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APRIL 2010 GRAPHIC ARTS MAGAZINE

is published ten times per year by B.K.L.K Inc. 72 Main St. Mount Albert, ON L0G 1M0 Phone: 905-473-9111 Fax: 905-473-6826 Outside Toronto: 1-877-513-3999 e-mail: info@graphicartsmag.com www.graphicartsmag.com

COVER STORY

Getting personal with 1:1

HTTP://FARM3.STATIC.FLICKR.COM/2398/1510832454_0C4D8E51F3.JPG?V=0

Submission deadlines are as follows: April 12 for May 2010 May 17 for June 2010 Publications Mail Agreement No. 40029380 Return undeliverable Canadian addresses to: Graphic Arts Magazine, 72 Main St. Mount Albert, ON L0G 1M0 email: circ@graphicartsmag.com

Publisher: Joe Mulcahy Associate Editors: Natalia Gilewicz

Kristen Read

Copy Editor: Mandy Bayrami

Senior writer: Tony Curcio Sales & Marketing Manager: Brian Collins Account Managers: Maureen O’Sullivan

Sandy Lee

Tim Mulcahy Classified Manager: Bruce MacLean Creative Director: Javad Ahmadi AliveProStudios.com

Layout: George Dedopoulos Cover: AliveProStudios.com CTP supplied by: Sina Printing Paper: Buntin Reid

Printing: Sina Printing GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Norm Beange • Diana Brown • Peter Dulis Natalia Gilewicz • Andrea Mahoney • Tim Mitra Myrna Penny • Kristen Read • Heidi Tolliver-Nigro 2010 EDITORIAL BOARD

Javad Ahmadi, AliveProStudios.com Ernie Bardocz Danny Ionescu, HP Evan Cambray, Spicers Ken Harbin, Robert E. Thistle Ltd. Steve Klaric, Heidelberg Canada Jana Lucatch, Magnum Fine Commercial Printing George Mazzaferro, RP Graphics Group Brian O’Leary, Kwik Kopy Angus Pady, Digital Solutions Paul Tasker, Spicers

18 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read Tony Karg, senior director of business development and marketing, Fujifilm Graphics, on social networking technology as a marketing tool

22 Getting personal with 1:1 . . . . . . . . . . . . . . . . . . . . . . Heidi Tolliver-Nigro An in-depth look at what 1:1 can do for you

28 Featured markets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read This month: offset printers and in-line press enhancements

34 Short run colour: the technologies that drive it . . . . . . . . Myrna Penny What the major players are saying

38 Bangtail panels for direct-mail effectiveness . . . . . . . . .

Norm Beange

Tips for more efficient bangtails

40 Inkjet proofing systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Dulis Some of the market’s leading contenders

42 XML: The little file does the heavy lifting . . . . . . . . . . . Andrea Mahoney Let XML call the shots for network and server-friendly automation

44 Graphic Arts’ IT Guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tim Mitra Tim Mitra’s on the case: the business of fonts

48 My customer asked me . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown What’s new and interesting in children’s book production?

Opinions expressed in this magazine are not necessarily intended to reflect those of this publisher.

Graphic Arts Magazine accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Graphic Arts Magazine also reserves the right to limit liability for omissions and errors to a printed correction in the next issue.

SUBSCRIBER’S NOTICE: From time to time we may rent our mailing list (names and addresses only) to select third parties whose products or services may be of interest to our readers. Please contact us should you wish to be excluded from these mailings using the contact information at the top.

PAP Registration Number 10926 We acknowledge the financial support of the government of Canada through the Publications Assistance Program towards our mailing costs.

Printed on Sappi’s HannoArt Gloss Text.

Available from Buntin Reid.

16 .comments 46 List of advertisers 47 Classified When making submissions, please forward to the following email addresses: ADS ads@graphicartsmag.com NEWS news@graphicartsmag.com CLASSIFIED classified@graphicartsmag.com ARTICLES articles@graphicartsmag.com INSTALLATIONS installations@graphicartsmag.com SUBSCRIPTIONS circ@graphicartsmag.com 3

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

JOE MULCAHY

View from the publisher With a glimpse of Spring in the air, we can finally say goodbye to Winter.

With the change of seasons also comes changes in the industry. It was sad to see the closing of the Demonstration Centre at Heidelberg’s head office in Toronto. These last few years have been about tightening our belts, and prioritizing what to keep and what to let go. The good news is that Heidelberg’s sales and service centres are still operating at full capacity and will now increase focus and investment in its consumables business.

We are always looking for better ways to service our customers. Of recent, auditing costs have escalated. So we are investigating and seriously looking at a Canadian audit firm; Canadian Media Circulation Audit. CMCA is recognized by the Canadian government and Heritage Canada.

Congratulations to Ryerson’s GCM students on winning the Kipphan Cup. The winning 160-page publication contained five Ryerson students’ research papers. The industry sponsors who contributed to this success should also be thanked; IAPHC, Imation, Fujifilm, Lowe-Martin, Webcom and York Bindery.

After spending some time in the past few months in the U.S., I am glad that I live in Canada. Yes, we have been hit here, but not to the extent that our friends south of the border have. There is no point in us shrouding ourselves in negativity. Has it been tough? Yes. But this is the time that we realize that tough times don’t last – tough people do. It is time to believe in ourselves and our industry. We must be diligent in our business dealings as well. There are companies in this industry who have lived beyond their budgets and circumstances and are no longer able to pay their bills. Their inability to pay their bills has crippled the cash flow of others. They seem unable to see their ripple effect, and we must now be prudent to only accept business from stable companies that are willing to practice in an ethical business manner. It is the unethical practices that will be the stumbling block in our industry moving forward. For too long, a poor paying customer has been able to easily move to a competing supplier – we must stop accepting work with desperation, but rather accept work that makes good business sense. Once the dead wood is cleared out of the industry, the industry can thrive again.

There is a change of attitude happening in our industry. Companies such as Boehmer Box are starting to loosen their purse strings and once again invest in their businesses. Boehmer Box, based in Kitchener Ontario, has recently invested over $10 million into its new 320,000 square-foot-facility; part of their investment is a KBA 142 – 56 inch, 6-colour press to enhance its packaging operation.

The other good news is that Transcontinental reports its first quarter profits of over $26 million after having a loss of $6 million in the same period last year. We’ve turned the corner and the glass is no longer half empty; it’s half full.

As always, stay positive and stay focused

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NATALIA GILEWICZ

Market, innovate and automate I hope that everyone enjoyed a green beer, good times with friends and, perhaps, came across a pot of gold this past St. Patrick’s Day. In this issue, we extend the theme of green in some ways. Heidi Tolliver-Nigro is keeping us this cheerful shade as well as continuing the conversation about marketing and social media in “Getting personal with 1:1” (page 22).

end of the process – constantly trying to help clients integrate into the multiple media streams, as well as gather customer data. The result can be an overwhelming amount of information to push through prepess. The more 1:1 work you take on, the more you would benefit from simplifying how the jobs travel through the shop. This is because this type of work is much shorter run, with more jobs needing to be processed than before. Given that the digital press provides tremendous advantages in reducing make-ready time on the shop room floor, processing the files is where the “make-ready” really happens.

Adopting tools such as XML to help you automate can help you cut out inefficiency and, thus, reduce costs. Read the article to find out how to get started.

Heidi’s article will help you understand 1:1 printing, beginning with a case study, which is a great way to learn from both the successes and failures of others. We then move to a discussion of some of the benefits of 1:1, like increased response rates, higher pre-order revenues, ability to track ROI, ability to print less and target more effectively, thus being “greener,” and the list goes on.

Lastly, we discuss some common applications of 1:1 to help you start thinking about how you can include them in your list of increasingly sophisticated offerings. The article finishes off with some insights about the part of 1:1 that most printers are fearful of — the databases that drive the campaigns. Given that there are many solutions out there even for new/small entrants there are less excuses to not participate than ever before.

Enjoy the issue while you continue to be green and offer innovative new 1:1 ideas to your clients — and while you do it, try to help alleviate possible prepress bottlenecks from all of your marketing successes by having fun with automation. .................................................................................................

Natalia Gilewicz natalia@graphicartsmag.com

Continuing on the subject of tech and databases, Andrea Mahoney explains how using XML can help automate much of the processes involved in getting your client’s work out the door in “XML: The little file that does all the heavy lifting” (page 42). It seems that recently we have focused quite intensely on the front

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After reporting a 20 percent increase in sales last year, Boehmer Box has decided to invest close to $10 million towards new equipment and expanding its operations. Part of this investment includes the purchase of a KBA Rapida 142 56-inch 6-colour sheetfed press to enhance the company’s packaging capabilities. “We needed a new press that could provide the automation, fast make-ready, colour fidelity and ability to integrate with our prepress department,” explains Mark Caines, president and COO, Boehmer Box. To complement the traditional offset packaging printing of Boehmer Box, Mississauga’s Lyft Visual - its subsidiary company - received part of the investment with the installation of Canada’s first Agfa :Dotrix Modular digital web press.

Lithocolor Services recently installed an HP Indigo 3500 digital press into its Brampton, Ontario-based facility. The company, which has been in business since 1978, provides quality prepress and print products. The Indigo press was purchased because it has the ability to provide customers with high-quality materials quickly and affordably. Ray Renaud, president of Lithocolor Services elaborates: “The advantage of the HP Indigo 3500 is in its up-time, shorter runs and ease of use. By using the right mix of products, we can now deliver the best quality and value for our customers’ money.”

Pictured are Rob Shewell, IT manager, Lithocolor; and Robert Boileau, sales executive, HP Indigo, next to the new HP Indigo 3500 digital press

Pictured is Mark Caines, president and COO of Boehmer Box, with the new KBA Rapida 142 press

Accent Impressions

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Accent Impressions has recently installed an Agfa Avalon N8 CTP engine into its Saint-Laurent, Quebec-based facility. The company has also invested in the Agfa Apogee Workflow. With more than fifteen years of experience, Accent Impressions offers products such as corporate newsletters, brochures, labels, packaging and books, among others. The Avalon CTP device is chemistry-free and consumes low amounts of energy. The company will be using Agfa’s Azura TS ThermalFuse printing plates with the new machine.

Mississauga’s Print Three franchise location has recently invested in a new piece of equipment: the Duplo DC645. Purchased from Sydney Stone, the machine is unlike any other in the industry as it can perform up to 6 slits, 15 cuts and 10 creases in one pass. It has a processing speed of up to 26 sheets per minute, and can run substrates from 30lb bond up to 130lb cover. Print Three Dixon will use the Duplo DC645 to complement its digital printing operations.

Pictured at Print Three with the new Duplo DC 645 are operators Lucio Leone, Peter White and Reza Salehinia

Pictured are Marc Schoeters and Manon Masse of Accent Impressions in their Quebec-based shop with Richard Juneau from Agfa Graphics

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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NEWS & COMMENTS

News and comments Lisi accompanied the GCM students in San Diego, and both presented at the TAGA conference as well.

GCM STUDENTS WIN PRESTIGIOUS KIPPHAN CUP AT TAGA CONFERENCE

The team’s work was made possible this year by a variety of industry sponsors such as Lowe-Martin, IAPHC, Webcom, Fujifilm, York Bindery and Imation.

Support from Ryerson was provided by the Project Funding Allocations for Students (P-FACS), the Faculty of Communication & Design and the School of GCM.

Ryerson’s GCM students took home the prestigious Grand Prize Helmut Kipphan Cup from this year’s 62nd Annual TAGA Conference. This is the second time Ryerson has won this prestigious award. The cup is awarded following a competition among TAGA student chapters from various international universities.

Congratulations GCM and ryeTAGA on your success!

TAGA, the Technical Association of the Graphic Arts, held its Annual Technical Conference in San Diego from March 14-17. This year, Ryerson’s TAGA chapter (ryeTAGA) sent twelve students to the conference.

The group won the prized Kipphan Cup for Top Overall Student Research Publication. The winning 160-page publication contains five Ryerson student research papers, many written by students as part of the third-year GRA 634 Printing Processes course. To read the 2010 ryeTAGA publication, visit the website: www.ryetaga.com.

The technical production of the book was completed outside of class time by the Ryerson student team using GCM lab equipment with the assistance of faculty members and technician Peter Roehrig. Faculty advisor Martin Habekost and faculty member Jason

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NEWS & COMMENTS

FUJIFILM LAUNCHES NEW ANTICOUNTERFEIT LABEL

RR DONNELLEY TO ACQUIRE BOWNE IN $481 MILLION CASH DEAL

The world’s first anti-counterfeit label that supports full-colour has been developed by Fujifilm. The use of a special viewer allows users to reveal full-colour images or text that cannot be seen otherwise, making the labels difficult to forge.

In a $481 million cash deal, RR Donnelley is set to acquire Bowne, a provider of shareholder and marketing communications services. The transaction is expected to be completed in the second half of this year. The Board of Directors for both companies have approved this acquisition.

From software and electronics to food and medicines, an increasingly large number of products are counterfeited every year. In an effort to combat these rising numbers, Fujifilm has developed ForgeGuard. This anti-counterfeit label regulates light wavelengths on a nano-optic level, so that only those with special viewers can see the hidden images. It can be immediately determined whether an item is genuine or fake. As a worldwide first, ForgeGuard can display high-resolution full-colour images such as company logos.

Unlike a hologram-based system, ForgeGuard does not require the use of a special mold or original plate for the images to be generated, allowing for small-lot production of 100,000 pieces. Its main applications include genuine product labels, ID cards, certificates of appraisal and package film, among others.

This technology is available as a sticker label, an ID-size laminating pouch or as roll film.

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This move is expected to expand and enhance the range of services RR Donnelley offers to its customers. Headquartered in New York, Bowne had revenues of approximately $675 million during 2009. The company offers digital one-to-one printing services for healthcare, transactional communications, financial services, marketing communications and other applications.

“Bowne is an exceptional fit with RR Donnelley,” says Thomas J. Quinlan III, president and CEO, RR Donnelley. “This combination satisfies all of the strategic imperatives that we evaluate as we consider acquisitions. It will expand our depth with additional talented and customer-focused employees, add new and enhanced customer relationships, extend our product and service offering in areas in which our new customers have demonstrated firm demand and create the possibility to take advantage of significant synergies.”

David J. Shea, chairman and CEO, Bowne adds: “RR Donnelley’s broader array of products and services will quickly create expanded opportunities for Bowne’s customers and employees. Their innovative use of proprietary digitally driven communications will particularly complement the range of services for which Bowne is known.”

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NEWS & COMMENTS

K-North has recently announced the launch of its KomoriKare Plus program, an extension of the original Komori-Kare program introduced in 2006. With a heavy emphasis on “care,” the program has features such as Technology Audit, Press Wellness Program and Customer Loyalty Program.

“We, at K-North, recognize that by choosing Komori, our customers have put tremendous faith in our ability to offer quality service and support for their equipment. Our customers want to know that we’ll be here when they need us,” states Romeo D’Agostini, customer care manager, K-North.

“K-North and Komori want to reassure our customers that we are committed to providing the best service & parts support possible for their printing equipment, and that is our intention to continue to do so. We’re ‘at your service’.”

The original Komori-Kare program that started several years ago encompassed preventative maintenance, service inspections and integration service to help Komori users maximize their pressroom efficiency. The new Plus addition to the program is especially important in these difficult economic times, says Komori, to ensure that presses are well-maintained and running at peak efficiency.

HEIDELBERG CANADA RESTRUCTURES; REDUCES ACTIVITIES AT TORONTO DEMO CENTRE Heidelberg Canada has announced that it is restructuring due to declining market demand. Job cuts have occurred

across the company and the Demonstration Centre at its Toronto facility will be closed.

“Continued weak demand and the reality that current technology is far more productive than a decade ago, has made us re-examine how we are approaching the Canadian market,” stated Richard Armstrong, president, Heidelberg Canada. “We will be making reductions across our company and taking advantage of shared resources within the Americas Region.”

Heidelberg’s Toronto showroom will be closed, and the company will instead make use of the larger facility in Atlanta for future press demonstrations. Despite a number of job cuts, its Mississauga facility will remain in operation, and its Canadian sales and service presence will be maintained. As part its new strategy, Heidelberg will increase focus and investment on its consumables business.

Continued Armstrong: “The strategy we used in Canada was very successful for us over the years and we have built up a fantastic market share. With the future market potential being somewhat reduced, our new strategy makes a lot of sense.”

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NEWS & COMMENTS

RICOH CHANNELS PRODUCTION ENVIRONMENTS WITH RELEASE OF ITS LATEST PRODUCT Recently released from Ricoh is the Pro C720s - a production class multifunctional colour system. Targeted at corporate and commercial professional print environments, the device marks Ricoh’s latest addition to the light production digital printer market.

The Pro C720s offers high-resolution scanning, copying and automated distribution to multiple destinations - including email, URL and FTP. It runs at speeds up to 72 pages-perminute and boasts a duty cycle of 320,000 images per month.

Customers can store files on a document server so that they can be reprinted without having to be re-ripped.

Ricoh’s multifunctional device utilizes an EFI Fiery serverbased print controller. This allows for increased speed and quality, as well as advanced colour management and integrated workflows. According to Ricoh, the Fiery controller is a flexible solution that addresses the demanding requirements of commercial printers, in-plant print shops and central reproduction departments.

“With the economy still on the rebound we’re continuing to develop cost-effective solutions that help our customers improve their bottom lines,” explains Carl Joachim, vice- president of marketing, Ricoh. “We’ve

had very good customer experiences with the C900, and the Pro C720 builds on the reliability and quality of the same platform.”

The Pro C720s offers several in-line finishing options as well, that can be configured depending on the customer’s requirements. For more information go to www.ricoh.ca

WATERMARKED STATIONERY NOW POSSIBLE FOR SMALLER BUSINESSES Because of a new technology developed by Neenah Paper, smaller companies will soon be able to purchase paper with a custom embedded watermark. The company’s CUSTOMARK Paper process allows watermarks to be added to smaller paper orders, with lower turnaround time.

Custom watermarks for business stationery have typically only been an option for big companies who order large amounts of paper. This is because traditionally, watermarks are added during the paper-making process and require a high minimum amount of paper to be ordered.

Neenah paper has found a way around this with its CUSTOMARK Paper process. A gravure plate uses a non-alterable solution to transfer the logo, signature mark or specified image onto the finished paper. With this process, watermarks can be added to orders of as low as two cartons of paper.

The new process also allows for a wider variety of shapes, lines and solid fields to be produced, because the markings are made with a plate rather than a dandy roll. Faster turn-

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NEWS & COMMENTS

around times can be achieved as well.

Watermarked stationery has been popular with larger companies because it is considered to add an air of importance and may seem to elevate a brand’s identity. Another benefit is that watermarks provide added protection. They are permanent, unalterable, and cannot be scanned or copied. This offers protection for companies against theft and document fraud.

IAPHC CELEBRATES PRINTING EXCELLENCE

The Toronto Chapter of the International Association of Printing House Craftsmen (IAPHC) recently held its annual awards event at the David Duncan House. The evening honoured the winners of the International Gallery of Excellence Awards. The Chia Tse Memorial Awards were also presented, and a generous donation was made by the IAPHC to Ryerson’s TAGA Chapter.

The IAPHC’s Toronto Chapter began in 1919, guided by the principle of “share your knowledge.” The organization’s mission is to educate, promote, inform and connect the people within the printing and communications industry. Its annual awards honour craftsmanship and excellence in printing, and this year’s event was no exception!

After a wonderful dinner surrounded by good company and the richly decorated atmosphere at the David Duncan House, IAPHC President Burl Mathias presented the evening’s awards. Beginning with the Chia Tse Memorial Awards, several students were recognized for their achievements in local community graphic programs. A generous donation was also

made by the IAPHC to the TAGA Chapter at Ryerson University.

Chapter president Holley Chiborak was delighted and accepted on behalf of Ryerson TAGA. On Behalf of Lowe Martin Group, Susan Olley accepts The Lowe Martin award from IAPHC President Burl Mathias for Best Use of Group received Paper and Best Use of Ink two of the notable IAPHC Toronto Gallery “Best Of” Awards. The first was Best Use of Paper for the company’s work on the Meta Gallery Mapmakers Catalogue, sponsored by J&P Steel Rule and Die. Best Use of Ink was also awarded for the Cosmetica Powder Presentation Book, sponsored by Taniguchi Ink.

The remaining two “Best Of” awards were given to CJ Graphics. For the Oxford-Fairmont Brochure the company won Best Use of Press, sponsored by Heidelberg Canada. The award for Best of Show was also won by CJ Graphics for the Vid Ingelevics Hunter-Gatherer piece, sponsored by LithoTel Software Design.

For a full list of the evening’s award winners and more pictures from the event, visit graphicartsmag.com

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ECO NEWS

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Eco News

COMING UP: 40TH ANNUAL EARTH DAY

April 22 of this year marks the 40th annual Earth Day. The event was created to inspire awareness about the environment. According to the Earth Day Canada organization, more than six million Canadians join activities to take part in the event. What will your company do to lessen its environmental impact this year?

The printing industry has not traditionally been known for its environmental friendliness. The consumption of paper and the use of chemicals and solvents takes its toll on the planet.

However, it is clear that the industry is making strides in the right direction. Many printers have gotten environmental certifications, such as FSC and SFI, which promote responsible forestry. As well, businesses have been turning to alternate forms of energy, such as solar power, to operate their facilities.

Further developments in the direction of sustainability can also be seen in the wide variety of paper choices we have today.

Not only has printing on recycled post-consumer paper become a big trend, but alternatives such as hemp and wheat paper are gaining popularity. We are also seeing the emergence of waterless and solvent-free printers that lessen the impact of print on the world around us.

As the 40th annual Earth Day approaches, you are encouraged to think about what you can do to become more eco-friendly. Take the Eco Footprint quiz at www.earthday.net to find out what your ecological footprint is and ways that you and your business can reduce it! Also check out www.earthday.ca to find out about events that will be on in your local community.

the company exceeds current industry norms with a 100 pound paper stock made from 100 percent post-consumer waste. The new paper offers limited contamination and is nearly as smooth and white as standard stock.

SFI MILESTONE: 2000 CERTIFIED LOCATIONS

The Sustainable Forestry Initiative (SFI) is celebrating a new achievement: 2,000 Chain-of-Custody certified locations.

Close to 196 million hectares are certified to the SFI forest management standard in North America – making it the largest single standard in the world.

“The SFI program is experiencing astounding growth – companies and buyers alike clearly appreciate our ability to strengthen forest management across North America and avoid unwanted offshore sources,” says Kathy Abusow, president and CEO, SFI. “At the start of 2007, we had 48 certified locations. Two years later, this had climbed to more than 1,000, and now there are more than 2,000. We have gone from approving five label use requests a year to more than five a day.”

Organizations certified to the SFI program range from small printers and lumberyards to international entities. They include 579 printers, as well as publishers, distributers, home building centres, mills, paper merchants, packaging companies and wholesale lumber companies to name a few. They are found in countries such as the United States, Canada, Italy, Mexico, France, China, Hong Kong, Switzerland, the UK, Colombia and El Salvador.

VISTAPRINT GOES GREEN: OFFERS RECYCLED PRODUCTS

SUPPORT

Answering its customers’ calls for more environmentally-friendly paper options, Vistaprint has announced the launch of recycled paper stock for several of its printed products. The option of recycled paper is currently available for business cards, postcards and oversized cards across all 20 of the company’s sites across the globe.

RESPONSIBLE

FORESTRY.

“Over the past year, one of the most common questions asked by our customers has been ‘when are you going to offer recycled paper?’

Our product team has since looked for a solution that would address this need while keeping it within our customers’ budgets,” says Wendy Cebula, president, Vistaprint North America. “Needless to say they succeeded with this launch, so now on top of getting low-cost, high-quality marketing materials for their businesses, this new option gives our customers the added element of social consciousness.”

When you consider that only 10% of the world’s forests are certified, we have a long way to go. The good news is that there are a number of credible forest certification programs. And each one, including SFI, encourages responsible forestry. For more on forest certification and what you can do, visit www.sfiprogram.org.

When selecting recycled paper over regular paper, some companies have concerns that the quality might not be quite the same. However, according to Vistaprint, its product marketing team conducted extensive research to assure the highest quality option for its customers. The stock chosen by

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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What’s hot? Check out the top 5 most read stories from graphicartsmag.com:

1

Heidelberg Canada restructures; reduces activities at Toronto Demo Centre

2

What will happen to the Olympic-sized graphics after the 2010 Games are over?

3

Rare 1938 first-edition print of Superman comic sells for $1 million

4

Designer creates “Darwin Chair” out of paper

5

The latest activitity at graphicartsmag.com

Talkback Topics - check out what the industry is saying about some of the latest news: Re: IAPHC celebrates printing excellence; donates to Ryerson’s TAGA chapter “I think the IAPHC does a great job of honouring innovative leaders in the industry. It is fabulous that we have awards like this recognizing craftsmanship. After all, printing is truly a craft and an art form. I hope these awards inspire other printers out there to really think outside the box and innovate - ideas like these will keep our industry alive!”

-Rita

Peter Callesen: transforming ordinary paper into extraordinary art

Re: Rare first-edition print of Superman comic sells for one $1 million “Anyone who pays that much for a comic is crazy. Grow up...or call me, I take donations.”

-Bob “I’m sure they’re not buying comic books to read with a flashlight in a tent pitched in the living room. It’s an investment. I would have thought it would have been questionable, but the Batman one proves that it might not have been so stupid. Imagine a 10,000,000 percent return on any other investment!”

-Theo Re: GCM students win prestigious Kipphan Cup at TAGA Conference “Fantastic job guys! Congratulations!”

-Ruth “I’m so proud of our team!!! Great job!!!”

-Marta

We’d love to hear what you think. Feel free to leave your comments and opinions at graphicartsmag.com and don’t forget to vote on our weekly web polls!

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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FOR THE RECORD

KRISTEN READ

For the record This month I interviewed Tony Karg, senior director of business development and marketing for Fujifilm Graphics, to discuss how printers can use social networking technology as a marketing tool to enhance print.

With the state of the industry right now, what factors do you think are leading to Fujifilm’s current strength and survival?

It has definitely been a brutal couple of years for the industry. Relative to our competitors, we feel we’ve been quite successful. However, relative to how successful we would like to be, there is still room for improvement. To answer your question though, what Fujifilm has done is taken a close look at what it is we do well and made attempts to do that on an exceptional level. We have really focused on the core areas of offset, display and digital printing and looked at where we can deliver excellence. That drive is what is necessary to achieve market growth.

How will the company be able to maintain growth over the coming years, and what can the industry look forward to seeing from Fujifilm?

In terms of maintaining growth, Fujifilm can always be counted on for coming out with new products. We spend about 7.8 percent of sales – that’s $5.2 million – every single day in R & D. It is important to spend money and energy in this area to continue growing.

Looking at the Canadian market specifically, we are really focusing on the three core business segments that I mentioned before: offset, display and digital, and looking at ways to diversify. For our industry to grow and survive, companies must diversify what they can offer customers. To be blunt: diversify or die.

Looking at what’s coming up, on the display side of things, we have the Acuity and Inca lines which will see successor products coming on to the market in the next 12 months. For the digital sector, we will be introducing the Fujifilm Digital Inkjet Press to Canada early next year.

“For our industry to grow and survive, companies must diversify what they can offer customers.

To be blunt: diversify or die.”

How does Fujifilm’s business and marketing strategy differentiate itself from its competitors?

Well I think the most important thing is to really be out there engaging the market. We go to trade shows and exhibit, and we support the industry’s academic institutions as well to develop our next generation’s talent.

Fundamentally, we believe we have to interact with people. In our opinion, you cannot manage the Canadian market from the U.S. – you have to have to have people based in local areas to engage with our industry. This is something that is very important to Fujifilm.

In terms of a marketing strategy, a recession is the best time to spend money on marketing activities because it lets you grow your market share. We continue to interact with the printing community to show what we have to offer. Given the market share growth we experienced – they answered.

How are factors like the high Canadian dollar and rising paper prices affecting your business and the business of your customers?

Tony Karg, senior director of business development and marketing, Fujifilm Graphics

APRIL 2010 | GRAPHIC ARTS MAGAZINE

Certainly commercial printing has had a brutal couple of years; not only because of rising paper prices but also the impact of declining run lengths. The high Canadian dollar is both a plus and a minus. It is a 18

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good thing in terms of reinvesting in new equipment, but on the other hand it is a bad thing in a sense that a significant part of the industry exports to the U.S. That marketplace is virtually gone for those companies. For Fujifilm as a vendor, there is not a huge impact either way. We balance the risks of exchange rate fluctuations to take out the highs and lows, which in turn moderates the impact on the printing community.

In a recent GAM web poll about sites such as LinkedIn and Twitter, almost 30 percent of respondents said that they use NO form of social networking. From a marketing perspective, why do you think our industry is slow to adopt, and why should print professionals get on board with this?

30% Of respondents in a recent GAM Web Poll said that they do not use any type of social media or networking *GAM Web Poll, February 2010

Fujifilm is also looking at this topic right now and is currently executing a customer survey that includes questions about social networking. These are important questions to ask because the fundamental nature of communication is changing. Print has a place in this, but so too does social media. When I look at our industry, it is clear that companies must diversify to offer broad marketing communications to its customers. Social media is a part of that.

If you are a commercial printer, you should look at some of these new technologies and think about how you could utilize them to drive your print sales. It seems that instead, some companies are avoiding social media and digitally delivered messaging APRIL 2010 | GRAPHIC ARTS MAGAZINE

20

because they feel it replaces their print business.

Let’s look at QR codes, for example. These printed codes create a direct link to a website when viewed with a smartphone camera. An innovative print facilitator would talk to retailers and encourage them to include QR codes into some of their in-store signage.

This motivates the retailer to continually change its signage to have updated links, thus stimulating print.

This is just one example of how to leverage these communication technologies to enhance the value of print in the marketplace. However, if you don’t understand these advancements, you can’t apply them to increase your business.

On a more personal note, what is your favourite part of your job?

I love the fact that I get to engage with the industry. I can see problems and be able to help with solutions. I love getting out of the box with social media, for example. Rather than look at it as killing business, with my job, I am able to look at how I can use it to get more business. I also like the fact that at Fujifilm we can take a leadership role in terms of disseminating thoughts and ideas. As it relates to me personally, I get to work in the “here and now,” but I also get to look at several years down the road and can see what’s coming and how new technology can be a game changer.

A lot of people don’t grow up knowing they want to be in the print industry; usually they just sort of fall into it. One of my favourite questions to ask the people I interview is: when you were a kid, what did you want to be when you grew up?

When I was in my teenage years, I was involved with the Air Cadets, so I wanted to join the military and serve my country. Unfortunately, I wear glasses and the military didn’t deem me suitable. When I was in university for my history degree, I managed a typesetting and poster printing business for the Student’s Union. This brought me to the attention of the GM of Allprint (back before it was Allprint Ainsworth) where I joined as a typesetter, starting my career in this industry.

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We’re now entering the second decade of 1:1 printing. It’s had lots of names – variable data printing, 1:1 printing, personalized printing and data-driven printing among them. Regardless of what you call it, it has delighted and vexed printers and marketers alike.

Done right, personalization offers tremendous opportunity. The mountains of case studies attest to that.

But as the marketing environment changes, the type of single-channel 1:1 campaigns that printers have come to understand has begun to require an even greater wealth of marketing expertise than most printers have developed.

Printers are used to thinking about 1:1 printing combined with email teasers or follow-ups. They are used to incorporating direct-mail with personalized URLs. But increasingly, the most successful case studies are being integrated into a larger, more complex marketing environment. This means pulling in different elements, or combinations of elements, than we’ve traditionally seen.

We’re also seeing tighter integration of branding (maintaining the same images, messaging and even business rules) across channels and multiple media into marketing “dashboards” that allow marketers to monitor and compare the effectiveness of various channels from a single location.

Rather than being a standalone marketing approach, APRIL 2010 | GRAPHIC ARTS MAGAZINE

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1:1 printing is becoming integrated into larger multichannel campaigns. This requires printers to have experts or even entire creative and marketing teams (as many marketing firms do) that are able to look at the entire spectrum of media and make decisions about how to combine them to achieve campaign goals most effectively.

EMPHASIS ON SOCIAL MEDIA

One example comes from DIG Creative, which produced a highly successful fundraising campaign integrating personalized direct-mail with social media.

By getting alumni to “friend” the institution, this created an engagement that heightened awareness of direct-mail solicitations and increased the chance that alumni would contribute. The efforts were successful. In fact, when the giving from alumni is tracked over time, DIG Creative has found that 50 percent of alumni givers are from the Facebook pool.

This emphasis on social media as part of a multichannel marketing campaign is something we’re going to see more and more. In its “Interactive Marketing Forecast” (2009), Forrester Research estimates that social media marketing will grow at an annual rate of 34 percent over the next five years, faster than any other form of online marketing, and hit $3.1 billion in 2014. “At that point, social media will be a bigger marketing channel than both email and mobile,” notes reporting in Mashable: The Social Media Guide. www.graphicartsmag.com

So expect to see social media combined more and more with 1:1 print. Kellogg, for example, is tripling its spending over the previous three years (Media Daily News, February 17, 2010).

CASE IN POINT

While social media components will grow, it is more typical these days to see campaigns using email, print and personalized URLs. While this combination isn’t that unusual, what is unusual is the level of integration.

A great case in point can be found in Peter Wann’s February 2010 “Measurable Marketing” e-newsletter.

It integrates the typical email, print, Web combination, but there are elements that go beyond what we have commonly seen. There is testing and personalization at all levels and a sense that all elements are working together holistically.

The multi-channel campaign was sent by a software manufacturer to 25,000 prospects, which was designed to get them to upgrade their business software.

It started with a series of personalized emails and direct mail pieces designed to send recipients to personalized URLs. The direct mail pieces were broken into two segments to test different offers.

Each test group was first versioned based on industry vertical and then personalized for individual recipients.

relevance-based video on the thank you page shows just how beyond the traditional this program was.

BENEFITS OF 1:1 PERSONALIZATION

Printers just getting their feet wet in databases and relevance-based marketing may feel overwhelmed at this level of complexity. The good news is that it’s worth wrapping your mind around because there are so many benefits for your customers. Some are obvious; others are not.

INCREASED RESPONSE RATE

The number one benefit of 1:1 print is increased response rate. The typical response rate for a static, undifferentiated direct mail is .5-1.5 percent. Personalized direct-mail can dramatically increase this rate, with rates of 8 percent, 12 percent, or even higher for well-designed campaigns. The actual lift will depend on the type of campaign. Loyalty programs and fundraising programs, for example, have much higher response rates than initial prospecting campaigns.

HIGHER PER-ORDER REVENUES

Not only do response rates go up, but when customers respond to a 1:1 marketing program, they often spend more. This is proven out in side-by-side tests.

When West Coast Marine (Newport Beach, CA) wanted to boost end-of-year sales, it created both static and personalized mailers, with both sent to the same mix of its loyalty program members. Not only did the

The branding on the personalized landing pages — images, text and offer — was integrated across print, email and Web. After the initial direct-mail and email, triggered email follow-ups were designed to nudge non-responders into action. Incentives, discounts and offers were increased in order to encourage response.

Once logged into their personalized URLs, respondents were surveyed about the pain points in their businesses and their activity was tracked to provide additional insights. Subsequent Web pages and follow-up emails were personalized on the fly based on the information given.

The relevance and personalization continued to a thank you page. Rather than the standard thank you text, the page was populated with a thank you video also based on the information provided by each respondent.

What’s important here is the combination of elements, the integration and how everything — from personalization, segmentation and the test offers in the beginning to provision of tracking and survey information to salespeople at the end — is designed to work together. www.graphicartsmag.com

Data from survey responses and click history was provided to salespeople so they could follow up immediately.

What’s important here is the combination of elements, the integration and how everything — from personalization, segmentation and the test offers in the beginning to provision of tracking and survey information to salespeople at the end — is designed to work together.

The integration of 23

1:1 mailer have a 27 percent lift over the static mailer, but respondents to the 1:1 promotion had a higher per-order value than those who responded to the static promotion. This is fairly typical.

ABILITY TO TRACK AND PROVE ROI

Although marketers have used barcodes, redemption codes and other techniques to track responses for years, 1:1 printing offers the ability to track and prove ROI at a far different level. The personalized nature of these jobs enables marketers to track responses far more minutely and for the lifetime of the customer, if desired. Moreover, with the greater value in the 1:1 marketing program, building in tracking mechanisms has a higher value of return.

Save money. When we think about direct-mail, we usually think about the “print ‘em in the millions” flyers or prospecting letters that most consumers throw away without even opening. With response rates averaging one percent, you have to print huge volYOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

umes to generate enough responses to even bother.

Not surprisingly, most small and mid-sized businesses don’t bother. But what if you could mail fewer pieces and get the same or even a higher number of responses? This is standard practice with 1:1 printing. In the end, marketers can end up spending less on their print marketing while bringing in more revenues.

If you have been printing undifferentiated booklets, you can also save money by slimming them down only to the most relevant information to each recipient, saving paper, print costs and postage.

BUILDING CUSTOMER LOYALTY

It is well known that it is more profitable to keep the customers you have than to go out and find new ones. Hence, the value of customer loyalty programs.

Consistently, companies with long-term, successful 1:1 printing programs find that their customer loyalty increases by using them. In fact, when Gannett Co.,

of junk mail never reach their destinations because the focus is on cheap, not accurate. This wastes an astonishing number of trees. It also wastes the fossil fuels used to produce the paper, envelopes, ink and coating, as well as to run the presses and distribute the documents to the trash.

3. It reduces trash can waste. Even if documents reach their destinations, most direct-mail is thrown away before it’s opened. So the result is the same — wasting precious environmental resources. By personalizing, you are increasing the chance that your mailer will be opened. Even if it still ends up in the trash, at least it got read first.

4. It reduces overall print volume. Effective personalization often starts with culling the database for the most likely respondents. This reduces the number of documents that get printed, mailed and delivered at the outset. If you replace a large, static mailing package with a personalized version, you might also be reducing the number of pages you send. By doing so, you save paper, ink, chemistry and fossil fuels.

So, yes, 1:1 printing is “green.” You start out with an environmentally-responsible printing technology.

Then, instead of using the “throwing spaghetti at the wall and seeing what sticks” approach, you send out smaller, more environmentally-friendly volumes.

Take J. C. Penney, for example, which recently discontinued its semi-annual Big Book catalogue. By switching to smaller, more targeted catalogues, the retailer expects to reduce catalogue paper use by 25-30 percent in 2010.

KEY APPLICATIONS FOR 1:1 PRINT

Capitalizing on 1:1 printing involves understanding not just the mechanics, but also the full range of opportunities. Many people associate it with direct sales, but there are so many other applications for which it is tremendously effective. Let’s look at the primary application types for which strategies and track records have been developed.

Inc, a major U. S. media company, wanted to bolster its new customer retention rates, it used a combination of personalized print and email to achieve over 20 percent ROI and boost 13-week retention rates an average of 13.7 percent.

These are applications not designed to result in an immediate sale, but to generate interest among existing customers or pull in an entirely new pool of prospects.

LOYALTY PROGRAMS

1:1 PRINTING IS “GREEN”

Today, environmental printing is not just good social responsibility; it’s good marketing. Companies with green programs have a marketing advantage through positive association.

HOW IS 1:1 PRINTING “GREEN?”

1. The output technology is socially responsible. 1:1 printing is output from digital presses, which don’t use process chemicals (although liquid ink presses and non-wide-format inkjet presses use mild solvents in their ink formulations; dry toner presses do not). They don’t use film or plates. Start-up waste is minimal — 10 sheets or less, compared to 100 or more sheets for most offset presses.

2. 1:1 printing reduces postal waste. High percentages APRIL 2010 | GRAPHIC ARTS MAGAZINE

LEAD GENERATION

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These are one of the most powerful applications for 1:1 printing. By virtue of the fact that recipients already have a relationship with the marketer and are opting in to these programs, respondents are more likely to respond, making the return on investment for 1:1 printing that much greater.

FUNDRAISING

Like loyalty programs, by building on the existing affinity between the recipient and non-profit organizations, these are also some of the most successful 1:1 printing applications. Pitches are made based on the recipient’s relationship to the organization and past giving history. The solicitation might reference past donations, perhaps upping the ante based on giving history. www.graphicartsmag.com

DIRECT SALES

With 1:1 print personalization, marketers use the power of databases to speak directly to each recipient on an individual basis based on demographics, past purchase habits and more. This creates a relevance that has a proven track record for improving sales.

CUSTOMER RELATIONSHIP PROGRAMS

This is an often overlooked but highly effective use of 1:1 printing. Marketers can personalize even nonsales communications to engender customer loyalty.

Examples include personalized newsletters from financial advisors and personalized information packets from insurance companies. By making non-sales documents more relevant and easier to understand, marketers create a sense that their company is relevant and easy to do business with.

PERSONALIZED This is an often overlooked but URLS highly effective use of 1:1 printing. These applications use 1:1 production to print a Marketers can personalize even personalized URL on each mailer (www.bobnon-sales communications to smith.ca/janesfurniture), encouraging recipients to engender customer loyalty. log in to take a survey or view information, often in Examples include personalized exchange for a free gift.

Once logged in, respondnewsletters from financial advisors ents’ movements can be tracked and their and personalized information responses measured in near real time. Survey packets from insurance companies. pages allow marketers to gather information, build databases and pre-qualify prospects.

PRE-FILLED RESPONSE CARDS

TRANSPROMOTIONAL

If you add marketing messages to transactional documents, they become hybrid transactional and promotional documents, or “transpromo” documents.

Examples include credit card statements with relevant offers based on the recipient’s purchase history and special rewards or offers based on a card member’s use of a club card at a retail store.

ENVELOPES

Increasingly, marketers are taking the personalization outside onto the envelopes themselves. In most cases, it is simple name personalization or demographically-driven imagery, but gradually, these applications are becoming more sophisticated.

DATABASES DON’T HAVE TO BE DIFFICULT

Of course, all these applications require databases.

Not only do too few customers have workable marketing databases, but many 1:1 shops are just getting their feet wet in database development and management, too.

Lack of existing data doesn’t remove 1:1 print marketing from the equation, however. There are a variety of strategies for helping customers maximize the data they have (which can often do more than they think), purchase and append new mailing lists and build databases from scratch, even on smaller budgets.

• Mailing lists are increasingly affordable. For $25 or so per thousand, you can add demographic qualifications, such as income level, general interests and age.

• Even if all the customer has is an undifferentiated mailing database, you can still use specialized software, like genderizing and mapping programs, to create relevant marketing pitches based on the recipient’s geographic location or distance from a location or event.

• You can purchase a database or append an existing database by a smart selection of third-party data.

Although many marketers may not think of pre-filled response cards as 1:1 printing, this is an important application. If you are sending any kind of response card, simply pre-fill it with the recipient’s name, address, company and other information. By doing so, you remove one of the barriers to response (the time and energy it takes recipients to fill it out themselves). This alone can dramatically increase the response rate.

TRANSACTIONAL

Any bill, statement or invoice is a personalized document, whether it’s a statement from a credit card company or an update on a customer’s rewards points from the local natural foods store. Marketers are personalizing these documents beyond just the data itself (such as purchases and total payment due), highlighting past due payments or using coloured messages to communicate with recipients about actions to take (make a payment, call a phone number, submit a form). This can boost the bottom line by reducing calls to call centres, speeding payments, reducing errors and more. www.graphicartsmag.com

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• Customer profiling solutions are being developed even for small and mid-sized marketers and can expand simple databases by creating a customer profile (or a “desired customer” profile) and then appending the relevant demographics to that database.

• Creating a loyalty program is a very effective way of building a database of customer preferences and spending habits, while at the same time allowing your customer to reward customer behaviour.

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

• You can use personalized URLs to send recipients to their own personalized Web pages, where you can survey prospects, qualify them and gather additional information to be used for future marketing campaigns. The software allows this information to be automatically appended back into the client’s database (or to create one in the first place).

you’ll sell the subsequent campaigns based on the results of the ones you’ve created for that client. This means being able to prove the campaign’s worth.

Importantly, the success of 1:1 printing isn’t like measuring other types of campaigns. The metrics are often different. In the early days, response rate was

Developing a customer database sounds complicated and expensive, but cost-effective techniques are being refined all the time. This is by no means an exhaustive list of possibilities.

RELEVANCE, NOT VOLUME

Although the concept of building a database may sound intimidating, the success of a 1:1 campaign is about the ability to create relevance to the recipient, not the number of variables you have. The level of detail you have to “build” (whether through purchasing it, collecting it or refining it) can be relatively low as long as the data you do have is relevant.

As explained in “1:1 (Personalized) Printing: Boosting Profits Through Relevance,” a marketing primer from Digital Printing Reports: If you are marketing a store opening, for example, all you may need is a qualified mailing list (such as household income, geographic radius) to create relevance. A customer’s address and mapping capabilities just might do the trick. If you are a florist,

the primary measure. Today, the metrics need to go much deeper. In addition to response rate, we also need to evaluate: • Lift over previous campaigns (even a single-digit response rate can be phenomenal in contrast to prior campaigns) • Cost per lead • Cost per sale • Dollars generated per sale • Conversion rate • Lifetime customer value • ROI • Other bottom line savings, such as the ability to get people to respond more quickly to offers or increased clarity of invoices that speed payment or reduce calls to call centres. These may be indirect savings, but the money is still green.

It’s a lot to put together, but for those who take the time to do so, the benefits can be substantial. The challenge is that even once you get a handle on it, the creative and marketing requirements are always changing.

you can do well with a customer’s name, age and spouse’s birthday. You can get great ROI even without the “ideal” amount of data.

This is where the importance of good marketing comes in. Personalization, by itself, doesn’t produce better results. It’s how the technology is used to improve relevance to the recipient — a marketing strategy — that does the trick.

PROVING YOUR EFFORTS

For years, industry leaders have talked about 1:1 printers needing to become marketing services providers, and it’s never been truer than now. The more deeply 1:1 printing becomes embedded in larger multi-channel marketing programs (perhaps one day even being integrated into T.V., radio, billboards and other traditional channel marketing), the more it will continue to put printers’ marketing mettle to the test.

Heidi Tolliver-Nigro is an industry analyst specializing in digital and 1:1 printing. She is founder of Digital Printing Reports. heidi@digitalprintingreports.com.

You might be able to sell the initial 1:1 campaign based on results from industry case studies, but APRIL 2010 | GRAPHIC ARTS MAGAZINE

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MANAGEMENT

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Featured markets Your monthly buyer’s guide to the latest print industry products This month: In-line Press Enhancements & Offset Presses IN-LINE PRESS ENHANCEMENTS

Goss Ecochill

What does it do?

Today’s print buyers want their jobs printed in highquality, using cutting-edge technology, and they want them finished now. Quicker than now; they wanted them yesterday. How can anybody keep up? These days, a lot of innovative techniques such as laminating and foiling can be created in-line, while the job is running on press. This can save you time and money, while still giving your clients top-notch finished work.

Why not check out some of the latest in-line equipment available in the industry? They could not only compliment and enhance what you have to offer customers, but also make production run more efficiently.

Kodak’s MICR Technology What does it do?

Kodak has recently incorporated in-line Magnetic Ink Character Recognition (MICR) technology to its Versamark Printing System. The MICR process uses magnetic ink that can be read and decoded by computers. A special 14-character font must be used – each number or symbol occupies exactly 1/8 of an inch. This technology is particularly useful for the banking industry to print and track items like cheques, but can also be used for items like coupons, airline tickets and credit cards.

Benefits These new capabilities offer benefits for transactional and commercial printers offering cheque printing and security printing services to its customers. Kodak’s system is different from others on the market because it uses a separate in-line MICR accessory rather than replacing the standard black ink. According to the company, this makes MICR printing more productive and affordable.

Specifics The MICR printing process requires high-quality and conformance standards. Compatible with the Versamark VL2000 and 2200 printers, the process takes place in-line at speeds from 246 to 492 fpm. Turnaround time can be reduced because the printing takes place in-line.

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Ecochill is a press enhancement from Goss, created for heatset web press dryers. It is designed to eliminate condensation on chill rollers and to prevent print defects such as smearing and ink picking. Using the Goss Ecocool dryer technology, the compact device eliminates the requirement for a smoke tunnel and is available for several models of dryers.

Benefits This type of accessory means that web presses can run at higher speeds. According to Goss, the Ecochill is easy to install and has minimal downtime. Increased web control can be achieved because the greater degree of wrap raises surface pressure and maintains tighter contact. Optional remoistening capabilities are also available.

Specifics The device is placed between the existing dryer and chill roll stand, mounted to the existing chill roll frame.

It includes three additional small-diameter concave aluminum chill rollers. They are non-driven, meaning that they don’t require any additional power. The units are available in 40, 57 and 80-inch widths.

Muller Martini in-line Laminating What does it do?

Muller Martini has an in-line laminating system for its Alprinta-V web offset press. This press is formatvariable and is suited for producing flexible packaging and labels. The laminating station has an unwind unit for rolls with diameter up to 31.5-inches – allowing nearly double as many continuous feet per roll when compared to a 24-inch roll. Web tension can be adjusted as well for optimum flatness of the finished products.

Benefits Because the press is format-variable, virtually any print length can be produced. The in-line lamination system makes it more versatile for label and packaging printers. Because the laminator works at press speed, production costs can be reduced as well as the time it takes to finish each job. www.graphicartsmag.com

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Specifics The in-line laminating station is located on the press’s new flexo unit. During production, a UV-curable laminating glue is applied via the flexo unit to the substrate. Afterwards, a film is dispensed onto the web in the laminating station that runs through a UV lamp, where the glue is cured with UV radiation. Speeds of up to 1,200 feet per minute can be achieved.

Ryobi in-line UV-LED curing system What does it do?

Xpedx, a distributor of Ryobi products from Japan, offers inline LED-UV curing on several of its presses. This technology replaces conventional UV lamps with long-life UV light-emitting diodes. This Ryobi system was the first curing unit to use this technology.

Benefits According to the company, this system cuts power usage by around 70 percent compared to conventional UV lamp systems. Not only is this more environmentally friendly, but it lowers the electric bill.

Not to mention that the lamp also lasts approximately 12 times longer than conventional lamps. It eliminates ozone emissions and uses ink with no VOC solvents.

UV cured printing also has a lower drying time.

Specifics The Ryobi LED-UV system produces no infrared radiation, which minimizes the effect of heat on the substrate and ink, as well as the press itself. Since

OFFSET PRESSES

Money is tight these days. Not many companies can afford massive multi-million dollar presses, let alone the production facility space that their footprint requires. In this section of Featured Markets, we’ll explore some of the smaller and more economical offset presses out there that you may not have heard of yet. Don’t underestimate these pieces of equipment either; some of them come with all the latest bells and whistles, but without an eye-popping price tag.

Heidelberg Speedmaster SM 52 Anicolor Overview

The Speedmaster line of presses is certainly well-known in the printing industry. The SM 52 is a 4-unit press with a small footprint, renowned for its quality and performance. A concept that industry professionals may not be familiar with, however, is Heidelberg’s recent developments with its Anicolor inking unit technology. This is a zoneless short APRIL 2010 | GRAPHIC ARTS MAGAZINE

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there are no ozone emissions, exhaust ducts and blower boxes are not needed.

KBA QualiTronic

What does it do?

QualiTronic is a camera-based in-line sheet-inspection system that is available for all KBA presses up to the Rapida 162a. It scans each sheet as it enters the delivery or perfecting unit, comparing it with a reference sheet. The device is ideal for printers who have particularly discerning clients who insist on continuous monitoring and top quality performance for applications such as brand packaging.

Benefits Some of the benefits of QualiTronic include waste and cost savings, since quality deviations are signaled as they develop. Rather than finding out in the delivery feed that a printing problem had occurred, press operators can take action to correct the problem while the press is running.

Specifics The QualiTronic is capable of working at maximum press speed. The CCD camera focuses on the running sheets and images of each sheet are sent to the console. The system identifies transient deviations, such as ink splashes, hickeys and paper defects, as well as permanent deviations like tinting, low ink and over/under inking.

inking unit that Heidelberg designed to combat decreasing run lengths.

Specifics As opposed to a conventional 18-roller inking unit found on many Speedmaster 52s, the Anicolor unit has far fewer rollers. All of the Anicolor rollers are the same circumference as the plate cylinder, maintaining consistency and eliminating ghosting. Precise volumes of ink are controlled with a format-size screen roller, which can be heated or cooled to meter the ink. This way, ink usage is optimized, reducing production costs. No special consumables are required either – any conventional plates, inks and dampening solutions can be used. Pantone spot colours can also be printed.

Benefits With the Anicolor inking technology, Heidelberg says that makeready times can be reduced by up to 40 percent. Fewer rollers means that it takes less time to ink up and less sheets of paper required for setup.

Job changes can be completed faster as well. The range of applications in which offset is used for costeffective short runs can be broadened with this type of technology. www.graphicartsmag.com

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Presstek 4995A-ICS

Overview Presstek’s 4-colour device from AB Dick was developed in response to market demand for a portrait-format offset press. It can be used for short-run, multi-colour jobs and its speeds go up to 10,000 impressions per hour.

Specifics This press can handle both metal and polyesterbased plates. The machine features semi-automatic plate loading, which reduces the amount of registration adjustments. It also has an Ink Control System (ICS), which allows remote control over ink fountain keys from a stand-alone console. Maximum paper size is 13.39” x 17.72”.

Benefits The ICS system ensures consistency by allowing the operator to “dial-in” the ink feed rate for precise image coverage. The press itself is quite compact and is able to run a variety of stocks because of its vacuum-enabled stream feeder.

Hans Gronhi GH 524 Overview

short-run printing market. It is ideal for printers entering the multi-colour market, or it could even be used as a complimentary press to handle overflow work.

Specifics The press has full CIP4 data compatibility, allowing implementation of advanced digital workflows for prepress, press and postpress operations. The Spica has a lot of automation features such as tool-free plate clamping, automatic ink roller and blanket wash, as well as a fully automatic change-over between straight printing and perfecting for the 29P model.

Benefits The Spica is geared towards short-run, fast-turnaround work. It is reportedly more easy to use than some of its competing presses on the market. Its advanced operation cuts down turnaround and makeready time. It offers quite a good value for the money – high productivity and low cost.

Manroland Roland 50 Overview

Hans Gronhi is a company that is relatively new to Canada, but has been designing and manufacturing presses in China for over 30 years. Hans Gronhi’s 52-series of presses are very economical and feature a wide variety of upgrades.

Its GH 524 press is known for its strength and durability: its base and side frame castings make it the heaviest 52cm offset press in the world.

The Roland press is the first of its kind in 36/52 format. A variety of models are available with two, three, five or six printing units. The presses are equipped with double-size impression and transfer cylinders to enable contact-free sheet travel.

Specifics

Specifics

This 4-colour press is quite compact and has a small footprint. It tops out at speeds of 12,000 sheets per hour. The machine has all the important features that operators expect such as a vacuum belt feed table, semi-auto plate changing and touch-screen axis register adjustment on the run. Hans Gronhi’s ink key system also accepts CIP3 data from the Ink Profiler.

The Roland 50 has a maximum printing speed of 13,000 sheets per hour. It is capable of remotely adjusting lateral, circumferential and diagonal registers. It also has automatic plate loading and optional automatic blanket washing, which reduces makeready time. The machine is robust in its build, made with cast side frames, making it very sturdy.

Benefits

Benefits

The Gronhi 4-colour press reportedly sells for about the same price as a 2-colour from some of its competitors. It offers a variety of automation features that can speed up production and efficiency. It is great for small companies starting out who are looking for a basic press model that can grow as the business grows. All optional upgrades are available after installation as on-site retrofits.

This press offers one of the highest deliveries on the market, with a maximum pile height of 700mm.

Because of its double-size printing and transfer cylinders, the Roland 50 is capable of printing on thicker substrates (from 0.04mm to 0.8mm). This opens up a wide variety of possibilities for printers, expanding upon what kinds of jobs they can offer.

Komori Spica 29

Kristen Read kread@graphicartsmag.com

Overview

Komori’s Spica 29 is another economical compact 4-colour press. The 29 model is also available as a Spica 29P – with perfecting. At speeds up to 13,000 sheets per hour, it offers a competitive alternative in the APRIL 2010 | GRAPHIC ARTS MAGAZINE

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Short run colour: the technologies that drive it

On February 17, Digital Imaging Association members and guests gathered at Heidelberg Canada to participate in a panel presentation about short run colour.

Where offset and digital printing overlap is now blurred by new technologies being offered by Digital, Hybrid and Offset presses. The following panel of presenters offered DIA participants some insight into what is quickly becoming a complex production-based decision: Steve Klaric, Heidelberg Canada Mike Duggan, Kodak Graphic Communications Steve Chmielewski, Presstek Canada Terry Thompson, Xerox Canada All presenters clearly articulated the fact that the technologies they presented are compatible in today’s print production environment. DIA members and guests were able to hear supporting statistics as well as the presenters’ interpretations of how the various tools coexist and support each other to deliver today’s complex communications avenues.

HEIDELBERG

Presenting to DIA members and guests from Heidelberg was Steve Klaric. It’s no secret that Heidelberg’s market strength is with offset technology. Print’s function in communications has been changed, not eliminated. It continues to play a strong role in the integration of technology.Manyprintershavealready–andshould–strengthen their core offset capabilities with variable print capabilities, web presence, fulfillment, mailing and data base management to name but a few strong additional options.

Heidelberg’s array of technology is a strong part of a digital workflow. Its connectivity can accept web portal files and can automate make-readies.

Klaric echoed the other presenters by talking about integrated competencies. Citing survey statistics from NAPL, he demonstrated to DIA participants that a State of the Industry Report shows that by a ratio of 6:1, survey respondents stated that adding digital printing and other value-added services increased their core lithographic business. The key message is to integrate, not just add. “Integrate the services into a compelling value proposition that contributes to your client’s success.”

Heidelberg’s array of technology is a strong part of a digital workflow. Its connectivity can accept web portal files and can automate make-readies. Attendees did recognize that the front end workflow and digitally integrated workflow and MIS management is the same regardless of the ultimate end product.

All technologies are important. Again the message was clear: traffic the jobs to the right equipment that will make the most money for your company, all the while solidifying your company as a strong value-added resource to your customers.

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KODAK

Mike Duggan shared Kodak’s well-researched outlook on the present and near-future marketplace, addressing these key questions: how is the printing industry changing and what will the printer of the future look like? He addressed: • The importance of workflow • The impact of the economy • Managing the economics of an increasingly complex business • Digital press business model Attendees heard how printers need to develop strategic planning to meet their customers’ diverse requirements. These plans are likely to be marketing focused encompassing all manner of run lengths, and increasingly more variable including mailing and fulfillment. Print reps will become consultants and account managers offering expanded intelligence for digital asset management, variable product, repurposed images, web-to-print and soft proofing. Printers will select the appropriate press technology for each job, whether it be offset or digital. And they will require a highly-automated and integrated workflow to control costs and deliver profit. The evolving printer needs to manage a business that offers growing product and functional diversity.

Getting to the heart of where business gains are coming from will require more complex income statements that will identify profit and loss for each major work centre.

All presenters also agreed that conventional offset is still very efficient for the great majority of today’s printing, and that it is the printer’s decision about when it makes economic sense to select a digital press for a project over offset.

All presenters agreed with Duggan’s quote from Andrew Paparozzi, vicepresident and chief economist, NAPL: “The biggest threat to our industry is not the recession, it’s not China, and it’s not competitors who don’t know their costs. It is complacency, the status quo, and assuming that what worked yesterday will work tomorrow.

Because in an industry being redefined by structural change, a rising tide no longer lifts all boats, and no risk is greater than doing nothing.”

All presenters also agreed that conventional offset is still very efficient for the great majority of today’s printing, and that it is the printer’s decision about when it www.graphicartsmag.com

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makes economic sense to select a digital press for a project over offset. Suppliers and vendors offer assistance to printers to navigate the complexities of making this important decision on a continuing basis. But… offset printing is on the decline.

PRESSTEK

The right tool for the right opportunity to deliver revenue advantages was the focus of the information provided to attendees by Presstek. The tools identified for the purposes of the DIA presentation were conventional offset, digital toner technology and DI digital offset. Assuming all three technology choices are available, one of the printer’s deciding factors of which to choose is the run length. The statistics Presstek’s Steve Chmielewski shared with the audience were from vendorindependent industry specific resources. And he emphasized that the decision of which press or cost centre to use for each job is for production and management to make. It is not a customer-driven decision.

The right tool for the right opportunity to deliver revenue advantages was the focus of the information provided to attendees by Presstek. The tools identified for the purposes of the DIA presentation were conventional offset, digital toner technology and DI digital offset.

DIA members and guests were also told that print market trends demonstrate that about 80 percent of print jobs are 5,000 pieces or less. This count could fall into any of the three technologies. Much of the volumes continue to be static print so offset technologies are still viable.

Chmielewski agreed with the other presenters – all technologies are compatible. The DI is somewhat unique because it bridges heavy iron and digital.

of market leaders develop outside traditional printing companies. The challenge commercial printers face, said Xerox’s Terry Thompson, lies in improving business results, increasing productivity, reducing costs and growing profit. Surviving in today’s market and keeping up with the volatile conditions require thinking beyond an equipment list to what mix of communications resources will provide top and bottom line benefits that ultimately drive customers’ businesses:

THE RIGHT WORKFLOW – THE RIGHT TECHNOLOGY – THE RIGHT BUSINESS MODEL The escalation of shorter runs and shorter turn-around times, 1:1 marketing, web fulfillment and digital colour page volumes will help drive the increased revenues of the future. Prolific content tailored to consumer needs is driving shorter print runs and a faster migration to digital, though offset still continues to be part of the mix. Cross-media communications are already becoming a market reality, and they include print, Internet, mobile and social media.

Xerox has identified some marketplace resources that service providers can look to for revenue streams, most specifically for digital print and related digitaldriven services: financial, sales and marketing, agency and design services, application and development, paper and media resources, training and business development, as well as professional support services (to name just a few).

Listeners could be inspired by the key points that Terry Thompson concluded his presentation with. “Even at the recession’s deepest point when most are hunkering down, cutting, freezing and hoping the economy

XEROX

Xerox’ analysis of industry statistics demonstrate that lithography is going to decline, on average from 69.1 percent to 56.4 percent by 2010. In contrast, digital and value added services are expected to rise to 37.8 percent from 24.5 percent, and that the print-ondemand market will continue to escalate as shown by statistics into 2013.

DIA meeting attendees heard and saw the Xerox perspective of how market realities for rebuilding within the printing industries in 2010 will ride on two strategic planks: • Digital transformation • Operational effectiveness • Managing costs by doing all work more efficiently • Operational creativity in reducing all operational friction • Reducing cost and cycle time to drive efficiency But, as digital print technology continues to expand into new market areas, we may see a new generation APRIL 2010 | GRAPHIC ARTS MAGAZINE

36

turns around soon, leaders are still thinking about getting more productive, more competitive, and more valuable to their clients. While others are distracted by uncertainty, confusion and the fear recessions create, leaders are focused on what they have to do to prepare for the upturn and to make structural change an opportunity.”

Become a member of the Digital Imaging Association today. The privilege of membership enables companies to send as many employees as they deem appropriate to each informational session at no additional charge above the low cost of membership.

Contact Marg Macleod, Association Manager 416-696-0151 or marg@digitalimagingassoc.ca. As a member of the DIA, you’re not just a name on a list. You become part of a network of professionals dedicated to the strength and future of the industry. www.graphicartsmag.com

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www.tribay.ca (416)729-9687 sales@tribay.ca Spend less time receiving & sorting files Automate manipulation of PDF files Unleash the Power of Creative Suites

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

BINDERY

NORM BEANGE

Bangtail panels for direct-mail effectiveness Location, location and location are the three most important factors in real estate; the direct-mail world has three of its own critical factors – ROI, ROI and ROI. Every little change can yield substantial cost savings and effectiveness. If you’re looking for a direct-mail ROI dynamo, look no further than bangtail panels.

Bangtails are usually used for order forms and coupons as a reply device. They’re located at the throat of the envelope – a can’t-miss spot – and perforated for easy removal. Bangtails are the essence of efficiency. As part of the envelope itself, bangtails allow direct marketers to include marking messages, a reply form and a response envelope from a single piece of paper – no separate coupons needed.

PRODUCTION CONSIDERATIONS

To get as much efficiency as possible from bangtail production, keep these considerations in mind:

PANEL SIZING

This is critical to efficient production and user-friendliness, which is a must to ensure satisfactory response rate. Involve your bindery supplier in project planning to be sure your direct-mail applications are designed for success.

SECURITY

Envelopes must close securely if you want recipients to feel comfortable including cheques or personal information with their responses. Bangtails must be undersized at least 7/8 inches relative to the envelope flap to seal properly if the bangtail is not detached.

UNFOLDED SLIPS

Most users will fold the bangtail to fit it into the reply envelope. If you’d prefer an unfolded slip, a rightangle perf makes it easy for users to detach it properly.

KEEP IT IN-LINE

Make the piece less than 30 inches in width. Nearly all hot melt re-moist machines max out at 30 inches wide. If you stretch your piece beyond this dimension, the product may not be able to be produced in-line. The cost goes up enormously.

If you refer to the pictures in the article, Style #1 is the most basic kind and the cheapest to produce.

Style #2 is both an envelope and a tear off stub that can be inserted into the envelope. Style #3 is a bit better than #2 because it allows for more writing space. For some binderies, style #4 is the cheapest to produce. Style #5, which is a double thick reply card (postcard thickness), is unusual and cost effective. The most effective style of all is Style #6.

Norm Beange Specialties Graphic Finishers Ltd. info@specialtiesgraphics.com

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

TECHNOLOGY

PETER DULIS

Inkjet proofing systems Inkjet proofing has come a long way over the past 10 years and is now fully accepted in the prepress and creative arena. But what are the options, and what should we consider when looking for a proofing system? Let’s look at some of the leading contenders.

CGS COLOR TUNER

ORIS Color Tuner is a complete proofing system, combining automation, colour management, high-speed output and proofing-specific ink and paper. With ORIS, you can create contract quality proofs on affordable inkjet devices.

Winner of the GATF InterTech Award, ORIS Color Tuner was the first system of its kind to be SWOP and FOGRA certified (and PPA accredited) for Epson and Canon devices. Its features include a Setup Wizard, automatic colour matching and automatic printer calibration, so that anyone (not just the colour gurus!) can easily calibrate a proofer. Color Tuner has selective colour correction to adjust for inherent inkjet behavior, as well as independent spot colour handling and support for Hexachrome, for proofing accuracy in commercial printing and packaging environments. Multiple printers can be handled from a single system, and colouraccurate imposition proofing is included.

ORIS also has a ScreenDot option for colour-accurate screened proofs. It also accepts all major digital file formats, making it ideal for any prepress system. An integrated ORIS Soft Proof option offers remote proofing at agency and print buyer sites.

EFI

EFI Colorproof XF is a professional-level RIP that enables you to mange colour by providing you with all the tools to produce accurate proofs including producing ISO 12647-7/8 compliant validation printing and contract proofing. The solution caters to ad agencies, prepress businesses, publishers, newspapers, packaging companies, full-service printing houses, semi-professional photographers and print shops.

The EFI Colorproof XF enables users to build in colourcontrolled proofing throughout the prepress and printing process. Using universally-accepted ICC profiles, EFI Colorproof XF creates a fast, flexible workflow for accurate, repeatable colour and can be fully configured to meet exacting proofing and output requirements.

GMG

GMG has just recently announced the launch of a proofing system comprising of Canon’s brand-new imagePROGRAF iPF8300/iPF6350/iPF6300 inkjet printers and supported by GMG ColorProof, GMG FlexoProof XG and GMG DotProof XG contone and halftone proofing solutions.

GMG’s ColorProof contone proofing software and the FlexoProof XG and DotProof XG halftone proofing modules enable the GMG/Canon proofing system to achieve maximum colour accuracy and repeatability.

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GMG DotProof and GMG FlexoProof produce genuine, colour-accurate halftone proofs by directly processing 1-bit imagesetter data. As a result, this new system is perfectly suitable for advertising, where halftone reproduction and offset printing replication is required.

According to Detlef Frey, prepress operator at Heinendruck, Düsseldorf, “The printer driver, which GMG has developed specifically for this printer, allows absolute accuracy in simulating the printing result on our presses, while the software and hardware are very easy to operate. In particular, the extremely intuitive calibration process, guaranteeing outstanding consistency and repeatability, doesn’t require extensive know-how.”

IMPOPROOF

If you are looking to do double-sided proofing, the ImpoProof line of Imposition Proofers are the fastest devices and use two Canon iPF 8000S 1200 × 2400 dpi printers. The ImpoProof 8000S system gives you the fastest double-sided output available. Up to 20 backed up forms per hour at 1200 dpi.

The unique camera registration system ensures that ImpoProof achieves an unmatched level of accuracy.

ImpoProof’s proprietary ImageProcessor Module accepts the widest range of file formats. The onscreen preview of your form is a standard feature, which can reduce costly errors. The ink reduction, colour calibration and superior screening technology features are integral to producing the highest quality proofs.

ImpoProof connects to all prepress systems used in the industry today, including Prinergy, Rampage, Nexus, TrueFlow, PrintDrive, Harlequin, PrePage-it, Prinect, EskoGraphics and Brisque.

KODAK MATCHPRINT

The Kodak MatchPrint system has been around for some time, consisting of the Kodak Proofing Software, Kodak MatchPrint Inkjet Media, workflow connectivity, workstations and one of the latest drop-on-demand inkjet printers, the MatchPrint Inkjet System, which allows you to generate reliable proofs easily and consistently.

The Kodak RIP connects seamlessly to Kodak Prinergy workflow systems and also allows for a certified proofing process control for colour confirmation. The software is easy to use and includes a calibration wizard that enables you to quickly and accurately calibrate your printer for consistency proof-to-proof and prooferto-proofer. The software also supports industry standards including SWOP, FOGRA and GRACoL. Peter Dulis Wide Format Printing Specialist Canon Canada pdulis@rogers.com

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TECHNOLOGY

ANDREA MAHONEY

XML: The little file does the heavy lifting The following should provide the tools you need to create a network and server friendly automated system. When you start to use an automation toolkit you start by thinking of how to work with production jobs.

Copy files to the server, open fonts, preflight, open source files and edit, make postscript, make pdf, preflight again, color optimize, impose, send to press, this is what is in our mind when we start to create automated workflows. We visualize the entire job folder going through the system hitting each checkpoint and moving along. This can be done but there is a large amount of processing and network time involved in moving entire folders of files, images, XML and fonts around on a network server. We have to think a little differently.

The job folder does not have to travel any further than necessary. The best way is to use XML to call the shots while the rest of the job sits quietly on the server where it belongs. A jobs flow does not have to be a linear pro-

its way to a flow that adds the information to the production database. From there an email is generated notifiying sender and production coordinator of the jobs receipt. Our second copy of the XML makes its way to a flow based on the information about the type of files in the job. This XML file picks up a Quark file and runs it through the Markzware Flightcheck Professional plugin. The report and the updated Quark file is then copied to the server and a passing file can follow its production flow to postscript/pdf production.

The home base job folder on the server can always be found as the original data is added to anything picked up by the XML. A third copy of the XML can be used to generate packing slips and print out docket info or any paperwork for the bindery. This method of processing smaller XML files automatically is much easier on the network and server load.

XML can do the heavy lifting if the entire package or job folder needs to be processed. The XML file can pick the entire folder up when it is needed. This avoids the folder traveling through the entire process for no other reason.

A WORD ON PLUGINS:

The Markzware Flightcheck Professional plugin was mentioned in the above example. Enfocus FullSWITCH and PowerSWITCH install by default many built in plugins that do not require any extra installation to use. If you have the software license and are running server programs, such as Enfocus Pitstop Server, Axaio MadeToPrint (QuarkXpress or Indesign and Indesign Server), Quite Hot Imposing, Alwan CMYK Optimizer, Ultimate Impostrip on Demand, EFI XF, Stuffit Deluxe, ICS Remote Director, Jaws PDF Creator, Elpical Claro, callas pdfToolbox, to name only a few, the plugin can be used as long as the software is installed on the server with the automation software. Whatever setups you have created in these products will be picked up and used by the plugin in SWITCH. It is that easy.

cess; with today’s automation tools, we can have our XML file copy itself to several different processes at once and work simultaneously for some processes and wait for some of the others to finish if needed. The XML file that we require with our job folders includes most everything needed to produce our product. Its name probably is our job’s docket number and inside we have customer information, job docket information, email information and other data your automation system can use to sort with and decide which flows to follow and report with.

HERE IS AN EXAMPLE:

A job comes in from the Web portal and is downloaded by the automation system to its server location. On the way, copies of the XML hop into the production flows to start the processing. One makes APRIL 2010 | GRAPHIC ARTS MAGAZINE

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Since these products were mainly used with hot folders previously, the plus side to adding them to the automated flows is that files can be sent on their way to another process automatically after completion. If the XML method above is used to pick up items, all the data is available for use in any other process.

You can find more information about plugins for SWITCH at www.crossroads-world.com. There are examples for download, demos and contacts for developers available. You can learn more about XML from www.w3schools.com.

Andrea Mahoney designs and installs automated workflows for all types of printing professionals. Tribay, a workflow automation company, offers the tools, training and setup for successful automated workflows.

Visit www.tribay.ca and/or email Andrea at andrea@tribay.ca.

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43

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

TECHNOLOGY

TIM MITRA

Graphic Arts’ IT Guy Is it okay if I send my fonts to our translators in Montréal? Or is there a way for them to access the fonts on my machines remotely?

A few years ago, I wrote an article on licensing software. When it comes to licensed software, people are often under the misconception that they have bought their software. In fact, what they have done when they purchased a software title is simply licensed the use of that software. Normally, the license is intended for one user on one machine. Fonts, although they are small, are often overlooked yet they are copyrighted software titles.

So the simple answer is that you cannot share your fonts with your co-workers and friends. Fonts are the creative works made by type foundries. They once dealt with physical properties and now they deal with software or intellectual properties.

I took part in a webcast sponsored by Extensis on font compliance. Here are some recent examples they shared with us. NBC was sued by Font Bureau for $2 million for the improper use of their fonts on logos for popular television shows. The Hadopi logo was also found to contain an improperly licensed font, which is ironic since Hadopi is the French government’s antipiracy organization. Microsoft was sued for bundling Chinese fonts into their operating system.

Adobe’s fonts are licensed per computer. Their terms state that you can give someone else your version of your font as long as they already own the same title.

Adobe does allow fonts to be embedded into documents that are going to be edited. Some other font foundries don’t allow this flexibility; in fact they don’t allow unlicensed fonts to be hosted on a website.

Monotype, the biggest font vender owners of ITC and Linotype, only allows policy licensed per workstation.

They allow you to distribute a version, but they restrict fonts to be viewed in documents or to be printed only. So you can embed the fonts in PDF and allow someone else to edit them. They also have additional licensing for use in a commercial PDF; you can also extend to a multi-use license as well as Web server and embedded applications. Émigré is even more restrictive with no modifications allowed. Additional fees for use in PDF, Flash and embedding in EPS files are required. Émigré will allow embedding only if all users have an existing license.

They do have a lot of extra licenses, site licenses and server bureau licenses, etc.

As with any software, you should check the end-user license agreement, EULA, as they can often vary dramatically. As a rule of thumb, these are the intellectual properties you should assume that you cannot copy or distribute. Another misconception is that fonts that are bundled with applications are free – they are licensed to be bundled. If you’re the owner of the company, you should be aware that you are responsible for the actions of your employees.

The Business Software Alliance is a group that oversees infractions in software licensing. According to the BSA, if you’re not sure about font compliance you should contact the font vendor. The BSA doesn’t pursue infractions. They rely on end-users reporting unlicensed software use. Surprisingly, some fonts are not even allowed to be embedded in a document while others are not even allowed to be used in static images.

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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So what can you do? You can own all your font licenses. You can ignore the problem.

You can have your partners acknowledge that they have the rights to use the fonts.

You refrain from using fonts that don’t allow embedding. And you probably should read the EULA. There are several tools to help you manage your fonts.

For instance, Expenses makes a product called Universal Type Server. With the UTS, you can limit the user to have access to fonts. You can control who can share the fonts. And you can control who can add the fonts. You can also have the server report on your company’s font compliance. At the end of the day, there are no “font police” – all it requires is that someone makes an innocent phone call.

Timothy Mitra IT specialist (IT Guy) Do you have a question you would like answered by the IT Guy? tim@it-guy.com 416.278.8609

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MY CUSTOMER ASKED ME

DIANA BROWN

My customer asked me “What’s new and interesting in children’s book production?”

We all remember our favourite books as kids. Whether you were a Hardy Boys aficionado, Winnie the Pooh devotee or Dr. Seuss enthusiast, we all have much loved books from our childhood that still hold true to us today. In taking a recent stroll through my local Indigo store, it became evident that children’s books have become much more elaborate, high-tech and innovative than I remember.

I have found seven amazing children’s books that are worth taking a moment to touch on. I haven’t chosen these books for their content (although some are award winners) but because of their superior design, printing and production qualities. I will also discuss 1:1 customized children’s books in the new age of digital book printing.

Let’s begin!

Eerie Origami by Duy Nguyen (Sterling Innovation – 2009) – Interesting packaging and presentation that creates shelf appeal.

This book is a Halloween musthave to create scary origami creatures of your very own! The kit contains a how-to origami book, 50 sheets of origami paper and, my favourite part, a fully assembled origami wolfman. The die-cut packaging with cellophane window at the front is the perfect for letting the wolfman peek through. The design and packaging really leaps out at consumers on store shelves. Housed in the crafting section, it is flashy and fun and hard not to pick up for a closer look.

Buzz by DK Publishing (DK Children – 2007) – Fantastic use of sound.

This book has an amazing cover that includes “hot spots” with sounds embedded for children to push, hear and learn. “Squash Me! Squish Me! Smash Me!” These cues let kids know where to press to hear the sounds of their favourite bugs. This thick cover that houses all of the noise-making gizmos makes up a significant portion of this book. The rest of the book is filled with full colour glossy pages filled with fun bug images and fun bug facts.

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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Big Frog Can’t Fit In by Mo Willems (Hyperion – 2009) – A larger than life popup book.

Traditionally, pop-up books involve intricate aspects of a book becoming threedimensional when a page is turned. They can also involve pulleys, flaps and transformations, which make pop-up, or moveable books more memorable.

Mo Willems took a different approach when designing the pop-ups in Big Frog Can’t Fit In because he made the pop-ups less intricate and more over-sized and larger than life. This title is also referred to as a “pop out” book versus a “pop-up” book, which is a very accurate description because as the pages are turned, Big Frog’s limbs literally fly off the page!

The Black Book of Colors by Menena Cotin and Illustrated by Rosana Faria (Groundwood Books – 2008) – Interesting uses of coatings and embossing.

This book is amazing because it uses unique coating and embossing techniques to break down barriers and simulate what it’s like to only see through one’s sense of touch. The embossed Braille throughout describes what each colour of the rainbow looks like. Raised UV coated www.graphicartsmag.com

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images are applied over glossy black pages, creating very subtle images, whereby the reader must rely mainly on touch to explore each scene.

Sandy’s Incredible Shrinking Footprint by Carole Carpenter and Femida Handy and Illustrated by Adrianna Steele-Card (Second Story Press – 2010) – Eco-Forward Thinking In a time when climate change is arguably the most imminent problem facing future generations, Sandy’s Incredible Shrinking Footprint stands in a category of its own as an innovative and thought-provoking introduction to environmental responsibility. I not only love the message this story drives home, but also the way in which it was executed in picture book format. Artist Adrianna Steele-Card uses natural and recycled materials to create the unique collages on each page. You can find leaves, wool and birch bark throughout the book, and it is printed on FSCcertified paper. This collage technique not only drives home the 3 Rs (Reduce, Reuse, Recycle) but also creates a book where nature literally lives within the pages, resulting in a textural, dimensional and very personal work of art for each young reader.

Wave by Suzy Lee (Chronicle – 2008) – Beautifully simple.

This title does not compete in the same category as the aforementioned books, in that there are no sights or sounds or touchy-feely components. It’s amazing because it’s so simple.

In classic 2-colour imagery (black and cyan) with no text to impede the beautiful nature of the illustrations, the description simply reads “A sunny day. A curious little girl. A playful wave.” The wave is depicted in cyan and the little girl and her seagull counterparts are drawn in black. It is beautifully printed and it is a must-see to really understand why it’s an amazing book.

Blanket Full of Love by Kim Freeman (Starrytime Keepsakes) – 1:1 Children’s Publishing.

I had the privilege of speaking with the author of Blanket Full of Love (and the creator of Starrytime Keepsakes), Kim Freeman, about her inspiration for this book and what makes it so unique. Blanket Full of Love is a personalized book that uses today’s digital printing technology and variable data software to create a customized print-ondemand children’s book. This book is a high-quality digital full colour hardcover, which is designed to look like an offset book and is getting closer and closer to offset quality due to advancements in digital printing technology.

APRIL 2010 | GRAPHIC ARTS MAGAZINE

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The books are printed by New York-based digital printer SharedBook, who helps Kim achieve her publishing goals by offering printon-demand services through Kim’s online Starrytime Keepsakes web portal. The child’s name on the cover and throughout the book is their own, and there are images throughout the book that are customized to look like the child (10 different boy images and 10 different girl images of all skin tones and hair colours). You can even add a custom dedication page with a photo for your little one. Customers personalize their books right on the website and can view the final product in page turning software. Once they approve the freeform text and images used, the order is processed and sent to SharedBook for printing. Kim says that the majority of her sales come from first birthdays and first Christmases.

“Toddlers are able to see themselves and relate to the images that look like them. When the child becomes older, Blanket Full of Love becomes a perfect book to learn how to read because it’s all about them,” Kim explains.

Furthermore, Kim predicts that many mainstream publishers will soon be moving into this area of custom, print-on-demand publishing because of the ever-increasing ease, affordability and quality of printon-demand books.

Whether or not children’s books have all the bells and whistles to capture the attention of their young readers, I am appreciative that children’s book publishers are doing a great job creating interesting and interactive books for everyone to enjoy. It’s nice to think that in a world that may one day be ruled by Kindles, E-Readers and iPads, there are still children’s books that are as tactile and authentic as we all remember.

Diana Brown is an account representative in the Trade Book Publishing division with Toronto-based book printer, Webcom Inc. diana.brown@webcomlink.com

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