June 2010 - Entrepreneurship in print by Graphic Arts Magazine

June 2010

Vol. 13

No. 5

$7.95

The

Dawn of a

New Era

Page 22

in Print

Entrepreneurship

in print: a family affair

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JUNE 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 Submission deadlines are as follows: June 17 for July/August 2010 August 17 for September 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 Production Manager: Barb Vowles 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 Cover photo: Miguel Hortiguela GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Norm Beange • Tony Curcio • Diana Brown • Peter Dulis Natalia Gilewicz • Andrea Mahoney • Myrna Penny Kristen Read • Kelly Robertson 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 Applied for Canadian Media Circulation Audit 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.

COVER STORY

Entrepreneurship in print: a family affair

17 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read This month: George Mazzaferro, owner of RP Graphics

18 Entrepreneurship in print: a family affair . . . . . . . . . . . .

Natalia Gilewicz

What the Myers-Briggs Type Indicator reveals about our industry’s entrepreneurs

22 The dawn of a new era in print . . . . . . . . . . . . . . . . . . . . . .

Tony Curcio

Printer Gateway and Konica Minolta team up to bring you breakthrough services

25 Standardize with PrintTalk . . . . . . . . . . . . . . . . . . . . . . Andrea Mahoney The scoop on this XML standard

26 Printing skin cells with inkjet technology . . . . . . . . . . . . . Peter Dulis Science in the print world

28 Featured markets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read Your monthly buyer’s guide to the latest print industry products This month: consumables: ink and soft proofing

34 What print buyers want . . . . . . . . . . . . . . . . . . . . . . . . . . . Myrna Penny Hear it straight from the source

38 Know when to fold ‘em . . . . . . . . . . . . . . . . . . . . . . . . . . .

Norm Beange

How to coordinate with your bindery

44 Nine reasons prospects don’t return your calls . . . . . . .

Kelly Robertson

And how you can get them to pick up their phone

48 My customer asked me . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown What’s the deal with colour-changing ink?

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

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JOE MULCAHY

View from the publisher The IPEX Show in Birmingham, England has just concluded and judging from all reports it was a good show with solid attendance. Speaking of trade shows, be sure you mark October 3 – 6, 2010 on your events calendar. That’s when the 2010 edition of GraphExpo will be held once again at Chicago’s McCormick Place. Graphic Arts Magazine will be there, so be sure to drop by our booth. I’m looking forward to meeting our industry friends once again and making many new ones. For more information, please visit www.graphexpo.com.

It’s always good to see printing companies growing and thriving, especially in the current economic climate. The latest news at Graphic Arts is the addition of a new member to our dynamic organization. I would like to welcome Barb Vowles into the GAM family! Her friendly and energetic personality will make a great addition to our production team, and she brings with her some great industry experience and insight. I hope everyone enjoyed that gorgeous Victoria Day weekend. Not only did it signal the start of summer, but the start of this year’s World Cup in mid-June. Ah, if only Ireland was in the 2010 version of the “Beautiful Game.” I had the pleasure of attending the 1994 clash between Ireland and Italy at Giants Stadium in New Jersey. It was quite a show. Oops, did I forget to mention that Ireland won?

A congratulations goes out to C.P. Bourg for winning the Business Partner Award from Xerox. To be more specific, C.P. Bourg won the iGen Finishing Partner of the Year Award. “Receiving the Xerox overall Finishing Partner Award demonstrates that our products consistently outperform all others to provide print industry customers with the best print finishing solutions available,” says C.P. Bourg’s Richard Trapilo.

Enjoy the summer and, as always, stay positive and stay focused.

Another congratulations goes out to Hemlock Printers Limited of Burnaby, British Columbia for being named Printer of the Year for North America in Sappi Fine Paper’s competition. This proves something that I have always firmly believed in – that Canadian printers are amongst the best of the best.

........................................................................................................................................ Joe Mulcahy joe@graphicartsmag.com

I would also like to wish Millenium Printing the best of luck with their exciting new acquisition of Kingsweb in Mississauga. Millenium is best known for their sheetfed work, and with this new expansion into the web side of things they’ll surely be very busy!

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NATALIA GILEWICZ

Make sure print is relevant Recently, I had the pleasure of travelling to Vancouver for Design Week to take part in the Icograda Design Currency conference. Vancouver’s design community is amazing, and while we do great corporate work in Toronto, western Canada seems to have a very organic quality. The conference was full of young artists listening to the talks while constantly doodling concepts in their Moleskine notebooks.

There are a couple of lessons that became apparent. Firstly, designers still need help understanding print production. We need to educate them so that they feel comfortable working with us. Secondly, given the number of media options is increasing, designers have to actively choose print. We need to show designers how print is relevant and beneficial. Lastly, I noticed something very interesting about designers. They are naturally entrepreneurial and creative. They force us to produce quotes on what seem like impossible jobs. In that sense, design can push us to use technology in new ways.

One of the conference highlights was the talk by Ben Hulse, design manager and Ali Gardiner, vice-president, brand and creative services from the Vancouver 2010 Olympic and Paralympic Organizing Committee (VANOC). They explained the process of designing the Olympics down to the last luge handle.

However, this is not to say that designers are more entrepreneurial than printers. I think that, generally, we have very innovative people in the graphic arts industry. In this month’s issue, we look at the entrepreneurial nature of print. Our lead article, written by yours truly, will investigate the role that entrepreneurship plays in three Canadian print businesses.

The conference touched on topics ranging from designing sustainable cities, to the craft of design, to designing emergency housing in disaster areas like Haiti. The purpose of the week was to explore the value of design. With amateur artists on the rise, it’s certainly a worthwhile discussion. Design as a profession is endangered by the masses of want-to-be designers out there.

I encourage you to think about how you can engage the designers you work with. They hold the key to a lot of business opportunities. I charge you with the task of making print relevant in their eyes.

However, I engaged in the discussion not as a designer but as a print professional; from this perspective, the discussions looked a little different. For example, at one point, a speaker asked, “Is anyone in this room old enough to know what a press check is?” Everyone laughed, but me. He was joking, of course, and it was completely obvious that the entire room was in love with all things print. Nonetheless, I felt like the butt of a joke and, even worse, I felt dated. So for the rest of the conference, I proceeded to advocate for our industry.

................................................................................................. Natalia Gilewicz natalia@graphicartsmag.com

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NEWS & COMMENTS

News and comments The rare stamp exists today because a 14-year-old Swedish boy named Georg Wilhelm Baeckman discovered it in his grandmother’s attic in 1885. It was used to mail a letter in 1857. It is not known exactly why the stamp was printed incorrectly, but the likely explanation is that the printing plate for the normally greenish-blue “3-skilling” denomination stamp was mistakenly switched for the yellow “8-skilling” stamp plate – thus creating the “Treskilling Yellow.”

C.P. BOURG GETS TOP HONOURS FROM XEROX Presented annually, the Xerox Business Partner awards honour companies that have contributed most significantly to the business success of Xerox and its customers. C.P. Bourg, which has partnered with Xerox since 1989, was recently recognized by the company for its achievements. For the year 2009, Xerox recognized 22 partner firms for superior digital workflow software and finishing solutions. For its continued support of Xerox’s flagship product, C.P. Bourg was awarded iGen Finishing Business Partner of the Year.

KODAK CMO JEFF HAYZLETT RESIGNS

It has recently been announced that Kodak’s Jeff Hayzlett is stepping down from his position as CMO to pursue personal projects. Hayzlett joined the company in 2006 and has recently written a best-selling book titled: The Mirror Test: Is Your Business Really Breathing?

Hayzlett, at age 49, has been with Kodak for four years. His resignation was effective beginning May 28, but he will assist the company in this transition through to August. It has been speculated that he will use this time to gather publicity for his book as opportunities such as television and other speaking engagements requiring his full attention.

As well, one company from each category was selected by Xerox in recognition of its outstanding overall achievement. C.P. Bourg was awarded this top prize of Overall Finishing Business Partner of the Year for its “outstanding product portfolio of in-line and near line solutions.” In presenting the award, Xerox also noted that C.P. Bourg “mastered the challenging economic conditions of 2009 that tested the fabric of all its business partners and did not shrink from delivering all they promised.” The company has a 50-year history of developing and supplying document feeding, binding and finishing equipment for the printing industry.

Says Hayzlett: “When I joined Kodak four years ago, I knew that we could do great things together, and I have not been disappointed. I love this company, I love this brand and I am proud of what we have accomplished. Kodak is definitely on the right track, and the time is now right for me to devote my full energy to a variety of personal projects.”

“Receiving the Xerox Overall Finishing Partner award demonstrates that our company and our products consistently outperform all others to provide print industry customers with the best print finishing solutions available,” says executive vice-president and GM, Richard Trapilo. “We accept each of these awards with a great deal of pleasure and pride!”

Kodak chairman and CEO, Antonio Perez had this to say: “We thank Jeff for his contributions to the company, and we wish him well in his future endeavors.”

PANTONE EVOLVES INTO THE NEXT GENERATION OF COLOUR Pantone has recently revealed Pantone Plus: a new version of its widely-recognized Pantone Matching System. For nearly 50 years, the company’s system has been regarded as the worldwide colour communication standard. Pantone Plus is a modernized system that will reflect today’s design and production workflows.

WORLD’S MOST EXPENSIVE STAMP THE RESULT OF A PRINTING ERROR Considered to be the most valuable thing in existence by weight and volume, at just 0.03 grams, this stamp is expected to sell at auction for $7.5 million. Why is it so valuable? Issued in Sweden in 1855, it was printed yellow by mistake instead of green – making it extremely rare. Called the “Treskilling Yellow,” it is assumed that other mistakenly yellow stamps were printed in the same run, however none have ever been found. The stamp was last sold in 1996 for over $2.5 million to an anonymous collector. It is expected to achieve triple that price tag at auction in Geneva. www.graphicartsmag.com

“Pantone Plus takes what designers and printers know and love about the Pantone Matching System and supercharges it with a host of new features, colours and digital tools,” says Ron Potesky, senior vice-president and GM of Pantone. 9

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NEWS & COMMENTS

The new Pantone Plus series includes enhancements such as a chromatic arrangement of colours for more intuitive selection. There is also an expanded palette of spot colours, the addition of new premium metallics and even a broader range of neons.

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“The Plus series provides designers with greater freedom for selecting, specifying and matching colour,” continues Potesky. “And, since the Pantone Plus Series is based on the widely used Pantone Matching System, there’s no training or new equipment required to start pushing the boundaries of creativity.” The Pantone Colour Manager Software comes free with every purchase of Pantone Plus. This lets designers update their favourite design application with the new Plus series colour libraries. Users can also convert spot colours to CMYK simulations based on loaded ICC profiles.

GERMAN COMPANY DEVELOPS NEW TYPE OF BINDING Kugler-Womako has developed a new type of binding that it considers to be more environmentally-friendly and inexpensive than traditional methods: paper binding. Compared to regular products that incorporate plastic or wire binding, paper-bound notepad products would be completely recyclable without waste separation.

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“Metal or plastic wire is often expensive and difficult to procure,” says Olaf Wallner, head of sales at Kugler-Womako. “In addition, there is an enormous discrepancy in wire quality, which also has a negative impact on the spiral-bound end product.” Paper, on the other hand, is generally inexpensive and readily available.

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For many years, traditional types of binding such as spiral, double wire and plastic wire have dominated the markets, with very few modifications or variations. Kugler-Womako’s product has attracted some attention in different markets because the paper spirals used as binding can be designed and printed individually, with no limits on the choice of colours available.

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DIGITAL TEXTBOOKS IN THE CLASSROOM? NOT YET, SAYS MCGUINTY Last year, California Governor Arnold Schwarzenegger introduced a program to provide students with free digital copies of textbooks. While Ontario Premier Dalton McGuinty thinks this will be an eventual reality for the province’s students, it’s too soon to make the transition.

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“I think that over time we are probably going to make a transition to more technology-based reading and learning for our students, but my fear is that at this point in time it may be a little premature,” says the Premier.

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Toronto trustee Michael Coteau, on the other hand, has a five-year plan in mind to start phasing out hard-copy textbooks in an effort to save publishing costs. McGuinty is hesitant about this idea because he feels that not enough families are equipped to make the transition to digital media. Until he can be assured that all kids have access to electronic media in their homes, he says, he is very reluctant to move ahead.

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JUNE 2010 | GRAPHIC ARTS MAGAZINE

While this move will see students’ backpacks getting lighter, it could potentially have a negative effect on the Ontario printing and publishing industry. 10

www.graphicartsmag.com

NEWS & COMMENTS

NOW IN DIGITAL FORM: RARE COLLECTION OF CENTURIES-OLD MEDIEVAL MANUSCRIPTS Parker Library, in Cambridge, England, is known around the world for its rare and invaluable collection of historic manuscripts. It is said to house nearly a quarter of all the known Anglo-Saxon manuscripts in the world. In a project that started back in 2003, the library has digitized almost its entire collection for the world to see. Called the Parker Library on the Web project, 538 manuscripts in total have been made public and are available for viewing on the Internet. High-resolution digital copies have been made of every imageable page in each manuscript; and in many cases, the centuries-old bookbindings have been imaged as well. The project began in 2003 and is run by Corpus Christi College, Cambridge University and Standford University. Between the teams, more than 200,000 individual pages have been digitized using cameras and technology from Linhof, Anagramm PictureGate, Hasselblad and PhaseOne.

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The collection features some of the rarest documents and medieval texts, including the Bury Bible, a historic illuminated manuscript; the St. Augustine Gospels, one of the oldest bound books in existence; and the earliest copy of the Anglo-Saxon Chronicle.

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Another treasure is the Corpus Glossary, which is one of the oldest records of the origins of the English language. Written in the ninth century, it is an alphabetical dictionary with more than 2,000 words â&#x20AC;&#x201C; some still used today. The project is very important for creating and preserving quality images of these texts. Archbishop Matthew Parker bequeathed about 480 manuscripts and around 1,000 printed books to the college in 1574. The documents span the sixth to the sixteenth centuries. The project was funded by almost $6 million from the Andrew W. Mellon Foundation to allow scholars, researchers and anyone interested in medieval and Anglo-Saxon history to have access to this rare and important collection.

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MILLENIUM PRINTING BUYS KINGSWEB

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Millenium Printing, based in Concord, Ontario, has finalized the purchase of Mississaugaâ&#x20AC;&#x2122;s KingsWeb Inc. Since it began operations more than a decade ago, Millenium has been known for its quality sheetfed printing. This acquisition will now allow the company to expand and add web printing technology to its capabilities.

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Millenium Printing has steadily grown over the past 12 years it has been in operation. Several years ago, the company had only a 19Ă&#x2014;20 machine at its original Woodbridge location. Then a year later, a move to a larger facility in Markham allowed for the purchase of a 28Ă&#x2014;40 machine. Last year, Millenium grew again and moved into its current 40,000 sq. ft. headquarters in Concord with two 28Ă&#x2014;40 presses. Now with the acquisition of Kingswebâ&#x20AC;&#x2122;s 50,000 sq. ft. facility in Mississauga, the company is adding web printing into the equation.

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â&#x20AC;&#x153;We have really progressed and grown, especially in the last five years,â&#x20AC;? says Neeraj Gupta, marketing manager at Millenium Printing. â&#x20AC;&#x153;We are very excited about this as it is brand new for us â&#x20AC;&#x201C; web culture is a different culture. We have been in the sheetfed business up until now, but adding web to our capabilities is like adding a feather in our cap.â&#x20AC;?

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Millenium Printing had been looking at adding web technology for quite a while, and when the Kingsweb opportunity arose it was a perfect fit, according to Gupta. As current happy customers of presses by Mitsubishi, the decision was made easier by the fact that Kingsweb had two new Mitsubishi web machines. www.graphicartsmag.com

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NEWS & COMMENTS

“This acquisition was really the whole package for us,” continues Gupta. “Being a sheetfed business, we weren’t really competitive when it came to big run jobs. Web is a whole different ballgame and now we can offer that as part of our whole package. This opens up a lot of doors for us – and these are big doors!” The deal was finalized on Thursday April 29. Kingsweb has been around for 25 years as a family-owned commercial printer. Millenium will reportedly try to keep as many of the original Kingsweb staff as it can.

UNIGRAPH PUBLISHES UPDATED PRODUCT GUIDE Unigraph International, an industry-leading Canadian manufacturer of pressroom chemicals, has added a revised Pressroom Chemical Product Guide for Sheetfed and Web Presses to its growing list of technical support publications. This comprehensive guide includes dozens of newly formulated products that are more competitively priced, plus products specifically formulated for use on certain types of presses. Other available publications include Unigraph’s Pressroom Problem-Solving Poster and Troubleshooting Guide, Maintenance Program booklet for Rollers and Blankets, Info-Tech technical bulletins, Info-Graph newsletters and a soon-to-be-published pH-Conductivity Guide. If you would like to obtain any of these publications call the company’s customer service department at 1-800-996-9918 or visit their website at www.unigraphinternational.com.

AGFA ANNOUNCES NEW PARTNERSHIP WITH CANADIAN COMPANY Agfa has just announced a new partnership with Nustream Graphics, a Canadian full-service dealer. The company will distribute Agfa’s products and solutions in new emerging markets within Canada. “We are very excited about working with Agfa,” says Guy Potvin, executive vice-president at Nustream Graphics. “Today, cost-effective solutions that help printers reduce waste and improve efficiency while protecting margins are in high demand. Agfa’s portfolio of products has been wellreceived in the industry and increasingly in Canada because they meet these requirements. In a recent press release, Agfa says that Nustream has hand-picked industry veterans to strengthen the diverse company. Jonathan Rogers will manage Ontario-based accounts and Steve Daigle will manage Quebec-based accounts. In the release, Agfa stated that the company is comprised of knowledgeable industry professionals with hands-on technical and sales experience. “Nustream’s sales approach is exemplary,” says Ruben Silva, managing director of Agfa. “While distributing advance technologies is a sweet spot, their main focus is helping small- to mid-sized printers identify the solutions that best fit their business environment. Ultimately, we believe this new partnership allows Agfa to expand our reach as we work to help more printers manage their business challenges in this competitive market.”

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ECO NEWS

Eco News

DRYTAC INTRODUCES PRINTABLE BAMBOO-BASED FABRIC Drytac has recently launched Panda Print, an opaque printable fabric made from bamboo fibre. This is the latest addition to the company’s EarthSmart line of ecofriendly products. The substrate has a canvas-like texture and is 99.6 percent biodegradable and free of harmful chemicals. Manufactured in a closed loop, environm e nt a l l y-re s p o n s i b l e process, the bamboo used to make Panda Print is grown in an organically farmed plantation and is not harvested from forests. According to Research, Evaluation, Authorization and Restriction of Chemicals (REACH) in Europe, the product is certified to be free of hazardous chemicals and meets Oeko Tex Standard 100 requirements.

tomers recognize its commitment to environmental responsibility. The green and yellow leaf logo will be placed on marketing and advertising materials and packaging linked with measurable, proven and positive environmental activities. Along with the new logo, Kodak has also launched a global sustainability website to highlight its environmental initiatives dating back to 1880. “We recognize that customers want to know about how companies are being responsible stewards of the environment, and how companies can help them to be better stewards themselves,” says Charles Ruffing, Kodak’s director of health, safety, environment and sustainability. “Our new environmental branding logo will help us in speaking with our customers about how we can work together towards these mutual goals.” So where will we start seeing the new logo? Examples include environmental product attributes that result in unique value propositions, services that help customers manage their environmental footprint, recycle and reuse programs as well as initiatives that seek to educate customers and the public about Kodak’s commitment to environmental responsibility.

Panda Print is compatible with aqueous, eco-solvent and UV inkjet printers. It is available in 36-inch and 50-inch wide rolls.

NEW COPY PAPER MADE FROM ONLY SUGAR CANE AND BAMBOO A company called TreeFrog has recently come out with a new sustainable brand of copy paper. With no woodbased fibres, the paper is completely tree-free. It is made from the husks of sugar cane plants and bamboo – and it is recyclable, compostable and biodegradable. This new product from TreeFrog is changing the way the industry looks at paper. Originating from 100 percent alternative fibres, the copy paper doesn’t use any wood-based fibres, not even from post-consumer waste paper material. TreeFrog paper is made the by-products of 70 percent discarded sugar cane husks and 30 percent recycled bamboo, both of which would have otherwise likely ended up in a landfill.

AM.

Many alternative papers on the market are known to slightly lack in quality compared with traditional paper; however, according to the company, TreeFrog paper looks and acts just like regular copy stock. It is 22 pounds and has a brightness rating of 92, and even uses 10-15 percent less bleach than is commonly found in wood fibre paper products.

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KODAK: NEW LOGO AND WEBSITE TO DEMONSTRATE ECO-CONSCIOUSNESS

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Kodak has just launched a new logo that will help cus-

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Talkback Topics - check out what the industry is saying about some of the latest news: Re: Is Flash technology outdated? Apple’s Steve Jobs seems to think so “Meow! Sounds like a cat fight to me. I wouldn’t have expected that much attitude from Steve Jobs, it almost seems like it is on a personal level. His reasons for not including Flash seem pretty legitimate though, he explained it well.” -Jeff “I’m tired of Adobe pushing their garbage on Mac users. For every awesome Photoshop, there’s a CPU-sucking Flash. Jobs’ reaction is completely justified.” -Matt “Unfortunately there is no viable alternative to Adobe’s Flash. HTML5 is not standardized, hence a lot of sites developed for one platform will not be properly rendered on [an]other. Yes, you can accomplish a lot using JS libraries such as jQuery, etc. But it is a far cry from Flash.” -Max

Re: Kodak - new logo & website to demonstrate eco-consciousness “I’m not sure about this. While I of course think it’s important for companies - especially massive corporations like Kodak - to show their commitment to the environment...I think the world has enough stuff like this. If each company develops their own environmental-looking logo to slap on their products, how will we know what to believe any more? I’m on the fence - it’s either a nice effort from Kodak or a good example of green-washing. I get that they’re trying though. Better than nothing.” -Burt Re: Digital textbooks in the classroom? Not yet, says McGuinty “I can see the benefits of this. I mean, it will certainly help the environment with less books being printed. It will also save taxpayers money, not to mention the students. I have two kids in university right now and they pay an arm and a leg for their books. But at the same time...don’t our kids sit in front of a screen for long enough every day? -Terry

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!

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FOR THE RECORD

KRISTEN READ

For the record This month I chatted with George Mazzaferro, owner of RP Graphics in Mississauga, to find out how he differentiates his business from competitors and what his thoughts are for the future of print. Your company has been around for more than 30 years. What do you think are some of the attributes and secrets to its longevity? We employ many of the best individuals in the industry and have been fortunate to be at the forefront at each wave of change in terms of adapting to new technologies and eliminating obsolete processes. We make it part of our business to understand our customers’ business which, in turn, helps to keep them ahead of their competition. The future of the printing industry remains somewhat uncertain for many businesses. What are your thoughts on the coming years as we move ahead and dig ourselves out of the recession? The recession is only one of the stumbling blocks. The rapid changes in communications in the last few years account for the decline in traditional print on paper. We have to face the fact that our industry will never be the same and those of us who choose to remain will have to reinvent ourselves. How does RP Graphics differentiate itself from its competitors? We recognized over 10 years ago that there was a need to expand our expertise in the digital market and we have been offering our clients Direct/Variable mail products for several years already. We

never allow ourselves to become complacent and are always exploring new products to benefit our clients’ business. The environment continues to be a hot topic in the industry right now. You were one of Canada’s first printers to receive FSC and EcoLogo certifications. As a printer, do you find that you’ve gotten more business because of your commitment to the environment? That is somewhat true; however, our ongoing commitment to the preservation of our environment is a responsibility, not a marketing tool. Adapting to new technology is a challenge for many printers. In 1995, you were the first printer in Canada to implement a digital press. What kinds of struggles were involved in that change, and what lessons did you learn? How can printers learn from those lessons and adapt to today’s changing technology? Digital printing was a natural transition for us; mainly, in part, I ensured that the department was staffed with individuals who were highly skilled, knowledgeable and forward thinking. In today’s even faster-pace market, you still have to start with the smaller equipment and get comfortable with the technology before going to market. Customers are very savvy today, and you have to know your stuff. Any sign of uncertainty could cost you a job. What is your favourite part about your job? The challenge of each project being different. My passion for print will never change and today’s projects are incredibly creative. When you were a kid, what did you want to be when you grew up? When I was 12, I had a part-time job at a local print shop. It was there that I fell in love with print and that hasn’t changed. Kristen Read kread@graphicartsmag.com

George Mazzaferro, owner of RP Graphics

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MANAGEMENT

NATALIA GILEWICZ

Entrepreneurship in print: a family affair Initially when I was thinking about entrepreneurship, I wanted to write about the young and exciting minds opening start-up companies in our industry. After all, a large majority of the printing industry is made up of small firms with less than 99 employees. In my mind, three friends in a garage, screen printing t-shirts for rock bands was somehow the quintessential example of an entrepreneur. Then I started to think some more about the landscape of the printing industry. All reports indicate that print is primarily male and aging. This group of experienced males holds a majority of our industry in their hands. Why should we care? Well, while there will always be three friends in a garage potentially buying out a small company of which the owner is retiring, there are not nearly enough of them to form a smooth succession plan for our industry as a whole. Meaning, we need to find more “t-shirt printing types” and we need to make sure that they’ll be successful before all the knowledge and experience is gone. Clearly, my quirky idea of what an entrepreneur looks like first needs to be examined. There are many different ways to explore what makes up an entrepreneur. One may say it’s as simple as a competent person with a good idea and access to capital. Having known many of these entrepreneurial spirits in my life, I would say it’s a bit more complicated than that. I belong to the school of thought that believes entrepreneurs are a result of their personality types. Now, of course, there are also different types of entrepreneurs. For example, some may say that Jack Welsh is a hero, while Donald Trump is a superstar. Either way, it seems like no matter what type of entrepreneur you are, the one point of convergence is a strong personality. One of the most widely used ways to identify personality types is through the Myers-Briggs Type Indicator (MBTI) test. This questionnaire test assesses your personality based on four dichotomies that can combine into 16 different personality types. These include extroversion/introversion, sensing/intuition, thinking/feeling and judging/perceiving. Each of the 16 types have their strengths and weaknesses with five in particular being commonly identified as being entrepreneurial: ISTP, ESTP, ENTJ, ENTP and ENFP. Let’s have a closer look at each of these types. JUNE 2010 | GRAPHIC ARTS MAGAZINE

ISTP Of the five types, this is the only entrepreneurial type that is introverted. While some call this type the “craftsman” type, a more current description would be an engineer. The strengths of this type include the ability to analyze and then quickly solve complex problems. ISTPs have an appreciation for efficiency and are happiest in action-oriented, technical environments. This seems like a probable type for our industry. I know a lot of printers who have a very strong appreciation for their equipment, and constantly push the boundaries.

ESTP Nicknamed the “doer,” individuals with this personality type are known to be straight-shooting risk takers. They have a natural ability to quickly assess their environment, make decisions and execute. This is a powerful combination when you consider the many necessary decisions when starting and running a business. Given the pace of digital change today, ESTPs may find themselves thriving in our industry.

ENTJ Much like the engineer, ENTJs value efficiency. These “executives” types are outspoken and born to lead. But they run a tight ship, with little patience for poor choices. They are quick to judge, and equally quick to take charge of a situation. These individuals are problem seekers, mostly because the more complex the problem the happier they are to provide a solution. They have a hard time taking people’s feelings into consideration. Perhaps you know that one person in the industry www.graphicartsmag.com

whom you wouldn’t want to cross, but know will get the job done.

ENFP Intelligent, enthusiastic and full or potential, these “champions” inspire and motivate others. If you are observing ENFPs from afar, you may think that they lack direction. This is simply because they are not guided by what they are doing but rather how. They have a core set of values that they take with them throughout the many projects they like to get involved in. Sometimes finishing the projects is the hard part.

ENTP Have you ever had that thought, “I wish I’d thought of that” when you see a cool new gadget? The person who thought of it was likely a visionary and inventor or in other words, an ENTP. This type is second best at evaluating their environment (after the ENFP). This ability sometimes nicknames these types as “lawyers.” The difficulty for the ENTP is not generating the clever idea, but rather the execution. ENTPs have a difficult time with details when they are under stress. Their strengths will therefore shine with a detail-oriented partner at their side. Now that we know a bit about the entrepreneur, let’s take a look at what happens in their business. For this article, I chose to look at family businesses for three reasons. Firstly, one of the arguments in entrepreneurship literature is that it is a hereditary skill. Secondly, there is an added level of complexity when you have the system of family come into play. Lastly, it is no secret that the printing industry has a feeling of small — as a whole, we function a little bit like a family. Firstly, entrepreneurship itself regardless of industry seems to be a family affair. A USA Today article recently pointed to the fact that nearly 50 percent of people who start a business also had parents who were self-employed. While there are not a ton of studies in this area as entrepreneurship is quite new in academia, the Journal of Business Venturing does suggest a genetic link. More specifically, it’s likely that our genes predispose us to traits that support the lifestyle. For example, most entrepreneurs (with the exception of our ISTP example) are extroverted. Further, they have lower levels of riskaversion, helping them deal with the uncertainties of owning a business. The flip side of this argument is that this predisposition is less nature and more nurture. Children of entrepreneurs are exposed to the lifestyle early, and begin learning entrepreneurial behaviours from their parents. That old “monkey see, monkey do” adage www.graphicartsmag.com

comes to mind. In cases of successful entrepreneurship, children see first hand the payoff of hard work. Now, being an entrepreneurial family is not without its complexities, but what we are looking at here are family businesses where the entrepreneurs co-exist. So why is this complex? Families have a structure that leaks into the business. You have father and son, and boss and worker — that seems simple enough. However, studies indicate that there is one real point of complexity in this dynamic and that is the hand-off. A study by Morris, Williams and Nel (1996) suggests that this point comes at a trigger event typically tied to the senior family member stepping down in some way. The study looks at factors that contribute to a successful succession plan. This is important because with the amount of expertise looking to retire within the next 10 years, our industry will need a massive succession plan as a whole. A succession plan involves identifying the future leaders in your business — many would agree that just having children working with you is not enough of a solution in this way. Of course, a written plan is typically more effective than a verbal one because it forces you to examine the future in a logical sequence. Handler (1991) suggests that the transition of succession has three stages which are training of the heir, involvement in the business, to leadership and succession. The roles shift quite significantly as well from sole operator to consultant for the current generation, and from helper to leader for the next generation. Given this dramatic change, Morris et al. suggest three factors of focus: preparation of the heir, relationships with family members as well as planning and control activities. The results of the study show that in a successful transition the heirs tended to be educated, with a college degree as a norm. They have some experience outside of the family business, however contribute for an average period of nine years before taking on operational control. They tend to join the company with an entry-level position. Interestingly, they also join the company out of their own desires with encouragement from the preceding generation, of course. Perhaps most importantly, 42 percent of the study’s participants felt unprepared to take over. In addition, successful transitions are also attributed to a healthy and close family life. High levels of trust and strong sense of values were associated with successful transitions of ownership. Lastly, the study revealed that little formal succession planning was conducted (with 16 percent of the firms with a formal plan). The plans that were in place had a strong emphasis on tax planning. One would imagine that with a higher percentage of firms participating in formal succession planning that the success rate of the transitions would increase. Let’s take a look at some examples of entrepreneurs in our industry. If these men don’t make you question that there may be an “own your business” gene, I don’t know what will. YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

for Willow. They explain that they simply sat down one day and talked. Jeff calls this a verbal contract. Of course, having grown up in the company and working for five years formally, he remembers he was ready to take over. He stresses that the greatest thing his father ever did for him was to not pressure him to join Willow. He has taken on the same philosophy for his children, explaining that everyone should love what they do. That is what gets us through the tough times.

Lew and Jeff Ekstein, Willow Printing Group

There is the Willow Printing father/son team, Lew and Jeff Ekstein. When I began speaking with these two men, the first thing that became apparent is the sense of ownership they felt over their accomplishments. I think this is so very unique to entrepreneurs — Lew calls it pride of ownership. Jeff Ekstein, is the third generation to be at the helm of Willow, with Lew still acting as an advisor and chairman for the company.

Also following that philosophy is Don Gain, the president of Harmony Printing. While, Don is happy that his son Don Gain Jr. decided to join the company, there was certainly no pressure for him to do so. Now as director of sales and marketing, Don Jr. explains that joining the team at Harmony happened by way of an epiphany of sorts. He was presented with an opportunity to move into sales elsewhere and realized that he’d rather be selling at Harmony. He recollects his father telling him that the opportunity is not “a life sentence.” However, it’s quite clear that being a part of the company is a long-term passion and commitment for him.

As we begin talking about entrepreneurship, Lew is first to point out that it is quite different now than it was when he first decided to join his father as a printer. “I used to be the guy doing all the work,” he says. While for his father, an entrepreneur is someone who works hard to build a business, for Jeff the description is a bit different — “Innovative risk-taker, who can think out of the box!” The core values that have held Willow together for three generations include hard work, honesty, respect for self and employees, integrity and, most of all, pride. Don Gain Sr. and Don Gain Jr. Harmony Printing There is also generally a strong sense of family in the shop. Jeff reminisces growing up in the shop, where no one was afraid to play pranks on the owner’s son. “I remember, they signed When I ask the pair what an entrepreneur looks like a petition to have me turn off my radio because they Don Sr., witty as always, tells me “athletic, with a full didn’t like my music!” head of hair.” I jot down charming as a quality. DeciWhile we continue the conversation, I sense the sive and persistent are the first two adjectives mutual respect these two share —in fact, they are offered up by Don Sr., followed by visionary and quite a bit alike. They explain that of the two, Jeff is flexible by Don Jr.. Both have a strong belief that the tough one and Lew is the softie; however, their when you own a business you also have the job of a Myers-Briggs profiles are the same. They are both coach and team builder, understanding everyone’s extroverted and sensing, and split on the other two strengths and improving their weaknesses. dichotomies. It is really difficult to assess split proThis holistic approach is one of the unique strengths files as these individuals tend to pick from a larger of a business with great family values. The values that pool of behaviours depending on the situation. define the family and the business both are that of However, I can sense pieces of the ESTP profile that integrity, humility and respect. “We always try to do we called “doer,” which makes a lot of sense, as the right thing” explains Don Sr.. While he admits that they both seem to be advocates of change. “We’ve the company is not perfect, he says that it’s excepbeen in transition since Gutenberg” says Jeff. tionally important to him that they always take I ask them how they dealt with the succession plan responsibility — a sense of obligation to do the best JUNE 2010 | GRAPHIC ARTS MAGAZINE

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job possible for their client. That is the culture at Harmony, and it is deeply rooted in a mutual respect between employees, suppliers and customers. He laughs that while he doesn’t always refer to the company as a “family business” the employees do — taking pride in the care that they take when dealing with customers. Don Jr. mirrors the sentiment. “I never believed in the saying ‘it’s not personal, it’s business.’ Business is personal.” When I ask them how they are different from one another, they admittedly have a hard time deciding. Don Sr. offers up an analogy that he is much like a caretaker, maintaining the business he’s built, while Don Jr. is a visionary, looking to possibilities in the future.

Peter and Todd Cober, Cober Printing

Their Myers-Briggs profiles are quite different. Don Sr. is extroverted and Don Jr. is introverted. I would say that Don Sr. is much like our “executive” profile, but with a twist – he has strengths in both feeling and thinking, thus overcoming a lot of the typical weaknesses that an “executive” type would have. Don Jr., on the other hand, is known as the “protector.” His profile is the most unusual of the 16 combinations. It combines into two strengths that have come up in our conversation several times — he is highly intuitive and compassionate. He recommends that entrepreneurs “move in the direction of fear.” Perhaps this is something that is at least a bit easier for individuals who have his amount of insight. I really like Don Jr.’s advice. I think fear has the ability to paralyze us and to prevent us from making decisions. We all know that stagnant business in this industry will not last. I discover the antidote to fear in my conversation with Peter and Todd Cober, of Cober Printing Ltd. — it’s passion. This pair, along with the others, shares a very strong passion for the industry and their business. Peter is the president of the company, and Todd is the vice-president, and the fourth generation working at Cober. Both Peter and Todd agree that there are many “looks” to an entrepreneur — some are even surprising. Having spent some time with entrepreneurs, such as Ron Joyce, the founder of Tim Horton’s, Peter identifies that individuals who choose to run their own business have a special gift. It is, in fact, difficult to pin down what makes one person successful over another. They explain that along with a sense of vision, understanding people is very important. Being able to deal with and motivate different types of personalities is an essential part of their daily business. In addition, both place an exceptionally high value on building trust — something that I see as the common thread in all three sets of interviews. Another quality that arises is a respect for others. They show a genuine interest in allowing people to teach and mentor them. Todd looks up to his father, www.graphicartsmag.com

pointing out that he appreciates Peter’s methodical and grounded approach to business – and has learned a lot from working together with him. Peter, on the other hand, understands that there is incredible opportunity in not only mentoring, but also listening to the next generation of young people who are passionate about the industry. At the end of the day, they are exceptionally similar and both share the same personality profile, but they push each other, which strikes a balance between the traditional and the new at Cober. They have a very strong work ethic and the business is very important to them both. “Our name is on every box going out the door,” Todd explains. Admittedly, they work very hard to move the business forward. In the world of Myers-Briggs, they are what one could call “guardians” making them traditional with a very strong sense of moral values. It is this combination of personality traits that creates the mutual respect and trust between them, their business, and their clients. Both believe in the value of hard work and experience, starting from the bindery and working their way up in the business. Quite naturally, when I ask them to give advice to future entrepreneurs, Peter recommends that one should realize the value in the experience of working your way up, while Todd, suggests that mentors are invaluable — and there is a lot one can learn from experienced individuals around them. I think we can draw some commonalities between the entrepreneurs interviewed. These commonalities also seem to be linked to the family values of these individuals. They are passionate, hard working, visionary and dedicated individuals who all believe that respect and trust are key ingredients to longterm success. So the lesson learned, broadly, is if we all treat each other more like a family, we will all be better off. Natalia Gilewicz is a full-time Assistant Professor in the School of Graphic Communications Management at Ryerson University. Her teaching concentration is in areas of prepress, typography, and layout. In her research, she studies e-print and its applications. Contact her at ngilewic@ryerson.ca

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

TECHNOLOGY

TONY CURCIO

The dawn of a new era in print Business-Building Centre with Breakthrough Services for the Graphic and Printing Industry. In a previous feature in Graphic Arts Magazine, Dr. Joe Webb, a 30-year veteran of the graphic arts industry, emphasized that “the companies or applications that would have been the ‘old guard’ seem to get into a lot of trouble. While they’re busy trying to protect themselves, the real entrepreneurs of an industry start to come out and thrive […] we don’t need to rekindle print; we need a good dose of entrepreneurship. For decades, people have been running print businesses claiming to be entrepreneurs, but currently I don’t see the dynamic, vibrant essence that an entrepreneurial market should have. Are these owners really entrepreneurs? Or were they just riding a wave all those years?” Long before his prophetic statements, Printer Gateway and Konica Minolta were busy forming a groundbreaking strategic alliance that will result in a breakthrough business-building model for printers, taking the words “service” and “entrepreneurship” to an entirely new level of sophistication and efficiency. The alliance will see Printer Gateway, one of Canada’s leading and most forward-thinking wholesale print providers with a multi-million-dollar workflow and infrastructure, team up with worldwide industry leader Konica Minolta, to open the first-ever state-of-the-art Live Digital Print Media Center at Printer Gateway’s Toronto (Long Branch) facility. “Though the market knows who we are and our product offerings, many are still not aware of our flexibility in

the innovative ways we can help printers build their businesses,” says Paul McCarthy, senior sales manager, graphics division, Konica Minolta. “Our new alliance with Printer Gateway, two years in the making, is an example of that flexibility.” McCarthy emphasized that his mission is not just to sell, but to help the printing industry revive itself by assisting individual printers in their recovery – by reducing risk and increasing revenues with innovative service approaches and new business models. “Make no mistake, Konica Minolta will be there with expertise and guidance before, during and after the sale. If we can help our clients grow their businesses, then my goal of helping printers get their maximum ROI will be realized,” says McCarthy. “I believe that many printers today realize that they can’t continue the ‘business as usual’ approach, and we are determined to lead the way in new endeavours to help them, as witnessed by our recent alliance with another industry leader, Printer Gateway,” he adds. Using Konica Minolta digital technology and Printer Gateway expertise, the Multi Media Production Facility is really a total business-building centre with breakthrough services for print resellers never before seen in North America. It represents a totally new business/ service model and its three primary objectives are to help the printing industry: 1. Retain customers 2. Boost business 3. Reduce costs

Paul McCarthy, senior sales manager, Konica Minolta; Naoki Komine, assistant engineering manager USA; Nicholas Woollard, regional solutions integrator; Kelli McCarthy, national product manager Konica Minolta; Mike Pavia, application specialist; Brian Armstrong, president, Printer Gateway; Corey Gill, branch manager GTA. JUNE 2010 | GRAPHIC ARTS MAGAZINE

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Money Mo on Talks

www.allgraphicsupplies.com www.graphicartsmag.com

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

Paul McCarthy, senior sales manager, Konica Minolta; Brian Armstrong, president, Printer Gateway; Corey Gill, branch manager GTA.

The alliance is Printer Gateway’s pre-emptive strike, recognizing that the industry must change and that these types of strategic partnerships are the way of the future – the dawn of a new era of printing through key alliances. Printer Gateway is no stranger to pinpointing future trends and reacting ahead of most in the industry. The company was one of the first to embrace Metal FX and the first “green” trade printer in North America. With the use of “gang run printing” and other strategies to dramatically reduce its carbon footprint – saving air, trees, electricity and thousands of dollars in the process. The company has also formed important creative alliances to help its more than 7,000 clients across North America. “Today, too many printers purchase expensive equipment, then hope they can attract work to justify this investment,” says Printer Gateway President, Brian Armstrong. “We must change this mindset. Our alliance with Konica Minolta through our Live Print Media Center will help our resellers by easing them into short-run digital, mid-run production and high production offset – whatever their needs. Once they have the business to justify it, we can help them acquire the right kind of equipment. Our clients will gain the confidence, experience and also the education that will help them to achieve their goals of a larger, more profitable printing business – all with this totally new business-building approach that combines the strengths of Printer Gateway and Konica Minolta.” Basically the showroom’s services, driven by Konica Minolta technology, are divided into three categories:

when submitting files. The technology allows for instant colour profiling, resulting in incredibly accurate hard-copy proofing and the ability to fingerprint the profiles of new machines to the showroom as part of a “Maximum Uptime” program. • Short-run Digital and Mid-Run Offset These include Web2Print plus a huge array of inline finishing capabilities. Clients won’t need to invest in those accessories, until they have the business to support it. These services are also ideal for overflow during peak periods. • Free Consulting and Education Services These will include everything from pricing analysis to workflow assessment to industry-specific promotion campaigns. Combined (along with Printer Gateway’s three digital and three offset presses), these will allow print resellers to build their businesses gradually, at their own pace and without risky equipment investments. The services will also allow clients to maintain quality control, reduce downtime and reduce costs. This breakthrough Printer Gateway/Konica Minolta Print Media Center represents one of the most flexible ways of growing a print reseller’s business. It is an industry first and a true breakthrough – and definitely a bold new business model that is destined to be the way of the future. Tony Curcio acurcio@graphicartsmag.com

• Essentials of Colour This service will help printers achieve proper colour management and, therefore, optimal colour control JUNE 2010 | GRAPHIC ARTS MAGAZINE

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TECHNOLOGY

ANDREA MAHONEY

Standardize with PrintTalk If you are working with developers to implement online systems for job delivery and e-commerce, make sure you are leading them in the right direction. Many storefront developers have prepackaged design systems on the front end and a management system on the back end. They know little about the print manufacturing process and existing standards, and this creates a hurdle for print providers. Know what your standards are and ask for them. Most printers will be receiving jobs from several different Web portals and FTP sites fed by a number of systems designed by a number of Web developers. XML is the means of transporting data for incoming jobs so we must have Web developers use one single standard for that XML when it comes to print manufacturing. This standard is called PrintTalk. PrintTalk has been around for 10 years and the latest version 1.3 was published in March 2008. My first attempt at researching PrintTalk’s popularity was to google “JDF PrintTalk.” In doing this, I found a LinkedIn question asked in April 2010: “Does anyone have any experience or exposure working with PrintTalk?”

The data is structured as objects. For example, as Quotes, Purchase Orders, Order Status, Proof Approval, Invoices and Returns. It is designed to place e-commerce data, storefront data and any other online orders for print manufacturing in a JDF file inside a PrintTalk wrapper. From here, the data can move onto

PrintTalk

The answer was: “Never heard of it!” The only new information showing up in my search was for Ryerson University’s JDF day on June 17, 2010, so I guess we better get the word out to benefit from this standard. The only way this standard will get used is if we request our Web developers to implement it. Don’t forget to pass along this link: www.cip4.org/documents/printtalk/ so they can download the schema and a PDF of its implementation. This description was taken from the PrintTalk website (www.printtalk.org): PrintTalk is an XML standard that provides a single format for Print Providers to collaboratively communicate Business Transactions and specifications of Print Product both with their Print Buyers and among themselves. Print industry professionals from a wide range of organizations contributed to the design of PrintTalk. Such organizations include eCommerce companies, print Business Management Systems, Print Providers, and print equipment manufactures. PrintTalk is a community formed by print management systems and e-commerce companies to define a “best practice” common and open communications interface between their products. The founding members who contributed were Avanti Computer Systems, Cirqit.com, Collabria, Inc., Graphic Arts IT, GraphiTech www.graphicartsmag.com

Computer Systems, httprint, Impresse, MediaFlex, MicroInk, Noosh, Inc., Pace Systems, Parsec Corporation, Press-tige Software, Printable.com, printChannel. com, Printers Software, Inc., Profit Control Systems, Inc., Streamline Solutions and Wam!Net. If you are already running software from any of these suppliers, you will benefit in standardizing all of your online work using PrintTalk.

various parts of a JDF workflow as well as adding data into your accounting system all with the same integration. More automation means faster input and reduced errors. The PrintTalk standard can also be used by automation tools like PowerSWITCH, which handles import and export of XML and JDF. One script can pass information into an SQL database while another triggers entry into the preflight system and so on. PrintTalk JDF is the standard to handle all of our print manufacturing data. It is up to print providers to inform our Web and e-commerce developers that this is the standard to maintain for our storefronts and portals. For more information on JDF and PrintTalk check out www.ryersonjdf.eventbrite.com/ to sign up for the JDF Education Event, June 17, 2010. 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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TECHNOLOGY

PETER DULIS

Printing skin cells with inkjet technology In 2005, we wrote about a fascinating new technology being developed at that time at the University of Manchester in England, where scientists were in the process of developing a technique through which inkjet nozzles would spray live human cells onto a patient. Ideally, this would speed up the healing process because doctors could seed a patient with replacement tissue that would grow to the size and shape required. This could be used to treat burn victims or patients who have suffered severe disfigurements. The seed cells could also be grown from a previously harvested sample from the patient, thereby reducing the chances of donor rejection. Using the same principle as an inkjet printer, experts are able to take skin cells from a patient’s body, multiply them, and then print out a tailor-made strip of skin, ready to sew onto the body. The wound’s dimensions are entered into the printer to ensure a perfect fit. The researchers showed that human cells printed into wells containing nutrients could multiply, spread out and form attach-

The beauty of this technology is that it would remove rejection problems that are usually associated with conventional skin grafts, yet the technology at that time was still five to ten years away from potential implementation.

ments to the surface during a six-day incubation period.

The printer, which took up an area equivalent to three filing cabinets, was being developed at that time in order to replace traditional skin and bone grafts. Scientists at the university’s School of Materials had already successfully created skin and they believed that they would soon be able to create bone and cartilage. The group was working with Xaar, a British inkjet head manufacturer, to refine the equipment for human cell delivery. The cells, delivered in droplets of fluid, fly at about one-foot per second and can accelerate at about 1,000 G-forces. Doctors would take cells from a patient’s body, multiply them and suspend them in a nutrient-rich liquid similar to ink. A technician would enter measurements of a patient’s wound into a computer and feed the sus-

JUNE 2010 | GRAPHIC ARTS MAGAZINE

pended cells into the printer. The beauty of this technology is that it would remove rejection problems that are usually associated with conventional skin grafts, yet the technology at that time was still five to ten years away from potential implementation. Now five years since the initial experiments took place, researchers at a U.S. Army research lab at Wake Forest University in North Carolina have continued developing the technique that may one day help soldiers and other individuals recover from burn scars. The investigators have found that by modifying a conventional inkjet printer and growing skin cells taken from a patient’s body, they have been able to actually print new skin. In lieu of ink,

the scientists load the patient’s skin cells into a cartridge, and a computer uses a three dimensional map of the burn scar or wound to guide the printer, the National Defense Education Program reports. Kyle Binder, a biomedical scientist at the Armed Forces Institute of Regenerative Medicine at Wake Forest, explains, “The bio-printer drops each type of cell precisely where it needs to go.” He adds, “The wound gets filled in and then those cells will become new skin.” Once perfected, this new technique will join other cutting-edge scar treatment methods, such as silicone gel sheeting, for use in the biomedical world.

Peter Dulis Wide Format Printing Specialist Canon Canada pdulis@rogers.com

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MANAGEMENT

KRISTEN READ

Featured markets Your monthly buyer’s guide to the latest print industry products This month: Consumables: Ink and Soft Proofing There have been a lot of really exciting developments in ink technology lately. Especially in the last couple of months, a lot of interesting products have surfaced from some of the big manufacturers. Inks today go far beyond your typical CMYK – now we’ve got silver inks, invisible inks, dry inks, clear inks, environmental inks and inks that can produce a wider colour gamut than ever before!

CONSUMABLES - INKS

It is a dry ink, similar to how toner works. It is applied to the substrate, which could be paper or plastic, and it is run through a fuser and pressure roller to bind the ink. Kodak is also working on gloss matching to make the ink imitate the paper’s gloss, ensuring it is even more undetectable. Similar fluorescing processes involving offset inks, liquid toner and inkjet inks don’t seem to fare as well as the dry ink used on the Nexpress. They have a tendency to spread, making detailed images and barcodes difficult or impossible to print.

Color-Logic Process Metallic Colour System This system from Color-Logic uses a special formulation of silver ink that, when layered with your regular process CMYK, can create over 250 different metallic colour combinations. Regular silver ink typically doesn’t do well when it is printed together with other inks on top, but the silver from Color-Logic is specially formulated. It is non-leafing, so that aqueous or UV coatings can be added – enhancing the colour underneath rather than dulling it. The silver ink is printed underneath the other process colours.

The markings on this sample event ticket would be nearly invisible to the naked eye, but appear red under UV light - confirming the document’s authenticity.

There are a number of applications for this type of product. Firstly, items like event tickets, prescription pads and drivers’ licenses would benefit from having added measures to authenticate the documents. Secondly, barcodes could be printed using the invisible ink for internal workflows and inventory management to track-and-trace items. Because the Nexpress is a digital device, the fluorescing dry ink printing process can encompass variable data on each piece.

Sun Chemical’s Biorenewable content inks Many times, when creating brochures, artwork and promotional material, designers request metallic colours directly from a swatch book. However, printers can’t always necessarily reproduce every colour in these books. Using Color-Logic’s system, printers create their own test sheets using their press, their substrates and their inks. This way, designers know with certainty that each metallic colour can be reproduced accurately by the printer.

Sun Chemical has recently earned accolades for its environmentally sustainable series of inks. Five of the company’s commercial sheetfed inks have achieved

Kodak’s Red Fluorescing Dry Ink

This red fluorescing ink is brand new technology from Kodak. Designed for the Nexpress, the ink is clear and virtually undetectable to the naked eye. When it is illuminated with UV light, however, it becomes red. Red was chosen because it gives a better signal – blue, for example, might not give enough contrast to clearly see the ink due to paper brighteners. JUNE 2010 | GRAPHIC ARTS MAGAZINE

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the highest average index ratings in the National Association of Printing Ink Manufacturers (NAPIM) bio-renewable content certification (BRC) program. Among the highly rated inks are SunLit Diamond, SunPak Diamond, SunLit Intense, SunLit Exact and SunLit Express. Each of these received a BRC index of 80, which means that they use an average of 80 percent renewable resources. Typical BRC materials for sheetfed inks include vegetable oils and woodbased resins. Sometimes, buying “green” products can mean that quality is sacrificed in order to use materials that make them more environmentally responsible. However, the SunLit inks are versatile and high-quality. They set fast, reduce waste print and are compatible with a number of different presses.

Prior to INX Digital International’s release of the new MLD Magenta, re-profiling was required to capture a larger colour gamut. With the new version, users will not have to re-profile in order to obtain the same colours they were getting with their OEM inks. Triangle inks also come with outdoor durability and ink train warranties as well as comparable service and support that you might find from your press manufacturer. Something to think about!

Xerox’s clear dry ink

Xerox recently launched two new presses: the Colour 800 and 1000. These have an optional fifth clear, dry ink print station. This special ink format allows images and text to be highlighted for visual impact and can also be used to create digital watermarks.

INX Digital International’s MLD Tringle Magenta Ink INX Digital International manufactures ink for wide format and super-wide digital printers. The company recently released a new magenta ink for its MLD Triangle series onto the market. Designed to work with Roland Soljet and VersaCAMM series printers, the Triangle inks are now colour-compatible to OEM inks. OEM refers to inks that come from the Original Equipment Manufacturer. While there are certain benefits to buying the same brand of ink as your press, price is usually not one of them. This latest development from INX Digital International is especially important in cost-conservative times such as these because the possibility of looking elsewhere for ink could save a lot of money. The Triangle inks can reportedly give a comparable quality and colour gamut – at a much lower cost. The company says that users can save a minimum of 20 percent, in some cases up to 40 percent.

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The new Xerox Colour 800 and 1000 presses have an optional fifth unit to lay down the clear, dry ink that can highlight images and text for impact

The clear toner can create a different look and feel to the printed sheet. It “punches it up” in terms of trying to accentuate the features of a person or a texture. Frank Romano, professor emeritus at the Rochester Institute of Technology, even said himself that “the clear, dry ink delivers. It adds vibrancy, quality and value to an application.” The formulation of the ink itself is similar to other Xerox toners. The unique thing about this process on the Colour 800 and 1000 presses in particular, is there is a fifth toner head that allows you to lay down this clear toner option.

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SOFT PROOFING

ICS Remote Director

Soft proofing is a complex and detailed topic. You could fill every page of this magazine with information about it and still not cover everything. Aspects like device profiles, monitor calibration, lighting and so on, all play an important role in this process – but that’s another story for another day. We’re here to discuss the highlights and lowlights of some of the leading soft proofing systems on the market. There are many different options available out there. While we can’t cover all of them here, we’ll look at three very different programs that each come with their own benefits and drawbacks. Hopefully it will help give you an idea of what is possible, and what you should be looking for if you’re thinking of investing. It all depends on what type of organization you have and what needs must be met. Some of the most important traits to look for are tools like activity and approval reporting, simultaneous viewing, on-screen densitometers and collaboration functionality. As well, of course, cost plays an important role. There are a couple of systems that we didn’t cover in this article that deserve a mention. Heidelberg’s Prinect Remote Access, Agfa’s Apogee and Dalim’s Dialogue are all good solutions to look into as well. It really depends on what workflow you already have in place, but these three systems have received good press and have come a long way. They’re definitely worth a look if you’re in the market for soft proofing solutions. With that said, let’s dig in!

Kodak MatchPrint Virtual

Kodak’s MatchPrint Virtual is a complete hardware and software system that is SWOP certified. MatchPrint combines closed-loop colour management, monitor calibration and colour science to provide a controlled viewing environment. CMYK colours are very accurately represented on an RGB display. The system designates what lighting, specifications and monitors are needed for accurate viewing booth conditions. There are only two monitor vendors that are approved for use, however, either Eizo ColorEdge or Apple Cinema Display. While these are pretty pricey and you will have to calibrate them at least every 24 hours, they are high-quality and do the job. You can easily compare a soft proof with a hard proof. The MatchPrint Virtual system is a great advantage for companies that already have a pre-existing Kodak workflow because it integrates easily and securely with existing portal products like Insite Prepress Portal or Insite Creative Workflow through Smart Review. While the initial startup cost for the system can be high, there are no monthly fees and charges like others on the market. You can also easily track customer usage and bill them accordingly. Clients can sign off on the final RIPed proof themselves. All in all, the system provides good image quality with a high degree of colour accuracy. JUNE 2010 | GRAPHIC ARTS MAGAZINE

This system from ICS enables viewing of proofs on both Mac and Windows platforms. This standalone softwareonly solution is SWOP certified, provided you use one of the recommended monitors. Users have a lot of control over the system – you can even choose your specific lighting conditions. There are some important tools that are included, such as the ability to select your own total ink coverage. Since monitors can’t display the full gamut of colours that can be printed, a gamut stain tool even highlights what you can’t check on the display. After final signoff, you can also lock the proof. The program will also RIP the PDF, however users don’t have as much control over the RIPing parameters as other systems allow. In terms of collaboration, one person has control of the proofing and annotation at a time, but other viewers will see what changes have been made. Remote Director has a relatively low startup cost compared to Kodak’s system but, on the other hand, you are billed each time you make a proof.

Adobe Acrobat Connect Pro

Adobe’s Acrobat Connect Pro system is quite unique in terms of the tools it offers, especially when looking at collaboration. Video and audio conferencing is possible, and users can take control over the screen with permission from the host. The desktop, open windows and even applications can be shared with other participants. (It is important to note though, that unshared windows can obstruct other users’ views). Meetings can also be recorded for future reference. The layout of the program is very customizable. There is a whiteboard area that allows for freehand drawing and annotations that can be quite handy. Users can also add a digital signature, making the final proof a certified PDF. Each proofing meeting in Acrobat Connect does cost money, however. You can be charged on a per-minute basis or get an unlimited package for a monthly fee. Pay-as-you-go plans are also available. Make sure you get the pro version because although it is pricier, the regular system doesn’t include tools like meeting recording or customizable layouts. Adobe’s Acrobat Connect Pro is a good option for businesses that need a Web meeting room and would take advantage of the program’s webcam support. Kristen Read kread@graphicartsmag.com

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MANAGEMENT

MYRNA PENNY

What print buyers want The Digital Imaging Association holds regularly scheduled educational sessions that offer attendees a dependable way to stay current with the industry. The DIA achieves this by asking experts in various fields to address topics of interest to the membership. Members who attend our sessions often remark on how informative our technical-based presentations are. But, technology is of greatest value when the marketplace wants to buy the services it enables. On April 21, 2010 the DIA held a panel discussion that provided insight into what print buyers want from print providers. Thank you to PaperlinX for hosting the event. There is a strong distinction between print purchasers and print buying professionals. Purchasers tend to source printers like they do other commodity vendors. Print buying professionals view their suppliers as expert resources they can work with to achieve end products that meet expectations – every time.

THE PANEL

Doug Picklyk, editor of Canadian Printer Magazine, moderated the panel discussion. The panel included three print buyers: • Sonia Popovich has 20 years of hands-on production experience as a print buyer. She regards her early days as a Kwik-Kopy Kowgirl as being incredibly valuable because it taught her that keeping the client

exacting specifications. She is widely regarded by service providers as a true professional who brings out the best in her suppliers. They find her knowledge and professionalism a treat to work with. Sandra is an APM and CPPP. She has been a guest lecturer for print production and advertising courses and has been recognized by her peers for her dedication and concern for the role and image of the Print Production Profession. She has in-depth production knowledge of media from broadcast to various print products and excels at working in close partnership with clients, internal resources and external service providers. • Andrew Yee comes from a diverse marketing background within the financial services industry. With stops at RBC’s retail and insurance divisions to CIBC’s marketing and wealth management, Andrew has called DundeeWealth Inc. his home as the company’s director, statements and document production for the past five years. He manages short run and variable print services internally and outsources larger runs and services requiring other print methods such as offset.

WHERE ARE PRODUCTION DOLLARS GOING? Popovich spends about 60 percent of her time on print projects; Bishop’s time on print projects can vary from 25-30 percent to 50-60 percent depending on which agency or client she is working with. Yee’s time is spent managing data to digital print and mail, though he has been working on a digital portal to encourage clients to get their financial statements online. Yee reported that competitors’ surveys have shown that 90 percent of their clients still want paper documents, so Dundee has not forced migration away from print and mail. External print buying is a smaller portion of his activities than it was two years ago.

across the counter happy was paramount to keeping the company in business. In the early 90s, she joined the City of Toronto and learned “best practices” guidelines, as well as the importance of keeping paperwork up-to-date and current by tracking revisions. Now with The Works Design, she is just coming out of a heavy annual report season, which required well-honed production skills and good printer relationships in order to meet deadlines without jeopardizing the creative demanded by the art directors. She holds a B.A., CPPP (Certified Print Production Practitioner) and APM (Accredited Print Manager) certification. • Sandra Bishop is a senior print production and project management specialist with the technical skills and experience to guide projects on time and on budget to JUNE 2010 | GRAPHIC ARTS MAGAZINE

Bishop told DIA attendees that she continually sees that print complements web – in fact one supports the other. For this reason, production needs to consider repurposing of documents and also digital asset management that can be accessed for and by clients for a variety of executions. Digital asset management (a subject the DIA has address in other sessions) has become a huge service offering for design studios. Popovich has seen an increase in website development. The design firm she currently works for develops HR materials for its clients. While these materials continue to be made available as printed documents, the print version is now a supplement to what is provided on an interactive web portal. www.graphicartsmag.com

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Sonia Popovich loves the challenges of both time and production complexities and the satisfaction of working with the people who make it all happen. She wants a network of print service providers – a network she can trust – and she does share the work between them. So, she is always open to hearing from new suppliers. But she doesn’t want cold calls from sales reps who have not familiarized themselves with her company, their client base and the work the company produces and buys for their clients. Popovich also doesn’t want email contact from anyone who has not spoken to her first.

Most of Andrew Yee’s print projects require a level of security clearance. He also does pay some attention to environmental certifications such as FSC. Sonia Popovich and Sandra Bishop stated that sometimes environmental considerations are relevant but are part of the overall decision making about where a project will be printed.

What’s also important to her is an equipment list so she is aware of what a potential supplier can do in-house. If/when she invites a sales rep to meet with her in person, she wants to see printed samples that relate to her product mix as well as examples of proofs and press sheets that demonstrate colour matching. When a printer is invited to quote on a project she provides a spec sheet and a representative PDF file – and in return she looks for proactive suggestions and input to help facilitate the finished product. She also looks to her suppliers to give her a heads up about potential production problems – and offer suggestions to circumvent them. With the finished product she expects well-detailed and nice-looking packing slips that accompany cartons that fit the job. Typically, the job is delivered directly to her client so she wants to be provided with samples of the job before the client receives it and ultimate proof of delivery. Sandra Bishop echoed much of what Sonia Popovich stated. She wants a print provider who is an extension of her team. She indicated to the DIA audience that she encourages printers to advise her of the latest technology their company plans to include in their offering mix. She also likes to know about potential growth plans and/or mergers. She does not want to gather her information from industry rumours. She prefers face-to-face meetings, though email, phone calls and e-newsletters can supplement them. The service providers she gravitates to are those who bring ingenuity to her. Andrew Yee’s print related activities are much different. His department delivers a component of the services DundeeWealth offers to their investor clients. The printing Yee is responsible for is considered an expense for the funds not a potential revenue generator. The production environment Yee manages is designed to fit their regulatory requirement. What is important to him both in terms of in-house production and outsource buying is speed and quality. He doesn’t need to know the technology. He wants a printer that makes him look good. And he wants to know what’s up with his project – no lame excuses. He particularly values honesty in a service provider, and he views the sales rep as his advocate throughout the process. Yee particularly noted an example of a time when a printer caught a mistake on a job on press – attention like this is a game saver. JUNE 2010 | GRAPHIC ARTS MAGAZINE

DIA attendees asked specific questions of the buying panel. Among those was one related to the importance of colour management and G7 workflows. Another asked if any of the buyers were asking for statistical reporting to prove consistency throughout a press run. Neither of these were decision-making factors for the panel of buyers. They do expect a printer to have the ability to closely match a contract proof and a level of consistency throughout a run, but are not asking for special confirmation back in return. And that would mean that a trusted printer would embrace the tools to enable a reliable product and production cycle.

LOYALTY

All three buyers on the panel answered Picklyk’s questions: • Is your relationship with the representative or with the printer? • Would you follow a rep to a different company? And the answer from all was – it depends. These buyers defined supplier reliability as a combination of direct contacts within a company and the company behind them. The company should represent more that the representative does, so a decision to follow a rep to another company is not taken lightly by any of the DIA’s presentation panel. When making or influencing a buying decision, price is a factor but it is one of many considerations for print buying professionals. 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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BINDERY

NORM BEANGE

Know when to fold ‘em Which is more difficult: putting ink on paper, or proper job preparation and communication? For most printers, it is the latter. The same is true for binderies. Printers (and their customers) can plan for success by coordinating with their bindery early in the job-preparation stage. Communication Job Planning Providing marked and sequenced folding samples (first fold A-to-A, second fold B-to-B, etc.), bluelines, rule-up sheets and bulking dummies is always worth your time. When calling us for quotes, include product and end use information. If a particular job is a magazine insert, specify perfect bound or stitched. If it is a dust cover, provide a book sample so we can make the cover exactly the right size. If it is a die-cut piece, give a sample or thumbnail, so we can advise on tick mark placement. Often, there are several ways to run a job. We can tell you in advance which job can be folded and slit multiple-up.

Folding Basics If you deliver a bindery job to us with wet ink, the best-laid plans will be soaked. When using the notorious Reflex Blue or heavy, black ink that rests against white paper after folding, apply varnish to avoid smudging and marking. When metallic ink is used, varnish will reduce scratching. Know the grain direction. Folding with the grain reduces cracking and the need for scoring or inline wet scoring, both

of which decrease productivity and increase costs. If you must fold against the grain, consider a stock with short fibres and “off-machine” coating for better moisture control. Remember that inks tend to be brittle and may crack when bent, exposing paper fibres underneath. Job planning and layout are very important. One rule of thumb is to leave 1/8” between copy and intended trim position and another 1/8” for take-off trim. This allows for natural variation in both printing and binding processes without risking product damage. Smaller margins are possible, but check first with the estimator. For barrel folds (also called over-and-over or roll folds), the outer two panels should be final-finished size; each succeeding interior panel should decrease at least 3/32”; and the last panel should be 1/16” smaller than the preceding one. Failure to do this leads to bend overs, bad colour breaks, jams, waste and increased spoilage. Also, allow for washout (creep) when folding rightangle pieces or when one sheet of paper is nestled in another. Allow for the thickness of the paper to build up and peek out as washout. Heavily contrasted colours will make washout appear worse, whereas carefully preplanned colours can make it barely noticeable. Generally, the thicker your stock, the more variables you will face. Prescore stock that is 100 lb. text weight or heavier. Some thicker stocks without critical colour breaks can be inline wet-scored or folder-scored, but always ask us for an opinion before skipping die-cut scoring. In some cases, an inline (double-hit) scoring machine attached to a folder will work nicely. When folding stock thicker than 10 point, watch for ripple cracking on buckle folders. A knife folder generally will not ripple crack unless the stock is extremely thick, causing the sheet to fracture as it bends around the rollers.

Paper Issues Paper irregularities will affect folding. Variable thickness, frequent waves and ripples, and excessively brittle stock will all decrease bindery performance. Paper bulk is incredibly variable. For example, 80 lbs., uncoated cover stock can caliper anywhere from 8-13 pts. This is significant, because 10 pt. stock usually folds easily, while stocks thicker than 12 pt. require different folding techniques and machines (i.e., plow folder). If a job has thickness variation, folding will be sloppy. Be careful of running odd lots. Changing paper in the middle of a job will affect downstream folding, so be sure to mark the change spot and advise your bindery.

Specialty Folds Don’t give up on jobs with specialty folds. Many printers have won terrific print jobs simply by knowing where to get specialty folds done. Consultant JUNE 2010 | GRAPHIC ARTS MAGAZINE

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Dick Gorelick recently said, “Knowledge used to mean knowing how to do something. Now, it means knowing where to go to do something.” If a print buyer sends out a quote to his or her usual printers, and only one knows where to go for bindery work, guess who gets the job? Iron crossfolds, swinger folds, pop-up folds, miniature gatefolds, 18 accordions, gatefolds and right-angle gatefolds, etc., are all possible and practical. When you have a few minutes, call us and find out our special capabilities, so this information will be at your fingertips when you need it.

Miniature Folding Before producing a miniature folded piece, check downstream production requirements. Some automatic inserters require that pieces lie flat. If glue is objectionable, ask your miniature folding company whether your piece will lie flat. Also, carefully discuss your stock selection. Miniature folders handles less stock variation than regular-size folders.

Map Folding

More Things You Should Know When planning gatefolds, ask your bindery what the gap will be between gates. Don’t accept a gap greater than 1/4 inch. On many jobs a 1/8-inch gap or less is possible. “Green” projects can cause production problems. Soy ink tends to scuff more than regular, petroleum based ink. Recycled paper has a tendency to have less strength than preconsumer paper because of shorter paper fibres, which will affect bindery performance. Recycled paper tends to be less pliable and is subject to more jams, increased tearing, poorer-quality folds and more wrinkles. Every job has some transit spoilage. By allowing your bindery to cut your job as well, you will substantially decrease transit problems and increase your yield. Properly band your skids to avoid shipping problems. If the stretch wrap is too tight, product corners can be damaged.

A common problem in folding maps occurs with very thick maps of 40 panels or more. If final product’s bulk is not accounted for when the cover and back panel are designed, the piece’s attractiveness may be greatly reduced by improperly aligned colour breaks on folds. Keep in mind that some maps can have a folded thickness of ¼” or more. Printers can increase their profits with good folding, but there is much to consider.

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INSTALLATIONS

Agfa’s Lesley Hepditch, with Dan Stewart and Eric Seyffer of Rose Printing

Rob Press, president and founder of Signage Source, with the new HP Designjet L65500 large format printer

Rose Printing

Signage Source

Rose Printing in Orillia, Ontario has recently invested in both an Agfa :Avalon N4 CtP device as well as the :Azura TS chemistry-free platemaking solution. Following this eco-friendly initiative, the company has been nominated for Agfa’s Greenworks award.

Signage Source, located in Pickering, Ontario, has recently installed an HP Designjet L65500 large format printer. Founded in 2003, the company prides itself on being eco-friendly and purchased the device to expand its business opportunities while demonstrating its commitment to the environment.

Rose Printing, which has been in business for more than 16 years, prints a variety of products including books, magazines, business cards, labels and brochures. The company has also received FSC certification.

“The HP Designjet L65500 is an eco-friendly printer. Being green is important to us and to our customers,” says Rob Press, president and founder of Signage Source. “Clients get excited and their ears perk up when you talk about its environmental advantages and benefits.”

During the week of the 40th anniversary of Earth Day, the company was nominated for Agfa’s Greenworks award. This program recognizes printing companies that are committed to environmental responsibility and assists them in building awareness about their accomplishments.

Signage Source, a full-service graphics and signage company, installed the printer two months ago into its 16,000 sq. ft. facility. According to Rob Press, the HP Designjet is already opening doors for his company and its benefits include extreme speed, high-quality, great reliability and increased productivity and efficiency.

West Canadian Digital Imaging’s Chris Meetsma, press operator; Corey Nicolaisen, colour services manager; and Irene Price, president, with their new HP Indigo 5500 Digital Press

The Muller Martini SigmaLine with Kodak’s Prosper 5000 XL Press will be installed at Worldcolor’s Iowa location

West Canadian Digital Imaging

Worldcolor

Calgary-based West Canadian Digital Imaging has recently invested in two HP Indigo 5500 presses to help expand its business and service offerings in the self-publishing market. The company offers high volume, on-demand book printing, photo calendars and stationery products. It also produces printing and imaging solutions for the oil and gas, architectural, engineering, marketing and government sectors throughout Alberta.

Worldcolor, a global manufacturer of nearly 1 billion books a year, has just purchased new technology that it says will add value for its customers. The Muller Martini SigmaLine with Kodak’s Prosper 5000 XL Press will be installed at Worldcolor’s Iowa location. The new investment by Worldcolor will reportedly meet an increasing customer demand for a variable production solution that delivers smaller quantities and quicker turnaround at competitive prices.

These two Indigo 5500 presses complement the company’s 10 existing HP wide-format printers. HP’s Indigo technology will allow us to become one of the largest print service providers for on-demand books in Canada,” says Tim Flaman, vice-president of marketing and online business solutions, West Canadian Digital Imaging. “We expect that this will not only allow us to grow our business in new areas, but will help us provide our existing customers with top-of-the-line, consistent print products.”

“Kodak and Muller Martini, both long-time suppliers to Worldcolor, have combined to bring us a system that will enhance our ability to offer many value-added services to our customers,” says Brian Freschi, president, Worldcolor North American Operations. This combination of new technology will allow Worldcolor to offer products like short-run colour and black-and-white books, versioned and variable magazines, catalogues and high-end direct mail.

JUNE 2010 | GRAPHIC ARTS MAGAZINE

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CANADIAN PRINTING RESOURCES

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I N

U S T

R Y

P R O

F I L

HEWLETT-PACKARD

Why you should introduce yourself to the latest technology in the HP Scitex family The newest additions to HP’s Scitex portfolio will allow you to start saying “yes” to your customers’ trickiest jobs. Offer new applications and grow your business with this dynamic group of digital printers. For companies in the graphic arts industry, now is the right time to take a look at how some of the newest cutting-edge technology from Hewlett-Packard can not only increase versatility, but also improve on quality and productivity. Delivering on its strategy to drive growth in digital print, HP has broadened its product portfolio to help print service providers grow their companies. Offer new value and win new business with applications such as packaging, POP display, large-format signage, light boxes, vehicle wraps, wall coverings, outdoor billboards, and much more.

HP Scitex LX800 Quebec’s Imagerie DB has only had the HP Scitex LX800 in its shop for a few weeks, but the machine has already wowed staff at the company. In business since 2002, Imagerie DB specializes in large-format digital printing for customers mainly in retail. Vice-president Denis Paquette has used a number of digital devices in his experience as a printer, but has never seen anything quite like the HP LX800 before.

Let’s get more familiar:

MEET THE SCITEX LX600 & LX800

These two brand new devices introduce HP’s latex inks into the signage market. The benefits of HP’s latex inks are many, but the bottom line is high-quality odourless prints that are friendly to the environment. This 6-colour printing system produces a wide colour gamut, providing rich hues and vibrant tones for any application – indoor or outdoor.

“We are able to produce much more for our customer with the HP Scitex LX800,” says Denis Paquette, vice-president of Imagerie DB in Quebec. “We have only had it for a couple weeks and we still have a lot to learn about what it can do, but what we’ve seen already is incredible. The speed and quality that we can achieve is jaw dropping. The HP LX800 has already given us a lot of new opportunities. We’re now able to find strength in traditional applications like subway ads and wall advertisements. We have become a one-stop-shop for our customers.”

Expand Versatility There are virtually endless possibilities with the LX600 and LX800 models from the Scitex line. High-profit media such as POP displays, light boxes, customized wallpaper and vehicle wraps can be created with outstanding image quality. Outdoor signage can last up to five years, and indoor up to 10 years. Jobs are scratch, smudge and water resistant - and best of all - don’t require any drying time. Work comes off the printer dry so you can move right on to lamination, finishing, shipping or display.

Save Money These devices from HP make it easy to get a good return on your investment. They are the very first Scitex large-format printers to use HP’s revolutionary latex inks. Not only can jobs be run with superior versatility, but also with less waste. This cuts costs for you and your customers. In addition, HP’s water-based latex inks have no hazard warning labels, no HAPs, no VOCs and are non-flammable and non-combustible. There is no special ventilation or external dryer required. Imagerie DB decided on the HP LX800 not only because it allows them to offer more to their customers, but because they were extremely impressed by the benefits of latex inks compared to traditional solvent methods. In fact, the company has decided to go completely solvent-free. “We are extremely enthusiastic about this new latex ink

HP Scitex LX600

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D V

E R T O

TONY CURCIO

Increase Efficiency

technology,” says Paquette. “Because there are no toxins or odours in our production area from solvent inks any more, for the first time we are not afraid to take our customers for a tour of our shop floor. There is no more smell of solvents in the building!”

High-volume production environments will benefit from the efficient workflow that is possible with the Scitex FB500. Media can be loaded, printed and collected simultaneously - drastically speeding up the delivery of orders. Up to four sheets of media can be loaded at a time with the printer’s automated features. After specialized alignment technology helps position the substrate, the printer automatically measures its thickness. An onboard camera detects the position of the media for optimal printed results, even allowing for full bleed work. Precision, accuracy and efficiency is consistent for every job.

This technology has also dramatically increased efficiency and turnaround time at Imagerie DB’s shop. “We are several times more productive in our shop now than the way it was before. What used to take us two to three shifts we can now do in one, and the quality is better.”

Offer Quality The 126-inch Scitex LX800 is the largest, most productive HP latex ink device to date. Besides efficiency, both this printer and the LX600 set a new standard for image quality in the industrial large-format market. Prints come out completely dry and ready for lamination, with stunning quality and consistency. A spectrophotometer is embedded in the device to automatically scan and measure colour targets, making and recording any changes. This allows for fully automated colour calibration - delivering accurate prints every time. “The quality of the LX800 is outstanding,” continues Paquette. “You can print at extremely fast speeds without seeing a single line of banding. We have used many other machines at Imagerie DB before and usually when you print faster, quality tends to suffer - but not with the HP. You can print solid colour 100 percent magenta and still have no banding even at incredible speeds.”

HP Scitex FB500

Attract Business The FB500 also makes it easy to utilize white ink capabilities for undercoats, overcoats and spot colour, allowing you to propose new possibilities to your customers that will enhance their product. More options include double-sided work as well as matte and gloss finishes to enrich photographs. Even small-sized operations can take advantage of this powerful, dependable device without sacrificing precious shop space. Both rigid and flexible media can be printed on this single device. The printer’s innovative media tables fold away when not in use, optimizing your shop floor.

The company has started taking jobs now that they would have previously considered impossible. “It was unheard of before to digitally print large oversize banners for whole chains of stores spread throughout Canada. It would have only been possible using silkscreen. But now – we’re able to do that! Now if the customer needs 400 banners printed, even on fabric, we can achieve it!”

MEET THE SCITEX FB500

This is the new UV flatbed printer from HP that enables digital and screen printers, sign shops, converters and large repro houses to bring rigidprinting capabilities in-house. The dependable, robust device can print on virtually any rigid or flexible substrate, opening up new doors and offering more to customers.

INTRODUCE YOURSELF TO HP’S PRINT CARE PROGRAM Along with adding these brand new devices to the HP Scitex Portfolio, Hewlett-Packard has also launched Print Care offerings to include the LX600, LX800 and FB500. Print Care is a set of tools and services that anticipate technical issues and provide performance information to help customers maintain uptime and smooth operations. Features include enhanced diagnostics and guidance tools, remote assistance and product information.

Broaden Applications Short-run packaging, exterior signage, interior decoration, 3D and POP displays; all of these possibilities become opportunities for printing businesses to expand and target new markets. Essentially any request from your customer can be met, even jobs that need to be printed on thick, heavy and long materials. The right speed and quality can be selected to meet each individual customer’s requirements. Up to 1200 x 600 dpi can be achieved, expanding the versatility of what you can offer. www.graphicartsmag.com

For more about the Print Care program, as well as information about the HP Scitex LX600, LX800 and FB500, please visit the website at www.hp.ca.

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SALES

KELLY ROBERTSON

Nine reasons prospects don’t return your calls Some cold calling experts suggest that you leave a message when you receive a prospect’s voicemail. Unfortunately, many salespeople feel that this is an exercise in futility because most of the time their prospect does not call them back. If that sounds familiar, here are nine reasons why your prospects don’t return your calls.

1 2 3 4

Your voicemail message is too long. The majority of voicemail messages decision makers receive are far too long. Decision makers are too busy to listen to a long, rambling and disjointed message. That means you need to get your message across in 30 seconds or less. In fact, I suggest that you try and limit your message to a maximum of 20 seconds. Your voicemail message is too cryptic. On the reverse side, a short, terse voicemail with no details will not likely motivate someone to call you back. You MUST give a prospect enough information to capture their attention and say, “I need to talk to this person.” You leave the same voicemail message. It is important to keep trying to connect with your prospect, which often means leaving multiple messages. However, if you want someone to call you back you need to leave a different message every time you call. Plus it must be compelling (see the next point). Your message is not compelling. Most voicemail messages do little to motivate someone to pick up the telephone and return your call. A compelling message MUST demonstrate that

you understand your prospect’s industry, situation or circumstances and portray that you might have a solution.

5 6

You have not developed a relationship with them. In today’s competitive landscape, people want to do business with suppliers and vendors they know and trust. A call from a salesperson in an unknown company is not likely going to be returned. You sound like every other salesperson. The average executive receives dozens of sales calls a day so if you want a busy executive to call you back, your message MUST stand out from every other call he or she receives. I once sat in a vice-president’s office as he listened to his voicemail messages on speakerphone and was fascinated how similar every sales call sounded. I was equally intrigued by how quickly this person deleted the messages, too. His finger hovered over the delete button, and in most cases he erased the message in the first few seconds.

You have not done any research. When you leave a message that clearly demonstrates that you know nothing about your prospect’s business, there is no chance he or she will return your call. For example, “Mr. Prospect, we provide solutions that help call centres improve their productivity and performance and generate a higher ROI on their out-bound calls.” If this message was left for a small business owner (and it was!) it is highly unlikely the salesperson would get a return call (and they didn’t!). At the very least, do some basic research and make sure that your message reflects that homework. It will improve your chances of a return call.

Your product or service does not interest them. Contrary to popular belief, not everyone needs your solution and when you call companies that are not the right fit for your product, service or offering, you are simply wasting your own time and your prospect’s. Improve your results by more closely targeting your prospecting calls to companies who can actually use your product or service.

Your prospect is simply too busy. Most salespeople fail to realize exactly how busy executives are. A client of mine once said, “I’m so busy right now I can’t possibly take on any more projects.” This sheer volume of work often prevents decision makers from returning your call because they don’t have the time to talk to you and because they can’t fit another project into their schedule. In some cases, unless your product, service or offering is something they desperately need right now, they probably won’t return your call. © 2010 Kelley Robertson, All rights reserved. Kelley Robertson, professional speaker www.kelleyrobertson.com 905.633.7750

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Sherbrand Industries

32 Madeira Cres. Cambridge, Ontario N1R 5R5 Tel: (519) 621-1729 • 866-621-1729 • Fax: (519) 621-1936 E-mail: sherbrand@rogers.com • www.sherbrand.ca

WE NEED USED EQUIPMENT - PRESSES, BINDERY, CONVERTING, ETC

PRESSES 2005 HEIDELBERG SM52 SE 2COL ,IMPRESSION COUNT 14,000,000, AUTO PLATE, TECHNOTRANS , POWDER SPRAY, CONT. FEED, SERIAL #206 XXX 1998 HEIDELBERG GTO 52-S 23 MI; IMP. 1977 HEIDELBERG SORMZ 2 COLOR, CONV. DAMPS,…. 1997 HEIDELBERG QM 46-2, 36MM VERY GOOD CONDITION…. 1999 RYOBI 3304HA ,15.2 IMPRESSIONS ,SEMI AUTOMATIC, CONSOLE, SCHNEIDER ENVELOPE FEEDER CUTTERS 1995 LAWSON 47 " CUTTER, SAFETY LIGHTS, LAWSON COMPUTER, 1989 POLAR 76 30” CUTTER AIR ON MAIN TABLE FACTORY COMPUTER 1978 POLAR 115CE, SAFETY LIGHTS, DIGI KUT COMPUTER….. 1993 POLAR 115EMC-MON S/N 6331070 PRICE… SEYBOLD 85” CUTTER W/ MICROCUT COMPUTER, SAFETY LIGHTS, AIR TABLES(REFURBISHED IN 2008 LARGE CUTTERS- MILL TRIMMERS LATE 60’S/ LAWSON 110” CUTTER W/ COMPUTER, AIR TABLE, SAFETY LIGHTS. OFF LOADING AND LOADING SYSTEM 2000 LAWSON 110 ‘ MILL TRIMMER (CUTTER), LAWSON MCC COMPUTER, SAFETY LIGHTS, AIR TABLES,100” MAIN TABLE (AIR) 15 HP MOTOR… PRICE US$155,000.00 EX-SITE SEYBOLD 85” CUTTER REFURBISHED , MICROCUT COMPUTER, SAFETY LIGHTS, AIR TABLE FOLDERS 1990’S MBO T52 20 X 26 FOLDER W/ RIGHT ANGLE 1993 STAHL T50, FOLDER W/ RIGHT ANGLE, SIZE 20”X33” 1990 STAHL T78, 4/4/4/ FOLDER, W/ 8 PAGE, & 16 PAGE SECTION, CON’T FEED, SIZE 30 X 45 2000'S MBO B26 4/4/4/ SIZE 26" X 30", CON’T FEED, 2000'S MBO B30 4/4/4, CON’T FEED, SIZE 30" X 40" FOLDER 4/4/4/ HASKINS FOLDER GLUER SERIAL # 66003 FOR PRESENTATION FOLDERS. VACUUM FEED, VARIABLE SPEED CONTROL, TWO GLUING HEADS, PILE FEED, ELEVATED DELIVERY TABLE, BATCH COUNTER

PRE PRESS 2005 AGFA ACENTRO MODEL S, CTP W/ AGFA, APOGEE RIP VERISON 4 SHRINK WRAP & TUNNEL BESTRONIC HI SPEED AUTOMATIC SHRINK WRAP MODEL 1000 W /HEAT TUNNEL MODEL T-15-9 CONFLEX SHRINK WRAP AUTOMATIC MODEL 2500, W/ HEAT TUNNEL DRILLS CHALLENGE BLUE MS10A MULTIPLE HEAD DRILL W/4 HEADS…. CHALLENGE EH3A 3 HEAD DRILL BROWN LATE MODEL NYGREN DAHLY 5 HOLE DRILL .2,900.00 CHALLENGE RKH SINGLE HOLE DRILL HYDRAULIC, VACUUM CHIP DISPOSAL UNIT STITCHERS & BINDERS 2001 MULLER MARTÍNI CORONA , 24 CLAMPS, 18 FEEDER POCKETS, ZENITH S THREE KNIFE TRIMMER, COUNTER STACKER, GAUZING UNIT, SPEED 12,000 AND HOUR BOSTSTCH NO 7A BRONCO STITCHER.PRICE 2 2000 HEIDELBERG ST270 STITCHER, 6 POCKETS, COVER FEEDER, RIMA STACKER LAMINATING GBC 40” LAMINATOR DOUBLE SIDED W/ FEEDER GBC 28” LAMINATOR DIE CUTTERS 1981 GIETZ FSA 720..FOIL. 1984 HEIDELBERG GTP WINDMILL 13 X 18 RED BALL, ORGINAL 13X18 FOIL STAMPER W/ ROLLERS AND INKERS GTP 1960’S HEILDBERG WINDMILL 13 X 18…. 1960”S HEIDELBERG RED BALL 10 X 15 WINDMILL…. MILLER SY CYLINDER DIE CUTTER 27” X 41” SHEETERS 2001 MAXSON 65 MSL SHEETER, W/ WEB GUIDE, SHAFTLESS ROLL STAND , ACCUWEB INC. MICRO 1000 WEB GUIDE SYSTEM, PEN – MAN WEB DUST CONTROL SYSTEM 1995 MAXSON SHEETER 56” CARTON SHEETER, ACCU GUIDE-ELECTRONIC WEB GUIDE

LARGE FORMAT FOR TRADE

1 trade

GTO 52VP 14”X20” 1986 BAREBACK - 59 MM IMP GTO 52VP 1990 4COL- ALCOLOR 10MM- IMP NEW ROOLERS.C02 CLEAN SOR 1 1 COLOR WITH UV COATER - 24 X 32 - CONV.DAMP SORKZ – SORK 1973 / 1980/ 1981 - CONV. DAMPS. 3 AVAILABLE SORM 1976 GREY COV., SORM 1970 BLACK CONV DAMPS PLATEN “WINDMILL” - 10” X 15” AND 13”X18” WITH FOIL GTO 52ZP 1987 - 1989/1990 - CONV. DAMPS. AND ALCOLOR 3 AVAILABLE GTO 46 - 12” X 18” - 1973/75/76/80/81 - W/NUMB. (3 AVAILABLE) GTO 46ZP-1980 W/KOMPAC ./ GTO46ZP -1979 - CONV. DAMPS, GTO 52 - 1985 - W/NUMBERING & GTO 52 - 1987 and 1989 - 1 COLOUR MOZP 1985 - CONV. DAMPS EXCELLENT CONDITIONS KORD 64 - GREY - 1973/77/78 - KORS BLACK 20”X28” 1968 KORD 64 - 18 X 25 BLACK 1967 / 1968 / 1969 KORS 1977 GREY COLOR KS-15X20 / S-21X28 / SBG-22X30 / SBB-22X32 CYLINDERS 500 -600- 700-800 16 MACHINES AVAILABLE IN OUR WAREHOUSE 360 1 OR 2 COLOR - 9810 2 COLOR - 9820 - (15 AVAILABLE) 724P - 714 - 715 - 725 - 524 - 526-526 CONV. DAMPS. FAVORIT 225 - 2 COLOR-19”X25”-CONV. DAMP. - RUNNING REGISTER FAVORIT 1 COLOUR 19 X 25”/ AND 20 X 29” 425-1973-4/C-CONV.- 425-1986-4/C-YELLOW MODEL-CONV. 225 1986 - CONV. DAMPS. - BOX FEEDER 125 1 COLOR PRESS 1974 / 1979 2 COLOUR W/T-51 SWING AWAY 115 MCS 2 CUTTER MONITOR 1990 115 EMC 85 MONITOR AIR / POLAR 115 EMC 84 COMP/AIR ~ EMC 1994 115 CE - 45” -1976/ 1978 - PROGRAM -F. POWER – AIR W. MICICROCUT MONITOR 92 EMC 36” AIR / 90 CE 1976 COMP. / 90 CE 36” AIR 1974/78 76 EM 1987 / 76 EM 1990 AIR COMPUTER / 72 CE PROGRAM F.POWER 55 . 1988 FULL POWER 25,5” CUTTER - POWER CLAMP AND CUT, AND TRIUMPH 21"- 28 714 BAUMFOLDER AIR - TABLE TOP / 714 FRICTION MODEL FT26-V2UP / 261KS / FT32-V3UP / FT40-V3UP SHRINK WRAP SYSTEM + TUNNEL - TABLE TOP MODEL MODEL # 4 & 7 -WIRE SIDE OR SADDLE STITCHING 202 - DOUBLE HEAD WIRE STITCHER “ FOLDER 20 X 26 1987 FLOOOR MODEL T-66 FOLDER-1990-2 RIGHT ANGLES - QUICKSET - COMBI ROLLERS T-56 FOLDER-1990-2 RIGHT ANGLE - COMBIROLLERS - COUNTER-STACKER

.99 /SQ FT

800

HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HEIDELBERG HAMADAS AB DICK ADAST ROLAND ROLAND SOLNA SOLNA SOLNA TOKO WOLHEMBERG POLAR POLAR POLAR POLAR POLAR TRIUMPH BAUMFOLDER NUARC DANMARK BOSTITCH ROSBACK BAUM STAH STAHL

FROM

Upto 1440 DPI

Division of

www.800trade.ca info@800trade.ca

• BANNER • VINYL • CANVAS • POSTERS • BACKLIT • FABRIC • PHOTO PAPER • FLOOR GRAPHICS 8560 Torbram Rd., Unit 19 Brampton ON L6T 5C9

647-300-9015 Data Processing Laser Personalization Canadian and US Mail Sorts Complete Lettershop Services Project Management

750 Birchmount Road, Unit 47 Toronto, ON M1K 5H7 Telephone: 416-755-9494 Fax: 416-755-4343 Contact: Tony Grosso or Rod Jones

Kit Prep and Assembly Database Management Innovation

Our experience ensures your campaign’s success www.graphicartsmag.com

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

GRAPHIC ARTS MAGAZINE

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LIST OF ADVERTISERS 800trade.ca 45

manroland 7

Advantag 39

manroland 12

All Graphic Supplies

Maxmedia 46

All Star Envelopes

23 6

AM Transport

Annan & Sons

MC Reproductions

Pillar Direct

45 46

Premier Presentation Folders

Buntin Reid

Pressdown 10

Canadian Printing Equipment

Pressdown 29

Canadian Printing Resources

Pressdown 37

Colmar Printing Equipment

Printer Gateway

Deco Labels & Tags

Printers Services

Durabilt Pump Services

Robert E. Thistle

Envelopes Unlimited

Ryerson 37

ExpoSystems 11

Scancorp 49

Fujifilm 1

Serv-A-Trade Lithographers

Fujifilm 13

Sherbrand Industries

General Press

Sherwood Printers

GL Trade Print

Sina Printing

SNZ Trading Inc

Sterling Lithographers

Graphic Technical Services

Sydney Stone

The Label Factory

Harrison Mailing Limited

Trade Impressions

High Print

Trade Letterpress Services

House of Foil

Unigraph International

International Document Finishing 33

Xanté 2

International Document Finishing 37

XL Prints

iT Guy

X-Press Electric

JVA Service & Engineering

JUNE 2010 | GRAPHIC ARTS MAGAZINE

Graphic Arts Specialists for Installations, maintenance & repairs on all equipment

SIZES STYLES - OVER 200 DIES LOTS OF STYLES ANDLOTS SIZESOF - AS FEWAND AS 250, FROM 1- 4 COLOURS AS FEW AS 250 IN 1 TO 4 COLOURS WE CARRY BLANK FOLDERS IN STOCK IN WHITE AND 10 SOLID WE STOCK FOLDERS IN WHITES AND COLOURS FOR FOIL EMBOSSING OR LETTER PRESS IMPRINTING 10 SOLID COLOURS, PERFECT FOR FOIL STAMPING IF IT’S NOT IN STOCK, WE CAN MAKE THEM UP FOR YOU IF IT’S NOT IN STOCK, WE CAN MAKE THEM UP FOR YOU CALL OR OR FAX FAX FOR FOR TRADE TRADE PRICE PRICE LIST LIST & CALL & SAMPLES SAMPLES

Graphic Finishers

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416-410-9006

Norprint 27

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Best Deal

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X-PRESS

Commercial Printers 32 Goodmark Place, Unit Unit 1, 1, Rexdale, Ontario M9W M9W 6J4 6J4

(416) 675-2920 Tel:Tel: (416) 675-2920 Fax: (416) 675-2930 Fax: (416) 675-2930

premprint@yahoo.com

www.graphicartsmag.com

JUNE 2010

CHECK OUR CLASSIFIEDS FOR BEST DEALS AND OPPORTUNITIES.

Classified WANTED Used Offset Presses for Export The Print Connectors Ltd Tel: 905-792-8521 Fax: 416-981-8701 Email: printconn@yahoo.ca

WANTED! ONE OUTSTANDING

LABELS - TRADE

PRINT SALES PROFESSIONAL!

Ideal Labels - (T) 416 292-6221 (F) 416 292-0517 (E) ideal.labels@bellnet.ca (Web) www.ideallabels.com UV FLEXO up to 7 colours + UV varnish Your account protected

IF YOUR NEEDS ARE:

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LET’S DISCUSS WHAT HUME NEEDS:

NEW! 4/C DIGITAL ENVELOPE PRESS Save time & make money with our affordable on-demand, 4 colour digital envelope press. Prints envelopes from 3” x 5” to 12” x 18”, up to 3,000 per hour. Lease to own for LESS THAN $400 PER MONTH! www.scancorp.com, 1-800-265-6420.

We have a position open for an experienced sales executive who: Xone 2x2 - OUTLINES.indd 1

4/15/2010 2:42:38 PM

• Brings existing loyal clients buying web-to-print, graphic design, digital colour and black and white print and bind, on-demand print, litho print, warehousing, mailers and distributions.

PRINTED WINDOW SHADES Sell Printed Window Shades to your customers! We are a MANUFACTURER of high quality roller shades We can print your digital images with our 87” printer on best quality Phiffer Sunscreen Fabrics Roller shades or Panel track. MOTORIZATION and Automated controls available. Call 416-266-3501 or email bruce@mysunglow.com See our work at www.mysunglow.com/graphic.php

• Possesses excellent written and verbal communication skills. • Enjoys hand-on involvement with clients’ daily requirements.

FINE ART INK FOR EPSON Very high quality pigmented fine art ink for Epson Colour Stylus Printers Up to 12 colours, archival quality made by a master Symphonic Inks, from A.I.C. inks@scan11.com www.scan11.com

PAPER CUTTER FOR SALE Challenge 305 30” wide with gergek jr computer, cutter is in mint condition, computer needs some work, pics available. Only $3,300 (416) 554-7990 or email javical71@gmail.com

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• Is ethical, energetic, resourceful, positive

• Thrives in a fast paced environment! • Is able to make quick decisions under pressure. Mimaki™ Roland™ Mutoh™ Hp™ Canon™ Seiko™, Grandinnova-tion™ Agfa™ Vutek™, Colorspan™, Epson™ *.

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Legal note: this product and service has no affiliation and/or endorsed by these manufacturers.

FOR EXPORT

Call Mr. Bert Larson at

416.921.7204

or email your resume to: bert@humeintermedia.com

KORD, SORDZ, SM-72-V Any model Heidelberg presses or

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Call- 416 824 0236, 647 835 6224 Fax-905 450 2748

www.graphicartsmag.com

humeintermedia.com 47

YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

MY CUSTOMER ASKED ME

DIANA BROWN

My customer asked me “What’s the deal with colour-changing ink?”

Attractive Coors Light Product Trainer: “This year we’re launching the Coors Light ‘Cold Certified’ bottle. When the mountains change colour, your beer is certified cold.” Guy 2: “I don’t see mountains…” Guy 1: “So when does the bottle change colour?” Attractive Coors Light Product Trainer: “No, the label changes colour.” Guy 2: “My beer has not changed colour.” Guy 3: “When does the label turn into beer?” Guy 2: “I still don’t see a mountain.” Guy 1: “I like it.” Attractive Coors Light Product Trainer: “No the label changes colour.” All: “Ohhhhhhhhhhhhhh…” Legendary Voice-Over Man: It’s the new Coors Light cold certified bottle. When the mountain changes colour, your beer is certified cold.” The Coors Light Brewing Company has done a fantastic job promoting its cold certified beer. Commercials like the one mentioned have made printing with colour-changing ink memorable and marketable. So we’ve all seen and heard the Cold Certified “cool” factor, but how does it work? Also, what are other practical applications of this technology?

THERMOCHROMISM

Thermochromism is defined as the ability for a substance to change colour at a specific temperature and is achieved through the chemical composition of matter. Thermochromic ink was developed in the 1970s to temporarily change colour when the ink was exposed to heat. Liquid crystals (manufactured to react at specific temperatures) and leuco dyes (which have a response range that is less accurate than liquid crystals, however allow for a wider range of colours to be achieved) are microencapsulated in the thermochromic pigments to react to heat or cold. In the case of the Coors Light cold certified bottles, thermochromic ink that has been formulated to change colour when the label reaches four degrees Celsius. Although the cold certified beer bottles are a neat marketing initiative, the practical application of this technology is often overshadowed by its gimmicky appeal. There are other, much more practical applicaJUNE 2010 | GRAPHIC ARTS MAGAZINE

tions for colour-changing ink technology. Everything from microwavable packaging to interactive marketing campaigns to security features on cheques employ colour-changing ink in very useful ways.

PRACTICAL APPLICATIONS

- Hot or cold packaged products - Interactive marketing and printed promotional campaigns - Everyday consumer products - Security applications Chromatic Technologies Inc. (CTI) is an ink manufacturer that specializes in special effect inks for lithography, gravure, flexography and screen printing processes. Its product lines range from thermochromic ink to photochromic ink (UV and sunlight sensitive) to glow in the dark to colour-shifting ink. With regards to thermochromic ink, CTI manufactures a high-temperature formulation that changes colour just below the pain threshold of human skin, so the consumer knows when the product they are about to eat or drink becomes the optimal temperature for consumption, thereby acting as a safety feature. Other packaged products that also benefit from thermochromic ink include products that cannot be exposed to certain levels of heat or cold, including everything from medications to ice cream. When the label and, therefore, the product is exposed to temperatures outside of the range they are required to remain, the retailer or consumer will have a quick reference to know that the product should not be used. www.graphicartsmag.com

GRAPHIC ARTS MAGAZINE

WWW.GRAPHICARTSMAG.COM

DISCOVER THE POSSIBILITIES

FOR DIGITAL PRINTFINISHING AT SYDNEY STONE Sydney Stone has fully trained service staff and parts inventory waiting to service your Duplo equipment, Call us now.

YOU

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PRE/ PRESS /POST • • • • • •

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

Forehead thermometers, battery testers, graphic t-shirts that change when exposed to sunlight and mood rings are all everyday examples of thermochromic ink technology subtly at work. Security features for cheques, prescription pads, and other important secure documents are further practical examples of this technology. By employing this straightforward printing process that is not easy to replicate, extremely useful and functional products result. A unique example of integrated product promotion and packaging comes in the form of a Pizza Hut delivery box. This packaging employs thermochromic ink to guarantee customers that their pizzas are

hot and fresh when delivered (turning from black to red when the pizza box measures temperatures above 45 degrees Celsius). This is not only a practical application that is aimed at increasing customer preference, but it is achieved in a very economical way. There are no fancy thermometers that have to be used or expensive add-ons to the packaging (that may not only cost an exorbitant amount to produce, but there would also be the added cost of marrying them to the pizza boxes), this technology is simply printed on the box and, therefore, integrated into normal production. Interactive product marketing and promotional campaigns, such as this example, are very well suited to benefit from this interactive process. There are endless possibilities for colour-changing ink applications and itâ&#x20AC;&#x2122;s just a matter of time before we see even more unique uses of this process. In the meantime, letâ&#x20AC;&#x2122;s celebrate this achievement in ink technology with a perfectly chilled, blue-mountain cold one. Cheers!

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

JUNE 2010 | GRAPHIC ARTS MAGAZINE

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sop

*our standard operating procedure is

‘save our planet’

our obligation to the environment doesn’t end with certification. There is more to being environmentally responsible than chain-of-custody certification. Look at the big picture. We can help! When you buy locally, your actions have a global impact. Buying paper manufactured in North America, specifically in and around the Great Lakes, is not only smart buying- you are also being environmentally responsible. Driving to the corner store everyday only for today’s needs, versus to the supermarket once a week for all groceries is wasteful of time and resources. To maximize economies of scale and to minimize unnecessary transportation we source world-class products from environmental leaders like Domtar and Sappi – sites close to home – in full truckloads or by rail. In concert with your internal efforts, minimize your carbon footprint through smart buying. Looking for ways to be more environmentally aware? Give us a call. We would be happy to help.

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