﻢ‬ ‫اﻟﺴﻔﺮ ﻣﻦ ﺟﻤﻴﻊ ﻣﺪن أﻟﻤﺎﻧﻴﺎ ﺳﻮاء‬ ‫ﻫﺎﻣﺒﻮرج أو ﻣﻴﻮﻧﺦ ب ‪ 99‬ﻳﻮرو‬ ‫واﻟﻌﻮدة إﻟﻰ دوﺳﻠﺪورف ‪ .‬ﻫﺬا‬ ‫اﻟﻌﺮض ﺳﺎرى ﻋﻠﻰ ﺗﺬاﻛﺮ اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ‬ ‫وﻳﻤﻜﻦ اﻟﺤﺠﺰ ﻗﺒﻞ ﺛﻼﺛﺔ أﺷﻬﺮ ﻣﻦ‬ ‫اﻟﺤﺪث‬ ‫ﺟﻬﺎت اﻻﺗﺼﺎل‬ ‫‪drupa 2016 Press Office‬‬ ‫‪Monika Kissing/Anne Schröer‬‬ ‫)‪(Admin Support‬‬ ‫‪Tel: +49 (0)211-4560 543‬‬ ‫‪Tel: +49(0)211-4560 465‬‬ ‫‪Fax: +49 (0)211-4560 87543‬‬ ‫‪Email:KissingM@messe-duessel‬‬‫‪dorf.de‬‬ ‫‪SchroeerA@messe-duesseldorf.de‬‬ ‫‪More information is available at‬‬ ‫‪www.drupa.de and the following‬‬ ‫‪social networks:‬‬ ‫‪Twitter: www.twitter.com/drupa‬‬ ‫‪Facebook: http://www.face‬‬‫‪book.com/drupa.tradefair‬‬ ‫‪Xing: https://ww‬‬‫‪w.xing.com/net/pri2b1dd0x/drupa‬‬ ‫‪LinkedIn:http://www.linke‬‬‫‪din.com/groups/drupa-print-me‬‬‫‪dia-messe-4203634/about‬‬ ‫‪Newsroom: blog.drupa.com‬‬

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‫ﻣﺴﺘﻘﺒﻞ ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ‪ ....‬اﻟﻰ أﻳﻦ ؟‬

‫اﻟﺸﻲء اﻟﻮﺣﻴﺪ اﻟﺬي ﺗﻐﻴﺮ ﻓﻴﻬﺎ ‪ ....‬ﻫﻮ ﻛﻞ ﺷﻲء !‬

‫إﻋﺪاد‬ ‫د‪/‬ﺟﻮرج ﻧﻮﺑﺎر‬

‫ان ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﺷﻬﺪت ﺧﻼل‬ ‫اﻟﺴﻨﻮات اﻟﻘﻠﻴﻠﺔ اﻟﻤﺎﺿﻴﺔ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﺘﻐﻴﺮات وﻋﺎﻧﺖ ﻣﻦ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺸﺎﻛﻞ‬ ‫واﻟﻤﻌﻮﻗﺎت واﻟﺘﺤﺪﻳﺎت‪ ،‬ﺣﺘﻰ ان ﺗﻌﺮﻳﻔﻬﺎ‬ ‫وﻣﻀﻤﻮﻧﻬﺎ وﺗﻘﻨﻴﺎﺗﻬﺎ ﻗﺪ ﺗﻄﻮرت وﺗﺒﺪﻟﺖ‬ ‫ﺑﺸﻜﻞ ﻳﻔﻮق اﻟﺨﻴﺎل‪) ،‬وﻳﻤﻜﻦ ﻫﻨﺎ‬ ‫اﺳﺘﺨﺪام ﻧﻔﺲ اﻋﻼن ﺷﺮﻛﺔ آﭘﻞ ﻋﻦ اﻷى‬ ‫ﻓﻮن(‪ ،‬ﺑﺄن اﻟﺸﻲء اﻟﻮﺣﻴﺪ اﻟﺬي ﺗﻐﻴﺮ ﻓﻲ‬ ‫ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﻫﻮ ﻛﻞ ﺷﻲء‪.‬‬ ‫ﻓﺎﻟﻰ أﻳﻦ ﺗﺘﺠﻪ ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﻓﻲ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ واﻟﺒﻌﻴﺪ؟‬ ‫ﻣﻦ أﻫﻢ اﻟﻌﻮاﻣﻞ اﻟﺘﻲ أدت اﻟﻰ اﻟﺘﺄﺛﻴﺮ‬ ‫ﻋﻠﻰ اﻟﻄﻠﺐ واﻻﻗﺒﺎل ﻋﻠﻰ اﻟﻤﻄﺒﻮﻋﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ«‬ ‫ اﻻﺗﺠﺎﻫﺎت اﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺳﻠﻮك ﺻﺮف‬‫وﺗﺴﻮق اﻟﻤﺴﺘﻬﻠﻜﻴﻦ اﻟﺬﻳﻦ ﻳﺸﺘﺮون‬ ‫اﻟﻴﻮم ﻋﺒﺮ ﺷﺒﻜﺔ اﻻﻧﺘﺮﻧﺖ ﻣﻤﺎ أدى أﻳﻀﺎ‬ ‫اﻟﻰ زﻳﺎدة اﻻﻗﺒﺎل ﻋﻠﻰ اﻻﻋﻼﻧﺎت‬ ‫اﻻﻟﻜﺘﺮوﻧﻴﺔ‬ ‫ ﺣﺎﻟﺔ اﻻﻗﺘﺼﺎد اﻟﻌﺎﻟﻤﻲ‬‫ ارﺗﻔﺎع اﺳﻌﺎر اﻟﺨﺎﻣﺎت واﻟﻄﺎﻗﺔ واﻟﻮﻗﻮد‬‫ اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ وﺳﺮﻋﺔ اﻟﺘﻄﻮر واﻟﺘﻐﻴﺮ‬‫ ﺗﻐﻴﺮ ﺗﻮﻗﻌﺎت وارﺗﻔﺎع ﺳﻘﻒ ﻣﺘﻄﻠﺒﺎ‬‫واﺣﺘﻴﺎﺟﺎت اﻟﻌﻤﻼء‬ ‫ اﻟﻄﺎﻗﺎت اﻻﻧﺘﺎﺟﻴﺔ اﻟﺰاﺋﺪة ﻋﻦ اﻟﻄﻠﺐ‬‫واﻟﺤﺪ‬ ‫ زﻳﺎدة اﻟﻤﻨﺎﻓﺴﺔ وإﻧﺨﻔﺎض ﻧﺴﺐ اﻷرﺑﺎح‬‫ اﻟﻌﻮﻟﻤﺔ‬‫ اﻟﻀﻐﻮط اﻟﺒﻴﺌﻴﺔ‬‫ﻻ ﺷﻚ أن ﻃﺒﺎﻋﺔ اﻟﻨﺸﺮ واﻟﻄﺒﺎﻋﺔ اﻟﺘﺠﺎرﻳﺔ‬ ‫اﻧﺨﻔﻀﺖ ﻛﺜﻴﺮ ًا ﻣﻘﺎﺑﻞ زﻳﺎدة ﻓﻲ ﻃﺒﺎﻋﺔ‬ ‫اﻟﺘﻐﻠﻴﻒ‪.‬‬

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‫ان ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﻟﻢ ﺗﻘﻒ ﻣﻜﺘﻮﻓﺔ‬ ‫اﻷﻳﺪى ﺑﻞ ﺣﺎوﻟﺖ ﺗﻄﻮﻳﺮ ﻧﻔﺴﻬﺎ وﺗﻘﻨﻴﺎﺗﻬﺎ‬ ‫ﻣﻨﺘﺠﺎﺗﻬﺎ ﺣﺘﻰ ﺗﺘﻮاءم ﻣﻊ اﻟﻌﺼﺮ‬ ‫اﻻﻟﻜﺘﺮوﻧﻲ اﻟﺮﻗﻤﻲ اﻟﺠﺪﻳﺪ اﻟﺬي ﻧﻌﻴﺶ‬ ‫ﻏﻴﻪ‪ ،‬وﺣﺘﻰ ﺗﻘﺎوم اﻻﻧﻘﺮاض وﺗﻈﻞ ﻗﻮﻳﺔ‬ ‫وﺳﻂ ﻛﻞ اﻟﻮﺳﺎﺋﻂ اﻟﻤﻨﺎﻓﺴﺔ اﻷﺧﺮى ﻣﺜﻞ‬ ‫اﻟﺮادﻳﻮ واﻟﺘﻠﻔﺰﻳﻮن واﻻﻧﺘﺮﻧﺖ واﻟﻮﺳﺎﺋﻂ‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﻜﺘﺐ واﻟﻤﺠﻼت واﻟﺼﺤﻒ‬ ‫اﻻﻟﻜﺘﺮوﻧﻴﺔ واﻟﻬﻮاﺗﻒ اﻟﻨﻘﺎﻟﺔ‪.‬‬ ‫وﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ ﻇﻬﺮت ﺗﻘﻨﻴﺎت‬

‫وﺗﻄﺒﻴﻘﺎت وﺧﺎﻣﺎت وأﻓﻜﺎر ﺛﻮرﻳﺔ‬ ‫ﺣﺪﻳﺜﺔ ﻟﻢ ﻧﻜﻦ ﻧﺤﻠﻢ ﺑﻬﺎ ﻣﻦ ﻗﺒﻞ‪ ،‬وﻣﻦ‬ ‫ﻫﺬه اﻟﺘﻘﻨﻴﺎت اﻟﺠﺪﻳﺪة واﻟﺘﻲ ﺗﻌﺮف‬ ‫أﺣﻴﺎﻧ ًﺎ ﺑﺎﻟﻤﺪﻣﺮة ﻟﻤﺎ ﻗﺒﻠﻬﺎ ﻧﺬﻛﺮ ‪:‬‬ ‫ اﻟﻄﺒﺎﻋﺔ اﻟﺮﻗﻤﻴﺔ‬‫ اﻟﻄﺒﺎﻋﺔ ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد‬‫ اﻟﻄﺒﺎﻋﺔ اﻟﺼﻨﺎﻋﻴﺔ‪ ،‬وﻫﻰ ﺗﻨﺘﺞ‬‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻓﻲ‬ ‫ﺗﺼﻨﻴﻊ ﻣﻨﺘﺞ ﻣﺎ‪.‬‬ ‫ اﻟﻄﺒﺎﻋﺔ اﻟﻮﻇﻴﻔﻴﺔ وﻫﻰ ﺗﻨﺘﺞ‬‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﺘﻲ ﺗﺆدي وﻇﻴﻔﺔ‬ ‫اﻟﻤﻌﻴﻨﺔ‬ ‫ اﻻﻟﻜﺘﺮوﻧﻴﺎت اﻟﻤﻄﺒﻮﻋﺔ وﻫﻲ‬‫ﻃﺒﺎﻋﺔ اﻟﻤﻜﻮﻧﺎت اﻻﻟﻜﺘﺮوﻧﻴﺔ ﻣﺜﻞ‬ ‫اﻟﺪواﺋﺮ اﻟﻜﻬﺮﺑﻴﺔ واﻟﻤﻘﺎوﻣﺎت واﻟﺨﻼﻳﺎ‬ ‫اﻟﺸﻤﺴﻴﺔ‬ ‫ اﻟﺘﻐﻠﻴﻒ اﻟﺬﻛﻲ واﻟﺘﻔﺎﻋﻠﻰ‬‫واﻟﻨﺸﻂ‬ ‫ اﻟﻄﺒﺎﻋﺔ اﻟﺨﻀﺮاء‬‫ اﻟﻨﺸﺮ ﻣﺘﻌﺪد اﻟﻘﻨﻮات‬‫ أﻧﻈﻤﺔ ﻣﻦ اﻟﻤﻄﺒﻮع اﻟﻰ اﻻﻧﺘﺮﻧﺖ‬‫ أﻧﻈﻤﺔ ﻣﻦ اﻻﻧﺘﺮﻧﺖ اﻟﻰ اﻟﻤﻄﺒﻮع‬‫وﻋﻠﻴﻨﺎ ﺟﻤﻴﻌ ًﺎ ﻛﻤﻄﺎﺑﻊ ان ﻧﺴﺘﻌﺪ ﺟﻴﺪ ًا‬ ‫ﻟﻠﻤﺴﺘﻘﺒﻞ اﻟﻘﺮﻳﺐ واﻟﺒﻌﻴﺪ‪ ،‬ﻓﺎﻟﻤﻄﺎﺑﻊ‬ ‫اﻟﺘﻲ ﺳﺘﺘﻤﺴﻚ ﺑﺎﻟﺘﻘﻨﻴﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﺳﺘﻨﺘﻬﻲ ﺣﺘﻤ ًﺎ ﺑﺨﺮوج أﺻﺤﺎﺑﻬﺎ ﻣﻦ‬ ‫آﺟﻼ‪ ،‬ﻓﺎﻟﺤﻞ ﻓﻲ‬ ‫اﻷﺳﻮاق‬ ‫ﻋﺎﺟﻼ أم ً‬ ‫ً‬ ‫اﻟﺘﻄﻮﻳﺮ واﻟﺘﺠﺪﻳﺪ اﻟﻤﺴﺘﻤﺮ وﺣﺴﺐ‬ ‫ﺗﻄﻮرات واﺗﺠﺎﻫﺎت اﻷﺳﻮاق‪ ،‬ﻓﺎﻟﺒﻘﺎء‬ ‫ﺳﻴﻜﻮن ﻟﻸﻛﺜﺮ ﺗﻮاﻓﻘ ًﺎ ﻣﻊ اﻟﺒﻴﺌﺔ‬ ‫واﻟﻈﺮوف اﻟﺘﻲ ﺣﻮﻟﻪ‪ ،‬وﻟﻴﺲ ﻟﻸﻗﻮى‬ ‫او اﻷذﻛﻰ او اﻷﻏﻨﻰ‪.‬‬

‫ وأﺟﻬﺰة اﻷى ﭘﻮد ‪ ٣‬ﺳﻨﻮات‬‫ ﺛﻢ وﺻﻞ ﻋﺪد ﻣﺴﺘﺨﺪﻣﻰ‬‫اﻟﻔﻴﺴﺒﻮوك اﻟﻰ ‪ ١٠٠‬ﻣﻠﻴﻮن ﻓﻲ‬ ‫أﻗﻞ ﻣﻦ ‪ ٩‬أﺷﻬﺮ وﺗﻴﻀﺢ ﺟﻠﻴﺎً ﻣﻤﺎ‬ ‫ﺳﺒﻖ ﺧﻄﻮرة اﻟﻤﻨﺎﻓﺴﻴﻦ ﻟﺼﻨﺎﻋﺎت‬ ‫اﻟﻄﺒﺎﻋﺔ‪ ،‬ﻓﺎﻟﻄﺒﺎﻋﺔ اﻟﻴﻮم ﺗﻌﺘﺒﺮ‬ ‫واﺣﺪة ﻓﻘﻂ ﻣﻦ وﺳﺎﺋﻂ وﻃﺮق‬ ‫اﻻﺗﺼﺎل اﻟﻤﺨﺘﻠﻔﺔ واﻟﻜﺜﻴﺮة‪ ،‬ﻓﻔﻲ‬ ‫ﻋﺎم ‪ ٢٠١٠‬وﺻﻠﺖ اﺟﻤﺎﻟﻲ ﻣﺒﻴﻌﺎت‬ ‫ﺷﺮﻛﺔ ﺟﻮﺟﻞ اﻟﻰ ‪ ٢٤‬ﺑﻠﻴﻮن دوﻻر‬ ‫واﻟﺬي ﻛﺎن ﺑﺴﺎوي وﻗﺘﺌﺬ ﺣﻮاﻟﻲ‬ ‫‪ ٪٣٠‬ﻣﻦ ﻛﻞ ﻣﺒﻴﻌﺎت ﺻﻨﺎﻋﺎت‬ ‫اﻟﻄﺒﺎﻋﺔ‪.‬‬ ‫ﻳﺠﺐ ان ﻧﻔﻜﺮ أﻛﺜﺮ ﻓﻲ ﻋﻤﻼﺋﻨﺎ‪ ،‬ﻧﻔﻜﺮ‬ ‫ﻛﻴﻒ ﻧﺴﺘﻄﻴﻊ ﻣﺴﺎﻋﺪﺗﻬﻢ ﻓﻲ‬ ‫اﻧﺠﺎز أﻋﻤﺎﻟﻬﻢ‪ ،‬ﻓﺎﻟﻌﻤﻴﻞ ﻳﻠﺠﺄ اﻟﻰ‬ ‫اﻟﻤﻄﺒﻌﺔ ﻷﻧﻪ ﻻ ﻳﻤﻠﻚ ﺑﻌﻀﺎً ﻣﻦ أو‬ ‫ﻛﻞ ﻣﺎ ﻳﻠﻲ‪:‬‬ ‫ اﻟﻌﻤﺎﻟﺔ‬‫ اﻟﻮﻗﺖ‬‫ اﻟﻤﻌﺮﻓﺔ‬‫ اﻟﺨﺒﺮة‬‫ اﻟﺨﺎﻣﺎت‬‫ اﻟﻤﻜﻨﺎت‬‫‪ -‬اﻟﺘﻮزﻳﻊ‬

‫ان ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﻓﻲ ﻣﺮﺣﻠﺔ‬ ‫إﻧﺘﻘﺎﻟﻴﺔ ﺧﻄﻴﺮة‪ ،‬وﺳﺮ ﺻﻤﻮد أى‬ ‫وﺳﻴﻂ ﻣﻦ وﺳﺎﺋﻂ اﻟﻨﺸﺮ واﻻﺗﺼﺎل‬ ‫ﺳﺘﻜﻤﻦ ﻓﻲ اﻟﺪرﺟﺔ اﻟﺘﻲ ﻳﻈﻞ ﻓﻴﻬﺎ‬ ‫ﻣﻦ‬ ‫ﻛﺒﻴﺮ‬ ‫ﻟﻌﺪد‬ ‫ﻣﻨﺎﺳﺒﺎً‬ ‫اﻟﻤﺴﺘﺨﺪﻣﻴﻦ‪ ،‬وﻻ ﺷﻚ أن ﺻﻨﺎﻋﺎت‬ ‫اﻟﻄﺒﺎﻋﺔ ﺗﻮاﺟﻪ ﺧﻄﺮاً ﻛﺒﻴﺮاً ﻣﻊ‬ ‫ﻇﻬﻮر اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻮﺳﺎﺋﻂ اﻷﺧﺮى‬ ‫اﻟﺘﻲ ﺗﻔﻮﻗﻬﺎ ﻓﻲ‪:‬‬ ‫ اﻻﻗﺘﺼﺎدﻳﺔ‬‫وﻋﻠﻴﻨﺎ ان ﻧﺒﺪأ ﺳﺮﻳﻌ ًﺎ ﻓﻲ إﺳﺘﻴﻌﺎب ‪ -‬اﻟﺴﺮﻋﺔ‬ ‫ اﻟﺘﻔﺎﻋﻠﻴﺔ‬‫اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ واﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ ‪ -‬اﻟﺠﻮدة‬ ‫ اﻟﻤﻨﺎﺳﺒﺔ‬‫إﻧﺘﺎﺟﻨﺎ وأﻋﻤﺎﻟﻨﺎ اﻟﻴﻮﻣﻴﺔ‪ ،‬وﻳﺠﺐ ان ‪ -‬اﻟﺘﻮاﻓﺮ‬ ‫ﻧﺴﺘﻔﺎد ﻣﻦ دروس وإﺣﺼﺎﺋﻴﺎت‬ ‫اﻟﻤﺎﺿﻰ‪ ،‬ﻓﻜﻤﺎ ذﻛﺮ رﻳﺘﺸﺎزد روﻣﺎﻧﻮ‬ ‫ﻓﻲ ﻛﺘﺎﺑﻪ‪:‬‬ ‫ اﻧﻪ إﺳﺘﻐﺮق أﻛﺜﺮ ﻣﻦ ‪ ١٠٠‬ﻋﺎم ﻟﻴﺼﻞ‬‫ﻋﺪد ﻣﺴﺘﺨﺪﻣﻲ اﻟﻄﺒﺎﻋﺔ اﻟﻰ ‪٥٠‬‬ ‫ﻣﻠﻴﻮن ﺷﺨﺺ ‪ -‬ﺑﻴﻨﻤﺎ أﺳﺘﻐﺰق اﻟﺮادﻳﻮ‬ ‫‪ ٣٨‬ﻋﺎﻣ ًﺎ ﻓﻘﻂ ﻟﻴﺼﻞ ﻟﻨﻔﺲ اﻟﻌﺪد‬ ‫ وإﺳﺘﻐﺮق اﻟﺘﻠﻔﺰﻳﻮن ‪ ١٣‬ﻋﺎﻣﺎً‬‫‪ -‬وﺷﺒﻜﺔ اﻻﻧﺘﺮﻧﺖ ‪ ٤‬ﺳﻨﻮات‬

‫‪ 7.0 6، 3‬و‪7‬أ وﺳﻴﻀﻢ اﻟﻌﺎرﺿﻴﻦ‬ ‫‪) OEA‬ﺟﻤﻌﻴﺔ اﻟﻌﻀﻮﻳﺔ اﻹﻟﻜﺘﺮوﻧﻴﺎت(‬ ‫‪) ESMA‬ﺟﻤﻌﻴﺔ إﺧﺼﺎﺋﻲ اﻟﻄﺒﺎﻋﺔ و‬ ‫ﺻﻨﺎﻋﺔ اﻟﺸﺎﺷﺎت اﻟﺮﻗﻤﻴﺔ وﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻔﻠﻴﻜﺲ(‪ ،‬ﻣﺠﻤﻮﻋﺔ اﻟﻌﻤﻞ ﻣﻀﺎﻓﺔ‬ ‫اﻟﺘﺼﻨﻴﻊ ‪ ,VDMA ، Stratasys‬ﺷﺮﻛﺔ‬ ‫راﺋﺪة ﻓﻲ اﻟﺴﻮق اﻟﻌﺎﻟﻤﻲ ﻓﻲ ﻣﺠﺎل‬ ‫اﻟﻄﺒﺎﻋﺔ ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد ‪Leapfrog ،‬‬ ‫‪ and Massivit‬ﻟﺘﻘﻨﻴﺎت اﻟﻄﺒﺎﻋﺔ‬ ‫ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد‪.‬‬ ‫ﻫﺬا وﺑﺎﻹﺿﺎﻓﺔ أن ﺑﻌﺾ اﻟﻌﺎرﺿﻴﻦ‬ ‫اﻧﺘﻘﻠﻮا إﻟﻰ ﻗﺎﻋﺎت ﻣﺨﺘﻠﻔﺔ ﺗﻤﺎﻣﺎ‪،‬‬ ‫ﺗﺮﺟﻊ أﺳﺒﺎب ﺗﻐﻴﻴﺮ اﻟﻤﻜﺎن ﻓﻲ اﻟﻤﻘﺎم‬ ‫اﻷول ﻟﻠﻄﻠﺒﺎت اﻟﻔﺮدﻳﺔ ﻟﻠﻌﺎرﺿﻴﻦ‬ ‫اﻟﺬﻳﻦ ﻳﻄﻠﺒﻮن ﻣﺴﺎﺣﺔ ﺟﺪﻳﺪة أو‬ ‫اﻟﺸﺮاﻛﺎت اﻻﺳﺘﺮاﺗﻴﺠﻴﺔ‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ‬ ‫اﻟﻤﺜﺎل اﻧﺘﻘﻠﺖ ‪Hewlett-Packard‬‬ ‫إﻟﻰ ﻗﺎﻋﺔ ‪ Müller Martini ،17‬إﻟﻰ‬ ‫ﻗﺎﻋﺔ ‪ PrintCity ،2‬إﻟﻰ ﻗﺎﻋﺔ ‪ 12‬و‬ ‫‪ manroland sheetfed‬و ‪manro-‬‬ ‫‪land web systems‬إﻟﻰ ﻗﺎﻋﺔ ‪.14‬‬ ‫‪Heidelberger Druckmaschinen‬‬ ‫ﻟﻤﻜﻴﻨﺎت اﻟﻄﺒﺎﻋﺔ إﻟﻰ ﺟﺎﻧﺐ ﺷﺮﻛﺎﺋﻬﻢ‬ ‫‪ Masterwork ، Polar-Mohr‬و‬ ‫‪ ،Stora Enso‬ﺳﺘﺸﻐﻞ اﻟﻘﺎﻋﺔ ‪1‬‬ ‫‪:‬‬ ‫ﻣﻀﺎﻓﺔ‬ ‫ﻗﻴﻤﺔ‬ ‫اﻟﻔﻌﺎﻟﻴﺎت اﻹﺿﺎﻓﻴﺔ‪.‬‬

‫ﺑﺮﻧﺎﻣﺞ‬

‫ﻛﻤﺎ ﻓﻰ ‪ drupa 2012‬ﺗﻮﺟﺪ‬ ‫ﺑﺮاﻣﺞ ﻣﺘﺨﺼﺼﺔ وﻓﻌﺎﻟﻴﺎت‬ ‫إﺿﺎﻓﻴﺔ ﺗﻀﻢ ﻣﻨﺘﺰه اﻻﺑﺘﻜﺎرات‬ ‫و ‪drupa cube‬‬ ‫‪drupa‬‬ ‫واﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ ‪PEPSO‬‬ ‫واﻟﻤﻨﺘﺠﺎت‬ ‫)اﻟﺤﻠﻮل‬ ‫اﻹﻟﻜﺘﺮوﻧﻴﺔ اﻟﻤﻄﺒﻮﻋﺔ( ‪fab‬‬ ‫ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد ﻛﻤﺎ ﺳﺘﺜﺮى‬ ‫ﻟﻠﻄﺒﺎﻋﺔ‬ ‫اﻹﺗﺼﺎل‬ ‫ﻧﻘﻄﺔ‬ ‫واﻟﺘﻐﻠﻴﻒ اﻟﻤﻌﺮض اﻟﺘﺠﺎرى و‬ ‫ﺳﺘﻘﺪم ﻟﺰوار ‪ drupa‬ﻗﻴﻤﺔ‬ ‫إﺿﺎﻓﻴﺔ أﺻﻴﻠﺔ‪.‬‬ ‫ﻫﻨﺎ‪ ،‬ﻓﻰ ﻓﻰ ﻣﺘﻨﺰه اﻻﺑﺘﻜﺎر‬ ‫‪ drupa‬ﻳﺪور ﻛﻞ ﺷﻲء ﺣﻮل‬ ‫اﻹﺑﺘﻜﺎرات واﻟﻘﻀﺎﻳﺎ اﻟﺘﺠﺎرﻳﺔ‬ ‫اﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﻄﺒﺎﻋﺔ واﻟﻨﺸﺮ‬ ‫اﻟﻤﻮﺟﻬﺔ ﻧﺤﻮ اﻟﻌﻤﻠﻴﺎت‪ .‬وﻫﺬا‬ ‫ﻳﻮﻓﺮ ﻓﺮﺻﺔ ﻣﻤﺘﺎزة ﻟﻠﺸﺮﻛﺎت‬ ‫اﻟﺸﺎﺑﺔ واﻟﺸﺮﻛﺎت اﻟﻨﺎﺷﺌﺔ‬ ‫واﻟﻤﺸﺎرﻛﻴﻦ اﻟﻌﺎﻟﻤﻴﻦ ﻟﻺﻃﻼع‬ ‫ﻋﻠﻰ اﻟﺤﻠﻮل اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‪ .‬ﻛﻤﺎ‬ ‫ﺳﻴﺘﻤﺘﻊ اﻟﺰاﺋﺮﻳﻦ ﺑﺪورﻫﻢ ﺑﻤﻴﺰة‬

‫ﻻ ﻣﺜﻴﻞ ﻟﻬﺎ ﻣﻦ ‪ dip‬ﻓﻰ ﻗﺎﻋﺔ‬ ‫اﻟﺘﻔﻜﻴﺮ‬ ‫ﻹاﻛﺘﺸﺎف‬ ‫‪7.0‬‬ ‫اﻻﺑﺘﻜﺎرى اﻟﻤﺴﺘﻘﺒﻠﻰ‪ ،‬وﻋﺮض‬ ‫اﻟﺤﻠﻮل وﻗﻀﺎﻳﺎ اﻟﻌﻤﻞ ﺑﺸﻜﻞ‬ ‫واﺿﺢ وﻣﺮﻛﺰ‪ .‬ﺳﺘﻜﻮن اﻟﻌﺮوض‬ ‫واﻟﻤﻨﺎﻗﺸﺎت واﻟﻤﻘﺎﺑﻼت ﻓﻰ‪dip‬‬ ‫ﻣﻘﺪﻣﺔ ﻣﻦ ﺣﻮاﻟﻰ‪ 130‬ﻋﺎرض‪.‬‬ ‫ﻳﻬﺪف ‪ drupa cube‬اﻵن‬ ‫ﺑﺎﻟﺒﺪء ﺑﻤﺒﺎدرة ﺟﺪﻳﺪة ﺗﺤﺖ‬ ‫ﻋﻨﻮان "ﺗﺮﻓﻴﺔ‪ ،‬ﺗﻌﻠﻴﻢ‪ ،‬إﺷﺮاك"‬ ‫وﺗﻌﺘﻤﺪ ﻫﺬه اﻟﻤﺒﺎدرة ﻋﻠﻰ‬ ‫اﻹﺑﺘﻜﺎر ﻓﻰ اﻟﻄﺒﺎﻋﺔ وﻋﻠﻰ‬ ‫ﻧﻄﺎق واﺳﻊ ﻣﻦ اﻟﺘﻄﺒﻴﻘﺎت‬ ‫ﻟﻤﻨﺘﺠﺎت اﻟﻄﺒﺎﻋﺔ ﻓﻰ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺼﻨﺎﻋﺎت وﻟﻜﺎﻓﺔ ﻣﻴﺎدﻳﻦ‬ ‫اﻟﺤﻴﺎة‪ .‬إن اﻟﻬﺪف ﻣﻦ ‪drupa‬‬ ‫‪ cube‬ﻫﻮ ﺗﻘﺪﻳﻢ ﻣﻨﺒﺮ ﻟﺘﻘﺪﻳﻢ‬ ‫آﻓﺎق ﻣﺴﺘﻘﺒﻠﻴﺔ‪ . .‬وﻓﻰ ﻧﻔﺲ‬ ‫اﻟﻮﻗﺖ‪ ،‬ﻓﻤﻦ اﻟﻤﻬﻢ إﺗﺒﺎع ﻧﻬﺞ‬ ‫ﻣﺘﻌﺪد اﻟﺘﺨﺼﺼﺎت ﻟﺨﻠﻖ ﺟﺴﺮ‬ ‫اﻟﻮﻛﺎﻻت‬ ‫ﺑﻴﻦ‬ ‫ﺗﻮاﺻﻞ‬ ‫واﻟﻌﺎﻣﻠﻴﻦ‬ ‫اﻹﺑﺪاﻋﻴﺔ‪،‬‬ ‫ﺑﺎﻟﺘﺴﻮﻳﻖ‪ ،‬و أﺻﺤﺎب اﻟﻌﻼﻣﺎت‬ ‫اﻷﺳﻮاق‬ ‫وﺑﻴﻦ‬ ‫اﻟﺘﺠﺎرﻳﺔ‬ ‫‪touch‬‬‫اﻟﻤﺘﺨﺼﺼﺔ‪ .‬ﻳﻘﺪم‬ ‫اﻟﺘﻌﺒﺌﺔ‬ ‫ﻹﻧﺘﺎج‬ ‫‪point‬‬ ‫أﺣﺪث‬ ‫ﻳﻘﺪم‬ ‫واﻟﺘﻐﻠﻴﻒ‪،‬‬ ‫اﻹﺗﺠﺎﻫﺎت اﻟﺠﺪﻳﺪة اﻟﻘﻴﻤﺔ‬ ‫اﻟﺨﺎﺻﺔ ﺑﺎﻟﻄﺒﺎﻋﺔ واﻟﺘﻐﻠﻴﻒ‬ ‫وﺑﺈﻧﻬﺎء ﻋﻤﻠﻴﺔ اﻟﻄﺒﺎﻋﺔ وذﻟﻚ‬ ‫ﻣﻦ ﺧﻼل اﻷﻓﻜﺎر اﻟﺮﺋﻴﺴﻴﺔ‬ ‫وﺣﻠﻘﺎت اﻟﻨﻘﺎش و اﻟﻌﺮوض‪.‬‬

‫ﺟﻬﺎت اﻻﺗﺼﺎل‬ ‫‪Drupa 2016 Press Ofﬁce‬‬ ‫‪Monika‬‬ ‫‪Kissing/Anne‬‬ ‫‪(Schröer (Admin Support‬‬ ‫;‪Tel: +49 (0)211-4560 543‬‬ ‫‪Tel: +49(0)211-4560 465‬‬ ‫‪Fax: +49 (0)211-4560‬‬ ‫‪87543‬‬ ‫‪E-mail:Kissingm‬‬ ‫‪@messe-duesseldorf.de‬‬ ‫‪SchroeerA@messe-dues‬‬‫‪seldorf.de‬‬ ‫‪More information is available at‬‬ ‫‪www.drupa.de and the following‬‬ ‫‪social networks:‬‬ ‫‪Twitter:‬‬ ‫‪www.twitter.com/drupa‬‬ ‫‪Facebook:‬‬ ‫‪http://www.facebook.com/dru‬‬‫‪pa.tradefair‬‬ ‫‪Xing:‬‬ ‫‪https://www.xing.com/‬‬ ‫‪net/pri2b1dd0x /drupa‬‬ ‫‪LinkedIn:‬‬ ‫‪http://www.linkedia.com/groups‬‬ ‫‪/drupa-print-media‬‬ ‫‪-messe-4203634/about‬‬ ‫‪Newsroom: blog.drupa.com‬‬

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‫أﻟﻤﺲ اﻟﻤﺴﺘﻘﺒﻞ‬ ‫اﻟﺼﺤﻴﺢ وذﻟﻚ ﺑﺈﻋﺎدة اﻟﺘﻨﻈﻴﻢ‬ ‫ﻋﻠﻰ‬ ‫واﻟﺘﺮﻛﻴﺰ‬ ‫اﻹﺳﺘﺮاﺗﻴﺠﻲ‬ ‫اﻟﻤﻮﺿﻮﻋﺎت اﻟﻤﺴﺘﻘﺒﻠﻴﺔ وﺗﺴﻠﻴﻂ‬ ‫اﻟﻀﻮء ﻋﻠﻴﻬﺎ‪ .‬ﻓﺎﻻﺳﺘﺠﺎﺑﺔ ﻣﻦ‬ ‫اﻟﻤﻮردﻳﻦ اﻟﺪوﻟﻴﻴﻦ ﻟﻠﺼﻨﺎﻋﺔ ﺟﻴﺪة‬ ‫ﺟﺪا وﻫﻮ اﻷﻣﺮ اﻟﺬى ﻻ ﻳﻤﻜﻨﻨﺎ أﺧﺬه‬ ‫ﻛﺸﻰء ﻣﺴﻠﻢ ﺑﻪ‪ ".‬وﺧﻼل اﻟﻔﺘﺮة ﻣﻦ‬ ‫‪ 31‬ﻣﺎﻳﻮ و ‪ 10‬ﻳﻮﻧﻴﻮ ‪ ،2016‬ﺳﻴﻘﻮم‬ ‫ﺣﻮاﻟﻰ ‪ 1,500‬ﻋﺎرض ﻣﻦ أﻛﺜﺮ ﻣﻦ ‪50‬‬ ‫دوﻟﺔ ﺑﻌﺮض اﻟﺘﻨﻮع واﻹﺑﺘﻜﺎر ﻓﻰ‬ ‫ﻣﺠﺎل ﺻﻨﺎﻋﺔ اﻟﻄﺒﺎﻋﺔ اﻟﺤﺎﻟﻰ‬ ‫واﻟﻤﺴﺘﻘﺒﻠﻰ وذﻟﻚ ﻓﻰ ‪ 19‬ﻗﺎﻋﺔ‬ ‫ﻋﺮض ﻓﻰ ﻣﺮﻛﺰ اﻟﻤﻌﺎرض اﻟﺘﺠﺎرﻳﺔ‬ ‫ﺑﻤﺪﻳﻨﺔ دوﺳﻠﺪورف‪.‬‬

‫اﺗﺠﺎه ﻫﺎﺋﻞ ﻟﻠﻄﺒﺎﻋﺔ ‪ 4.0‬ﻓﻰ ‪drupa‬‬ ‫‪ :‬ﻣﻦ اﻟﻨﻬﺎﻳﺔ ﻟﻠﻨﻬﺎﻳﺔ رﺑﻂ اﻟﺸﺒﻜﺎت‬ ‫اﻟﺮﻗﻤﻴﺔ ﻟﻶﻻت و اﻷﻧﻈﻤﺔ ‪.‬‬ ‫ﺑﻨﺎء ﻋﻠﻰ إﺳﺘﺮاﺗﻴﺠﻴﺔ ﺟﺪﻳﺪة وﻋﻠﻰ‬ ‫ً‬ ‫ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ ﺟﺪﻳﺪة ودورة ﻣﺨﺘﺼﺮة‬ ‫ﻟﺜﻼث ﺳﻨﻮات‪ ،‬ﻳﻘﺎم اﻟﻤﻌﺮض‬ ‫اﻟﺘﺠﺎري اﻟﺪوﻟﻲ اﻟﺮاﺋﺪ ﻟﻠﻄﺒﺎﻋﺔ‬ ‫وﺣﻠﻮل وﺳﺎﺋﻞ اﻹﻋﻼم وذﻟﻚ ﻋﻠﻰ‬ ‫ﻣﺪى ‪ 11‬ﻳﻮﻣﺎ وﺗﺤﺖ ﺷﻌﺎر "إﻟﻤﺲ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ"‪ ،‬ﺳﻴﺮﻛﺰ ‪ drupa‬ﻋﻠﻰ‬ ‫اﻹﺑﺘﻜﺎر واﻹﺑﺪاع ﻓﻲ ﻫﺬا اﻟﻘﻄﺎع ﻛﻤﺎ‬ ‫ﺳﻴﻮﻓﺮ ﻣﻨﺘﺪى ﻟﻌﺮض ﺗﻘﻨﻴﺎت‬ ‫اﻟﻤﺴﺘﻘﺒﻞ‪ .‬وﺳﻴﻜﻮن اﻟﺘﺮﻛﻴﺰ اﻟﺮﺋﻴﺴﻰ‬ ‫ﻓﻰ ﻫﺬا اﻟﻤﻌﺮض ﻋﻠﻰ اﺗﺠﺎﻫﺎت‬ ‫اﻟﻤﺴﺘﻘﺒﻠﻴﺔ اﻟﻤﺜﻴﺮة ﻟﻺﻫﺘﻤﺎم وذﻟﻚ‬ ‫ﻓﻲ ﻣﺠﺎﻻت اﻟﻄﺒﺎﻋﺔ واﻹﻧﺘﺎج‬ ‫واﻟﺘﻐﻠﻴﻒ‪ ،‬واﻹﺗﺼﺎﻻت ﻣﺘﻌﺪدة‬ ‫اﻟﻘﻨﻮات‪ ،‬واﻟﻄﺒﺎﻋﺔ ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد‪،‬‬ ‫اﻟﻔﻨﻴﺔ‬ ‫واﻟﻮﻇﻴﻔﻴﺔ‬ ‫واﻟﻄﺒﺎﻋﺔ‬ ‫واﻟﻄﺒﺎﻋﺔ اﻟﺨﻀﺮاء )اﻟﻤﺴﺘﺪاﻣﺔ(‪.‬‬ ‫وﻓﻰ ﻫﺬا اﻟﺼﺪد‪ ،‬ﺗﻘﻮل اﻟﺴﻴﺪة‪/‬‬ ‫زاﺑﻴﻨﻪ ﺟﻴﻠﺪﻳﺮﻣﺎن ‪Sabine Gelder-‬‬ ‫‪ mann‬ﻣﺪﻳﺮ ﻋﺎم ‪" :drupa‬ﻣﻦ‬

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‫وﺗﺴﺘﻄﺮد ﺟﻴﻠﺪﻳﺮﻣﺎن ﻗﺎﺋﻠﺔ‪" :‬ﺻﺤﻴﺢ‬ ‫ان ﻋﺪد اﻟﻌﺎرﺿﻴﻦ أﻗﻞ ﻣﻦ‪drupa‬‬ ‫‪ 2012‬وذﻟﻚ ﻛﻨﺘﻴﺠﺔ ﻟﻌﻤﻠﻴﺎت دﻣﺞ‬ ‫ﻓﻰ اﻟﺴﻮق ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﻋﺪم‬ ‫إﺳﺘﻘﺮار اﻟﺴﻮق وﻟﻜﻦ ﻣﺎ ﺳﺒﻖ ﻻ‬ ‫ﻳﻘﻠﻞ ﻣﻦ ﺟﻮدة ‪ drupa‬ﻓﻰ ﺣﺪ ذاﺗﻪ‬ ‫ﻓﻔﻰ اﻟﻤﻌﺮض ﺳﻴﻜﻮن ﻫﻨﺎك ﻣﺸﺎرﻛﻴﻦ‬ ‫ﻋﺎﻟﻤﻴﻴﻦ ودوﻟﻴﻴﻦ إﻟﻰ ﺟﺎﻧﺐ اﻟﺮواد ﻓﻰ‬ ‫ﻫﺬا اﻟﺴﻮق واﻟﺬﻳﻦ ﺳﻴﺘﻮاﺟﺪون ﺟﻨﺒ ًﺎ‬ ‫إﻟﻰ ﺟﻨﺐ ﻣﻊ اﻟﺸﺮﻛﺎت اﻟﻤﺮﺗﻘﺒﺔ‬ ‫واﻟﻤﺒﺘﻜﺮة ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪ .‬ﻛﻤﺎ‬ ‫ﺳﻴﺘﻢ ﻋﺮض رؤﻳﺔ ﻛﺎﻣﻠﺔ ﻟﻠﻄﺒﺎﻋﺔ وﺣﻠﻮل‬ ‫وﺗﻘﻨﻴﺎت وﺳﺎﺋﻞ اﻹﻋﻼم‪ .‬إن ﻫﺬه اﻟﻨﻈﺮة‬ ‫اﻟﻌﺎﻣﺔ اﻟﺸﺎﻣﻠﺔ واﻟﺘﻰ ﺗﺘﻨﺎول اﻟﺼﻨﺎﻋﺔ‬ ‫ﻣﻦ ﺟﻤﻴﻊ اﻟﺰواﻳﺎ )‪ 360‬درﺟﺔ( ﻻ ﺗﺘﻮﻓﺮ إﻻ‬ ‫ﻓﻲ ‪.drupa‬‬ ‫‪The‬‬

‫‪Print 4.0 megatrend:‬‬ ‫‪end-to-end digital workﬂow‬‬ ‫اﺗﺠﺎه ﻫﺎﺋﻞ ﻟﻠﻄﺒﺎﻋﺔ ‪ 4.0‬ﻓﻰ ‪ drupa‬ﻣﻦ‬ ‫ﻃﺮف إﻟﻰ ﻧﻬﺎﻳﺔ ﺳﻴﺮ اﻟﻌﻤﻞ اﻟﺮﻗﻤﻴﺔ‬ ‫ﻳﺸﺮح اﻟﺴﻴﺪ‪ /‬ﻛﻼوس ﺑﻮﻟﺰا‪-‬ﺷﻮﻧﻴﻤﺎن‬ ‫‪ Claus Bolza-Schüneman‬رﺋﻴﺲ‬ ‫‪ drupa‬ورﺋﻴﺲ اﻟﻤﺠﻠﺲ اﻟﺘﻨﻔﻴﺬي ل‬ ‫‪ Koenig & Bauer AG‬ﺑﻘﻮﻟﻪ‪" :‬ﻃﺒﺎﻋﺔ‬ ‫‪ 4.0‬ﻫﻮ ﺗﻤﻜﻴﻦ ﻟﻠﺘﻔﺮد وإﺿﻔﺎء اﻟﻄﺎﺑﻊ‬ ‫اﻟﺸﺨﺼﻲ ﻋﻠﻰ اﻟﻄﺒﺎﻋﺔ اﻟﺮﻗﻤﻴﺔ‪،‬‬ ‫واﻟﺘﻌﺒﺌﺔ واﻟﺘﻐﻠﻴﻒ ﻋﺎﻟﻴﺔ اﻟﺠﻮدة وﻫﻰ‬ ‫ﺗﻌﻄﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺤﻠﻮل ﺳﺮﻳﻌﺔ‬ ‫اﻟﻨﻤﻮ ﻓﻲ ﻣﺠﺎل اﻟﻄﺒﺎﻋﺔ اﻟﺼﻨﺎﻋﻴﺔ‬ ‫وﺳﻴﻜﻮن ﻫﺬا ﺗﻮﺟﻪ‬ ‫واﻟﻔﻨﻴﺔ‬

‫‪ . drupa 2016‬وﺑﻔﻀﻞ ﻋﻤﻠﻴﺔ ﺷﺒﻜﺎت‬ ‫اﻻﺗﺼﺎل‪ ،‬ﻓﺈن ‪ Print 4.0‬ﺗﻌﺘﺒﺮ ﻫﻰ‬ ‫ﺑﺎﻟﻔﻌﻞ ﻗﺪوة ﻫﺬه اﻟﺼﻨﺎﻋﺔ ﻓﺎﻟﻨﺴﺒﺔ ﻟﻨﺎ‬ ‫ﺳﻴﺮ اﻟﻌﻤﻞ اﻟﺮﻗﻤﻰ أﺻﺒﺢ ﻣﻤﻜﻨﺎ ﺑﺄﻧﻈﻤﺔ‬ ‫اﻻﻧﺘﺮﻧﺖ اﻟﺬﻛﻴﺔ ﻟﻠﻤﻜﻴﻨﺎت واﻷﻧﻈﻤﺔ‪".‬‬ ‫ﻫﺬا اﻟﺘﻮاﺻﻞ ﻫﻮ ﻣﺎ ﻳﻤﻴﺰ اﻟﻤﻌﺮض‬ ‫وﻳﺠﻌﻠﻪ ﺷﻌﺎر ًا ﻟﻠﻤﻌﺮض اﻟﺘﺠﺎري‪ ،‬وﺗﺤﺪﻳﺪ‬ ‫دوراﺗﻪ وﻫﻴﺎﻛﻠﻪ‪ ،‬ﻓﺎﻟﺒﻨﻴﺔ اﻟﻤﺘﺴﻘﺔ‬ ‫اﻟﻮاﺿﺤﺔ ﻟﻠﺼﻨﺎﻋﺔ ﻟﻢ ﻳﻌﺪ ﻣﻨﺎﺳﺒ ًﺎ ﻛﻤﺎ ﻫﻮ‬ ‫اﻟﺤﺎل ﻓﻲ اﻟﻤﺎﺿﻲ وﻟﻜﻦ ﻫﻨﺎك ﺟﻬﺎت‬ ‫اﺗﺼﺎل رﺋﻴﺴﻴﺔ ﻟﺘﺴﻬﻞ ﻋﻠﻰ اﻟﺰوار إﻳﺠﺎد‬ ‫ﻣﺎ ﻳﺒﺤﺜﻮن ﻋﻨﻪ ‪:‬‬ ‫اﻟﻄﺒﺎﻋﺔ اﻟﺮﻗﻤﻴﺔ‪ ،‬ﻣﺎ ﻗﺒﻞ اﻟﻄﺒﺎﻋﺔ ‪ ،‬ﻣﺎ‬ ‫ﻗﺒﻞ اﻹﻋﻼم واﻟﻘﻨﻮات اﻟﻤﺘﻌﺪدة ‪ :‬ﻓﻰ‬ ‫اﻟﻤﻘﺎم اﻷول ﺳﻴﻜﻮن اﻟﻌﺮض ﻓﻰ‬ ‫ﻗﺎﻋﺎت ‪7، 5‬أ ‪8 ، 7.0 ،‬أ ‪8،‬ب ‪ 9 ،‬و‪17‬‬ ‫وﺳﻴﻀﻢ اﻟﻌﺎرﺿﻴﻦ ‪Agfa, Canon, EFI,‬‬ ‫‪,Epson, Esko, Fuji‬‬ ‫‪Canon, EFI, Epson, Esko, Fuji, HP,‬‬ ‫‪Hunkeler, Kodak, Konica Minolta,‬‬ ‫‪Landa, Mimaki, Ricoh, Roland,‬‬ ‫‪.Screen, Sharp, Xeikon and Xerox‬‬ ‫اﻟﺘﻌﺒﺌﺔ واﻟﺘﻐﻠﻴﻒ واﻟﺘﺤﻮﻳﻞ ‪:‬‬ ‫ﺳﺘﻌﺮض ﻓﻰ اﻟﻘﺎﻋﺎت ‪ 10،11‬و‪12‬‬ ‫ﻣﻊ ﻣﻤﺜﻠﻴﻦ ﻣﻦ ‪Ash Converting,‬‬ ‫‪Atlas Converting, Atlantic‬‬ ‫‪Zeiser,‬‬ ‫‪Bobst,‬‬ ‫‪Brandjen,‬‬ ‫‪.Comexi and Print City‬‬ ‫اﻟﻄﺒﺎﻋﺔ واﻟﺘﺸﻄﻴﺐ ‪ :‬ﺳﺘﻌﺮض ﻓﻰ‬ ‫اﻟﻘﺎﻋﺎت ‪ 13،14،15‬و‪ .16‬ﻛﻤﺎ ﺟﺮت‬ ‫اﻟﻌﺎدة‪ ،‬ﻓﺴﺘﻀﻢ "ﻗﺎﻋﺎت اﻟﻤﻌﺪن‬ ‫اﻟﺜﻘﻴﻞ" ﻣﻮردﻳﻦ ﻋﻤﻠﻴﺎت اﻟﻄﺒﺎﻋﺔ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‪ .‬وﻣﻦ ﺑﻴﻨﻬﻢ ‪Baumann, :‬‬ ‫& ‪Cerutti, Ferag, Goss, Koenig‬‬ ‫‪Bauer, Kolbus, Komori, manro‬‬‫‪land sheetfed, manroland web‬‬ ‫& ‪systems, Ryobi, Windmöller‬‬ ‫‪.Hölscher, Wohlenberg‬‬ ‫اﻟﺨﺎﻣﺎت ‪ :‬ﻳﺘﻢ ﻋﺮﺿﻬﺎ ﻓﻰ اﻟﻘﺎﻋﺎت ‪3‬‬ ‫و‪ 4‬ﻣﻊ اﻟﻌﺎرﺿﻴﻦ ‪Bordeaux, Fedri-‬‬ ‫‪goni, Flint Group, Leonhard‬‬ ‫‪Kurz, Mondi and Siegwerk‬‬ ‫‪.Farben‬‬ ‫ﺗﻘﻨﻴﺎت اﻟﻤﺴﺘﻘﺒﻞ واﻟﻄﺒﺎﻋﺔ ﺛﻼﺛﻴﺔ‬ ‫اﻷﺑﻌﺎد‪ :‬اﻟﻌﺮض ﺳﻴﻜﻮن ﻓﻰ اﻟﻘﺎﻋﺎت‬

‫) ‪ ١٤٨‬ﺟﺮام‪ /‬اﻟﻤﺘﺮ اﻟﻤﺮﺑﻊ (‬ ‫‪ -٢‬ﻣﻄﺒﻮع ﻋﻠﻰ ورق ﻏﻴﺮ‬ ‫ﻣﻐﻄﻰ‬ ‫) ‪ ١١٨‬ﺟﺮام‪ /‬اﻟﻤﺘﺮ اﻟﻤﺮﺑﻊ (‬ ‫ﺛﺎﻧﻴﺎً ‪ :‬ﻣﻦ ﺣﻴﺚ ﺗﻜﻮﻳﻦ اﻻﻟﻮان‬ ‫‪ -١‬ﺑﺎﻧﺘﻮن ﻟﻸﻟﻮان اﻟﻤﺼﻤﺘﻪ‬ ‫‪:Solid Coated‬‬ ‫وﻫﻮ أﻟﻮان ﺧﺎﺻﺔ ﻳﺘﻢ ﺗﺤﻀﻴﺮﻫﺎ‬ ‫ﺑﺪﻣﺞ ﻛﻤﻴﺎت ﻣﺤﺪدة ﻣﺴﻠﻘﺎً‬ ‫ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﺧﺎﺻﺔ ﻣﻦ اﻷﺣﺒﺎر‬ ‫اﻟﻤﻌﺮوﻓﺔ وﻋﺪدﻫﻢ ‪ ١٤‬ﺣﺒﺮ ‪،‬‬ ‫ﻳﺤﺘﻮى ﻫﺬا اﻟﺒﺎﻧﺘﻮن ﻋﻠﻰ ﻋﺪد‬ ‫‪ ١٣٤١‬ﻟﻮن ) ﻣﻨﻬﻢ ‪ ٢٢٤‬ﻟﻮن ﺗﻢ‬ ‫إﺿﺎﻓﺘﻬﻢ ﻋﺎم ‪ ( ٢٠١٠‬وﻳﺤﻤﻞ‬ ‫ﻫﺬا اﻟﺒﺎﻧﺘﻮن ﻋﻼﻣﺔ ‪The Plus‬‬ ‫‪ Series‬دﻻﻟﻪ ﻋﻠﻰ أﻧﻪ اﻷﺣﺪث‬ ‫ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫ﻟﻸﻟﻮان‬

‫اﻟﻤﺮﻛﺒﺔ‬

‫‪ -٢‬ﺑﺎﻧﺘﻮن‬ ‫‪:CMYK‬‬ ‫وﻫﻮ ﻋﺒﺎرة ﻋﻦ اﻻﻟﻮان اﻟﺘﻰ‬ ‫ﻳﻤﻜﻦ اﻟﺤﺼﻮل ﻋﻠﻴﻬﺎ ﻣﻦ‬ ‫اﻻﺣﺒﺎر اﻟﻄﺒﺎﻋﻴﺔ اﻷﺳﺎﺳﻴﺔ‬ ‫اﻷرﺑﻌﺔ ‪ ،‬ﻳﺤﺘﻮى ﻫﺬا اﻟﺒﺎﻧﺘﻮن‬ ‫ﻋﻠﻰ ﻋﺪد ‪ ٢٨٦٨‬ﻟﻮن وﻳﺤﻤﻞ‬ ‫ﻫﺬا اﻟﺒﺎﻧﺘﻮن ﻋﻼﻣﺔ ‪The Plus‬‬ ‫‪ Series‬دﻻﻟﻪ ﻋﻠﻰ أﻧﻪ اﻷﺣﺪث‬ ‫ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫‪ -٣‬ﺑﺎﻧﺘﻮن اﻟﺘﺤﻮﻳﻞ اﻟﺘﺤﻮﻳﻞ‬ ‫‪:Bridge‬‬ ‫وﻫﻮ ﻋﺒﺎرة ﺷﻜﻞ ﻣﻘﺎرﻧﺔ ﻳﻮﺿﺢ‬ ‫ﻓﻴﻪ ﻛﻞ ﻟﻮن ﻣﻦ أﻟﻮان " ﺑﺎﻧﺘﻮن‬ ‫‪Solid‬‬ ‫اﻟﻤﺼﻤﺘﻪ‬ ‫ﻟﻸﻟﻮان‬ ‫‪ " Coated‬وﺑﺠﻮاره اﻟﻠﻮن اﻟﺬى‬ ‫ﺳﻮف ﺗﺤﺼﻞ ﻋﻠﻴﻪ ﻋﻨﺪ ﻃﺒﺎﻋﺔ‬ ‫ﻫﺬا اﻟﻠﻮن ﺑﺎﻷﻟﻮان اﻟﻄﺒﺎﻋﻴﺔ‬ ‫اﻷﺳﺎﺳﻴﺔ اﻷرﺑﻌﺔ ‪ ،‬ﻳﺤﺘﻮى ﻫﺬا‬ ‫اﻟﺒﺎﻧﺘﻮن ﻋﻠﻰ ﻋﺪد ‪ ١٣١٣‬ﻟﻮن‬ ‫وﻳﺤﻤﻞ ﻫﺬا اﻟﺒﺎﻧﺘﻮن ﻋﻼﻣﺔ‬ ‫‪ The Plus Series‬دﻻﻟﻪ ﻋﻠﻰ‬ ‫أﻧﻪ اﻷﺣﺪث ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫‪ -٤‬ﺑﺎﻧﺘﻮن اﻷﻟﻮان اﻹﺿﺎﻓﻴﺔ‬ ‫‪:٣٣٦+‬‬ ‫‪٣٣٦‬ﻟﻮان‬ ‫وﻫﻮ ﻋﺒﺎرة ﻋﻦ‬ ‫أﺿﺎﻓﺘﻬﻢ ﺷﺮﻛﺔ ﺑﺎﻧﺘﻮن ﻋﺎم‬ ‫اﻻﻟﻮان‬ ‫ﻟﻤﺠﻤﻮﻋﺔ‬ ‫‪٢٠١٠‬‬ ‫اﻟﻤﺼﻤﺘﻪ ‪ ،‬وﻳﺤﻤﻞ ﻫﺬا‬ ‫اﻟﺒﺎﻧﺘﻮن ﻋﻼﻣﺔ ‪The Plus‬‬ ‫‪ Series‬دﻻﻟﻪ ﻋﻠﻰ أﻧﻪ‬ ‫اﻷﺣﺪث ﺣﺘﻰ اﻟﻴﻮم‪.‬‬

‫‪ -٥‬ﺑﺎﻧﺘﻮن اﻷﻟﻮان اﻟﻤﺘﺎﻟﻴﻚ‬ ‫‪:Metallic Colors‬‬ ‫وﻫﻮ ﻋﺒﺎرة ﻋﻦ اﻻﻟﻮان‬ ‫اﻟﻤﻴﺘﺎﻟﻴﻚ اﻟﺘﻰ ﻳﻤﻜﻦ اﻟﺤﺼﻮل‬ ‫ﻋﻠﻴﻬﺎ ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﺣﺒﺎر‬ ‫اﻟﻤﻴﺘﺎﻟﻴﻚ اﻟﺨﺎﺻﺔ ‪ ،‬ﻳﺤﺘﻮى ﻫﺬا‬ ‫اﻟﺒﺎﻧﺘﻮن ﻋﻠﻰ ﻋﺪد ‪ ٣١١‬ﻟﻮن‬ ‫اﻟﺒﺎﻧﺘﻮن‬ ‫ﻫﺬا‬ ‫وﻳﺤﻤﻞ‬ ‫ﻋﻼﻣﺔ ‪ The Plus Series‬دﻻﻟﻪ‬ ‫ﻋﻠﻰ أﻧﻪ اﻷﺣﺪث ﺣﺘﻰ اﻟﻴﻮم‪.‬‬ ‫‪ -٦‬ﺑﺎﻧﺘﻮن اﻟﺘﺤﻮﻳﻞ اﻟﺘﺤﻮﻳﻞ‬ ‫‪:Geoxplore‬‬ ‫وﻫﻮ ﻋﺒﺎرة أﻗﺮب ﺗﺮﻛﻴﺒﺔ‬ ‫ﺣﺒﺮﻳﺔ ﻳﻤﻜﻦ ﻣﻦ ﺧﻼل‬ ‫دﻣﺠﻬﻢ اﻟﺤﺼﻮل ﻋﻠﻰ ﻗﻴﻢ‬ ‫ﻟﻮﻧﻴﺔ ﻗﺮﻳﺒﺔ ﻣﻦ اﻟﻮان ‪sRGB‬‬ ‫اﻟﺨﺎﺻﺔ ﺑﺄﻟﻮان اﻹﻧﺘﺮﻧﺖ ‪،‬‬ ‫وﻳﺤﺘﻮى ﻫﺬا اﻟﺒﺎﻧﺘﻮن ﻋﻠﻰ‬ ‫ﻋﺪد ‪ ٢٠٥٨‬ﻟﻮن وﻳﺤﻤﻞ‬ ‫ﻋﻼﻣﺔ ‪The Plus Series‬‬ ‫دﻻﻟﻪ ﻋﻠﻰ أﻧﻪ اﻷﺣﺪث ﺣﺘﻰ‬ ‫اﻟﻴﻮم‪.‬‬ ‫وﻳﻮﺟﺪ اﻟﻜﺜﻴﺮ واﻟﻜﺜﻴﺮ ﺟﺪاً ﻣﻦ‬ ‫أﻧﻮاع اﻟﺒﺎﻧﺘﻮن اﻷﺧﺮى ‪ ،‬ﻟﻜﻦ ﻟﻦ‬ ‫ﺗﺮى أى ﻣﻨﻬﻢ ﻓﻰ اﻟﺴﻮق‬ ‫اﻟﻤﺤﻠﻴﺔ اﻟﻤﺼﺮﻳﺔ‪.‬‬ ‫ﻛﻴﻒ ﻳﺘﻢ ﻗﻴﺎس ﺟﻮدة أﻟﻮان‬ ‫اﻟﺒﺎﻧﺘﻮن ﺑﻌﺪ ﻃﺒﺎﻋﺘﻬﺎ‪:‬‬ ‫ﻋﻨﺪ اﻟﺮﻏﺒﺔ ﻓﻰ اﻟﺘﺄﻛﺪ ﻣﻦ‬ ‫ﺟﻮدة أﻟﻮان ﺑﺎﻧﺘﻮن ﻓﺈﻧﻨﺎ ﻧﻘﻮم‬ ‫ﺑﻘﻴﺎس ‪ Delta E‬ﻟﻠﺪرﺟﺔ‬ ‫اﻟﻤﺼﻤﺘﻪ ﻟﻠﻮن اﻟﺒﺎﻧﺘﻮن ‪ ،‬وﻳﺘﻢ‬ ‫ذﻟﻚ ﺑﺈﺳﺘﺨﺪام ﺟﻬﺎز "‬ ‫"‬ ‫اﻹﺳﺒﻜﺘﺮودﻳﻨﺴﺘﻮﻣﻴﺘﺮ‬ ‫وﻟﻘﻴﺎس ﻫﺬا اﻟﻤﻌﻴﺎر ﻓﺈن‬ ‫اﻟﺠﻬﺎز ﻳﺤﺘﺎج ﻣﻨﻚ إﺟﺮاء‬

‫ﻗﺮاءﺗﻴﻦ‬

‫ﻋﻠﻰ‬

‫اﻟﻨﺤﻮ‬

‫اﻟﺘﺎﻟﻰ‪:‬‬

‫‪ :Reference‬وﻫﻨﺎ ﺗﻘﻮم ﺑﻘﻴﺎس‬ ‫اﻟﻠﻮن اﻟﻤﺤﺪد ﻓﻰ ﺟﺪول اﻟﻮان‬ ‫ﺑﺎﻧﺘﻮن‪.‬‬ ‫‪ :Sample‬وﻫﻨﺎ ﺗﻘﻮم ﺑﻘﻴﺎس‬ ‫اﻟﻠﻮن ﻣﻦ ﻋﻠﻰ اﻟﻤﻄﺒﻮع‪.‬‬ ‫وﺑﻌﺪ إﺟﺮاء اﻟﻘﺮاﺋﺘﻴﻦ ﻳﻌﺮض ﻟﻚ‬ ‫اﻟﺠﻬﺎز ﻗﻴﻤﺔ ‪ Delta E‬وﻫﻰ ﺗﻌﺒﺮ‬ ‫ﻋﻦ اﻟﻔﺮق اﻟﻠﻮﻧﻰ ﺑﻴﻦ اﻟﻠﻮن ﻓﻰ‬ ‫اﻟﻤﻄﺒﻮع‪.‬‬ ‫واﻟﻠﻮن‬ ‫ﺑﺎﻧﺘﻮن‬ ‫وﺑﺼﻔﺔ ﻋﺎﻣﺔ ﻓﺈن اﻟﻌﻴﻦ اﻟﺒﺸﺮﻳﺔ‬ ‫ﻳﻤﻜﻨﻬﺎ وﺑﺴﻬﻮﻟﺔ ﻣﻼﺣﻈﺔ ﻓﺎرق‬ ‫ﻟﻮﻧﻰ ‪ : Delta E‬ﻣﻦ ‪ ٥‬ﻓﻤﺎ أﻋﻠﻰ‪.‬‬ ‫وﻓﻰ اﻟﻤﻄﺎﺑﻊ ﻳﻜﻮن ﻓﺎرق اﻟﻠﻮن‬ ‫اﻟﻤﺴﻤﻮح ﺑﻪ ‪ Delta E‬ﻫﻮ ‪ ٢٫٥‬ﻓﺈذا‬ ‫ﻣﺎ ﻛﺎﻧﺖ اﻟﻘﻤﻴﺔ أﻋﻠﻰ ﻣﻦ ‪ ٢٫٥‬ﻓﺈن‬ ‫اﻟﻤﻄﺒﻮع ﻳﻜﻮن ﻣﺮﻓﻮض ـ وإذا‬ ‫ﻛﺎﻧﺖ اﻟﻘﻤﻴﺔ أﻗﻞ ﻣﻦ ذﻟﻚ ﻓﺈن‬ ‫ﺻﺤﻴﺢ‪.‬‬ ‫ﻳﻜﻮن‬ ‫اﻟﻤﻄﺒﻮع‬ ‫ﻣﻠﺤﻮﻇﺔ‪:‬‬ ‫‪ -١‬ﺑﻌﺾ اﻟﻌﻤﻼء اﻟﺨﺎﺻﻴﻦ ﻳﻄﻠﺒﻮن‬ ‫‪ Delta E‬أﻗﻞ ﻣﻦ ‪ ٢‬وأﺣﻴﺎﻧﺎً أﻗﻞ ﻣﻦ‬ ‫‪ ١٫٥‬وﻫﻨﺎ ﻓﺈن اﻟﻌﻤﻠﻴﺔ اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﺗﻜﻮن اﻛﺜﺮ ﺻﻌﻮﺑﺔ وﻻﺑﺪ ﻣﻦ إﺑﻼغ‬ ‫ﻗﺴﻢ اﻟﻌﻘﻮد ﺑﻬﺬا ﻟﺮﻓﻊ ﻗﻴﻤﺔ‬ ‫اﻟﻌﻤﻠﻴﺔ اﻟﻄﺒﺎﻋﻴﺔ‪.‬‬ ‫‪ -٢‬ﻻ ﺗﺴﺘﺨﺪم اﺑﺪاً ﺟﻬﺎز "‬ ‫ا ﻹ ﺳﺒﻜﺘﺮ و د ﻳﻨﺴﺘﻮ ﻣﻴﺘﺮ "‬ ‫ﻟﻠﻤﻄﺒﻮﻋﺎت ﻋﻠﻰ اﻟﻮرق اﻟﻤﻴﺘﺎﻟﻴﻚ‬ ‫) اﻟﻤﻤﻌﺪن ( ﻓﻐﺎﻟﺒﺎً ﻣﺎ ﺗﺆدى درﺟﺔ‬ ‫اﻟﻠﻤﻌﺔ اﻟﻌﺎﻟﻴﺔ ﻟﻠﻮرق ﻓﻰ ﺗﻠﻒ‬ ‫اﻟﺒﺮﻧﺎﻣﺞ اﻟﺪاﺧﻠﻰ ﻟﻠﺠﻬﺎز وﻳﺠﻌﻠﻪ‬ ‫ﺧﺎرج اﻟﺨﺪﻣﺔ‪.‬‬

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‫اﻷﻟﻮان اﻟﺨﺎﺻﺔ‬

‫أﻟﻮان اﻟﺒﺎﻧﺘﻮن ‪Pantone Colors‬‬ ‫ﺳﺘﺴﺘﺨﺪﻣﻬﺎ ﻛﺜﻴﺮاً إذا ﻣﺎ ﻛﻨﺖ ﺗﻌﻤﻞ ﻓﻰ ﺗﺼﻤﻴﻢ أو ﻃﺒﺎﻋﺔ اﻟﻌﺒﻮات ‪...‬‬

‫ﻣﻦ اﻷدوات اﻟﻬﺎﻣﺔ ﻓﻰ ﺗﻮﺻﻴﻒ‬ ‫اﻻﻟﻮان ﺑﻴﻦ اﻟﻌﻤﻴﻞ واﻟﻤﻄﺒﻌﺔ ﻫﻮ‬ ‫ﻧﻈﺎم اﻟﻮان ﺑﺎﻧﺘﻮن " ‪" Pantone‬‬ ‫وﻫﻰ ﻣﻨﺘﺸﺮة ﻓﻰ أﻏﻠﺐ ﻣﻄﺎﺑﻊ‬ ‫وﻣﻜﺎﺗﺐ اﻟﺘﺼﻤﻴﻢ ﻓﻰ ﻣﺼﺮ‪.‬‬ ‫إﻋﺪاد‬ ‫د‪ /‬إﺑﺮاﻫﻴﻢ واﻟﻰ‬

‫واﻟﻤﻄﺒﻌﺔ‬ ‫اﻟﻤﺼﻤﻢ‬ ‫ﻳﺘﻌﺎﻣﻞ‬ ‫اﻷرﺑﻌﺔ‬ ‫اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﺑﺎﻷﻟﻮان‬ ‫اﻷﺳﺎﺳﻴﺔ ‪ :‬اﻟﺴﻴﺎن واﻟﻤﺎﺟﻨﺘﺎ‬ ‫واﻷﺻﻔﺮ واﻷﺳﻮد ‪.‬‬ ‫وﻣﻌﺮوف أن اﻟﻄﺒﺎﻋﺔ ﺑﺈﺳﺘﺨﺪام‬ ‫ﺗﻠﻚ اﻷﻟﻮان اﻷﺳﺎﺳﻴﺔ ﻻ ﻳﻤﻜﻨﻬﺎ‬ ‫أﺑﺪاً اﻟﻮﺻﻮل إﻟﻰ ﻛﻞ اﻷﻟﻮان اﻟﺘﻰ‬ ‫ﻳﺘﻢ اﻟﺤﺼﻮل ﻋﻠﻴﻬﺎ ﻓﻰ ﺑﺮاﻣﺞ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﺷﺎﺷﺔ اﻟﻜﻮﻣﺒﻴﻮﺗﺮ‬ ‫وﻫﺬا ﺷﺊ ﻣﺘﻌﺎرف ﻋﻠﻴﻪ ﻓﻰ ﻣﺮﺣﻠﺔ‬ ‫اﻟﻄﺒﺎﻋﺔ‪.‬‬ ‫وﻣﺮﺣﻠﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ‬ ‫ﻛﻤﺎ أن اﻷﻟﻮان اﻟﺘﻰ ﻧﺤﺼﻞ ﻋﻠﻴﻬﺎ‬ ‫ﻣﻦ ﺗﻠﻚ اﻷﻟﻮان اﻷرﺑﻌﺔ اﻷﺳﺎﺳﻴﺔ‬ ‫ﻗﺎﺑﻠﻪ ﻻن ﻳﺤﺪث ﺑﻬﺎ ﻗﺪر ﺑﺴﻴﻂ ﻣﻦ‬ ‫اﻟﺘﻔﺎوت اﻟﻠﻮﻧﻰ أﺛﻨﺎء ﻋﻤﻠﻴﺔ‬ ‫اﻟﻄﺒﺎﻋﺔ أو إﻋﺎدة اﻟﻄﺒﺎﻋﺔ ﺧﺎﺻﺔ‬ ‫ﻋﻨﺪ ﺗﻐﻴﺮ أى ﻣﺘﻐﻴﺮ ﻓﻰ ﻋﻤﻠﻴﺔ‬ ‫اﻟﻄﺒﺎﻋﺔ ﻣﻦ ﺣﺒﺮ أو ﻣﺎﻛﻴﻨﺔ ﻃﺒﺎﻋﺔ‪.‬‬ ‫ﻫﻨﺎ ﻇﻬﺮت ﻓﻜﺮة إﺳﺘﺨﺪام ﺟﺪاول‬ ‫اﻟﻮان ﻣﻄﺒﻮﻋﺔ ﺗﺤﺘﻮى ﻋﻠﻰ‬ ‫ﻣﺴﺎﺣﺎت اﻟﻮان ﻣﻄﺒﻮﻋﺔ ﺗﻢ ﺗﺤﺪﻳﺪ‬ ‫ﻗﻴﻤﺘﻬﺎ اﻟﻠﻮﻧﻴﺔ ﻋﻠﻰ ﻫﻴﺌﺔ " إﺳﻢ‬ ‫ورﻗﻢ " ﺗﻌﺒﺮ ﻋﻦ ﺗﺮﻛﻴﺒﺘﻬﺎ اﻟﻠﻮﻧﻴﺔ ‪،‬‬ ‫وﺑﻤﺎ أﻧﻬﺎ ﻣﻄﺒﻮﻋﺔ ﺑﺎﻟﻔﻌﻞ ﻋﻠﻰ‬ ‫اﻟﻮرق ) وﻟﻴﺴﺖ ﻟﻮن ﻋﻠﻰ اﻟﺸﺎﺷﺔ (‬ ‫ﻓﺈﻧﻪ ﻣﻦ اﻟﺴﻬﻞ اﻟﺤﺼﻮل ﻋﻠﻰ‬ ‫ﻧﻔﺲ اﻟﺪرﺟﺔ اﻟﻠﻮﻧﻴﺔ دون اﻟﻘﻠﻖ ﻣﻦ‬ ‫إﺧﺘﻼف اﻟﻠﻮن ﻋﻠﻰ اﻟﺸﺎﺷﺔ ﻋﻦ‬ ‫اﻟﻠﻮن ﻋﻠﻰ اﻟﻮرﻗﺔ ) وﺑﺎﻟﻄﺒﻊ ﻓﺈن‬ ‫ﺗﻠﻚ اﻟﺠﺪاول اﻟﻠﻮﻧﻴﺔ ﺗﺤﺴﺐ‬ ‫اﻟﺤﺴﺎب ﻟﻨﻮﻋﻴﺔ اﻟﻮرق ﻛﻤﺎ ﺳﻨﺮى‬ ‫ﻻﺣﻘﺎً (‪.‬‬

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‫إﻻ ﻧﻮع واﺣﺪ ﻓﻘﻂ ﻫﻮ اﻟـ " ﺑﺎﻧﺘﻮن اﻟﺨﺎﺻﺔ اﻹﺿﺎﻓﻴﺔ وﻳﻮﺟﺪ ﺑﺎﻧﺘﻮن أﺧﺮ‬ ‫‪ " Pantone‬ﻛﻤﺎ أﻧﻪ اﻷﺷﻬﺮ واﻷﻛﺜﺮ ﻟﻸﻟﻮان اﻷرﺑﻌﺔ اﻷﺳﺎﺳﻴﺔ ﻓﻘﻂ‪.‬‬ ‫إﻧﺘﺸﺎراً ﻋﺎﻟﻤﻴﺎً ‪ ،‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﻫﺬا‬ ‫ﻓﻠﻴﺲ ﺑﺎﻧﺘﻮن ﻫﻮ اﻟﺒﺪﻳﻞ اﻟﻮﺣﻴﺪ ‪ -٢‬ﻳﺨﺘﺎر اﻟﻌﻤﻴﻞ اﻟﻠﻮن ﻣﻦ اﻟﺒﺎﻧﺘﻮن‬ ‫ﻓﻴﻮﺟﺪ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻣﻦ ﻓﻴﻘﻮم ﻫﻮ أو اﻟﻤﺼﻤﻢ ﺑﺘﺴﺠﻴﻞ‬ ‫ﻣﺎ‬ ‫اﻟﻠﻮﻧﻴﺔ‬ ‫اﻟﺠﺪاول‬ ‫ﻳﻠﻰ‪ :‬اﻟﻘﻴﻤﺔ اﻟﻠﻮﻧﻴﺔ اﻟﻤﻜﺘﻮﺑﺔ أﺳﻔﻞ‬ ‫‪PANTONE -١‬‬ ‫اﻟﻠﻮن‪.‬‬ ‫‪FOCOLTONE -٢‬‬ ‫‪TOYO -٣‬‬ ‫‪ -٣‬ﻳﻘﻮم اﻟﻤﺼﻤﻢ ﺑﺈﻧﺸﺎء ﻗﻨﺎة‬ ‫‪TRUMATCH -٤‬‬ ‫ﻟﻮﻧﻴﺔ أو ﻟﻮن ﺧﺎص ﺑﺎﻟﻠﻮن اﻟﺬى‬ ‫ﺑﺎﻟﻄﺒﻊ ﻓﺈن إﺳﺘﺨﺪام أى ﻟﻮن ﻣﻦ إﺧﺘﺎره اﻟﻌﻤﻴﻞ ﻓﻰ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ‬ ‫اﻟﻮان ﺑﺎﻧﺘﻮن ﻓﻰ اﻟﺘﺼﻤﻴﻢ ﺳﻮف اﻟﻜﻮﻣﺒﻴﻮﺗﺮ ‪ ،‬وﺳﻮف ﻧﺘﻨﺎول ﻻﺣﻘﺎً‬ ‫ﻳﻜﻮن ﺑﻤﺜﺎﺑﺔ ﻟﻮن إﺿﺎﻓﻰ ‪ ،‬ﺑﻤﻌﻨﻰ ﻛﻴﻒ ﻳﻘﻮم اﻟﻤﺼﻤﻢ ﺑﺬﻟﻚ‪.‬‬ ‫اﻧﻪ إذا ﻛﺎن اﻟﻤﻄﺒﻮع ﺳﻴﺘﻢ ﻃﺒﺎﻋﺘﻪ‬ ‫ﺑﺎﻻﻟﻮان اﻟﻄﺒﺎﻋﻴﺔ اﻻﺳﺎﺳﻴﺔ ‪ -٤‬ﺗﺘﻢ ﻋﻤﻠﻴﺔ اﻟﻔﺼﻞ اﻟﻠﻮﻧﻰ وﻳﺨﺮج‬ ‫اﻻرﺑﻌﺔ ﻓﺈن إﺧﺘﻴﺎر أى ﻟﻮن ﺑﺎﻧﺘﻮان ﻓﻴﻠﻢ أو ﺳﻄﺢ ﻃﺒﺎﻋﻰ ﻟﻜﻞ ﻟﻮن‬ ‫إﺿﺎﻓﻰ ﺳﻮف ﻳﻜﻮن ﻟﻮن ﺧﺎﻣﺲ ﺑﺎﻧﺘﻮن ﺗﻢ إﺳﺘﺨﺪاﻣﻪ ﻓﻰ اﻟﺘﺼﻤﻴﻢ‪.‬‬ ‫وﻫﻜﺬا ﻓﺈﺧﺘﻴﺎر اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻮان‬ ‫ﺑﺎﻧﺘﻮن ﻳﻌﻨﻰ اﻟﻤﺰﻳﺪ ﻣﻦ اﻷﻟﻮان ‪-٥‬ﺗﻘﻮماﻟﻤﻄﺒﻌﺔﺑﺘﻜﻮﻳﻦﻟﻮناﻟﺒﺎﻧﺘﻮن‬ ‫ﺑﺎﻹﺿﺎﻓﺔ اﻟﻰ اﻻرﺑﻌﺔ اﻷﺳﺎﺳﻴﻴﻦ ‪ ،‬اﻟﻤﻄﻠﻮب ﻋﻦ ﻃﺮﻳﻖ ﺧﻠﻂ ﻣﺠﻤﻮﻋﺔ‬ ‫وﻣﻦ ﺛﻢ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻮﻗﺖ ﻓﻰ ﻣﺤﺪدة ﻣﻦ اﻻﺣﺒﺎر ﺑﻨﺴﺐ وزن ﻣﺤﺪدة‬ ‫اﻟﻄﺒﺎﻋﺔ واﻟﺘﻜﻠﻔﺔ‪.‬‬ ‫ﻣﺴﺒﻘﺎً ﻓﻰ اﻟﺒﺎﻧﺘﻮن وﺗﺴﺘﺨﺪﻣﻬﺎ ﻓﻰ‬ ‫ﻣﺎﻛﻴﻨﺔاﻟﻄﺒﺎﻋﺔﻓﻰاﻟﻮﺣﺪاتاﻟﻄﺒﺎﻋﻴﺔ‬ ‫اﻟﻤﺜﺒﺖ ﻓﻴﻬﺎ اﻟﻠﻮح اﻟﻄﺒﺎﻋﺔ اﻟﺨﺎص‬ ‫ﺑﻠﻮن اﻟﺒﺎﻧﺘﻮن ﻛﻤﺎ ﻫﻮ ﻓﻰ اﻟﺘﺼﻤﻴﻢ‪.‬‬

‫ﻣﺴﺎرﻳﺔ اﻟﺘﺸﻐﻴﻞ ﻷﻟﻮان " ﺑﺎﻧﺘﻮن "‪:‬‬ ‫‪ -١‬ﻋﻠﻰ اﻟﻤﺼﻤﻢ إﺧﺘﻴﺎر اﻟﺒﺎﻧﺘﻮن‬ ‫اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﻟﻠﻌﻤﻠﻴﺔ‬ ‫اﻟﻤﻨﺎﺳﺐ‬ ‫وﻳﻘﺼﺪ ﺑﺎﻟﺒﺎﻧﺘﻮن اﻟﺼﺤﻴﺢ أن ﻳﻜﻮن‬ ‫ﻣﻦ ﻧﻔﺲ ﻧﻮﻋﻴﺔ ورق اﻟﻄﺒﻌﺔ‬ ‫اﻟﻨﻬﺎﺋﻴﺔ ﻛﻤﺎ ﻳﻜﻮن ﻣﻦ ﻧﻮع ﺗﺮﻛﻴﺐ‬ ‫ﺗﻮﺟﺪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﺪاول اﻟﻠﻮﻧﻴﺔ اﻻﺣﺒﺎر اﻟﺘﻰ ﺳﻴﺘﻢ ﺑﻬﺎ ﻃﺒﺎﻋﺔ‬ ‫ﻓﻰ اﻟﺴﻮق إﻻ اﻧﻪ ﻓﻰ ﻣﺼﺮ ﻟﻦ ﺗﺠﺪ اﻟﻤﻨﺘﺞ ‪ ،‬ﻓﻤﺜﻼ ﻳﻮﺟﺪ ﺑﺎﻧﺘﻮن اﻷﻟﻮان‬

‫‪ -٦‬ﺗﺘﻢ ﻋﻤﻠﻴﺔ اﻟﻄﺒﺎﻋﺔ وﻗﻴﺎس‬ ‫اﻟﻠﻮن اﻟﻨﺎﺗﺞ ﺑﺈﺳﺘﺨﺪام ﺟﻬﺎز "‬ ‫اﻹﺳﺒﻜﺘﺮودﻳﻨﺴﺘﻮﻣﻴﺘﺮ " ﻟﻠﺘﺄﻛﺪ ﻣﻦ‬ ‫ﻣﻄﺎﺑﻘﺘﻪ ﻟﻠﻤﻮاﺻﻔﺎت اﻟﻌﺎﻟﻤﻴﺔ‪:‬‬ ‫‪. ١٢٦٤٧ ISO‬‬ ‫أﻧﻮاع اﻟﺒﺎﻧﺘﻮن‪:‬‬ ‫) ﺗﺘﻢ ﻃﺒﺎﻋﺔ ﻛﺘﺎﻟﻮﺟﺎت اﻟﺒﺎﻧﺘﻮن‬ ‫ﻧﻔﺴﻬﺎ ﻓﻰ أﻣﺮﻳﻜﺎ ﺑﻄﺮﻳﻘﺔ‬ ‫اﻷوﻓﺴﺖ ﺑﺎﻟﻔﺮخ وﻃﺒﻘﺎً ﻟﻠﻤﻮاﺻﻔﺔ‬ ‫اﻟﻘﻴﺎﺳﻴﺔ ‪٢٠٠٤ ٢:٢-١٢٦٤٧ ISO‬‬ ‫ﺑﻤﺴﺎرﻳﺔ ﺗﺸﻐﻴﻞ رﻗﻤﻴﺔ وﺗﺴﻄﻴﺮ‬ ‫ﺷﺒﻜﻰ ‪ ١٧٥‬ﺧﻂ‪ /‬اﻟﺒﻮﺻﺔ (‬ ‫أوﻻ‪ :‬ﻣﻦ ﺣﻴﺚ ﻧﻮﻋﻴﺔ اﻟﻮرق‬ ‫ً‬ ‫اﻟﻤﻄﺒﻮع ﻋﻠﻴﻪ‪:‬‬ ‫‪ -١‬ﻣﻄﺒﻮع ﻋﻠﻰ ورق ﻣﻐﻄﻰ ﻻﻣﻊ‬

‫* وﺗﻜﻤﻦ اﻟﻤﺤﺎور اﻷﺳﺎﺳﻴﺔ ﻓﻰ‬ ‫ﺗﻄﺒﻴﻘﺎت و وﻇﺎﺋﻒ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻨﺎﻧﻮ ﻓﻰ ﺻﻨﺎﻋﺔ اﻟﻄﺒﺎﻋﺔ ﻓﻰ ‪-:‬‬ ‫‪-١‬اﺳﺘﺨﺪام ﺟﺴﻴﻤﺎت اﻟﺤﺒﺮ ﻣﺘﻨﺎﻫﻰ‬ ‫ﻳﺘﻢ‬ ‫اﻟﺼﻐﺮ ‪nano-particles‬‬ ‫اﺿﺎﻓﺘﻬﺎ داﺧﻞ ﺗﻜﻮﻳﻦ اﻷﺣﺒﺎر اﻟﻄﺒﺎﻋﻴﺔ‬ ‫اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ ﻃﺒﺎﻋﺔ اﻟﺪواﺋﺮ‬ ‫اﻟﻜﻬﺮﺑﻴﺔ ﻣﻦ اﺟﻞ ﺗﺤﺴﻴﻦ ﺧﺼﺎﺋﺺ‬ ‫اﻟﻤﻮﺻﻠﻴﺔ اﻟﻜﻬﺮﺑﻴﺔ ﻟﻬﺬه اﻻﺣﺒﺎر‬ ‫‪-٢‬ﻣﻮاد ﻣﺼﻨﻌﺔ ﺑﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ‬ ‫‪Nano and micro materials‬‬ ‫ﻳﺘﻢ ﻃﺒﺎﻋﺘﻬﺎ ﻋﻠﻰ ﻣﺪى واﺳﻊ ﻣﻦ‬ ‫اﻟﺨﺎﻣﺎت اﻟﺪاﺧﻠﺔ ﻓﻰ ﺗﻜﻮﻳﻦ‬ ‫ﻻﺻﻘﺎت ‪ RFID‬و )‪ ,(OLEDs‬و‬ ‫ﻛﺬﻟﻚ اﻟﺒﻄﺎرﻳﺎت اﻟﻤﺮﻧﺔ و اﻟﺨﻼﻳﺎ‬ ‫اﻟﺸﻤﺴﻴﺔ و اﻟﺤﺴﺎﺳﺎت اﻟﻀﻮﺋﻴﺔ ‪.‬‬ ‫‪-٣‬اﺳﺘﺨﺪام ﻣﻮاد اﻟﻨﺎﻧﻮ ﻓﻰ اﻷﺣﺒﺎر‬ ‫اﻟﻄﺒﺎﻋﻴﺔ و أﺣﺒﺎر اﻟﻨﻔﺚ اﻟﺤﺒﺮى‬ ‫ﻛﻮﺳﻴﻠﺔ ﻟﺘﺄﻣﻴﻦ اﻟﺤﺒﺮ اﻟﻄﺒﺎﻋﻰ‬ ‫اﻟﻤﺴﺘﺨﺪم ﻟﺤﻤﺎﻳﺔ اﻟﻤﻨﺘﺠﺎت‬ ‫اﻟﻤﺸﻬﻮرة ﻣﻦ ﻋﻤﻠﻴﺎت اﻟﺘﺰﻳﻴﻒ‬ ‫واﻟﺘﺰوﻳﺮ و اﻟﺘﻘﻠﻴﺪ ‪.‬‬ ‫‪-٤‬أﺳﺘﺨﺪام ﺟﺴﻴﻤﺎت اﻟﻨﺎﻧﻮ داﺧﻞ‬ ‫ﺗﻜﻮﻳﻦ ﻣﻮاد اﻟﺘﻐﻄﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﻛﺎﻟﻮرﻧﻴﺸﺎت ﻣﻦ اﺟﻞ ﺗﺤﺴﻴﻦ‬ ‫ﺧﺼﺎﺋﺺ اﻟﻤﻘﺎوﻣﺔ و اﻟﻠﻤﻌﺎن‬ ‫‪-٥‬اﺳﺘﺨﺪام ﺟﺴﻴﻤﺎت اﻟﻨﺎﻧﻮ ﻓﻰ‬ ‫ﺗﺼﻨﻴﻊ اﻟﺨﺎﻣﺎت و اﻟﻤﻮاد اﻟﻄﺒﺎﻋﺔ‬ ‫ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد ‪3D Printing‬‬ ‫* ﺑﻴﻨﻤﺎ ﺗﻜﻤﻦ اﻟﻤﺤﺎور اﻷﺳﺎﺳﻴﺔ‬ ‫ﻓﻰ ﺗﻄﺒﻴﻘﺎت و وﻇﺎﺋﻒ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻨﺎﻧﻮ ﻓﻰ ﻣﺠﺎل اﻟﺘﻐﻠﻴﻒ و ﺗﻐﻠﻴﻒ‬ ‫اﻟﻤﻨﺘﺠﺎت اﻟﻐﺬاﺋﻴﺔ ﻓﻰ ‪:‬‬

‫اﻷﻓﻼم‬ ‫ﺧﺼﺎﺋﺺ‬ ‫‪.١‬ﺗﺤﺴﻴﻦ‬ ‫اﻟﺒﻼﺳﺘﻴﻜﻴﺔ ﻣﻦ ﺣﻴﺚ ﺧﺼﺎﺋﺺ‬ ‫‪Barrier‬‬ ‫اﻟﺤﺠﺰ ‪properties‬‬ ‫واﻟﺨﺼﺎﺋﺺ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ‪Mechani-‬‬ ‫‪ cal properties‬ﻋﻦ ﻃﺮﻳﻖ‬ ‫اﺳﺘﺨﺪام ﻣﺮﻛﺒﺎت ﻓﺎﺋﻘﺔ اﻟﺪﻗﺔ‬ ‫‪ Nano composites‬ﻳﻤﻜﻨﻬﺎ ان‬ ‫ﺗﻮﻓﺮ ﺳﻤﺎت وﻇﻴﻔﻴﺔ ﻟﻠﺨﺎﻣﺔ ﺑﺪﻻ‬ ‫ﻣﻦ اﻟﺘﻘﻨﻴﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻤﺘﺒﻌﺔ‬

‫‪Oxygen Transmission of Multilayer MXD6 and Imperm Films‬‬ ‫‪Multilayer MXD6 - 11.5 mil‬‬

‫‪2.02‬‬

‫‪Multilayer Imperm Nano MXD6 - 10.0 mil‬‬

‫‪2‬‬

‫‪1.5‬‬

‫‪Regular‬‬ ‫‪nano‬‬

‫‪2.5‬‬

‫)‪OTR (cc/m2-day‬‬

‫اﻟﻤﺎﻛﻴﻨﺔ اﻗﻞ ﺳﻌﺮ ﻟﻠﻮرﻗﺔ ﻣﻊ‬ ‫اﻟﺘﻤﺘﻊ ﺑﺪرﺟﺔ ﺟﻮدة ﻋﺎﻟﻴﺔ‬ ‫ﻻﺳﺘﺨﺪاﻣﻬﺎ ‪ ٨‬اﻟﻮان ﻃﺒﺎﻋﻴﺔ وﺗﺼﻞ‬ ‫ﺳﺮﻋﺘﻬﺎ اﻟﻰ ‪ ١١٠٠٠‬ﻓﺮخ ‪ /‬ﺳﺎﻋﺔ‬ ‫وﺗﻌﻤﻞ ﺑﺪﻗﺔ وﺿﻮح ﺗﺒﺪأ ﻣﻦ ‪٦٠٠‬‬ ‫اﻟﻰ ‪ ١٢٠٠‬ﻧﻘﻄﺔ ‪ /‬اﻟﺒﻮﺻﺔ ‪.‬‬

‫‪0.97‬‬

‫‪1‬‬

‫‪0.61‬‬

‫‪0.5‬‬

‫‪< 0.05‬‬ ‫‪60‬‬

‫)‪Relative Humidity (%‬‬

‫‪0‬‬

‫‪0‬‬ ‫‪MRE‬‬ ‫‪Speciﬁcation‬‬

‫ﻣﻘﺎرﻧﺔ ﺑﻴﻦ ﻣﻌﺪل ﻧﻔﺎذﻳﺔ اﻷﻛﺴﻴﺠﻴﻦ ﻷﺛﻨﺘﻴﻦ ﻣﻦ اﻟﺨﺎﻣﺎت ﻣﺘﻌﺪدة اﻟﻄﺒﻘﺎت‬ ‫اﺣﺪﻫﻤﺎ ﺗﻘﻠﻴﺪﻳﺔ و اﻷﺧﺮى ﻳﺪﺧﻞ ﻓﻴﻬﺎ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ‬

‫و ﺑﺬﻟﻚ ﺗﺆدى اﻟﻰ ﺣﻤﺎﻳﺔ اﻛﺜﺮ‬ ‫ﻟﻠﻤﻨﺘﺞ ﻣﻦ اﻟﻔﺴﺎد و اﻟﻌﻔﻦ ﻋﻦ‬ ‫ﻃﺮﻳﻖ ﺗﻘﻠﻴﻞ اﻟﻨﻔﺎذﻳﺔ ‪Permeabil-‬‬ ‫‪ ity‬ﻟﻠﻐﺎزات و اﻟﺴﻮاﺋﻞ ﻟﻠﻤﻮاد‬ ‫اﻟﻐﺬاﺋﻴﺔ اﻟﺘﻰ ﻻ ﺗﺤﺘﺎج اﻟﻰ ﺗﻨﻔﺲ‬ ‫أﻣﺜﺎل اﻟﻘﻬﻮة و اﻟﻤﻘﺮﻣﺸﺎت و‬ ‫ﺷﺮاﺋﺢ اﻟﺒﻄﺎﻃﺲ و ﺑﺎﻟﺘﺎﻟﻰ ﺳﺘﻮﻓﺮ‬ ‫ﺣﻤﺎﻳﺔ ﻛﺒﻴﺮة ﻟﺼﺤﺔ اﻟﻤﺴﺘﻬﻠﻚ‬ ‫ﻟﻬﺬه اﻟﻤﻨﺘﺠﺎت ﻣﻦ اﻟﻀﺮر اﻟﺬى‬ ‫ﺳﻮف ﻳﻘﻊ ﻋﻠﻴﻪ ﻧﺘﻴﺠﺔ ﺗﻠﻮث ﻫﺬه‬ ‫اﻟﻤﻨﺘﺠﺎت ﺑﺸﻜﻞ ام ﺑﺂﺧﺮ‪.‬‬ ‫‪.٢‬زﻳﺎدة ﻓﺘﺮة ﺻﻼﺣﻴﺔ اﻟﻤﻨﺘﺞ‬ ‫اﻟﻐﺬاﺋﻰ ‪Extended food shelf‬‬ ‫‪ life‬ﻋﻦ ﻃﺮﻳﻖ إﺿﺎﻓﺔ ﻣﻮاد ﻣﺘﻨﺎﻫﻴﺔ‬ ‫اﻟﺼﻐﺮ ‪Nano particles scale‬‬ ‫‪ materials‬ﻋﻠﻰ ﺳﻄﺢ اﻟﺨﺎﻣﺔ‬ ‫اﻷﺳﺎﺳﻴﺔ ﻣﺜﻞ اﻛﺎﺳﻴﺪ اﻟﺴﻠﻴﻜﺎت و‬ ‫اﻻﻟﻮﻣﻨﻴﻮم ‪ Aliox Siox‬ﻣﻦ ﺧﻼل‬ ‫ﻋﻤﻠﻴﺔ اﻟﺘﻐﻄﻴﺔ ‪ Coating‬او اﺛﻨﺎء‬ ‫ﺑﺈﺳﺘﺨﺪام‬ ‫اﻟﺘﺼﻨﻴﻊ‬ ‫ﻋﻤﻠﻴﺎت‬ ‫ﺟﺴﻴﻤﺎت ‪ Nano clay‬ﻳﺘﻢ إﺿﺎﻓﺘﻬﺎ‬ ‫اﺛﻨﺎء ﺻﻬﺮ ﺣﺒﻴﺒﺎت اﻟﺨﺎﻣﺔ‬ ‫ﻣﻦ اﺟﻞ‬ ‫اﻟﺒﻼﺳﺘﻴﻜﻴﺔ وذﻟﻚ‬ ‫ﻟﺘﺤﺴﻴﻦ ﺧﺼﺎﺋﺺ اﻟﺤﺠﺰ ﺿﺪ‬ ‫اﻷﻛﺴﻴﺠﻴﻦ و اﻟﺮﻃﻮﺑﺔ وﻣﻌﺪﻻت‬ ‫ﻧﻔﺎذﻫﻤﺎ & ‪Transmission rate‬‬ ‫‪WVTR Water Vapor Oxygen‬‬ ‫‪ Transmission rate OTR‬ﺣﻴﺚ‬ ‫ﺗﺘﺮاﺑﻂ ﻫﺬه اﻟﻤﻮاد ﻣﻊ اﻟﺴﻼﺳﻞ‬ ‫اﻟﺠﺰﺋﻴﺔ ﻟﻠﺒﻮﻟﻴﻤﺮات و ﺑﺎﻟﺘﺎﻟﻰ‬ ‫ﻳﺼﻌﺐ ﻋﻠﻰ ﻏﺎز اﻷﻛﺴﻴﺠﻴﻦ وﺑﺨﺎر‬ ‫اﻟﻤﺎء اﻷﺧﺘﺮاق ‪Permeation‬و‬ ‫اﻷﻧﺘﺸﺎر ‪ Diffusion‬ﺑﺴﻬﻮﻟﺔ اﻟﻰ‬ ‫اﻟﻤﻨﺘﺞ اﻟﻐﺬاﺋﻰ اﻟﻤﻌﺒﺄ‪.‬‬

‫اﻟﻔﻀﺔ‬ ‫ﺟﺰﺋﻴﺎت‬ ‫‪.٣‬اﺳﺘﺨﺪام‬ ‫اﻟﻤﺘﻨﺎﻫﻴﺔ ﻓﻰ اﻟﺼﻐﺮ ‪Nano‬‬ ‫‪ silver‬و اﻟﺘﻰ ﺗﻌﻤﻞ ﻛﻤﺎدة‬ ‫ﺿﺪ اﻟﺘﻜﻮن اﻟﺒﻜﺘﻴﺮى داﺧﻞ‬ ‫اﻟﻤﻨﺘﺞ و اﻟﺬى ﻗﺪ ﻳﺴﺒﺐ ﺿﺮر‬ ‫ﻛﺒﻴﺮ ﺑﺼﺤﺔ اﻷﻧﺴﺎن ﺣﻴﺚ ﺗﻘﻮم‬ ‫ﻫﺬه اﻟﺠﺰﺋﻴﺎت اﻟﻰ ﻗﺘﻞ ‪٦٥٠‬‬ ‫ﻧﻮع ﻣﻦ اﻟﺒﻜﺘﺮﻳﺎ اﻟﻀﺎرة اﻟﺘﻰ‬ ‫ﻗﺪ ﺗﻬﺎﺟﻢ اﻟﻤﻨﺘﺞ اﻟﻐﺬاﺋﻰ‬ ‫اﺛﻨﺎء ﻋﻤﻠﻴﺎت اﻟﺘﺨﺰﻳﻦ او اﻟﻨﻘﻞ‬ ‫او ﻣﺎﺷﺎﺑﻪ ذﻟﻚ‪.‬‬ ‫* اﻟﺨﻼﺻﺔ‬ ‫ﻳﻤﻜﻨﻨﺎ اﻟﻘﻮل ﺑﺄن ﻣﺎ ﻧﺸﻬﺪه‬ ‫اﻵن ﻣﻦ ﺗﻄﻮر ﻓﻰ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻨﺎﻧﻮ وأﺛﺮه ﻋﻠﻰ اﻟﺘﻄﺒﻴﻘﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﺎ ﻫﻮ اﻻ ﺑﺪاﻳﺔ ﻟﻤﺎ‬ ‫ﻳﻤﻜﻦ أن ﻳﺼﻞ اﻟﻴﻪ اﻟﺒﺤﺚ‬ ‫اﻟﻌﻠﻤﻰ ﻣﻦ ﺗﺤﻘﻴﻖ ﻃﻔﺮة‬ ‫ﻫﺎﺋﻠﺔ ﻓﻰ اﻟﻤﺠﺘﻤﻊ اﻟﻌﺎﻟﻤﻰ‬ ‫‪.‬و ﺗﻌﺪ ﺗﻘﻨﻴﺔ اﻟﻨﺎﻧﻮ ﺑﻤﺜﺎﺑﺔ‬ ‫ﺛﻮرة ﺻﻨﺎﻋﻴﺔ ﻗﺎدﻣﺔ ﺳﻮف‬ ‫اﻟﻤﻌﺮﻓﻴﺔ‬ ‫اﻟﻤﻔﺎﻫﻴﻢ‬ ‫ﺗﺤﻮل‬ ‫واﻟﺼﻨﺎﻋﻴﺔ إﻟﻰ ﺷﻲء أﺷﺒﻪ‬ ‫ﺑﺎﻟﺨﻴﺎل ﻋﻨﺪ ﻣﻘﺎرﻧﺘﻬﺎ ﺑﻤﻔﺎﻫﻴﻢ‬ ‫اﻟﻮاﻗﻊ اﻟﺤﺎﻟﻲ‪.‬‬

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‫ﺗﻄﺒﻴﻘﺎت ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ‬

‫ﻓﻰ ﻣﺠﺎل اﻟﻄﺒﺎﻋﺔ و اﻟﺘﻐﻠﻴﻒ‪...‬‬

‫إﻋﺪاد‬ ‫ﻳﺤﻴﻲ إﺑﺮاﻫﻴﻢ ﻣﺤﻤﺪ‬ ‫ﻣﺪرس ﻣﺴﺎﻋﺪ ﺑﻘﺴﻢ‬ ‫اﻟﻄﺒﺎﻋﺔواﻟﻨﺸﺮ واﻟﺘﻐﻠﻴﻒ‬ ‫ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺘﻄﺒﻴﻘﻴﺔ‬ ‫ﺟﺎﻣﻌﺔ ﺣﻠﻮان‬

‫* ﻣﻘﺪﻣﺔ ‪:‬‬ ‫ﻟﻘﺪ ﻛﺎن اﻟﺘﻄﻮر اﻟﺘﻜﻨﻮﻟﻮﺟﻲ اﻟﻬﺎﺋﻞ ﻫﻮ اﻟﺴﻤﺔ اﻟﻔﺮﻳﺪة ﻓﻲ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ واﻟﺬى أﺟﻤﻊ‬ ‫اﻟﺒﺎﺣﺜﻮن ﻋﻠﻰ أن اﻟﻨﺼﻒ اﻷﺧﻴﺮ ﻣﻨﻪ ﺷﻬﺪ ﺗﻄﻮرا ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﻣﻠﺤﻮﻇﺎ ﺧﺎﺻﺔ ﺑﻌﺪ اﺧﺘﺮاع اﻟﺪواﺋﺮ‬ ‫اﻹﻟﻜﺘﺮوﻧﻴﺔ ‪ . IC‬واﻟﺘﻰ أدى ﺗﻄﻮﻳﺮﻫﺎ إﻟﻰ ﻇﻬﻮر ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﺸﺮاﺋﺢ اﻟﻤﺼﻐﺮة ‪.Microchips‬‬ ‫وﺧﻼل اﻟﺴﻨﻮات اﻟﻘﻠﻴﻠﺔ اﻟﻤﺎﺿﻴﺔ‪ ،‬ﺑﺮز ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ ﻣﺼﻄﻠﺢ ﺟﺪﻳﺪ أﻟﻘﻰ ﺑﻈﻼﻟﻪ ﻋﻠﻰ‬ ‫اﻟﻌﺎﻟﻢ وأﺻﺒﺢ ﻣﺤﻂ اﻷﻫﺘﻤﺎم ﺑﺸﻜﻞ ﻛﺒﻴﺮ‪ ،‬ﻫﺬا اﻟﻤﺼﻄﻠﺢ ﻫﻮ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ‪Nanotechnology‬‬ ‫ﻓﻬﺬه اﻟﺘﻘﻨﻴﺔ اﻟﻮاﻋﺪة ﺗﺒﺸﺮ ﺑﻘﻔﺰة‬ ‫ﻫﺎﺋﻠﺔ ﻓﻲ ﺟﻤﻴﻊ اﻟﻔﺮوع ‪ ،‬وﻳﺮى‬ ‫اﻟﺨﺒﺮاء أﻧﻬﺎ ﺳﺘﺆﺗﻰ ﺛﻤﺎرﻫﺎ ﻓﻰ‬ ‫ﻛﺎﻓﺔ ﻣﺨﺘﻠﻒ اﻟﻤﺠﺎﻻت و ﺳﺘﻤﻜﻨﺎ‬ ‫ﻣﻦ ﺻﻨﻊ أي ﺷﻲء ﻧﺘﺨﻴﻠﻪ ﻋﻦ ﻃﺮﻳﻖ‬ ‫ﺗﻐﻴﻴﺮ ﺻﻒ ﺟﺰﻳﺌﺎت اﻟﻤﺎدة إﻟﻰ ﺟﺎﻧﺐ‬ ‫ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﻟﻠﺤﺼﻮل ﻋﻠﻰ ﻣﻮاد‬ ‫ﺑﺨﺼﺎﺋﺺ ﻣﻤﻴﺰة ‪ ,‬وﻣﻦ اﻟﻤﻤﻜﻦ‬ ‫ﺗﻮﺟﻴﻪ وﺿﻊ اﻟﺬرات اﻟﺪاﺧﻠﺔ ﻓﻲ‬ ‫اﻟﺘﻔﺎﻋﻞ ﺑﺘﻮﺟﻴﻪ ﻣﺤﺪد وﺑﺎﻟﺘﺎﻟﻲ ﻓﺎن‬ ‫اﻟﻤﻮاد اﻟﻨﺎﺗﺠﺔ ﺳﻮف ﺗﻜﻮن أﻛﺜﺮ‬ ‫دﻗﺔ وأﻛﺜﺮ ﻧﻘﺎوة وذات ﺧﻮاص‬ ‫أﻓﻀﻞ ‪.‬‬ ‫* ﺗﻌﺮﻳﻒ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ ‪:‬‬ ‫ﺗﻌﺮف ﺗﻘﻨﻴﺔ اﻟﻨﺎﻧﻮﻋﻠﻰ اﻧﻬﺎ ﺗﻄﺒﻴﻖ‬ ‫ﻋﻠﻤﻲ ﻳﺘﻮﻟﻰ إﻧﺘﺎج اﻷﺷﻴﺎء ﻋﺒﺮ‬ ‫ﺗﺠﻤﻴﻌﻬﺎ ﻋﻠﻰ اﻟﻤﺴﺘﻮي اﻟﺼﻐﻴﺮ‬ ‫ﻣﻦ ﻣﻜﻮﻧﺎﺗﻬﺎ اﻷﺳﺎﺳﻴﺔ‪ ،‬ﻣﺜﻞ اﻟﺬرة‬ ‫واﻟﺠﺰﻳﺌﺎت‪ .‬وﺗﺘﻌﺎﻣﻞ ﻣﻊ ﻗﻴﺎﺳﺎت‬ ‫ﺑﻴﻦ ‪ ٠٫١‬إﻟﻰ ‪ ١٠٠‬ﻧﺎﻧﻮﻣﺘﺮ‪.‬‬

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‫* ﻣﻘﻴﺎس اﻟﻨﺎﻧﻮ‬ ‫ﻳﻌﻨﻲ ﻣﺼﻄﻠﺢ ﻧﺎﻧﻮ ﻫﻮ اﻟﺠﺰء ﻣﻦ‬ ‫اﻟﻤﻠﻴﺎر ؛ ﻓﺎﻟﻨﺎﻧﻮﻣﺘﺮ ﻫﻮ واﺣﺪ ﻋﻠﻰ‬ ‫اﻟﻤﻠﻴﺎر ﻣﻦ اﻟﻤﺘﺮ و ﻟﻜﻲ ﻧﺘﺨﻴﻞ ﺻﻐﺮ‬ ‫اﻟﻨﺎﻧﻮ ﻣﺘﺮ ﻧﺬﻛﺮ ﻣﺎﻳﻠﻲ ‪ :‬ﻳﺒﻠﻎ ﺳﻤﻚ‬ ‫اﻟﺸﻌﺮة اﻟﻮاﺣﺪة ﻟﻺﻧﺴﺎن ‪٥٠‬‬ ‫ﻣﻴﻜﺮوﻣﺘﺮا أي ‪ ٥٠,٠٠٠‬ﻧﺎﻧﻮ ﻣﺘﺮ‪,‬‬ ‫وأﺻﻐﺮ اﻷﺷﻴﺎء اﻟﺘﻲ ﻳﻤﻜﻦ ﻟﻺﻧﺴﺎن‬ ‫رؤﻳﺘﻬﺎ ﺑﺎﻟﻌﻴﻦ اﻟﻤﺠﺮدة ﻳﺒﻠﻎ ﻋﺮﺿﻬﺎ‬ ‫ﻣﺘﺮ‬ ‫ﻧﺎﻧﻮ‬ ‫‪١٠,٠٠٠‬‬ ‫ﺣﻮاﻟﻲ‬

‫ﻧﻤﺎذج ﻣﺨﺘﻠﻔﺔ ﻟﺘﻘﺮﻳﺐ ﺣﺠﻢ اﻟﻨﺎﻧﻮ اﻟﻰ اﻷذﻫﺎن‬

‫*ﻣﻤﻴﺰات اﺳﺘﺨﺪام ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ‬ ‫اﻷﻣﺮ اﻟﻔﺮﻳﺪ ﻓﻲ ﻣﻘﻴﺎس اﻟﻨﺎﻧﻮ أو‬ ‫اﻟـ“‪ “Nano Scale‬ﻫﻮ أن ﻣﻌﻈﻢ‬ ‫ﻟﻠﻤﻮاد‬ ‫اﻷﺳﺎﺳﻴﺔ‬ ‫اﻟﺨﺼﺎﺋﺺ‬ ‫واﻵﻻت ﻛﺎﻟﺘﻮﺻﻴﻠﻴﺔ واﻟﺼﻼﺑﺔ‬ ‫ودرﺟﺔ اﻷﻧﺼﻬﺎر ﺗﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺤﺠﻢ‬ ‫)‪ (size dependent‬ﺑﺸﻜﻞ ﻻ ﻣﺜﻴﻞ‬ ‫ﻟﻪ ﻓﻲ أي ﻣﻘﻴﺎس آﺧﺮ أﻛﺒﺮ ﻣﻦ‬ ‫اﻟﻨﺎﻧﻮ ﺑﻴﻨﻤﺎ ﻓﻰ ﻣﻘﻴﺎس اﻟﻨﺎﻧﻮ‬ ‫ﻓﺴﻮف ﺗﺘﻐﻴﺮ ﺟﻤﻴﻊ ﺧﺼﺎﺋﺺ‬ ‫اﻟﻤﺎدة ﻛﻠﻴﺎً ﺑﻤﺎ ﻓﻴﻬﺎ اﻟﻠﻮن‬ ‫واﻟﺨﺼﺎﺋﺺ اﻟﻜﻴﻤﻴﺎﺋﻴﺔ ‪.‬‬ ‫ﺑﻴﻨﻤﺎ ﺗﻜﻤﻦ ﺻﻌﻮﺑﺔ ﺗﻘﻨﻴﺔ اﻟﻨﺎﻧﻮ ﻓﻲ‬ ‫ﻣﺪى إﻣﻜﺎﻧﻴﺔ اﻟﺴﻴﻄﺮة ﻋﻠﻰ اﻟﺬرات‬ ‫ﺑﻌﺪ ﺗﺠﺰﺋﺔ اﻟﻤﻮاد اﻟﻤﺘﻜﻮﻧﺔ ﻣﻨﻬﺎ‪.‬‬ ‫ﻓﻬﻲ ﺗﺤﺘﺎج ﺑﺎﻟﺘﺎﻟﻲ إﻟﻰ أﺟﻬﺰة‬ ‫دﻗﻴﻘﺔ ﺟﺪا ‪ Nanodevice‬ﻣﻦ ﺟﻬﺔ‬ ‫ﺣﺠﻤﻬﺎ وﻣﻘﺎﻳﻴﺴﻬﺎ ﻗﺎدرة ﻋﻠﻰ‬ ‫ﺗﻮﺟﻴﻪ اﻟﺬرات ووﺿﻌﻬﺎ ﻓﻲ ﻣﻜﺎﻧﻬﺎ‬ ‫اﻟﺼﺤﻴﺢ أﺛﻨﺎء ﻋﻤﻠﻴﺔ اﻟﺘﻔﺎﻋﻞ‪.‬‬

‫* ﺗﻄﺒﻴﻘﺎت ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ اﻟﺤﺎﻟﻴﺔ‬ ‫و اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬ ‫ﻳﺘﻮﻗﻊ اﻟﻤﺮاﻗﺒﻮن أن ﺗُ ﺸﻌﻞ‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﻨﺎﻧﻮ ﺳﻠﺴﻠﺔ ﻣﻦ‬ ‫اﻟﺜﻮرات اﻟﺼﻨﺎﻋﻴﺔ ﺧﻼل اﻟﻌﻘﺪﻳﻦ‬ ‫اﻟﻘﺎدﻣﻴﻦ واﻟﺘﻲ ﺳﺘﺆﺛﺮ ﻋﻠﻰ ﺣﻴﺎﺗﻨﺎ‬ ‫ﺑﺸﻜﻞ ﻛﺒﻴﺮ‪.‬‬ ‫و ﻻﺣﻈﻨﺎ ذﻟﻚ ﺑﺼﻮرة ﻛﺒﻴﺮة ﻓﻰ‬ ‫ﺻﻨﺎﻋﺔ اﻟﻄﺒﺎﻋﺔ ﺧﺎﺻﺔ ﻓﻰ ﻣﺠﺎل‬ ‫اﻷﺣﺒﺎر اﻟﻄﺒﺎﻋﻴﺔ و اﻟﻤﺎﻛﻴﻨﺎت وﺟﺎء‬ ‫ذﻟﻚ ﺑﻌﺪ ﻣﺠﻬﻮد ﻛﺒﻴﺮ و ﻧﺘﻴﺠﺔ‬ ‫ﻟﻌﺸﺮات اﻟﺴﻨﻴﻦ ﻣﻦ اﻷﺑﺤﺎث واﻟﺘﻰ‬ ‫ﻧﺘﺞ ﺛﻤﺎرﻫﺎ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻮاﺋﺪ‬ ‫ﺑﻴﺌﺎً‬ ‫اﻛﺜﺮ‬ ‫ﻟﺘﻜﻮن اﻟﻤﺎﻛﻴﻨﺎت‬ ‫‪ eco-friendly‬و اﻛﺜﺮ ﺣﻔﺎﻇﺎً‬ ‫ﻟﻠﻄﺎﻗﺔ ‪ efﬁcient Energy‬وﻗﺪ‬ ‫ﺗﻢ ﺗﻘﺪﻳﻢ ﺗﻘﻨﻴﺔ اﻟﻨﺎﻧﻮ ﻓﻰ ﻣﺠﺎل‬ ‫اﻟﻄﺒﺎﻋﺔ ﻷول ﻣﺮة ﻣﻦ ﻗﺒﻞ ﺷﺮﻛﺔ‬ ‫‪ Landa‬وﻛﺎن ذﻟﻚ ﻓﻰ ﻣﻌﺮض‬ ‫دروﺑﺎ ﺑﺎﻟﻤﺎﻧﻴﺎ ﻋﺎم ‪. ٢٠١٢‬‬ ‫وﻛﺎﻧﺖ ﻫﺬه اﻟﺘﻘﻨﻴﺔ ﻋﺒﺎرة ﻋﻦ‬ ‫اﺳﺘﺨﺪام ﺟﺴﻴﻤﺎت ﺻﻐﻴﺮة ﺟﺪا‬ ‫‪ nanometers‬ﻣﻦ أﺣﺒﺎر اﻟﺒﻴﺠﻤﻨﺖ‬ ‫ذات اﻟﻘﺎﻋﺪة اﻟﻤﺎﺋﻴﺔ ﻟﺘﻤﻜﻨﻨﺎ ﻣﻦ‬ ‫اﻟﻄﺒﺎﻋﺔ ﺑﺠﻮدة ﻋﺎﻟﻴﺔ وﻋﻠﻰ اى‬ ‫ﺧﺎﻣﺔ ﻧﻈﺮا ﻟﺼﻐﺮ ﺣﺠﻢ ﺣﺒﻴﺒﺎت اﻟﺤﺒﺮ‬ ‫وﻗﺪﻣﺖ اﻟﺸﺮﻛﺔ اﻳﻀﺎ ﻣﺎﻛﻴﻨﺔ‬ ‫ﻃﺒﺎﻋﺔ رﻗﻤﻴﺔ ﺗﺴﺘﺨﺪم ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻨﺎﻧﻮ ﻋﺮﻓﺖ ﺑﺎﺳﻢ ‪Nanographic‬‬ ‫ﺣﻴﺚ دﻣﺠﺖ ﺑﻴﻦ ﻣﻤﻴﺰات اﻟﻄﺒﺎﻋﺔ‬ ‫اﻟﺮﻗﻤﻴﺔ و ﺟﻮدة و ﺳﺮﻋﺔ ﻃﺒﺎﻋﺔ‬ ‫اﻟﻠﻴﺜﻮاوﻓﺴﺖ ‪ ,‬ﻓﺘﻘﺪم ﻫﺬه‬

‫•ﺣﺠﻢ اﻟﺨﻂ‪ :‬ﺗﻢ اﺳﺘﺨﺪام ﺣﺠﻢ‬ ‫اﻟﺨﻂ ‪ 36pt‬ﻟﻠﻌﻨﺎوﻳﻦ اﻟﺮﺋﻴﺴﻴﺔ‬ ‫‪ 24pt‬ﻟﻠﻌﻨﺎوﻳﻦ اﻟﻔﺮﻋﻴﺔ ‪18pt‬‬ ‫ﻟﻠﻨﺺ اﻟﻜﺎﻣﻞ وﻳﻤﻜﻦ ﻟﻠﻄﺎﻟﺐ ان‬ ‫ﻳﻘﻮم ﺑﺘﻜﺒﻴﺮ اﻟﺨﻂ ﻛﻤﺎ ﻳﻨﺎﺳﺒﻪ‪.‬‬ ‫• ﻧﻮع اﻟﺨﻂ ‪ :‬ﺗﻢ اﺳﺘﺨﺪام‬ ‫‪Hacen saudi arabi font‬‬ ‫ﺣﻴﺚ اﻧﻪ ﺧﻂ ﺳﻤﻴﻚ وواﺿﺢ‬ ‫وﺟﺬاب ﻟﻠﻄﻼب‪.‬‬ ‫د ‪ -‬اﻟﺮﺳﻮم واﻟﺼﻮر ‪ :‬ﺗﻢ‬ ‫واﻟﺮﺳﻮم‬ ‫اﻟﺼﻮر‬ ‫اﺳﺘﺨﺪام‬ ‫اﻟﻌﻠﻤﻴﺔ ﺑﺠﻮدة ﻋﺎﻟﻴﺔ ﻟﺘﻜﻮن‬ ‫ﻣﻨﺎﺳﺒﺔ ﻟﻠﻌﺮض ﻋﻠﻲ ﺷﺎﺷﺔ‬ ‫اﻟﺘﺎﺑﻠﺖ‪.‬‬ ‫ه ‪ -‬اﺧﺘﻴﺎر اﻻﻟﻮان ‪ :‬ﻳﺮﺗﺒﻂ إدراك‬ ‫اﻟﻠﻮن ﻋﻠﻲ اﻟﺘﺄﺛﻴﺮ اﻟﻔﺴﻴﻮﻟﻮﺟﻲ‬ ‫اﻟﺬي ﻳﺤﺪﺛﻪ اﻟﻠﻮن ﻋﻠﻲ اﻟﺠﻬﺎز‬ ‫اﻟﺒﺼﺮي وﻫﻨﺎك دﻻﻻت ﻧﻔﺴﻴﺔ‬ ‫ﻟﻼﻟﻮان ﻣﺜﻞ اﻟﺸﻌﻮر ﺑﺎﻟﺴﺨﻮﻧﺔ ﺑﺮاﻣﺞ ﻣﻜﺘﺒﺔ ‪Adobe Creative‬‬ ‫اواﻟﺒﺮوده واﻟﺘﺄﺛﻴﺮ اﻟﺰﻣﻨﻲ ﻟﻠﻮن‪ Cloud .‬وﺗﻌﺘﺒﺮ ﻣﻴﺰة ﻗﻮﻳﺔ ﺟﺪﻳﺪة‬ ‫اﻷﻟﻮان‬ ‫إﻧﺸﺎء‬ ‫ﻟﻚ‬ ‫ﺗﺘﻴﺞ‬ ‫اﻟﻨﺺ‬ ‫وأﻧﻤﺎط‬ ‫ﺗﻢ اﺳﺘﺨﺪام اﻟﻠﻮن اﻻزرق ﻓﻲ واﻟﻔﺮﺷﺎت‬ ‫اﻟﻤﺘﺠﻪ‬ ‫وﺻﻮر‬ ‫ﺗﺼﻤﻴﻢ ﺷﺎﺷﺔ اﻟﻐﻼف ﺣﻴﺚ ان واﻟﺮﺳﻮﻣﺎت‬ ‫اﻟﻠﻮن اﻻزرق ﻳﺘﺴﻢ ﺑﺎﻻﺗﻲ ‪:‬‬ ‫اﻟﻤﻔﻀﻠﺔ وﺗﺼﻨﻴﻔﻬﺎ وﺗﺨﺰﻳﻨﻬﺎ‬ ‫ﻓﻲ ﻣﻮﺿﻊ ﻳﺴﻬﻞ اﻟﻮﺻﻮل إﻟﻴﻪ‪.‬‬ ‫•اﻟﻘﻮة ‪ -‬اﻹﺑﺤﺎر واﻟﻤﺴﺎﺣﺔ ‪-‬‬ ‫ﻋﻨﺪﺋﺬ ﻳﻤﻜﻨﻚ اﻟﻮﺻﻮل إﻟﻴﻬﺎ ﻓﻲ‬ ‫ٍ‬ ‫اﻟﻌﻤﻖ ‪ -‬اﻟﻌﻄﺎء ‪ -‬اﻟﺘﺤﺪي ‪ -‬أي ﻣﻜﺎن‪ :‬ﺳﺘﻜﻮن اﻷﺻﻮل اﻟﺘﻲ‬ ‫اﻹﺣﺘﻮاء ‪ -‬اﻟﻄﻤﺄﻧﻴﻨﺔ ‪ -‬اﻟﻬﺪوء‬ ‫ﺗﻘﻮم ﺑﺈﻧﺸﺎﺋﻬﺎ ﺿﻤﻦ ﻧﻔﺲ‬ ‫ﻣﻌﺮف ‪ Adobe‬ﻋﺒﺮ أﺟﻬﺰة‬ ‫•اﻟﺒﺮاﻣﺞ اﻟﻤﺴﺘﺨﺪﻣﺔ ﻟﺘﺼﻤﻴﻢ ﻛﻤﺒﻴﻮﺗﺮ ﻣﺨﺘﻠﻔﺔ‬ ‫اﻟﻜﺘﺎب اﻹﻟﻜﺘﺮوﻧﻲ اﻟﺘﻔﺎﻋﻠﻲ‬ ‫ﻓﻲ ﻣﺠﻤﻮﻋﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ‬ ‫اﻟﺘﻄﺒﻴﻘﺎت ‪Photoshop CC‬‬ ‫اﻟﺪﺧﻮل‪.‬‬ ‫ﺗﺴﺠﻞ‬ ‫اﻋﺘﻤﺪت اﻟﺪارﺳﺔ ﻋﻠﻲ اﺳﺘﺨﺪام ﻛﻠﻤﺎ‬ ‫اﻟﻐﻼف اﻟﻤﻄﺒﻮع‬

‫درس ﺗﻜﺎﺛﺮ اﻟﻨﺒﺎت ﻓﻲ اﻟﻜﺘﺎب اﻟﻤﻄﺒﻮع‬

‫درس ﺗﻜﺎﺛﺮ اﻟﻨﺒﺎت ﻓﻲ اﻟﻜﺘﺎب اﻟﺘﻔﺎﻋﻠﻲ‬

‫اﻟﻐﻼف اﻹﻟﻜﺘﺮوﻧﻲ اﻟﺘﻔﺎﻋﻠﻲ‬

‫‪CC‬‬ ‫‪CC‬‬ ‫‪CC‬‬ ‫‪CC‬‬ ‫‪CC‬‬

‫‪Adope Photoshop‬‬ ‫‪Adope Muse‬‬ ‫‪Adope Edge Animate‬‬ ‫‪Adope Edge Animate‬‬ ‫‪Adope Flash‬‬

‫اﻟﺘﺎﻟﻴﺔ‬ ‫اﻟﺘﺼﻤﻴﻤﺎت‬ ‫وﺗﻈﻬﺮ‬ ‫ﻣﻘﺎرﻧﻪ ﺑﻴﻦ ﺗﺼﻤﻴﻢ اﻟﻜﺘﺎب‬ ‫واﻟﺬي‬ ‫اﻟﻤﻄﺒﻮع‬ ‫اﻟﻤﺪرﺳﻲ‬ ‫اﺳﺘﺨﺪم ﺑﻨﻔﺲ اﻟﺸﻜﻞ ﻋﻨﺪ‬ ‫ﺗﺤﻮﻳﻠﻪ إﻟﻲ ﻧﺴﺨﺔ إﻟﻜﺘﺮوﻧﻴﺔ‬ ‫‪ PDF‬واﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ اﻟﻤﻘﺘﺮح‬ ‫ﻟﻠﻜﺘﺎب اﻻﻟﻜﺘﺮوﻧﻲ اﻟﺘﻔﺎﻋﻠﻲ‬ ‫ﻋﻠﻲ اﻟﺘﺎﺑﻠﺖ‪.‬‬

‫ﻓﻬﺮس ﻣﺤﺘﻮﻳﺎت اﻟﻐﻼف اﻟﻤﻄﺒﻮع‬

‫ﻓﻬﺮس ﻣﺤﺘﻮﻳﺎت اﻟﻐﻼف اﻹﻟﻜﺘﺮوﻧﻲ اﻟﺘﻔﺎﻋﻠﻲ‬

‫‪11‬‬

‫ﺗﻄﻮﻳﺮ اﻧﺘﺎج اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ ﻋﻠﻲ اﻟﺤﺎﺳﺒﺎت اﻟﻠﻮﺣﻴﺔ )اﻟﺘﺎﺑﻠﺖ(‬ ‫)ﻣﻊ اﻟﺘﻄﺒﻴﻖ ﺑﺎﻧﺘﺎج ﻛﺘﺎب إﻟﻜﺘﺮوﻧﻲ ﺗﻔﺎﻋﻠﻲ ﻟﻤﺎدة اﻟﻌﻠﻮم ﻟﻠﺼﻒ اﻟﺜﺎﻧﻲ اﻷﻋﺪادي(‬

‫إﻋﺪاد‬ ‫اﻟﺪارﺳﺔ ‪ /‬ﻧﻴﻬﺎل ﺟﻤﺎل ﻫﻼل‬ ‫ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺘﻄﺒﻴﻘﻴﺔ‬ ‫ﻗﺴﻢ اﻟﻄﺒﺎﻋﺔ واﻟﻨﺸﺮ واﻟﺘﻐﻠﻴﻒ‬ ‫ﺟﺎﻣﻌﺔ ﺣﻠﻮان‬ ‫ﺗﺤﺖ اﺷﺮاف‬ ‫د‪/‬ﺟﻮرج ﻧﻮﺑﺎر‬ ‫د‪ /‬ﻧﻴﻔﻴﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‬

‫‪10‬‬

‫اﺻﺒﺢ اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ اﻟﻤﺼﺮي ﺧﺎرج اﻟﻤﻨﺎﻓﺴﺔ اﻟﻌﺎﻟﻤﻴﺔ ﺗﺼﻤﻴﻤﺎ واﺧﺮاﺟﺎ وﻃﺒﺎﻋﺔ وﺗﺠﻠﻴﺪا‬ ‫ﻛﻤﺎ ﻻزال ﺗﻨﻔﺮ اﻟﻄﻼب ﻣﻨﻪ وﻟﻢ ﺗﺠﺪ ﻓﻴﻪ ﻣﺎ ﻳﺠﺬﺑﻬﺎ ﻟﻸﻗﺒﺎل ﻋﻠﻲ اﻟﺘﻌﻠﻢ ﻣﻨﻪ ‪.‬‬ ‫واﻳﻀﺎ اﺻﺒﺢ اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ ﺑﻌﻴﺪ ﻛﻞ اﻟﺒﻌﺪ ﻋﻦ اﻟﻤﻮاﺻﻔﺎت اﻟﻌﺎﻟﻤﻴﺔ ﻣﻦ ﺣﻴﺚ اﻟﺘﺼﻤﻴﻢ‬ ‫واﻟﻄﺒﺎﻋﺔ واﻟﺨﺎﻣﺎت اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ ذﻟﻚ ﻋﻠﻲ اﻟﺮﻏﻢ ﻣﻦ اﻟﺘﻜﻠﻔﺔ اﻟﻌﺎﻟﻴﺔ اﻟﺘﻲ ﺗﺘﻜﻠﻔﻬﺎ‬ ‫اﻟﺪوﻟﺔ ﻻﻧﺘﺎج ﻛﺘﺎب ﻣﻨﺎﻓﺲ ﻋﺎﻟﻤﻴﺎ وﻣﻊ ذﻟﻚ ﺑﺪات ﺗﻘﻞ ﺗﺪرﻳﺠﻴﺎ اﻫﻤﻴﺔ اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ‬ ‫اﻟﻤﻄﺒﻮع ﻟﺪي اﻟﻄﻼب‪.‬‬ ‫ﻣﻊ اﻟﺘﻘﺪم اﻟﺘﻜﻨﻮﻟﻮﺟﻲ واﻟﺘﻄﻮر ﻋﻠﻲﺗﺤﻮﻳﻞاﻟﻜﺘﺎباﻟﻤﺪرﺳﻲاﻟﻤﻄﺒﻮع‬ ‫اﻟﻬﺎﺋﻞ ﻓﻲ اﻟﻌﻠﻮم وازدﻫﺎر وﺳﺎﺋﻞ ﻛﻤﺎ ﻫﻮ ﺑﻨﻔﺲ اﻟﺘﺼﻤﻴﻢ إﻟﻲ ﺻﻴﻐﺔ‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺤﺪﻳﺜﺔ ﻣﺜﻞ اﺟﻬﺰة )‪ (PDF‬ﻋﻠﻲ اﻟﺠﻬﺎز اﻟﻠﻮﺣﻲ‬ ‫اﻟﻠﻮﺣﻴﺔ‬ ‫واﻻﺟﻬﺰة‬ ‫اﻻﻳﻔﻮن‬ ‫ﻛﻞ ﻫﺬه اﻟﻮﺳﺎﺋﻞ اﻟﺘﻲ اﺻﺒﺤﺖ ﻫﻲ اﻟﺪراﺳﺔ اﻟﺘﻄﺒﻴﻘﻴﺔ‪:‬‬ ‫اﻟﻮﺳﺎﺋﻞ اﻟﻤﺴﺘﺨﺪﻣﺔ ﺣﺎﻟﻴﺎ واﻟﺘﻲ •ﺗﺼﻤﻴﻢ واﻧﺘﺎج ﺻﻔﺤﺎت ﻣﻦ اﻟﻜﺘﺎب‬ ‫ﺗﺨﺎﻃﺐ ﺟﻤﻴﻊ اﻟﻔﺌﺎت اﻟﻌﻤﺮﻳﻪ ﻣﻦ اﻟﻜﺘﺮوﻧﻲ ﻋﻠﻲ اﻟﺠﻬﺎز اﻟﻠﻮﺣﻲ‬ ‫اﻟﻌﺪﻳﺪ )اﻟﺘﺎﺑﻠﺖ( ‪.‬‬ ‫ﻓﻲ‬ ‫وﺻﻐﺎر‬ ‫ﻛﺒﺎر‬ ‫ﻣﻦ اﻟﻤﺠﺎﻻت واﺻﺒﺤﺖ اﻻﻛﺜﺮ‬ ‫اﻧﺘﺸﺎر وﺟﺎذﺑﻴﺔ ﻟﻤﺎ ﻓﻴﻬﺎ ﻣﻦ ﻣﺮاﻋﺎة‬ ‫اﻟﻔﺮوق اﻟﻔﺮدﻳﺔ وﺗﻮاﻓﺮ ﺧﺎﺻﻴﺘﻲ‬ ‫‪usability‬‬ ‫‬‫‪accessibility‬‬ ‫وﺗﻄﺒﻴﻖ اﻟﻮﺳﺎﺋﻂ اﻟﻤﺘﻌﺪدة‬ ‫واﻟﺘﻔﺎﻋﻠﻴﺔ ﺑﻬﺎ ﻣﻦ ﺣﻴﺚ ﺗﻮﻓﺮ‬ ‫ﻋﻨﺼﺮي اﻟﺼﻮت واﻟﺼﻮرة واﻧﺘﻘﺎل‬ ‫ﻛﺜﻴﺮ ﻣﻦ اﻟﺪول اﻻﺟﻨﺒﻴﺔ واﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻤﺪرﺳﻲ‬ ‫اﻟﻜﺘﺎب‬ ‫ﻟﺘﻄﻮﻳﺮ اﻟﻌﻤﻠﻴﺔ اﻟﺘﻌﻠﻴﻤﻴﺔ ﺣﻴﺚ •ﺗﺼﻤﻴﻢ‬ ‫ﻛﺸﻔﺖ دراﺳﺔ ﻧﺸﺮت ﻓﻲ ﻣﺠﻠﺔ اﻹﻟﻜﺘﺮوﻧﻲ اﻟﺘﻔﺎﻋﻠﻲ‪:‬‬ ‫اﻟﺘﺎﻳﻢ اﻷﻣﺮﻳﻜﻴﺔ ‪ ،‬أن اﺳﺘﺨﺪام ﺗﺘﻀﻤﻦ ﻋﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻢ اﻟﺨﻄﻮات‬ ‫اﻟﻄﻼب ﻟﻠﺤﻮاﺳﻴﺐ اﻟﻠﻮﺣﻴﺔ ﻓﻲ اﻟﺘﺎﻟﻴﺔ ‪:‬‬ ‫اﻟﻤﺪارس واﻟﻤﻌﺎﻫﺪ اﺛﺮ اﻳﺠﺎﺑﻴﺎ ﺑﺮﻓﻊ •ﺗﺼﻤﻴﻢ اﻧﻤﺎط اﻟﺘﻔﺎﻋﻞ ‪:‬‬ ‫ﻣﻌﺪل اﻟﻨﺘﺎﺋﺞ اﻟﻤﺤﺼﻠﺔ ﻓﻲ ﻳﻘﺼﺪ ﺑﺎﻧﻤﺎط اﻟﺘﻔﺎﻋﻞ اﻟﻮﺳﺎﺋﻞ‬ ‫اﻻﻣﺘﺤﺎﻧﺎت ‪ ,‬وﻣﻦ ﻫﻨﺎ ﻓﻘﺪ ﻗﺮرت واﻻﺳﺎﻟﻴﺐ اﻟﺘﻲ ﻳﺘﻴﺤﻬﺎ اﻟﻜﺘﺎب‬ ‫وزارة اﻟﺘﺮﺑﻴﺔ واﻟﺘﻌﻠﻴﻢ ﻣﺆﺧﺮا اﻹﻟﻜﺘﺮوﻧﻲ ﻟﻠﻤﺘﻌﻠﻢ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ‬ ‫ﺗﺤﻮﻳﻞ اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ اﻟﻤﻄﺒﻮع اﺳﺘﺠﺎﺑﺎﺗﻪ او ﺑﻤﻌﻨﻲ اﺧﺮ ﻫﻲ ﺗﻠﻚ‬ ‫اﻟﻲ ﻛﺘﺎب اﻟﻜﺘﺮوﻧﻲ ﻋﻠﻲ اﻻﺟﻬﺰة اﻟﻮﺳﺎﺋﻞ اﻟﺘﻲ ﺗﻤﻜﻦ اﻟﻄﺎﻟﺐ ﻣﻦ‬ ‫اﻟﺘﺤﻜﻢ ﻓﻲ ﻛﻴﻒ وﻣﺘﻲ ﻳﻤﻜﻦ‬ ‫اﻟﻠﻮﺣﻴﺔ )اﻟﺘﺎﺑﻠﺖ(‪.‬‬ ‫ﻋﺮض اﻟﻌﻨﺎﺻﺮ اﻟﺘﻲ ﻳﺘﻀﻤﻨﻬﺎ اﻟﻜﺘﺎب‬ ‫اﻹﻟﻜﺘﺮوﻧﻲ‪ ،‬ﻓﻼﺑﺪ ان ﻳﺘﻢ ﻣﺮاﻋﺎة‬ ‫ﻣﺸﻜﻠﺔ اﻟﺒﺤﺚ‬ ‫•ﻻزاﻟﺖ ﻣﺸﻜﻠﺔ اﻟﺘﺼﻤﻴﻢ اﻟﺴﺊ ﺳﻬﻮﻟﺔ اﻻﺳﺘﺨﺪام ‪usabillity‬‬ ‫واﻟﺒﻌﺪ ﻋﻦ اﻟﻜﺘﺎب اﻟﻤﺪرﺳﻲ ﻗﺎﺋﻤﺔ واﻣﻜﺎﻧﻴﺔ اﻟﻮﺻﻮل ‪Accessability‬‬ ‫ﻋﻠﻲ اﻟﺮﻏﻢ ﻣﻦ ﺗﺤﻮﻳﻠﻪ إﻟﻲ ﻛﺘﺎب‬ ‫•ﺗﺼﻤﻴﻢ واﺟﻬﺔ اﻟﺘﻔﺎﻋﻞ ‪:‬‬ ‫إﻟﻜﺘﺮوﻧﻲ‪.‬‬ ‫•ﻳﻤﺮ إﻧﺘﺎج اﻟﻜﺘﺎب اﻹﻟﻜﺘﺮوﻧﻲ ﺗﻌﺮف ﺑﻮاﺟﻬﺔ اﻟﺘﻔﺎﻋﻞ اﻟﺮﺳﻮﻣﻴﺔ‬ ‫ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺮاﺣﻞ اﻟﺘﺼﻤﻴﻤﻴﺔ ‪ Graphi User Interface‬وﻳﻘﺼﺪ‬ ‫اﻟﺘﻲ ﺗﺆدي إﻟﻲ اﻧﺘﺎج ﻛﺘﺎب إﻟﻜﺘﺮوﻧﻲ ﺑﻮاﺟﻬﺔ اﻟﺘﻔﺎﻋﻞ ﺗﺼﻤﻴﻢ اﻟﻮاﺟﻬﺔ‬ ‫ﺗﻔﺎﻋﻠﻲ ﻳﺠﺬب اﻟﻄﺎﻟﺐ ﺗﻌﻠﻴﻤﻴﺎ وﻟﻜﻦ اﻟﺮﺋﻴﺴﻴﺔ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻜﺘﺎب ﺣﻴﺚ‬ ‫وزارة اﻟﺘﺮﺑﻴﺔ واﻟﺘﻌﻠﻴﻢ اﺧﺘﺰﻟﺖ ﺗﻈﻬﺮ ﻓﻲ ﺟﻤﻴﻊ اﻟﺸﺎﺷﺎت ﻟﻠﻜﺘﺎب‬ ‫ﻛﻞ ﻫﺬه اﻟﻤﺮاﺣﻞ واﻗﺘﺼﺮت ﻓﻘﻂ وﺗﺘﻀﻤﻦ اﻻدوات اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ‬

‫ﻋﻤﻠﻴﺔ اﻟﺘﻨﻘﻞ ﺑﻴﻦ اﻟﺸﺎﺷﺎت ﻣﻦ‬ ‫ﻣﻔﺎﺗﻴﺢ ورواﺑﻂ ﻧﺼﻴﺔ ‪Hyper Links‬‬ ‫ﻛﻤﺎ ﻳﺮاﻋﻲ ﺗﺤﺪﻳﺪ ﻣﻮاﻗﻊ ﻋﻨﺎﺻﺮ‬ ‫اﻟﻮﺳﺎﺋﻂ ﻣﻦ ﻧﺼﻮص وﻓﻴﺪﻳﻮ وﺻﻮر‬ ‫وﻏﻴﺮﻫﺎ وذﻟﻚ ﺣﺘﻲ ﺗﻈﻬﺮ ﺗﻠﻚ‬ ‫اﻟﻌﻨﺎﺻﺮ ﻋﻠﻲ اﻟﺸﺎﺷﺔ ﺑﺼﻮرة ﻣﻨﻈﻤﺔ‬ ‫وﻳﻨﻘﺴﻢ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﺘﻔﺎﻋﻞ‬ ‫داﺧﻞ اﻟﻜﺘﺎب اﻹﻟﻜﺘﺮوﻧﻲ اﻟﻤﻘﺘﺮح‬ ‫إﻟﻲ ﻗﺴﻤﻴﻦ ‪:‬‬ ‫ ﺗﺼﻤﻴﻢ واﺟﻬﺔ اﻟﺘﻔﺎﻋﻞ اﻟﺮﺋﻴﺴﻴﺔ‪.‬‬‫ ﺗﺼﻤﻴﻢ ﺻﻔﺤﺎت ﻋﺮض اﻟﻤﺤﺘﻮي‬‫اﻟﺪاﺧﻠﻴﺔ‪.‬‬ ‫وﻫﻨﺎك ﻧﻮﻋﻴﻦ ﻣﻦ اﻟﺘﻔﺎﻋﻼت ‪:‬‬ ‫ ﺗﻔﺎﻋﻞ ﺑﻴﻦ اﻟﻤﺘﻌﻠﻤﻴﻦ واﻟﻤﺤﺘﻮي‬‫اﻟﺘﻌﻠﻴﻤﻲ ﺑﺎﺳﺘﺨﺪام اﻟﻨﺼﻮص‬ ‫واﻟﺼﻮر واﻟﻠﻘﻄﺎت اﻟﻤﺘﺤﺮﻛﺔ‬ ‫واﻻﺻﻮات ‪.‬‬ ‫ ﺗﻔﺎﻋﻼت ﺗﺘﻢ ﺑﻴﻦ اﻟﻤﺘﻌﻠﻤﻴﻦ‬‫اﻧﻔﺴﻬﻢ واﻟﺘﻲ ﺗﺘﻤﺜﻞ ﻓﻲ ﺗﻠﻚ‬ ‫اﻻﺗﺼﺎﻻت اﻟﺘﻲ ﺗﺘﻢ ﺑﻴﻦ اﻟﻤﺘﻌﻠﻤﻴﻦ‬ ‫اﻟﻤﺸﺎرﻛﻴﻦ ﻓﻲ اﻟﻜﺘﺎب ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ‬ ‫•ﺗﺼﻤﻴﻢ ﺳﻴﻨﺎرﻳﻮ اﻟﻜﺘﺎب ‪:‬‬ ‫ﺑﻌﺪ ﺗﺤﺪﻳﺪ ﻣﺤﺘﻮي اﻟﻜﺘﺎب ﺗﺎﺗﻲ‬ ‫اﻟﺨﻄﻮة اﻟﺘﺎﻟﻴﺔ وﻫﻲ إﻋﺪاد‬ ‫وﺗﺼﻤﻴﻢ اﻟﺼﻮرة اﻻوﻟﻴﺔ ﻟﻠﺴﻴﻨﺎرﻳﻮ‬ ‫ﻣﻦ ﺧﻼل اﻋﻤﺪة رﺋﻴﺴﻴﺔ ‪:‬‬ ‫أ‪ -‬رﻗﻢ اﻟﺸﺎﺷﺔ ‪ :‬ﺗﺤﺪﻳﺪ رﻗﻢ ﻟﻜﻞ‬ ‫ﺷﺎﺷﺔ داﺧﻞ اﻟﻜﺘﺎب‪.‬‬ ‫ب ‪ -‬اﻟﺠﺎﻧﺐ اﻟﻤﺮﺋﻲ ‪ :‬ﻋﺮض ﻛﻞ ﻣﺎ‬ ‫ﻳﻈﻬﺮ ﻓﻲ اﻟﺸﺎﺷﺔ ﺳﻮاء ﻛﺎن ﻧﺼﺎً‬ ‫ﻣﻜﺘﻮﺑﺎً ‪،‬ﺻﻮرة ﻣﻌﺮوﺿﺔ ﺛﺎﺑﺘﺔ‬ ‫رﺳﻮﻣﺎً ﻣﺘﺤﺮﻛﺔ ‪،‬ﻓﻴﺪﻳﻮ‪.‬‬ ‫ج ‪ -‬اﻟﻨﺺ ‪ :‬وﺻﻒ ﻟﻠﻨﺼﻮص‬ ‫اﻟﻤﻜﺘﻮﺑﺔ ﻋﻠﻲ اﻟﺸﺎﺷﺔ ﻣﻦ ﺣﻴﺚ ‪:‬‬

‫ﻓﺎﻷرض اﻟﺼﺎﻟﺤﺔ ﻻﺗﻨﺒﺾ‬ ‫اﺑﺪا ﻣﻬﻤﺎ ﺗﻜﺎﺛﺮﻋﻠﻴﻬﺎ اﻟﻐﺒﺎر‬ ‫ﻋﻨﺪ ﻣﺎ ﺟﺎء ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﻌﺪ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ‬ ‫اﻟﺤﻤﻠﺔ‬ ‫ﺧﺮوج‬ ‫وﻛﺎن ﺧﺴﺮو ﺑﺎﺷﺎ واﻟﻰ‬ ‫ﻣﺼﺮ واﻟﻤﻤﺎﻟﻴﻚ ﻳﻘﺘﺴﻤﺎن‬ ‫اﻟﻐﻨﺎﺋﻢ ﻣﻦ د م ﻫﺬا‬ ‫اﻟﺸﻌﺐ اﻟﺬى اﺻﺒﺢ ﻻﺣﻮل‬ ‫ﻟﻪ وﻻ ﻗﻮة ﻟﺪرﺟﺔ ان اﻟﻜﺜﻴﺮ‬ ‫ﻣﻨﻬﻢ ﻛﺎن ﻳﺘﺮﺣﻢ ﻋﻠﻰ‬ ‫رﺣﻠﻮا‬ ‫اﻟﺬﻳﻦ‬ ‫اﻟﻔﺮﻧﺴﻴﻦ‬ ‫آﺳﻔﻴﻦ‬ ‫ﺑﺤﺰب)‬ ‫اﺳﻮة‬ ‫ﻳﺎرﻳﺲ(‪ ....‬اﻻن اﻻ ان ﻋﻤﺮ‬ ‫اﻻﺷﺮاف‬ ‫ﻧﻘﻴﺐ‬ ‫ﻣﻜﺮم‬ ‫وﺑﻌﺾ رﺟﺎل اﻻزﻫﺮ ﻃﻠﺒﻮا‬ ‫ﻣﻦ ﻣﺤﻤﺪ ﻋﻠﻰ اﻟﺬى ﻛﺎن‬ ‫ﻗﺎﺋﺪا ﻋﻠﻰ ﻓﺼﻴﻞ ﻣﻦ‬ ‫اﻟﺠﻴﺶ اﻟﺘﺮﻛﻰ ان ﻳﻜﻮن‬ ‫واﻟﻴﺎ ﻋﻠﻰ ﻣﺼﺮ ﻟﻠﺘﺨﻠﺺ‬ ‫ﻣﻦ ﺧﺴﺮو ﺑﺎﺷﺎ ﻟﻤﺎ ﻟﻤﺴﻮا‬ ‫ﻣﻨﺎﺻﺮة‬ ‫ﻣﻦ‬ ‫ﻓﻴﻪ‬ ‫اﻟﻤﻈﻠﻮﻣﻴﻦ واﻟﺘﺰاﻣﻪ ﺑﺎداء‬ ‫ﻣﻮاﻋﻴﺪﻫﺎ‬ ‫ﻓﻰ‬ ‫اﻟﺼﻼة‬ ‫ﻷﻓﺮاد‬ ‫ﻣﻌﺎﻣﻠﺘﻪ‬ ‫وﺣﺴﻦ‬ ‫ﺟﻴﺸﻪ وﻳﻨﺠﺢ ﻋﻤﺮ ﻣﻜﺮم‬ ‫ﺗﻨﺼﻴﺐ‬ ‫ﻓﻰ‬ ‫واﺧﻮاﻧﻪ‪...‬‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ واﻟﻴﺎ ﻋﻠﻰ ﻣﺼﺮ‬ ‫‪....‬‬ ‫ﺑﺎﺷﺎ‬ ‫ﻟﺨﺴﺮو‬ ‫ﺧﻠﻔﺎ‬ ‫ﻣﻘﺎﻟﻴﺪ‬ ‫ﺗﻮﻟﻰ‬ ‫وﻋﻨﺪﻣﺎ‬ ‫اﻟﺤﻜﻢ اﺟﺘﻤﻊ ﺑﻜﺒﺎر رﺟﺎل‬ ‫اﻟﺪوﻟﺔ ﻟﻴﺸﺮح ﻟﻬﻢ ﺧﻄﺔ‬ ‫اﻟﻨﻬﻮض ﺑﻬﺬة اﻟﺒﻠﺪ وﻗﺎل‬ ‫‪:‬ارﻳﺪ ﻣﻨﻜﻢ ان ﺗﺴﺎﻋﺪوﻧﻰ‬ ‫ﻓﻰ‬ ‫ﻋﻠﻰ ان اﺣﻘﻖ اﻟﺤﻠﻢ‬ ‫أن ﺗﺼﺒﺢ ﻣﺼﺮدوﻟﺔ ﻋﻈﻤﻰ‬ ‫ﻛﻤﺎﻛﺎﻧﺖ ﻣﻦ ﻗﺒﻞ وﻫﺬا ﻟﻦ‬ ‫ﻳﺘﺄﺗﻰ اﻻ ﺑﺄن ﻳﻜﻮن اﻟﻘﺮار‬ ‫ﻓﻰ ﻳﺪ ﺷﺨﺺ واﺣﺪ ﻳﺘﺤﻤﻞ‬ ‫اﻟﻤﺴﺌﻮﻟﻴﺔ ﺑﺎﻟﻜﺎﻣﻞ أﻣﺎم‬ ‫اﻟﻠﻪ ورﺳﻮﻟﻪ وأﻣﺎم ﻫﺬا‬ ‫اﻟﺸﻌﺐ اﻟﻌﻈﻴﻢ ‪......‬وﻗﺎم‬ ‫ﻣﺘﺴﺎوى‬ ‫ﻣﺜﻠﺚ‬ ‫ﺑﺮﺳﻢ‬ ‫اﻻﺿﻼع ﻗﺎﻋﺪﺗﺔ اﻟﺘﻌﻠﻴﻢ‬ ‫اﻟﺠﻴﺶ‬ ‫اﻻﻳﻤﻦ‬ ‫واﻟﻀﻠﻊ‬ ‫واﻟﻀﻠﻊ اﻻﻳﺴﺮ اﻟﺘﻤﺮﻳﺾ‬ ‫وﻗﺎل ﻟﻦ ﺗﻘﻮم ﻟﻬﺬة اﻟﺒﻠﺪ‬ ‫ﻗﺎﺋﻤﺔ اﻻ اذا ﺣﺎﻓﻈﻨﺎ ﻋﻠﻰ‬ ‫ﺗﻠﻚ اﻻﺿﻼع ﻓﻼ ﻳﻨﺤﺮف‬ ‫ﺿﻠﻊ ﻋﻦ ﻣﺴﺎره وﻻ ﻳﺠﻮر‬ ‫ﺿﻠﻊ ﻋﻠﻰ اﻻﺧﺮ ﻓﺎﻟﺒﻠﺪ ﻓﻰ‬ ‫ﺣﺎﺟﺔ اﻟﻰ ﺟﻴﺶ ﻗﻮى‬ ‫ﻳﺤﻤﻴﻬﺎ واﻟﻰ ﺗﻤﺮﻳﺾ ﺟﻴﺪ‬

‫ﻟﻜﻰ ﻧﺤﺎﻓﻆ ﻋﻠﻰ ﺻﺤﺔ‬ ‫اﺑﻨﺎﺋﻬﺎ اﻣﺎ اﻟﻘﺎﻋﺪة اﻟﺘﻰ‬ ‫ﻳﺴﺘﻨﺪ اﻟﻤﺜﻠﺚ ﻋﻠﻴﻬﺎ ﻫﻰ‬ ‫اﻟﺘﻌﻠﻴﻢ ﺛﻢ اﻟﺘﻌﻠﻴﻢ ﺛﻢ‬ ‫ﻳﻤﻜﻦ‬ ‫وﺣﺘﻰ‬ ‫اﻟﺘﻌﻠﻴﻢ‬ ‫ﻣﻦ‬ ‫ﻵﺑﺪ‬ ‫ذﻟﻚ‬ ‫ﺗﺤﻘﻴﻖ‬ ‫اﻧﺸﺎءﻣﻄﺒﻌﺔ ﺗﻘﻮم ﺑﻄﺒﻊ‬ ‫واﻟﻨﺸﺮات‬ ‫اﻟﻜﺘﺐ‬ ‫اﻟﺨﺎﺻﺔ‬ ‫واﻟﻘﺮارات‬ ‫ﺑﺎﻟﺪوﻟﺔ‪.....‬وﻟﻢ ﻳﻜﻦ ﻣﺤﻤﺪ‬ ‫ﻋﻠﻰ ﻃﻮال ﺣﻜﻤﺔ ﻳﺴﻤﺢ‬ ‫ﺑﺎى ﺗﺠﺎوز او اى ﺣﻮارات‬ ‫ﺗﻌﻮق اﻟﻬﺪف اﻟﺬى ﺣﺪده‬ ‫ﻣﻦ‬ ‫ﺑﺎﻟﺘﺨﻠﺺ‬ ‫وﺑﺪا‬ ‫ﺧﺴﺮواﻣﺎ اﻟﻤﺎﻣﻠﻴﻚ اﻟﺬﻳﻦ‬ ‫ﻛﺎﻧﻮا ﺷﻮﻛﺔﻓﻰ اى ﻧﻈﺎم‬ ‫ﻓﻘﺪ دﻋﺎﻫﻢ اﻟﻰ وﻟﻴﻤﺔ ﻓﻰ‬ ‫‪..‬ﺗﺨﻠﺺ‬ ‫وﻫﻨﺎك‬ ‫اﻟﻘﻠﻌﺔ‬ ‫وﺣﺘﻰ‬ ‫اﻻ واﺣﺪا‬ ‫ﻣﻨﻬﻢ‬ ‫اﻟﺴﻴﺪ ﻋﻤﺮ ﻣﻜﺮم ﺑﺎﻟﺮﻏﻢ‬ ‫ﻣﻦ أﻧﻪ ﻛﺎن ﻣﻦ أﻫﻢ أﺳﺒﺎب‬ ‫ﺗﻮﻟﻴﻪ ﺣﻜﻢ اﻟﻤﺤﺮوﺳﺔ اﻻ‬ ‫ﻋﻨﺪﻣﺎ ﺑﺪأ ﻳﺜﻴﺮ‬ ‫أﻧﻪ ﻋﺰﻟﻪ‬ ‫اﻟﻤﺸﺎﻳﺦ‬ ‫ﻓﺠﻤﻊ‬ ‫اﻟﻘﻠﻖ‬ ‫وﺧﻠﻊ ﻋﻠﻴﺔ اﻟﻨﻘﺎﺑﺔ واﺧﺮج‬ ‫اﻟﺴﻴﺪ ﻋﻤﺮ ﻣﻜﺮم ﻣﻨﻔﻴﺎ‬ ‫اﻟﻰ دﻣﻴﺎط ﺑﻌﺪ ان ﻋﺰﻟﺔ‬ ‫ﻣﻦ ﻧﻘﺎﺑﺔ اﻻﺷﺮاف‪...,‬ﻛﻤﺎ‬ ‫ذﻛﺮ ﻓﻰ ﺗﺎرﻳﺦ اﻟﺠﺒﺮﺗﻰ‬ ‫اﻟﻌﺪد ‪: ٤٤‬أن ﻣﺤﻤﺪ ﻋﻠﻰ‬ ‫ﺑﻌﺪ أن اﺳﺘﻘﺮ ﻓﻰ اﻟﻮﻻﻳﺔ‬ ‫ﺑﻤﻌﻮﻧﺔ‬ ‫أﻗﺪاﻣﻪ‬ ‫وﺛﺒﺖ‬ ‫اﻟﻌﺎﻣﺔ واﻟﺴﻴﺪ ﻋﻤﺮ ﻣﻜﺮم‬ ‫ﺑﻤﻤﻠﻜﺔ ﻣﺼﺮ وﺷﺮع ﻓﻰ‬ ‫وﻛﺜﺮ‬ ‫ﻣﻘﺎﺻﺪه‬ ‫ﺗﻤﻬﻴﺪ‬ ‫اﻋﺘﺮاض ﻋﻤﺮ ﻣﻜﺮم وﻛﺜﺮت‬ ‫ﻣﻌﺎﺗﺒﺘﻪ ﻓﺪﺑﺮ ﻋﻠﻰ اﺧﺮاﺟﻪ‬ ‫ﻣﻦ ﻣﺼﺮ وﺟﻤﻊ اﻟﻤﺸﺎﻳﺦ‬ ‫واﺣﻀﺮ اﻟﻤﺘﺮﺟﻢ وﺧﻠﻊ ﻋﻠﻴﻪ‬ ‫واﺧﺮج‬ ‫اﻟﻨﻘﺎﺑﺔ‬ ‫وﻗﻠﺪه‬ ‫اﻟﺴﻴﺪ ﻋﻤﺮ ﻣﻜﺮم ﻣﻨﻔﻴﺎ‬ ‫اﻟﻰ دﻣﻴﺎط ﺑﻌﺪ ﻋﺰﻟﻪ ﻣﻦ‬ ‫ﻧﻘﺎﺑﺔ اﻷﺷﺮاف‬ ‫وﺑﺎﻟﺮﻏﻢ ﻣﻦ اﺧﺘﻼﻓﻨﺎ ﻋﻠﻰ‬ ‫اﻟﻤﺒﺪا اﻻ أن اﻟﻨﺘﺎﺋﺞ ﻛﺎﻧﺖ‬ ‫ﻟﺼﺎﻟﺢ ﻫﺬا اﻟﻮﻃﻦ‪..........‬‬ ‫ﻟﺬﻟﻚ اﻛﺮر اﻧﻨﺎ ﻓﻰ ﺣﺎﺟﺔ‬ ‫وﻟﻴﺲ‬ ‫ﻋﺎدل‬ ‫ﻟﺪﻳﻜﺘﺎﺗﻮر‬ ‫اﻟﻘﻮى‬ ‫دﻳﻤﻘﺮاﻃﻴﺔ‬ ‫اﻟﺬﻳﻦ‬ ‫وﺑﻴﻦ‬ ‫اﻟﻤﺘﻨﺎﺣﺮة‬ ‫اذا‬ ‫ﺳﻴﻘﻀﻮن ﻋﻠﻰ اﻟﺒﻠﺪ‬ ‫اﺳﺘﻤﺮوا ﻋﻠﻰ ﻫﺬا اﻟﻤﻨﻮال‬

‫ﻟﻤﻮﺿﻮﻋﻨﺎ‬ ‫ﻧﻌﻮد‬ ‫واﻵن‬ ‫اﻟﺜﺎﻟﺚ او‬ ‫‪...‬اى اﻟﻀﻠﻊ‬ ‫ﻗﺎﻋﺪة اﻟﻤﺜﻠﺚ اﻟﺬى رﺳﻤﺔ‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ‬ ‫ﺧﺎﺻﺔ ﺑﻌﺪ أن ﻋﻠﻢ اﻟﺠﻤﻴﻊ‬ ‫أﻧﻪ ﻻﻃﺮﻳﻖ ﻟﻠﺤﻴﺎة ﺳﻮى‬ ‫اﻻﺧﻼص ﻓﻰ اﻟﻌﻤﻞ وﻋﻠﻰ‬ ‫ﺗﻮﻓﻴﺮ‬ ‫ورﺟﺎﻟﻪ‬ ‫اﻟﻮاﻟﻰ‬ ‫اﻟﺤﻤﺎﻳﺔ واﻷﻣﻦ واﻷﻣﺎن‬ ‫واﻟﻌﺪل ﺑﻴﻦ ﻛﺎﻓﺔ ﻃﻮاﺋﻒ‬ ‫اﻟﺸﻌﺐ دون اﻟﻨﻈﺮ ﻟﻠﻌﺮق‬ ‫وﻻ اﻟﻠﻮن وﻻ اﻟﺪﻳﻦ‬

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‫اﻟﺒﻴﻪ ده ‪ ......‬اﻳﻮه اﻋﺮﻓﺔ‬ ‫ده ﻗﺒﻘﺎب ﻛﺒﻴﺮ ﻋﻨﺪﻧﺎ ﻓﻰ اﻟﻤﻄﺒﻌﺔ‬

‫إﻋﺪاد‬ ‫د‪ /‬ﻣﺤﻤﺪ أﺑﻮ ﻟﻴﻠﺔ‬

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‫ﺑﻌﺪ ﻧﻜﺴﺔ ‪ ١٩٦٧‬واﻟﺰﻟﺰال‬ ‫ﻛﻴﺎن‬ ‫ﻫﺰ‬ ‫اﻟﺬى‬ ‫اﻟﻜﺒﻴﺮ‬ ‫وﺷﻤﻮخ ﻣﺼﺮ وﺑﺪاﻧﺎ ﺑﻌﺪ‬ ‫ﻃﻮل ﻏﻴﺎب ﻧﺮى اﻟﺤﻘﻴﻘﺔ‬ ‫وﻣﻈﻠﻤﺔ‬ ‫ﻣﺤﺒﻄﺔ‬ ‫ﻋﺎرﻳﺔ‬ ‫ﻓﻠﻢ‬ ‫وﻗﺘﻬﺎ‬ ‫ﻛﺘﺒﺖ‬ ‫ﺟﻨﺎح‬ ‫ﺑﺎﺳﻢ‬ ‫ﺗﻠﻴﻔﺰﻳﻮﻧﻰ‬ ‫اﻟﺪﻛﺘﻮر اﺣﻤﺪ وﻗﻠﺖ ﻓﻴﺔ‬ ‫ﺑﺎﺧﺘﺼﺎر ﺷﺪﻳﺪ ‪....‬ﻻﻳﻤﻜﻦ‬ ‫اﺣﻴﺎء اﻟﻤﻮﺗﻰ اﻻ ﺑﻤﻌﺠﺰة‬ ‫وﻗﺪ اﻧﺘﻬﻰ زﻣﻦ اﻟﻤﻌﺠﺰات‬ ‫وﺣﺘﻰ ﻧﻌﻴﺪ ﺑﻨﺎء ﻫﺬا اﻟﺒﻠﺪ‬ ‫ﻓﻨﺤﻦ ﻓﻰ ﺣﺎﺟﺔ اﻟﻰ ﺟﻴﻼ‬ ‫ﻳﺨﺘﻠﻒ‬ ‫اﻟﺒﺸﺮ‬ ‫ﺟﺪﻳﺪاﻣﻦ‬ ‫اﺧﻨﻼﻓﺎ ﻛﻠﻴﺎ ﻋﻦ اﻟﻤﻮﺟﻮد‬ ‫وﺣﺘﻰ ﻳﺘﺤﻘﻖ ذﻟﻚ ﻻﺑﺪ ﻣﻦ‬ ‫ﺣﺮث اﻻرض ﻋﺪة ﻣﺮات‬ ‫ﻟﻘﺘﻞ اﻟﺪﻳﺪان اﻟﺠﺎﺛﻤﺔ ﻓﻰ‬ ‫اﻟﺘﺮﺑﺔ ﺣﺘﻰ ﻳﻤﻜﻦ ان ﻧﺠﻨﻰ‬ ‫زرﻋﺎ ﺟﺪﻳﺪا ﻗﻮﻳﺎ ﻓﻰ ﺗﺮﺑﺔ‬ ‫ﺻﺎﻟﺤﺔ ‪ ...‬ﺟﻴﻼ ﻟﻪ ﺟﺬور‬ ‫ﻗﻮﻳﺔ وﻋﻤﻴﻘﺔ ﺗﺤﻤﻰ ارض‬ ‫ﻛﺮاﻣﺘﻬﺎ‬ ‫وﺗﺴﺘﻌﻴﺪ‬ ‫ﻣﺼﺮ‬ ‫ﺧﺎﺻﺔ ﺑﻌﺪ أن اﺳﺘﺸﻌﺮت‬ ‫وﻗﺘﻬﺎ أن اﻟﻤﺸﻜﻠﺔ ﻟﻴﺴﺖ‬ ‫ﻓﻰ اﻟﺤﺎﻛﻢ وﺣﺪه ﻟﻜﻨﻬﺎ‬ ‫أﻳﻀﺎ واﻷﻫﻢ ﻓﻰ ﺑﻄﺎﻧﺘﻪ‬ ‫‪......‬وﺗﻘﺪﻣﺖ ﺑﺎﻟﻔﻠﻢ اﻟﻰ‬ ‫ﻣﻠﻚ اﻟﻔﻴﺪﻳﻮ ﻓﻰ ذﻟﻚ‬ ‫ﻧﻮر‬ ‫اﻟﺮاﺣﻞ‬ ‫اﻟﻮﻗﺖ‬ ‫اﻟﺪﻣﺮداش وﻛﺎﻧﺖ ﺗﺮﺑﻄﻨﻰ‬ ‫ﺑﺔ ﻋﻼﻗﺔ ﺻﺪاﻗﺔ وﺟﻮار اﻻ‬ ‫اﻧﺔ ﺑﻌﺪ ان ﻗﺮأ اﻟﻨﺺ ﻋﺪة‬ ‫ﻣﺮات ﻧﺼﺤﻨﻰ ﺑﻨﺴﻴﺎن ﻫﺬا‬ ‫ﺑﻞ‬ ‫ﻧﻬﺎﺋﻴﺎ‬ ‫اﻟﻤﻮﺿﻮع‬ ‫وﻣﺤﺎوﻟﺔ اﻟﺘﺨﻠﺺ ﻣﻦ ﻫﺬة‬ ‫اﻻوراق ﻗﺒﻞ ان ﺗﻘﻊ ﻓﻰ‬ ‫اﻳﺪى أﺣﺪ ﻻﻗﺪر اﻟﻠﻪ واﻧﺖ‬ ‫ﻋﺎرف اﻟﺒﺎﻗﻰ ﺑﻘﺔ‪ ...‬وﻗﺘﻬﺎ‬ ‫اﺳﺘﺸﻌﺮت وﻛﺎﻧﻰ اﻣﺴﻚ‬ ‫ﺑﻤﻨﺸﻮرات او ﻣﺴﺘﻨﺪات‬

‫ﻗﺪ ﺗﻘﻀﻰ ﻋﻠﻰ ﺧﺎﺻﻴﺔ‬ ‫واﻧﻠﻰ ﺳﺎﺑﻘﺔ ﻣﻊ ﻫﺬا‬ ‫اﻟﻨﻈﺎم اﻻ اﻧﻨﻰ ﺑﺪاﻓﻊ‬ ‫وﻗﺘﻬﺎ‬ ‫اﻟﺸﺒﺎب‬ ‫وﺣﻴﻮﻳﺔ‬ ‫ﻟﺮﻗﺎﺑﺔ‬ ‫اﻟﻌﻤﻞ‬ ‫ﻗﺪﻣﺖ‬ ‫اﻟﺘﻠﻴﻔﺰﻳﻮن وﺣﻜﻤﺖ ﻋﻠﻰ‬ ‫اﻟﻨﻔﻖ‬ ‫ﺑﺪﺧﻮل‬ ‫ﻧﻔﺴﻰ‬ ‫اﻟﻤﻈﻠﻢ وﻃﺒﻘﺎ ﻟﻠﻤﻘﻮﻟﺔ‬ ‫اﻟﺸﻬﻴﺮة )اﻟﺪاﺧﻞ ﻣﻔﻘﻮد‬ ‫واﻟﺨﺎرج ﻣﻮﻟﻮد( ﻗﺪ أﻳﻘﻨﺖ‬ ‫وﻗﺘﻬﺎان اﻟﻤﺸﻜﻠﺔ ﻟﻴﺴﺖ‬ ‫ﻓﻰ ﻳﺪ اﻟﺤﺎﻛﻢ وﺣﺪة وﻟﻜﻦ‬ ‫ﻓﻰ ﻛﻞ ﻣﺎ ﻳﺤﻴﻂ ﺑﺔ ﻣﻦ‬ ‫وﻋﻠﻰ‬ ‫اﻟﺴﻠﻄﺎن‬ ‫ﻛﻬﻨﺔ‬ ‫ﻓﺮض ﻣﻦ وﺟﻮد ﺷﺨﺺ‬ ‫ﺻﺎﻟﺢ ﺑﻴﻨﻬﻤﺎ ﻳﻜﻮن ﻣﺼﻴﺮة‬ ‫اﻟﻘﺘﻞ او اﻟﻄﺮد ﻓﻘﻮى‬ ‫ﻻاﺣﺪ‬ ‫ﻻﺗﺴﻤﺢ‬ ‫اﻟﺸﺮ‬ ‫ﺑﺎﻟﺨﺮوج ﻋﻦ ﻃﻮﻋﻬﺎ ‪..‬أﺟﻴﺎل‬ ‫ورى اﺟﻴﺎل ﻳﻌﻘﺒﻬﺎ ﺛﻮرات‬ ‫واﻧﻘﻼﺑﺎت وﻳﻌﻮد اﻟﺤﺎل‬ ‫ﻛﻤﺎ ﻫﻮ ﻣﻊ ﻛﻞ ﺣﺎﻛﻢ وﻣﻊ‬ ‫ذﻟﻚ ﻋﻘﺐ ﻛﻞ ﺛﻮرة ﻳﺤﺪث‬ ‫ﺧﺮوج ﻋﻦ اﻟﻨﺺ ﻣﻦ ﻋﺎﻣﺔ‬ ‫اﻟﺸﻌﺐ ﻟﻤﺤﺎوﻟﺔ اﺳﺘﻌﺎدة‬ ‫اﻟﺤﻴﺎة وﻛﺄﻧﺔ ﻣﻜﺘﻮب ﻋﻠﻴﻨﺎ‬ ‫داﺋﻤﺎ اﻻ ﻧﻔﺮح ﺑﺎى ﻧﺼﺮ اﻻ‬ ‫أﻳﺎﻣﺎ ﻣﻌﺪودة ﻓﻤﺎ اﺷﺒﺔ‬ ‫أﺻﺒﺢ‬ ‫ﺑﺎﻟﺒﺎرﺣﺔ‬ ‫اﻟﻴﻮم‬ ‫ﺛﻮرة ‪٢٥‬ﻳﻨﺎﻳﺮ‬ ‫اﻟﺠﻤﻴﻊ ﺑﻌﺪ‬ ‫ﻳﺴﻤﻊ‬ ‫وﻻ‬ ‫ﻳﺘﺤﺪﺛﻮن‬ ‫ﻳﺨﺘﻔﻰ‬ ‫اﻵﺧﺮ‬ ‫أﺣﺪﻫﻤﺎ‬ ‫اﻻﺑﻄﺎل وﺗﻈﻬﺮ اﻟﻨﻔﺎﻳﺎت‬ ‫اﻟﻤﺘﺴﻠﻘﺔ ﻟﺘﻘﺴﻴﻢ اﻟﺜﻮرة‬ ‫اﻟﻜﻌﻜﺔ‬ ‫ﻟﺘﻘﺴﻴﻢ‬ ‫أﻗﺼﺪ‬ ‫اﻟﺠﻤﻴﻊ ﺑﻌﺪ اﻟﺜﻮرة ﻳﺘﺤﺪث‬ ‫ﻓﻰ ﻛﻞ ﺷﻰ وﻻ ﻳﺠﺘﻤﻊ‬ ‫ﻓﺼﻴﻞ واﺣﺪ ﻋﻠﻰ ﻫﺪف او‬ ‫ﻋﻠﻰ ﻛﻠﻤﺔ ﺳﻮاء ﻣﻦ اﺟﻞ‬ ‫ﻓﻰ‬ ‫اﻟﻜﻞ‬ ‫ﻣﺼﺮ‬ ‫اﻧﻘﺎذ‬ ‫ﻏﻮﻏﺎﺋﻴﺔ ﻻﻳﺴﻤﻊ اﺣﺪﻫﻢ‬

‫ﻟﻶﺧﺮ‪..‬وﺑﺪﻻ ﻣﻦ أن ﻳﺘﻔﻖ‬ ‫اﻟﺠﻤﻴﻊ ﻋﻠﻰ ﻗﺮار واﺣﺪ‪...‬‬ ‫اﻟﻜﻞ ﻳﺠﺮى ﻟﻴﺤﻄﻢ اﻟﺒﻠﺪ‬ ‫وﻳﺼﺪق ﻋﻠﻴﻪ اﻟﻘﻮل اﻟﻠﻬﻢ‬ ‫اﺣﻤﻨﻰ ﻣﻦ اﺻﺤﺎﺑﻰ اﻣﺎ‬ ‫اﻋﺪاﺋﻰ ﻓﺎﻧﺎ ﻛﻔﻴﻞ ﺑﻬﻢ‬ ‫وﻟﻨﻜﺘﺸﻒ ﻟﻼﺳﻒ اﻟﺸﺪﻳﺪ‬ ‫اﻧﻨﺎ ﻻﻧﺼﻠﺢ ﻟﺪﻳﻤﻘﺮاﻃﻴﺔ‬ ‫وﻻ ﻏﻴﺮه ﻧﺤﻦ ﻓﻘﻂ ﻓﻰ‬ ‫ﺣﺎﺟﺔ ﻟﺪﻳﻜﺘﺎﺗﻮر ﻋﺎدل واﻟﻰ‬ ‫ﺻﻮت واﺣﺪ ﻳﻜﻮن ﻗﺮﻳﺒﺎ ﻣﻦ‬ ‫اﻟﻠﺔ ﺣﺘﻰ ﻳﻠﻬﻤﺔ اﻟﺤﻜﻤﺔ‬ ‫واﻟﺼﻮاب وﻋﻠﻰ ذﻛﺮ ﻗﻮل‬ ‫اﻟﻜﺎﺗﺐ اﻟﻜﺒﻴﺮ اﻧﻴﺲ ﻣﻨﺼﻮر‬ ‫)اﺗﻔﻖ اﻟﻌﺮب ﻋﻠﻰ أﻻ ﻳﺘﻔﻘﻮا(‬ ‫ﻫﺬاﻫﻮاﻟﺸﻌﺎراﻟﻤﺘﻔﻖ ﻋﻠﻴﻪ‬ ‫ﻓﻬﻞ ﻳﻌﻘﻞ ان ﻳﻜﻮن ﺑﻠﺪ‬ ‫‪..‬اﻟﻤﺮﺷﺤﻮن ﻟﻠﺮﺋﺎﺳﺔ ﻓﻴﻪ‬ ‫أﻛﺜﺮﻣﻦ ﻋﺎﻣﺔ اﻟﺸﻌﺐ أو‬ ‫اﻟﻤﺠﺎﻟﺲ اﻟﻨﻴﺎﺑﻴﺔ‬ ‫دوﻟﺔ ﺣﺪﻳﺜﺔ‬ ‫ﻣﻦ اﺧﻨﺎﺗﻮن ﺣﺘﻰ ﻣﺤﻤﺪ‬ ‫ﻋﻠﻰ ﻛﺎﻧﺖ اﻟﺒﻠﺪ ﺗﻨﻬﺾ‬ ‫وﺗﻜﺒﺮ اذا ﻇﻬﺮ ﺣﺎﻛﻢ ﻋﺎدل‬

‫ﻓﻰ ﻣﺪرﺳﺔ ﻟﻠﻴﺴﻮﻋﻴﻴﻦ ‪.‬‬ ‫وﺳﺎﻓﺮ ﻓﻰ ﻋﺎم ‪ ١٨٥٨‬إﻟﻰ‬ ‫ﻣﺎرﺳﻴﻠﻴﺎ ﺣﻴﺚ ﻣﺎرس ﻓﻴﻬﺎ‬ ‫أﻋﻤﺎﻻ ﻣﺘﺒﺎﻳﻨﺔ ‪ ،‬واﻧﺘﻘﻞ ﻓﻰ ﻋﺎم‬ ‫ً‬ ‫‪ ١٨٥٩‬إﻟﻰ ﺑﺎرﻳﺲ وﺑﺪأ اﻋﺘﺒﺎراً ﻣﻦ‬ ‫ﻳﻨﺎﻳﺮ ‪ ١٨٦٠‬ﻓﻰ إﺻﺪار ﺻﺤﻴﻔﺔ‬ ‫اﻷﺳﺒﻮﻋﻴﺔاﻟﺘﻰ‬ ‫(‬ ‫)ﺑﺎرﻳﺲ‬ ‫اﺳﺘﻤﺮت ﺣﺘﻰ ‪ ٤‬ﺳﺒﺘﻤﺒﺮ ‪١٨٦٣‬‬ ‫)‪ ٩٨‬ﻋﺪداً ( ‪.‬‬ ‫وأﺛﻨﺎء إﻗﺎﻣﺘﻪ ﺑﺒﺎرﻳﺲ‪ ،‬ﺗﺪﻫﻮرت‬ ‫ﺻﺤﺘﻪ‪ ،‬وأﺷﺎر ﻋﻠﻴﻪ اﻷﻃﺒﺎء‬ ‫اﻻﻧﺘﻘﺎل إﻟﻰ اﻹﺳﻜﻨﺪرﻳﺔ ﻟﺠﻮﻫﺎ‬ ‫اﻟﻤﻌﺘﺪل‪ ،‬ﻓﺴﺎﻓﺮ إﻟﻴﻬﺎ ﻓﻰ‬ ‫ﺳﺒﺘﻤﺒﺮ ‪. ١٨٦٣‬‬ ‫اﻧﺘﻘﻞ ﺑﻌﺪ ذﻟﻚ ﻣﺮادﻳﺎن إﻟﻰ‬ ‫اﻟﻘﺎﻫﺮة‪ ،‬وﺣﺴﺐ ﻣﺎ ﺟﺎء ﻓﻰ‬ ‫اﻟﺨﺎﺻﺔ‬ ‫اﻹﺣﺼﺎء‬ ‫ﺳﺠﻼت‬ ‫ﺑﺎﻟﻜﻨﻴﺴﺔ ‪) :‬وﺻﻞ ﻣﺮادﻳﺎن إﻟﻰ‬ ‫اﻟﻘﺎﻫﺮة ﻓﻰ ‪ ١١‬ﻧﻮﻓﻤﺒﺮ ‪١٨٦٣‬‬ ‫وﻣﻬﻨﺘﻪ رﺋﻴﺲ ﺗﺤﺮﻳﺮ ﺻﺤﻴﻔﺔ‬ ‫)ﻫﺎﻳﺮﻳﻨﺎﺳﻴﺮ( ﻓﻰ ﻧﻴﻘﻮﻣﻴﺪﻳﺎ‬ ‫وﺑﻌﺪ وﺻﻮل ﻣﺮادﻳﺎن إﻟﻰ‬

‫اﻟﻘﺎﻫﺮة ‪،‬ﺗﻌﻴﻴﻨﻪ ﻧﺎﻇﺮاً ‪ ،‬درﺳﺔ‬ ‫ﺧﻮرﻳﻨﻴﺎن اﻷرﻣﻨﻴﺔ وﻣﺪرﺳﺎً ﺑﻬﺎ‪،‬‬ ‫ﻋﻼوة ﻋﻠﻰ ﻗﻴﺎﻣﻪ ﺑﺄﻋﻤﺎل‬ ‫ﺳﻜﺮﺗﺎرﻳﺔ ﻣﺠﻠﺲ إدارة اﻟﻄﺎﺋﻔﺔ‬ ‫‪.‬‬ ‫وﻗﺮر اﻟﻤﺠﻟﺲ ﺑﻌﺪ ذﻟﻚ إﺻﺪار‬ ‫ﱠ‬ ‫ﺻﺤﻴﻔﺔ ))أرﻣﺎﭬﻴﻨﻰ (( ﻧﺼﻒ‬ ‫اﻟﺸﻬﺮﻳﺔ وأﺳﻨﺪ ﻫﺬه اﻟﻤﻬﻤﺔ‬ ‫إﻟﻰ ﻣﺮادﻳﺎن ﺣﻴﺚ ﻗﺎم ﺑﺄﻋﻤﺎل‬ ‫اﻟﺨﺎﺻﺔ‬ ‫واﻟﺠﻤﻊ‬ ‫اﻟﺘﺤﺮﻳﺮ‬ ‫ﺑﺎﻟﺼﺤﻴﻔﺔ وﻛﺬﻟﻚ ﻃﺒﺎﻋﺘﻬﺎ‬ ‫ﺣﺮوف اﻟﻄﺒﺎﻋﺔ‬ ‫ﻣﺴﺘﺨﺪﻣﺎً‬ ‫اﻷرﻣﻨﻴﺔ وآﻟﺔ ﺻﻐﻴﺮة ﻟﻠﻄﺒﺎﻋﺔ‬ ‫اﺳﺘﻘﺪﻣﻬﺎ ﻣﻌﻪ ﻋﻨﺪ ﻗﺪوﻣﻪ‬ ‫ﻣﻦ ﺑﺎرﻳﺲ وﺑﻌﺪ ﺗﻮﻗﻒ‬ ‫اﻟﺼﺤﻴﻔﺔ‪ ،‬ﻇﻞ ﻣﺮادﻳﺎن ﻳﻌﻤﻞ‬ ‫ﻓﻰ اﻟﻘﺎﻫﺮة ﺣﺘﻰ ﻣﺎرس ‪١٨٦٩‬‬ ‫ﺣﻴﺚ اﺳﺘﻘﺎل ﻣﻦ وﻇﺎﺋﻔﻪ اﻟﻤﺨ‬ ‫ﺗﻠﻔﺔ واﻧﺘﻘﻞ إﻟﻰ اﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ‬ ‫ﻟﻴﻌﻤﻞ ﻓﻰ ﻣﺠﺎل اﻟﺘﻌﻠﻴﻢ ﻛﻤﺎ‬ ‫ﻣﺠﺎﻟﻰ اﻟﺼﺤﺎﻓﺔ‬ ‫ﻋﻤﻞ ﻓﻰ‬ ‫ّ‬ ‫وﻧﺸﺮ اﻟﻜﺘﺐ‪ .‬ﺗﻮﻓﻰ أﺑﺮاﻫﺎم‬ ‫ﻣﺮادﻳﺎن راﺋﺪ اﻟﺼﺤﺎﻓﺔ اﻷرﻣﻨﻴﺔ‬ ‫ﻓﻰ ﻣﺼﺮ ﺑﺎﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ ﻓﻰ‬

‫أﺑﺮاﻫﺎم ﻣﺮادﻳﺎن‬

‫اﻷول ﻣﻦ ﺳﺒﺘﻤﺒﺮ ‪.١٩٠٣‬‬ ‫وﺟﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أﻧﻪ ﻃﺒﻘﺎً ﻟﻠﺨﺒﺮاء‬ ‫ﻓﺈﻧﻪ ﺑﺪءاً ﻣﻦ ﺻﺪور ﺻﺤﻴﻔﺔ‬ ‫))أرﻣﺎﭬﻴﻨﻰ (( ﻓﻰ ﻣﺼﺮ ﻣﻨﺬ ﻣﺎﺋﺔ‬ ‫وﺧﻤﺴﻴﻦ ﻋﺎﻣﺎً ﺣﺘﻰ اﻵن ‪ ،‬ﺻﺪرت‬ ‫ﻓﻰ ﻣﺼﺮ ﺣﻮاﻟﻰ ‪ ١٦٥‬دورﻳﺔ‬ ‫ﺑﺎﻟﻠﻐﺔ اﻷرﻣﻨﻴﺔ ‪ .‬وﻫﻨﺎك ﺧﻤﺲ‬ ‫ﺻﺤﻒ ودورﻳﺎت أرﻣﻨﻴﺔ ﺗﺼﺪر اﻵن‬ ‫ﻓﻰ ﻣﺼﺮ ‪ :‬وﻫﻰ ﺟﺮﻳﺪة‬ ‫))ﻫﻮﺳﺎﺑﻴﺮ((‬ ‫)ﺟﺎﻟﺐ اﻷﻣﻞ( ﻣﻨﺬ ‪ ١٩١٣‬وﺗُ ﺼﺪرﻫﺎ‬ ‫اﻷرﻣﻨﻴﺔ‬ ‫اﻟﺜﻘﺎﻓﺔ‬ ‫ﺟﻤﻌﻴﺔ‬ ‫))أرﻳﭫ‬ ‫وﺟﺮﻳﺪة‬ ‫ﻫﻮﺳﺎﺑﻴﺮ‪،‬‬ ‫(()اﻟﺸﻤﺲ( ﻣﻨﺬ ‪ ١٩١٥‬وﺗُ ﺼﺪرﻫﺎ‬ ‫ﺟﻤﻌﻴﺔ اﻟﺼﻨﺪوق اﻷرﻣﻨﻰ اﻷﻫﻠﻰ‬ ‫‪،‬وﺟﺮﻳﺪة ))ﭼﺎﻫﺎﻛﻴﺮ(( )ﺣﺎﻣﻞ‬ ‫وﻳﺼﺪرﻫﺎ‬ ‫اﻟﺸﻌﻠﺔ ( ﻣﻨﺬ ‪ُ ١٩٤٨‬‬ ‫وﻣﺠﻠﺔ‬ ‫اﻷرﻣﻦ‪،‬‬ ‫ﻧﺎدى‬ ‫))دﻳﻐﻴﺠﺎدو(( )ﻣﻘﺪم اﻟﻤﻌﻠﻮﻣﺎت(‬ ‫رﺑﻊ اﻟﺴﻨﻮﻳﺔ ﻣﻨﺬ ‪ ١٩٥٦‬وﻣﺠﻠﺔ‬ ‫اﻟﺸﻬﺮﻳﺔ‬ ‫))أرﻳﻚ(()اﻟﺸﻤﺲ(‬ ‫ﺑﺎﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻨﺬ ‪٢٠١٠‬‬ ‫اﻟﻘﺎﻫﺮة‬ ‫ﺟﻤﻌﻴﺔ‬ ‫وﺗُ ﺼﺪرﻫﻤﺎ‬ ‫اﻟﺨﻴﺮﻳﺔ اﻷرﻣﻨﻴﺔ اﻟﻌﺎﻣﺔ ‪.‬‬

‫اﻟﺼﻔﺤﺔ اﻷوﻟﻰ ﻣﻦ اﻟﻌﺪد اﻷول ﻟﺼﺤﻴﻔﺔ أرﻣﺎﭬﻴﻨﻰ‬

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‫ﺻـﺤــــﺎﻓــﺔ‬

‫أرﻣﺎﭬﻴﻨﻰ‬

‫ﻣﺎﺋﺔ وﺧﻤﺴﻮن ﻋﺎﻣﺎً ﻣﻦ اﻟﺼﺤﺎﻓﺔ اﻷرﻣﻨﻴﺔ ﻓﻰ ﻣﺼﺮ‬

‫إن اﻷرﻣﻦ ﻣﻌﺮوﻓﻴﻦ ﺑﻮﻟﻌﻬﻢ‬ ‫اﻟﺸﺪﻳﺪ ﺑﻤﺨﺘﻠﻒ ﻓﺮوع اﻟﻔﻨﻮن‬ ‫واﻵداب وﻗﺪ ﻳﻜﻮن ﻫﺬا اﻟﻨﻮع ﻣﻦ‬ ‫ﺳﺮ ﺣﻔﺎﻇﻬﻢ ﻋﻠﻰ ﻛﻴﺎﻧﻬﻢ‬ ‫اﻟﻮﻟﻊ ﻫﻮ ّ‬ ‫وﻫﻮﻳﺘﻬﻢ ﺧﻼل ﻓﻘﺪان اﺳﺘﻘﻼﻟﻬﻢ‬ ‫اﻟﺴﻴﺎﺳﻰ ﻋﺒﺮ ﻋﺼﻮر ﻋﺪﻳﺪة ‪.‬‬ ‫ﻫﺬا‪ ،‬وﺑﺴﺒﺐ ﻇﺮوف اﻻﺣﺘﻼل‬ ‫اﻟﻌﺜﻤﺎﻧﻰ ﻟﻢ ﻳﺼﺪر ﺑﻬﺎ ﺟﺮﻳﺪة إﻻ‬ ‫وﺳﻨﺴﺘﻌﺮض ﺑﺪاﻳﺔ وﺑﺈﻳﺠﺎز ﻧﺸﺄة ﻓﻰ ﻋﺎم ‪ ١٨٢٨‬ﺑﻌﺪ ﻧﺠﺎح ﻣﺤﻤﺪ‬ ‫اﻟﺼﺤﺎﻓﺔ اﻷرﻣﻨﻴﺔ ﻋﻠﻰ ﻣﺴﺘﻮى ﻋﻠﻰ ﻓﻰ ﻧﻴﻞ اﻻﺳﺘﻘﻼل اﻟﺬاﺗﻰ‬ ‫اﻟﻌﺎﻟﻢ ﺛﻢ ﺑﻌﺪ ذﻟﻚ ﺳﻨﺴﺘﻌﺮض ﻟﻬﺎ‪.‬‬ ‫إﺻﺪار أول ﺻﺤﻴﻔﺔ ﺑﺎﻟﻠﻐﺔ اﻷرﻣﻨﻴﺔ‬ ‫ﻓﻰ ﻣﺼﺮ ﻳﻮم ‪ ١٦‬ﻣﺎرس ‪ ١٨٦٥‬وﻛﺎن اﺳﻢ اﻟﺼﺤﻴﻔﺔ اﻷرﻣﻨﻴﺔ‬ ‫ﻣﺮ ﻋﻠﻰ ﺻﺪورﻫﺎ ﺧﻼل اﻷوﻟﻰ ﻓﻰ اﻟﻌﺎﻟﻢ ﻫﻮ )أزﺗﺎرار(‬ ‫واﻟﺬى ﱠ‬ ‫اﻟﺸﻬﺮ اﻟﺤﺎﻟﻰ ﻣﺎﺋﺔ وﺧﻤﺴﻮن ﻋﺎﻣﺎً ‪) .‬اﻟﻤﻨﺬر( ﺻﺪر ﻋﺪدﻫﺎ اﻷول ﻓﻰ ‪١٦‬‬ ‫أﻛﺘﻮﺑﺮ‪ ، ١٧٩٤‬واﺳﺘﻤﺮت ﻓﻰ‬ ‫ُﻳﺆﻛﺪ ﻣﺆرﺧﻮ اﻟﺼﺤﺎﻓﺔ أن أول اﻟﺼﺪور ﻛﺪورﻳﺔ ﺷﻬﺮﻳﺔ ﻟﻤﺪة‬ ‫ﺻﺤﻴﻔﺔ ﻣﻄﺒﻮﻋﺔ ﻓﻰ اﻟﻌﺎﻟﻢ ﺻﺪرت ﺛﻤﺎﻧﻰ ﻋﺸﺮ ﺷﻬﺮاً ﺣﻴﺚ ﺗﻮﻗﻔﺖ‬ ‫ﻓﻰ إﻳﻄﺎﻟﻴﺎ ﻋﺎم ‪ ١٥٦٣‬وﺗﻼﻫﺎ أول ﺑﻌﺪ ذﻟﻚ ﻓﻰ ﻣﺎرس ‪ ١٧٩٦‬ﻏﺎﻟﺒﺎً‬ ‫ﺻﺤﻴﻔﺔ ﻓﻰ ﻓﺮﻧﺴﺎ ﻋﺎم ‪. ١٦٠٥‬‬ ‫ﻟﻌﺪم ﺗﻮاﻓﺮ اﻟﻤﻮارد اﻟﻤﺎﻟﻴﺔ ‪.‬‬ ‫ﻗﺮون‪ ،‬ﺻﺪرت ﻓﻴﻬﺎ أول ﺻﺤﻴﻔﺔ‬ ‫ﻓﻰ ﻋﺎم ‪ ، ١٨٢٥‬أى ﺑﻌﺪ ﺛﻼﺛﻴﻦ ﻋﺎﻣﺎً‬ ‫وﻳﺰﻳﺪ ﻣﻦ ﺻﺪور أول ﺻﺤﻴﻔﺔ أرﻣﻨﻴﺔ‬ ‫ﻓﻰ اﻟﻬﻨﺪ ﻋﺎم ‪. ١٧٩٤‬‬

‫إﻋﺪاد‬ ‫ﺑﻴــــﺮچ ﺗﺮزﻳــــﺎن‬

‫وﺗﺤﺘﻞ ﺳﻮﻳﺴﺮا اﻟﻤﺮﻛﺰ اﻟﺜﺎﻟﺚ ﺣﻴﺚ‬ ‫ﺻﺪرت أول ﺻﺤﻴﻔﺔ ﺑﻬﺎ ﻋﺎم ‪.١٦٠٩‬‬ ‫أﻣﺎﻓﻰ اﻟﻨﻤﺴﺎ ﻓﺼﺪرت‬ ‫ﺻﺤﻴﻔﺔ ﻓﻰ ﻋﺎم ‪.١٦١٠‬‬

‫أول‬

‫وﻗﺪ ﺻﺪرت ﻓﻰ أﻟﻤﺎﻧﻴﺎ أول ﺻﺤﻴﻔﺔ‬ ‫ﻓﻰ ﻋﺎم ‪ ١٦١٢‬وﺗﻠﻰ ذﻟﻚ ﺻﺪور‬ ‫أول ﺻﺤﻴﻔﺔ ﻓﻰ إﻧﺠﻠﺘﺮا ﻋﺎم ‪.١٦٢٢‬‬ ‫ﺛﻢ ﺻﺪرت ﺻﺤﻒ ﻋﻠﻰ اﻟﺘﻮاﻟﻰ ﻓﻰ‬ ‫ﻛﻞ ﻣﻦ أﺳﺒﺎﻧﻴﺎ ﻓﻰ ﻋﺎم ‪١٦٢٦‬‬ ‫واﻟﺴﻮﻳﺪ ‪ ١٦٤٤‬و روﺳﻴﺎ ‪.١٧٠٣‬‬

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‫وﻳﺤﺘﻞ اﻷرﻣﻦ اﻟﻤﺮﻛﺰ اﻟﻌﺎﺷﺮ ﺑﻴﻦ‬ ‫ﻫﺬه اﻟﺪول ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﻋﺪم‬ ‫وﺟﻮد دوﻟﺔ أرﻣﻨﻴﺔ ﻣﺴﺘﻘﻠﺔ ﻓﻰ‬ ‫ﺗﻠﻚ اﻟﺤﻘﺒﺔ‪ ،‬وﻟﻘﺪ ﺻﺪرت أول‬ ‫ﺻﺤﻴﻔﺔ أرﻣﻨﻴﺔ ﻓﻰ اﻟﻌﺎﻟﻢ ﻋﺎم ‪١٧٩٤‬‬ ‫ﺑﻤﺪﻳﻨﺔ ﻣﺪراس ﺑﺎﻟﻬﻨﺪ‪ .‬وﺟﺪﻳﺮ‬ ‫ﺑﺎﻟﻤﻼﺣﻈﺔ أن ﺗﺮﻛﻴﺎ اﻟﻌﺜﻤﺎﻧﻴﺔ اﻟﺘﻰ‬ ‫ﻛﺎﻧﺖ ﺗﺤﺘﻞ أرﻣﻴﻨﻴﺔ اﻟﻐﺮﺑﻴﺔ ﻟﻌﺪة‬

‫ﻛﻤﺎ ﻛﺎﻧﺖ ﻫﻨﺎك ﺗﻮﺻﻴﺔ ﻹﺻﺪار‬ ‫اﻟﺠﺮﻳﺪة ﻣﻦ ﻧﻮﺑﺎر ﺑﺎﺷﺎ ﻧﻮﺑﺎرﻳﺎن )‬ ‫أول رﺋﻴﺲ وزراء ﻟﻤﺼﺮ ‪١٨٧٩ – ١٨٧٨‬‬ ‫( وﻛﺎﻧﺖ اﻟﺼﺤﻴﻔﺔ ﻣﻠﻚ ﻣﺠﻠﺲ‬ ‫إدارة ﻣﺪرﺳﺔ ﺧﻮرﻳﻨﻴﺎن اﻷرﻣﻨﻴﺔ )‬ ‫ﺗﺄﺳﺴﺖ ﻓﻰ ﻋﺎم ‪ ( ١٨٥٤‬ﻛﻤﺎ ﻛﺎن‬ ‫ﺻﺎﺣﺐ اﻻﻣﺘﻴﺎز ﻫﻮﭬﺴﻴﺐ أﻓﻨﺪى‬ ‫ﻣﺎﻧﻮﺟﻴﺎن ﻋﻀﻮ ﻣﺠﻠﺲ إدارة‬ ‫اﻟﻤﺪرﺳﺔ ‪.‬‬ ‫أﻣﺎ رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ ﻓﻬﻮ أﺑﺮاﻫﺎم‬ ‫ﻣﺮادﻳﺎن ‪.‬‬

‫وﻗﺪ وﻟﺪ ﻣﺮادﻳﺎن ﻋﺎم ‪ ١٨٣٣‬ﻓﻰ‬ ‫ﻣﺪﻳﻨﺔ ﻧﻴﻘﻮﻣﻴﺪﻳﺎ )ﻓﻰ ﺷﻤﺎل ﻏﺮب‬ ‫ﺗﺮﻛﻴﺎ( وﻓﻰ ﻋﺎم‪ ١٨٤٤‬زارت ﻋﺎﺋﻠﺔ‬ ‫ﻣﺮادﻳﺎن اﻷراﺿﻰ اﻟﻤﻘﺪﺳﺔ ﺣﻴﺚ‬ ‫ﻗﺎم واﻟﺪ ﻣﺮادﻳﺎن ﺑﻌﺪ إﻟﺤﺎح‬ ‫اﻷرﺛﻮذﻛﺲ‬ ‫اﻷرﻣﻦ‬ ‫ﺑﻄﺮﻳﺮك‬ ‫ﺑﺎﻟﻘﺪس ﺑﺘﻮﻟﻰ اﻟﺘﺪرﻳﺲ ﻓﻰ دﻳﺮ‬ ‫وﻛﺎن ﻣﺆﺳﺲ ﻫﺬه اﻟﺼﺤﻴﻔﺔ ﻣﺎرﻳﻌﻘﻮب اﻷرﻣﻨﻰ ﺑﺎﻟﻘﺪس ‪.‬‬ ‫ﻫﺎروﺗﻴﻮن‬ ‫اﻷب‬ ‫وﻣﺤﺮرﻫﺎ‬ ‫ﺷﻤﺎﭬﻮﻧﻴﺎن ‪ ،‬وﻫﻮ ﻣﻦ ﻣﻮاﻟﻴﺪ ‪ ١٧٥٠‬وأﻛﻤﻞ أﺑﺮاﻫﺎم ﺗﻌﻠﻴﻤﻪ ﺑﺎﻟﺪﻳﺮ ﻛﻤﺎ‬ ‫ﻓﻰ ﻣﺪﻳﻨﺔ ﺷﻴﺮاز اﻟﻔﺎرﺳﻴﺔ وﺗﻮﻓﻰ ﺗﻌﻠﱠ ﻢ ﺗﺠﻤﻴﻊ اﻟﺤﺮوف ﻓﻰ ﻣﻄﺒﻌﺔ‬ ‫وﻳﻌﺘﺒﺮ اﻷب اﻟﺪﻳﺮ ‪ .‬وﻋﺎد واﻟﺪ أﺑﺮاﻫﺎم ﻣﻊ ﻋﺎﺋﻠﺘﻪ‬ ‫ﻓﻰ ﻣﺪراس ﻋﺎم ‪ُ ١٨٢٤‬‬ ‫ﻓﻰ ﻋﺎم ‪ ١٨٤٦‬إﻟﻰ ﻧﻴﻘﻮﻣﻴﺪﻳﺎ ﺣﻴﺚ‬ ‫اﻟﺮوﺣﻰ ﻟﻠﺼﺤﺎﻓﺔ اﻷرﻣﻨﻴﺔ ‪.‬‬ ‫ﺗﻌﻠﻢ أﺑﺮاﻫﺎم ﻣﻦ واﻟﺪه اﻟﻠﻐﺎت‬ ‫ﻧﻌﻮد اﻵن إﻟﻰ ﺻﺤﻴﻔﺔ ))أرﻣﺎﭬﻴﻨﻰ اﻷرﻣﻨﻴﺔ واﻟﺘﺮﻛﻴﺔ واﻹﻳﻄﺎﻟﻴﺔ‪.‬‬ ‫(( اﻟﺘﻰ ﺻﺪرت ﻓﻰ ﻣﺼﺮ ) اﻟﻘﺎﻫﺮة (‬ ‫وﺑﺘﺸﺠﻴﻊ ﻣﻦ أﻗﺎرﺑﻪ ‪ ،‬أﺻﺪر أﺑﺮاﻫﺎم‬ ‫ﻋﺎم ‪.١٨٦٥‬‬ ‫ﻓﻰ ﻧﻴﻘﻮﻣﻴﺪﻳﺎ ﺻﺤﻴﻔﺔ أﺳﺒﻮﻋﻴﺔ‬ ‫وﻃﺒﻘﺎً ﻟﻠﺒﻴﺎﻧﺎت ة ﻋﻨﻬﺎ‪ ،‬ﻓﻬﻰ ﺑﺈﺳﻢ )ﻫﺎﻳﺮﻳﻨﺎﺳﻴﺮ( )ﻣﺤﺐ اﻟﻮﻃﻦ(‬ ‫ﺻﺤﻴﻔﺔ ﻧﺼﻒ ﺷﻬﺮﻳﺔ ‪ ،‬ﺻﺪرت ﻣﻨﻬﺎ ﻓﻰ اﻟﻤﺪة ﻣﻦ ﻣﺎﻳﻮ ‪ ١٨٥٠‬إﻟﻰ ﻳﻮﻟﻴﺔ‬ ‫ﺧﻼل ﻋﺎم ‪ ١٨٦٥‬أرﺑﻌﺔ أﻋﺪاد ﺣﺴﺐ ‪ ، ١٨٥٣‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ أن أﺑﺮاﻫﺎم ﻛﺎن‬ ‫واﻟﻄﺒﻴﻊ‬ ‫واﻟﺠﻤﻴﻊ‬ ‫اﻟﺒﻴﺎن اﻵﺗﻰ‪ ١٦ :‬ﻣﺎرس‪ ،‬أول أﺑﺮﻳﻞ ﻳﻘﻮم ﻫﺎم اﻟﻤﺤﺮر‬ ‫ّ‬ ‫ّ‬ ‫‪ ١٦،‬أﺑﺮﻳﻞ‪ ،‬أول ﻣﺎﻳﻮ ﺛﻢ ﺗﻮﻗﻔﺖ ﺑﻌﺪ ‪ ،‬ﻓﺈن إﻳﺮادات اﻟﺼﺤﻴﻔﺔ ﻛﺎﻧﺖ أﻗﻞ‬ ‫ﺗﺴﺒﺐ ﻓﻰ‬ ‫ﻣﻦ ﻣﺼﺎرﻳﻔﻬﺎ ﻣﻤﺎ‬ ‫ذﻟﻚ‪.‬‬ ‫ﱠ‬ ‫وﻗﻒ إﺻﺪار اﻟﺼﺤﻴﻔﺔ ‪.‬‬ ‫وﻛﺎن وراء ﺗﺄﺳﻴﺲ اﻟﺼﺤﻴﻔﺔ‬ ‫اﻷﺳﻘﻒ ﻣﺠﺮدﻳﺘﺶ ﻛﻴﻔﺴﻴﺰﻳﺎن اﻧﺘﻘﻞ أﺑﺮاﻫﺎم ﺑﻌﺪ ذﻟﻚ إﻟﻰ‬ ‫ﻧﺎﺋﺐ ﻣﺮﺧﺺ اﻷرﻣﻦ اﻷرﺛﻮذﻛﺲ اﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ )اﻷﺳﺘﺎﻧﺔ( ﺣﻴﺚ‬ ‫ﺗﻔﻮق ﻓﻰ ﺗﻌﻠﱡ ﻢ اﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﻓﻰ ﻣﺼﺮ‪.‬‬

‫‪P‬‬

‫‪ME‬‬

‫‪PAPER‬‬

‫‪MIDDLE EAST‬‬

‫إﻧﻄﻼق أﻛﺒﺮ ﺛﻼث ﻣﻌﺎرض دوﻟﻴﻪ ﻣﺘﺨﺼﺼﻪ ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﻮرق واﻟﻜﺮﺗﻮن و ﻣﻨﺘﺠﺎﺗﻪ و اﻟﻮرق‬ ‫اﻟﺼﺤﻰ و ﻣﻨﺘﺠﺎﺗﻪ وﺻﻨﺎﻋﺔ اﻟﺘﻌﺒﺌﺔ و اﻟﺘﻐﻠﻴﻒ و ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ ﻓﻲ ﻣﺼﺮ واﻟﺸﺮق اﻷوﺳﻂ‬ ‫ﻓﻰ اﻟﻔﺘﺮة ﻣﻦ ‪ ٢٢‬اﻟﻰ ‪ ٢٤‬أﻛﺘﻮﺑﺮ اﻟﻘﺎدم‬ ‫ﻓﻰ ﻏﻀﻮن أﻳﺎم ﻗﻠﻴﻠﻪ ﻓﻰ اﻟﻔﺘﺮة‬ ‫ﻣﻦ ‪ ٢٢‬اﻟﻰ ‪ ٢٤‬أﻛﺘﻮﺑﺮ ‪ ٢٠١٥‬ﺳﻮف‬ ‫ﻳﻨﻄﻠﻖ أﻛﺒﺮ ﺛﻼث ﻣﻌﺎرض دوﻟﻴﺔ‬ ‫ﻣﺘﺨﺼﺼﺔ ﻓﻰ ﺻﻨﺎﻋﺔ اﻟﻮرق و‬ ‫اﻟﻜﺮﺗﻮن و اﻟﺘﻌﺒﺌﺔ و اﻟﺘﻐﻠﻴﻒ و‬ ‫اﻟﻮرق اﻟﺼﺤﻰ ﻓﻰ دورﺗﻪ اﻟﺮاﺑﻌﺔ و‬ ‫اﻟﺬى ﻳﻘﻮم ﺑﺘﻨﻈﻴﻤﻪ ﺷﺮﻛﺔ اﻟﻨﻴﻞ‬ ‫ﻟﻠﻤﻌﺎرض اﻟﺪوﻟﻴﺔ ﺑﺮﻋﺎﻳﺔ اﻟﻤﺠﻠﺲ‬ ‫اﻟﺘﺼﺪﻳﺮى ﻟﻠﺼﻨﺎﻋﺎت اﻟﻜﻴﻤﺎوﻳﺔ و‬ ‫اﻷﺳﻤﺪه وﻏﺮﻓﺔ ﺻﻨﺎﻋﺎت اﻟﻄﺒﺎﻋﺔ‬ ‫و اﻟﺘﻌﺒﺌﺔ و اﻟﺘﻐﻠﻴﻒ ﺑﺈﺗﺤﺎد‬ ‫اﻟﺼﻨﺎﻋﺎت اﻟﻤﺼﺮﻳﺔ و ﺣﻴﺚ اﻧﻪ ﻳﻌﺘﺒﺮ‬ ‫ﻣﻦ أﻫﻢ اﻟﻤﻌﺎرض اﻟﺪوﻟﻴﺔ اﻟﺼﻨﺎﻋﻴﺔ‬ ‫وأﻛﺒﺮﻫﺎ ﻋﻠﻰ‬ ‫و اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻣﺴﺘﻮى ﻣﺼﺮ و أﻓﺮﻳﻘﻴﺎ واﻟﺸﺮق‬ ‫اﻷوﺳﻂ ‪ ،‬واﻟﺬى ﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻪ‬ ‫اﻟﺘﺮوﻳﺞ ﻟﻤﻨﺘﺠﺎﺗﻜﻢ وﺧﺪﻣﺎﺗﻜﻢ‬ ‫واﻟﺘﻌﺮﻳﻒ ﺑﻬﻤﺎ ﺑﻴﻦ ﻣﺠﺘﻤﻊ رﺟﺎل‬ ‫اﻷﻋﻤﺎل ﻣﻦ اﻟﻤﺴﺘﻮردﻳﻦ و اﻟﻤﺼﺪرﻳﻦ ‪.‬‬ ‫ﻳﻘﺪم ﻫﺬا اﻟﺤﺪث ﻫﺬا اﻟﻌﺎم و‬ ‫اﻟﻤﺘﺨﺼﺺ ﻓﻰ ﺻﻨﺎﻋﺔ اﻟﻮرق و‬

‫اﻟﻜﺮﺗﻮن و اﻟﻮرق اﻟﺼﺤﻰ و اﻟﺘﻌﺒﺌﺔ‬ ‫و اﻟﺘﻐﻠﻴﻒ و اﻟﻄﺒﺎﻋﺔ ﻓﺮﺻﺔ ﻓﺮﻳﺪة‬ ‫ﻹﻗﺎﻣﺔ أﻋﻤﺎل ﺗﺠﺎرﻳﺔ ﻓﻲ ﻣﺼﺮ‬ ‫ﺑﺼﻔﺔ ﺧﺎﺻﺔ و اﻟﺸﺮق اﻷوﺳﻂ‬ ‫وأﻓﺮﻳﻔﻴﺎ ﺑﺼﻔﺔ ﻋﺎﻣﺔ و أﺑﺮام‬ ‫اﻟﺘﻌﺎﻗﺪات ﻣﻊ اﻟﻤﺼﺎﻧﻊ و اﺻﺤﺎب‬ ‫اﻟﻘﻄﺎﻋﺎت اﻟﻤﺴﺘﻔﻴﺪه ﻣﻦ اﻟﻤﻌﺮض ‪.‬‬ ‫وﺻﺮح اﻟﻤﻬﻨﺪس ‪ /‬ﻋﻤﺎد ﺷﻌﻼن‬ ‫ﻣﺪﻳﺮ ﻋﺎم ﺷﺮﻛﺔ اﻟﻨﻴﻞ ﻟﻠﻤﻌﺎرض‬ ‫اﻟﺪوﻟﻴﺔ اﻧﻪ ﺳﻮف ﻳﺸﻬﺪ اﻟﻤﻌﺮض‬ ‫ﻓﻰ دورﺗﻪ اﻟﺤﺎﻟﻴﺔ ﻧﺠﺎﺣﺎ ﻏﻴﺮ‬ ‫ﻣﺴﺒﻮق و ذﻟﻚ ﺑﺴﺒﺐ إﺳﺘﻀﺎﻓﺔ‬ ‫‪١٠‬ﺑﻌﺜﺎت ﺗﺠﺎرﻳﺔ ﺗﻀﻢ ‪ ١٠٠‬رﺟﻞ‬ ‫اﻋﻤﺎل ﻣﻦ ﻋﺪة دول ) ﺗﺮﻛﻴﺎ –‬ ‫ﻗﺒﺮص – ﻛﻴﻨﻴﺎ – اوﻏﻨﺪا – ﺟﻨﻮب‬ ‫اﻓﺮﻳﻘﻴﺎ ‪-‬اﻟﺴﻌﻮدﻳﺔ – ﻟﺒﻨﺎن –‬ ‫اﻟﻤﻐﺮب – اﻻردن ‪ -‬اﻟﺴﻮدان ( و‬ ‫ﺗﻠﻚ اﻟﺒﻌﺜﺎت اﻟﺘﺠﺎرﻳﺔ ﻫﺪﻓﻬﺎ‬ ‫اﻟﺮﺋﻴﺴﻰ ﻫﻮ اﺑﺮام اﻟﺘﻌﺎﻗﺪات ﻣﻊ‬ ‫اﺻﺤﺎب اﻟﻤﺼﺎﻧﻊ و اﻟﺸﺮﻛﺎت‬ ‫اﻟﻌﺎرﺿﺔ و ذﻟﻚ ﻟﻔﺘﺢ اﺳﻮاق‬

‫ﺗﺼﺪﻳﺮﻳﺔ ﺟﺪﻳﺪه ﺑﺪﻻ ﻣﻦ اﻻﺳﻮاق‬ ‫اﻟﺘﻰ ﺗﻌﻄﻠﺖ او أﻏﻠﻘﺖ ﺑﺴﺒﺐ‬ ‫اﻹﺿﻄﺮاﺑﺎت اﻟﺴﻴﺎﺳﻴﺔ ﻓﻰ ﺑﻌﺾ‬ ‫دول اﻟﺸﺮق اﻷوﺳﻂ ﻣﺜﻞ ﻟﻴﺒﻴﺎ و‬ ‫اﻟﻴﻤﻦ و ﺳﻮرﻳﺎ‪.‬‬ ‫و ﻟﻬﺬا ﻓﻴﻌﺘﺒﺮ ﻫﺬا اﻟﺤﺪث و‬ ‫اﻟﻤﺘﺨﺼﺺ ﻓﻰ ﺻﻨﺎﻋﺔ اﻟﻮرق و‬ ‫اﻟﻜﺮﺗﻮن واﻟﻮرق اﻟﺼﺤﻰ و اﻟﺘﻌﺒﺌﺔ و‬ ‫اﻟﺘﻐﻠﻴﻒ و اﻟﻄﺒﺎﻋﺔ ﻓﺮﺻﺔ ﻟﻤﻌﺮﻓﺔ‬ ‫ﻛﻞ ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ ﻓﻰ ﻣﺠﺎل ﺻﻨﺎﻋﺔ‬ ‫اﻟﻮرق و اﻟﻜﺮﺗﻮن و اﻟﻮرق اﻟﺼﺤﻰ و‬ ‫اﻟﺘﻌﺒﺌﺔ و اﻟﺘﻐﻠﻴﻒ و اﻟﻄﺒﺎﻋﺔ ﻛﻤﺎ‬ ‫اﻧﻪ ﻳﻌﺘﺒﺮ ﻓﺮﺻﺔ ﻣﻤﺘﺎزة ﻟﻔﺘﺢ اﺳﻮاق‬ ‫ﺟﺪﻳﺪه ﺑﺪﻳﻠﻪ ‪.‬‬ ‫ﻛﻤﺎ أﻧﻪ ﻣﻦ اﻟﻤﺘﻮﻗﻊ أن ﻳﺸﻬﺪ‬ ‫اﻟﻤﻌﺮض اﻗﺒﺎﻻ ﻣﺘﺰاﻳﺪا ﻣﻦ اﻟﺰاﺋﺮﻳﻦ‬ ‫اﻟﻤﺼﺮﻳﻴﻦ و اﻻﺟﺎﻧﺐ ‪ ،‬آﻣﻠﻴﻴﻦ ﻣﻦ‬ ‫اﻟﻠﻪ ﻋﺰ وﺟﻞ ان ﻳﻜﻮن ﺷﺎﻫﺪاً ﻋﻠﻰ‬ ‫دﻋﻢ وﺗﻄﻮر اﻟﺼﻨﺎﻋﺎت اﻟﻮرﻗﻴﺔ ﻓﻲ‬ ‫ﻣﺼﺮ وﻳﻔﺘﺢ أﺳﻮاق ﺟﺪﻳﺪة‬ ‫ﻟﻠﻤﺸﺎرﻛﻴﻦ ﻓﻲ اﻟﻤﻌﺮض‪.‬‬

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‫اﻟﻤﻄﺒﻌﺔ اﻟﻮﻃﻨﻴﺔ ‪....‬‬

‫أﻗﺪم ﻣﻄﺎﺑﻊ اﻻردن‬

‫ﻗﺎﻣﺖ ﻣﺠﻠﺔ أراب ﭘﺮﻳﻨﺖ ﻣﻴﺪﻳﺎ‬ ‫ﺑﺰﻳﺎرة واﺣﺪة ﻣﻦ أﻗﺪم ﻣﻄﺎﺑﻊ‬ ‫اﻷردن اﻟﺸﻘﻴﻖ ﻓﻰ ﻋﺎﺻﻤﺘﻬﺎ‬ ‫اﻟﺠﻤﻴﻠﺔ ﻋﻤﺎن‪ ،‬وﻫﻰ اﻟﻤﻄﺒﻌﺔ‬ ‫اﻷﻫﻠﻴﺔ‪ ،‬واﻟﺘﻰ ﻳﺮﺟﻊ ﺗﺎرﻳﺦ‬ ‫إﻧﺸﺎﺋﻬﺎ اﻟﻰ ﻋﺎم ‪1925‬‬ ‫ﺑﺎﺳﺘﺨﺪام اﻟﻤﻜﻨﺎت اﻟﻴﺪوﻳﺔ‬ ‫واﻟﺘﻰ ﺗﻌﻤﻞ ﺑﺎﻷﻗﺪام‪.‬‬ ‫وأﺛﻨﺎء اﻟﺰﻳﺎرة ﺗﻘﺎﺑﻠﻨﺎ ﻣﻊ اﻻﺳﺘﺎذ‬ ‫ﻋﻤﺮ ﺳﻤﺎن ﻧﺎﺋﺐ رﺋﻴﺲ ﻣﺠﻠﺲ‬ ‫اﻻﻧﺘﺎج‬ ‫وﻣﺪﻳﺮ‬ ‫اﻻدارة‬ ‫ﺑﺎﻟﻤﻄﺎﺑﻊ‪،‬اﻟﺬى ﺣﻜﻰ ﻟﻨﺎ ﺗﺎرﻳﺦ‬ ‫أﻫﻢ‬ ‫وﺷﺮح‬ ‫اﻟﻤﻄﺒﻌﺔ‬ ‫ﺑﻬﺎ‪،‬‬ ‫اﻟﺨﺎﺻﺔ‬ ‫اﻟﻤﻌﻠﻮﻣﺎت‬ ‫ﻣﻮﺿﺤﺎً اﻧﻬﺎ اﻟﻴﻮم ﺗﺸﻐﻞ‬ ‫ﻣﺴﺎﺣﺔ ﺗﺼﻞ اﻟﻰ ‪ 11000‬ﻣﺘﺮ‬ ‫ﻣﺮﺑﻊ ﻳﻤﺜﻞ ‪ 4500‬ﻣﺘﺮ ﻣﻨﻬﺎ‬ ‫اﻟﻤﺨﺎزن اﻟﻤﺨﺘﻠﻔﺔ‪،‬وﻳﻌﻤﻞ ﺑﻬﺎ‬ ‫أﻛﺜﺮ ﻣﻦ ‪ 200‬ﺷﺨﺺ وﺑﻬﺎ‬ ‫اﻟﻤﻜﻨﺎت‬ ‫وأﺳﺮع‬ ‫أﺣﺪث‬ ‫واﻷﻧﻈﻤﺔ اﻟﻌﺎﻟﻤﻴﺔ ﻓﻰ ﻛﻞ‬ ‫اﻻﻧﺘﺎج‬ ‫وﻣﺮاﺣﻞ‬ ‫ﻣﺠﺎﻻت‬ ‫اﻟﻄﺒﺎﻋﻰ ﻋﺎﻟﻲ اﻟﻤﺴﺘﻮى ‪.‬‬ ‫ﻓﻰ ﻣﺮﺣﻠﺔ اﻟﺘﺠﻬﻴﺰات اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﻟﺪى اﻟﻤﻄﺒﻌﺔ أﺣﺪث اﻟﺒﺮاﻣﺞ‬

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‫اﻟﺘﺸﻐﻴﻠﻴﺔ اﻟﺘﻰ ﺗﻌﻤﻞ ﻋﻠﻰ اﻛﺜﺮ‬ ‫ﻣﻦ ‪ 40‬ﺟﻬﺎز ﻛﻤﺒﻴﻮﺗﺮ ﻣﻦ‬ ‫ﻃﺮازي اﻵﭘﻞ واﻟﭙﻲ ﺳﻰ ‪ ،‬اﻟﻰ‬ ‫ﺟﺎﻧﺐ ﻋﺪة ﻣﺎﺳﺤﺎت ﺿﻮﺋﻴﺔ‬ ‫وﺛﻼﺛﺔ اﻧﻈﻤﺔ ﺳﻲ ﺗﻲ ﭘﻲ‬ ‫ﻻﺧﺮاج اﻻﻟﻮاح اﻟﻄﺒﺎﻋﻴﺔ ﻣﻦ‬ ‫اﻟﻜﻤﺒﻴﻮﺗﺮ ﻣﺒﺎﺷﺮة‪ ،‬واﻧﻈﻤﺔ‬ ‫اﻟﺘﺠﺎرب‬ ‫ﻻﻧﺘﺎج‬ ‫ﻣﺘﻌﺪدة‬ ‫واﻟﺒﺮوﻓﺎت اﻟﻤﻠﻮﻧﺔ ‪.‬‬ ‫اﻣﺎ ﻓﻰ اﻟﻤﺮﺣﻠﺔ اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﺣﻮاﻟﻰ‬ ‫اﻟﻤﻄﺒﻌﺔ‬ ‫ﻓﺘﻤﺘﻠﻚ‬ ‫ﺧﻤﺴﻮن وﺣﺪة ﻃﺒﺎﻋﻴﺔ ﻣﺨﺘﻠﻔﺔ‬ ‫اﻟﻤﻘﺎﺳﺎت ﻋﻠﻰ ﻣﻜﻨﺎت ﻃﺒﺎﻋﺔ‬ ‫ﻟﻴﺜﻮ اوﻓﺴﺖ ذات اﻟﺘﻐﺬﻳﺔ‬ ‫ﺑﺎﻷﻓﺮخ وﻛﻠﻬﺎ ﻣﻦ ﺷﺮﻛﺔ‬ ‫ﻫﺎﻳﺪﻟﺒﺮج‪ ،‬اﻟﻰ ﺟﺎﻧﺐ ﻣﻜﻨﺘﻴﻦ‬ ‫ذات اﻟﺘﻐﺬﻳﺔ ﺑﺎﻟﻮﻳﺐ ﻃﺮاز‬ ‫ﺟﻮس واﺣﺪة ‪ 4/4‬واﻻﺧﺮى‬ ‫‪ 6/6‬وﺑﻤﻘﺎﺳﺎت ﻗﻄﻊ ‪59،8‬‬ ‫ﺳﻢ ﻛﻤﺎ ﻟﺪى اﻟﻤﻄﺒﻌﺔ ﻣﻜﻨﺔ‬ ‫ﻃﺒﺎﻋﺔ رﻗﻤﻴﺔ ﺣﺪﻳﺜﺔ ﻣﻦ ﺷﺮﻛﺔ‬ ‫ﻛﻮداك ﻃﺮاز ﻧﻴﻜﺲ ﭘﺮﻳﺲ‬ ‫وﻣﻜﻨﺔ إم ﭼﻰ اى ﻟﻠﺘﻐﻄﻴﺔ‬ ‫ﺑﺎﻟﻮرﻧﻴﺸﺎت اﻟﻤﺘﻨﻮﻋﺔ ﻋﻠﻰ‬ ‫اﻻﻓﺮخ ﺣﺘﻰ ﻣﻘﺎﺳﺎت ‪ 25‬ﻓﻰ‬ ‫‪ 105‬ﺳﻢ ‪.‬‬

‫اﻟﺘﺠﻠﻴﺪ‬ ‫ﻣﺮﺣﻠﺔ‬ ‫وﻓﻰ‬ ‫واﻟﺘﺸﻄﻴﺐ اﻟﻄﺒﺎﻋﻰ ﻟﺪى‬ ‫اﻟﺸﺮﻛﺔ ﻣﺠﻤﻮﻋﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻣﻦ‬ ‫اﻻﻧﻈﻤﺔ واﻟﻤﻜﻨﺎت اﻟﺘﻰ ﺗﻐﻄﻰ‬ ‫ﻛﺎﻓﺔ اﻧﻮاع اﻟﺘﺠﻠﻴﺪ واﻟﺘﺸﻄﻴﺐ‬ ‫وﺗﺴﺘﻄﻴﻊ إﻧﺘﺎج ﻣﺪى ﻣﺘﻨﻮع‬ ‫وواﺳﻊ ﻣﻦ اﻟﻤﻨﺘﺠﺎت اﻟﻄﺒﺎﻋﻴﺔ‬ ‫ﺑﺴﺮﻋﺔ وﻛﻔﺎءة‪.‬‬ ‫وﺗﺘﻀﻤﻦ ﻫﺬة اﻟﻤﺮﺣﻠﺔ ﺳﺘﺔ‬ ‫ﻣﻜﻨﺎت ﻃﻰ‪ ،‬ﺛﻼﺛﺔ ﺧﻄﻮط‬ ‫ﻟﻠﺒﺸﺮ واﻟﺘﻐﺮﻳﺔ ذات ﻋﺪد‬ ‫ﻣﺤﻄﺎت ‪15‬و‪21‬و‪ ،24‬ﺧﻄﻴﻦ‬ ‫ﻟﻠﺘﺪﺑﻴﺲ ﺑﻌﺪد ﻣﺤﻄﺎت ‪8‬و‪،10‬‬ ‫ﺛﻼﺛﺔ ﻣﻜﻨﺎت ﻟﻠﺤﻴﺎﻛﺔ وﺧﻂ‬ ‫ﻟﻠﺘﺠﻠﻴﺪ اﻟﻔﺎﺧﺮ ‪.‬‬ ‫واوﺿﺢ اﻟﺴﻴﺪ ﻋﻤﺮ ﻓﻰ اﻟﻨﻬﺎﻳﺔ‬ ‫ﺑﺄن اﻟﻤﻄﺒﻌﺔ ﻣﻠﺘﺰﻣﺔ داﺋﻤﺎ‬ ‫ﺑﺎﻧﺘﺎج أﻓﻀﻞ اﻟﻤﻄﺒﻮﻋﺎت ﺑﺄﻋﻠﻰ‬ ‫ﻣﻤﻜﻨﺔ‬ ‫ﺟﻮدة‬ ‫ﻣﺴﺘﻮى‬ ‫وﺑﺴﺮﻋﺎت واﺳﻌﺎر ﻣﻨﺎﻓﺴﺔ‬ ‫ﻟﻠﻐﺎﻳﺔ‪ ،‬وان ﺑﺎﻟﻤﻄﺒﻌﺔ ﻗﺴﻢ‬ ‫وﻓﺮﻳﻖ ﺧﺎص ﻟﻤﺮاﻗﺒﺔ ﺟﻮدة‬ ‫اﻻﻧﺘﺎج‪ ،‬واﻧﻬﺎ ﺣﺼﻠﺖ ﻋﻠﻰ‬ ‫ﺷﻬﺎدة اﻷﻳﺰو ‪ 9001‬ﻟﻌﺎم‬ ‫‪.2008‬‬

metal halls," this is where the providers of traditional printing processes are located. Among their num-ber are: Baumann, Cerutti, Ferag, Goss, Koenig & Bauer, Kol-bus, Komori, manroland sheetfed, manroland web systems, Ry-obi, Windmöller & Hölscher, Wohlenberg. Materials: Primarily located in Halls 3 and 4 with exhibitors Bor-deaux, Fedrigoni, Flint Group, Leonhard Kurz, Mondi and Siegwerk Farben. Future Technologies + 3D Printing: Primarily located in Halls 3, 6, 7.0 and 7A. Exhibitors include OE-A (Organic Electronics Association); ESMA (Association for Specialist Printing Manu-facturers of Screen, Digital and Flexo technology); working group Additive Manufacturing at VDMA; Stratasys, a world mar-ket leader in 3D printing; Leapfrog and Massivit 3D Printing Technologies. Added to this is the fact that some exhibitors have moved to completely different halls. The reasons for this lie primarily in the new space requirements for individual exhibitors or strategic partnerships. For example, Hewlett-Packard has moved to Hall 17, Müller Martini to Hall 2, PrintCity to Hall 12 and manroland sheetfed and manroland web systems to Hall 14. Heidelberger Druckmaschinen, along with partners Masterwork, Polar-Mohr and Stora Enso, is occupying Hall 1.

Added value: additional events programme As at drupa 2012, the specialised programme of additional events including the drupa innovation park, drupa cube and the brands PEPSO . (Printed Electronics Products and Solutions), 3d fab + print and the packaging touchpoint will enrich the trade fair and offer drupa visitors genuine added value. At the drupa in-novation park, everything revolves around forward-thinking in-novations and business cases relating to process-oriented print and publishing solutions. This provides an excellent opportunity for young companies and start-ups, as well as global players with future-oriented solutions. Visitors in turn have the unri-valled advantage provided by dip in Hall 7.0 to discover for-ward-thinking innovations, solutions and business cases in a central and clearly laid out area. Presentations, talks and inter-views in the dip energy

lounge round out the offerings from about 130 exhibitors. The drupa cube is now heading for the starting blocks with a new approach of "Entertaining, Educating, Engaging." The fo-cus here is on innovation in print and the wide range of applica-tion options for printed products across the widest range of in-dustries and spheres of life. The aim of the drupa cube is to pro-vide a platform to present this future potential. At the same time, it is important to take an interdisciplinary approach to create a bridge between creative agencies, marketers, brand owners and vertical markets. The visionary touchpoint for packaging pro-duction showcases the latest trends and brings together the en-tire value-added chain relating to package printing and ﬁnishing in the form of keynotes, panel discussions and presentations.

The Print 4.0 megatrend at drupa: end-to-end digital networking of machines and systems

With a new strategic alignment, an optimised duration of 11 days, new branding and a shortened three-year cycle, the lead-ing international trade show for print and cross-media solutions is heading for the starting line. Under the theme "touch the fu-ture," drupa will focus on innovation in the sector and provide a platform for presenting future technologies. The primary focus is on exciting trends of tomorrow in the areas of print, packaging production, multichannel communications, 3D printing, func-tional printing and green printing.

row in the 19 halls of Düsseldorf's trade fair centre. "It is true that the number of exhibitors is lower than drupa 2012, due to mergers and market shakeouts, but this has no effect on the quality of drupa itself. International global players and market leaders will be there together with upcoming and innovative companies from around the world. The full spectrum of print and cross-media technologies and solutions is represented. This comprehensive 360-degree overview of the entire industry is only available at drupa.

"It's clear that we are on the right track with this strategic reposi-tioning and focus on future and highlight topics. The response from the international supplier industry is very good – which we couldn't take for granted," says drupa Director Sabine Gelder-mann. Between 31 May and 10 June 2016, about 1,500 exhibi-tors from more than 50 countries will showcase the versatility and innovation of the printing industry of today and tomor

The Print 4.0 megatrend: end-to-end digital workﬂow "Print 4.0 is the enabler for individualisation and personalisation in digital printing, high-quality packaging and the fast-growing range of solutions in industrial and functional printing – and it will be the megatrend at drupa 2016," explains Claus Bol-za-Schünemann, President of drupa and President of the Exec-utive Board at Koenig & Bauer AG. "Thanks to its networked

process chains, Print 4.0 is already the leader of Industry 4.0. To us this means an end-to-end digital workﬂow made possible by the intelligent networking of our machines and systems." This networking is very much a theme of the trade fair, deter-mining its cycles and structures. A clear, consistent indus-try-based structure as in the past is no longer appropriate. But there are major focal points to make it easier for visitors to ﬁnd what they are looking for: Digital Printing, Prepress, Premedia and Multichannel: Primarily located in Halls 5, 7a, 7.0, 8a, 8b, 9 and 17. Exhibitors include Agfa, Canon, EFI, Epson, Esko, Fuji, HP, Hunkeler, Kodak, Konica Minolta, Landa, Mimaki, Ricoh, Roland, Screen, Sharp, Xeikon and Xerox. Packaging and Converting: Primarily located in Halls 10, 11 and 12. With representatives Ash Converting, Atlas Converting, At-lantic Zeiser, Bobst, Brandjen, Comexi and Print City. Print + Finishing: Primarily located in Halls 13, 14, 15 and 16. Traditionally the "heavy

drupa 2016 Use Print@home and free transport to drupa by bus and train The online ticket shop opens on 2nd January 2016

Attractive offers for travel and accommodation Tickets for drupa 2016 (31 May to 10 June 2016) will be available online from 02 January 2016 at www.drupa.de. Provided as e-tickets, they will of-fer a dual purpose: to save time and money. Visitors can buy the tickets online and print them on their own printer or download as a code and then travel to the show free of charge by bus and train. Furthermore, the e-ticket is much cheaper than any ticket bought on the day. Daily tickets cost 45 euros online whereas the price at the ticket offices onsite in Düsseldorf is 65 euros. Visitors who want to come to drupa for more than one day also profit from the online offers. A three-day card is available via the internet for 120 euros instead of 175 euros when purchased onsite. When buying the five-day ticket you can save as much as 100 euros and pay 190 euros instead of 290 euros when purchased on-site. Reduced price tickets for students and trainees are

also much cheaper online: 15 euros instead of 25 euros onsite. If you're looking for a place to stay at drupa, Düsseldorf Marketing & Tour-ismus (DMT) offers an excellent service. This local organisation has the best overview of hotels and private accommodation available in Düsseldorf and surrounding areas during drupa. They will also help visitors with their booking arrangements. The range of hotels has expanded further since the last drupa. Currently there are nearly 79,000 hotel beds available in the Düsseldorf metropolitan area. In the Düsseldorf city region alone around 1,000 new hotel beds have been created in recent years and another 900 beds in the surrounding towns (e.g. Essen, Krefeld, Mönchengladbach or Wuppertal). The DMT has put together its complete service package for drupa online which is certainly worth a click: http://business.duesseldorf-tourismus.de/messe/drupa/.

The drupa exhibition is open daily from 10.00 to 18.00 hours (up to 17.00 hours at the weekend). All drupa tickets include free return travel to the trade show by bus, train and tram within the local travel networks Verkehrsverbunds Rhein-Ruhr (VRR) and Rhein-Sieg (VRS) (2nd class, only trains without surcharges). More information on the route network can be found at http://www.vrr.de and www.vrs-info.de. Added to this is an attractive offering from Messe Düsseldorf, Deutsche Bahn and DMT speciﬁcally for drupa visitors who live outside these two transport networks: You can travel from all German cities – whether Ham-burg or Munich – for 99 euros return to Düsseldorf. This offer is valid for second class tickets and can be booked around three months to prior to the event.