September 2010 - Graph Expo

September 2010

Vol. 13

Vol. 7

2010 graph expo A SNEAK PEEK

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SEPTEMBER 2010 COVER STORY

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

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2010 Graph Expo: A sneak peek

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Submission deadlines are as follows: September 17 for October 2010 October 16 for November 2010

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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: SNZ Trading Inc.

Printing: Sina Printing

GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Ian Baitz • Diana Brown • Peter Dulis • Stephanie Eagle Natalia Gilewicz • Andrea Mahoney • Tim Mitra Kristen Read • Kelly Robertson •Barry Siskind 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

CMCA AUDITED

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.

Printed on C2S Gloss Text supplied by SNZ Trading Inc.

17 2010 Graph Expo: A sneak peek . . . . . . . . . . . . . . . . . . . . Kristen Read Find out what’s in store for this year’s Chicago trade show

24 A foundation in flexography . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Baitz From press technology to ink and substrate

32 Featured markets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Eagle Hybrid printers and converting equipment

36 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Read This month: Ian Baitz, chair of Ryerson’s GCM program

40 Keep automation software updated . . . . . . . . . . . . . . . Andrea Mahoney Stay current to increase efficiency in prepress

42 Fine art printing - a new opportunity . . . . . . . . . . . . . . . . . Peter Dulis Diversify your revenue stream

44 Publishing on the iPad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tim Mitra Creating your own App and more

48 10 secrets to creating an effective sales proposal . . . .

Kelly Robertson

Stand apart from the competition with these tips

52 The simpler the display, the better . . . . . . . . . . . . . . . . . . Barry Siskind Get noticed at your next trade show

56 My customer asked me . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown “What kinds of clever packaging exist today?”

46 .comments 54 List of advertisers 55 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

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JOE MULCAHY

View from the publisher I’m delighted to announce that Graphic Arts Magazine has successfully completed its initial audit with Canadian Media Circulation. You may notice the Canadian Media Circulation Audit Logo on page 3. This notification has been forwarded to Canadian Advertising Rates & Data (CARD). We would be happy to supply a copy of this audit if anyone is interested.

has always offered visitors timely ideas that you can use as soon as you get back to your shop. I look forward to meeting old friends and making new ones, so please drop by our booth and say hello.

And don’t forget the Print World Show (North America’s largest for shorter-run printing) in downtown Toronto November 20 – 22 at the Direct Energy Centre, Exhibition Place. Featured will be digital, offset, web-to-print, signage, transactional, variable printing and more. The line-up of speakers is quite impressive and will include 50-year industry veteran Frank Romano, who’ll discuss where our industry is headed (on Sunday, November 21), as well as Bob Young from lulu.com, who’ll reveal how to make print more valuable in a digital age. Look for more information in our October issue and be sure to visit our booth.

Congratulations to Ian Baitz on his appointment as chair of the Graphic Communications Management Program at Ryerson University. Check out “For the record” (page 36) for a full interview with Ian. So far, this summer has been relatively quiet throughout our industry, but all indications are that we are revving up for a very busy, and hopefully, very productive, autumn.

The World Cup from South Africa was phenomenal and the final game was quite exciting. There were so many worthy contenders and, even though many picked teams from South America, we finished up with an all-European final. España bien hecha! (Well done Spain!).

We’re certainly living in bittersweet times, so it’s sad to see Canadian Printer cease publishing its print edition after nearly 120 years in business. However, it’s encouraging to see Mackenzie Pulp Mill in Mackenzie, B.C. re-open. About 220 of its 240 laid-off workers will be getting their jobs back after more than two years.

In fact, an estimated 500 spin-off jobs will also be created.

As always, stay positive and stay focused.

By the time you get your next edition of Graphic Arts Magazine, we’ll be in Chicago for Graph Expo (October 3 – 6 at McCormick Place Convention Center). The largest annual show of its kind in the Americas, Graph Expo attracts qualified buyers for four days of comparison shopping, networking, live equipment demos, seminars and, quite often, important investment decisions. The show

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Joe Mulcahy joe@graphicartsmag.com

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NATALIA GILEWICZ

In this issue...

This summer, I had the opportunity to visit the Printing Industries of America (PIA), in Sewickley PA, and partake in a yearly Teachers’ Update. Over a dozen educators from across North America participated in this weeklong event, lead by Joe Marin, senior analyst, Digital Technologies. It was a lively group, teaching in many different programs ranging from high school to university. The days were full of information from PIA experts on topics relevant to training future leaders for our industry.

Management will take you through some key topics in flexographic printing, from press technology to ink and substrate. Whether you are looking to enter this market, or just understand it a bit better, this month’s article is a great place to start.

Another must read article is the Graph Expo – a sneak peak. Kristen will take you through some of the most anticipated booths at the expo. Pay attention to some of the new innovative events and pavilions. Here you will explore areas like newsprint, transactional printing, and many other opportunities to diversify. In tandem with Graph Expo, you will also be able to check out the G7 Summit hosted by IDEAlliance. Hopefully it will be less chaotic than the G20 in Toronto. Though I have seen days where simple calibrations make people want to throw a brick!

Among the many great presenters were Mark Bohan who spoke about JDF, as well as how you can strategically repurpose one diagram to tell many different stories; Greg Radencic who discussed standardization with as much enthusiasm as he could muster; and Julie Shaffer who spoke about social media, a topic on which she is authoring a book. There were many other highly informative sessions. I’m sure you can catch some of these speakers in Chicago this October.

For those of you attending the show, I would love to hear your thoughts when you return. For those of you staying put, make sure you take a look at our post-show article!

The program offers an amazing opportunity for educators to connect to industry as well as network with one another. It is subsidized by the PIA, allowing many who would normally not have a chance to go, to partake. A great way to invest in training future leaders for the printing industry. A big thank you to our Updates’ fearless leader, Joe, and the PIA!

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Natalia Gilewicz natalia@graphicartsmag.com

This month, we will continue in the same vein of learning. Ian Baitz, the recently named chair of the School or Graphic Communications

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INSTALLATIONS

Daniel Montpetit, Fujifilm account manager; Dennis O’Shea, Datachrome pre-press manager; and Jonathon Lim, Datachrome operator, stand proudly with their new Fujifilm Acuity Advance flatbed printer.

Gary Thompson, Fujifilm account manager, and David Gortemaker, Premier Printing co-owner, with the new Fujifilm Acuity Advance.

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Datachrome has recently installed a Fujfilm Acuity Advance with the ColorGate RIP solution at its Montreal, Quebec location. Business at the high-quality commercial printer is focused within the retail clothing industry, and Datachrome is one of the major print suppliers to the fashion industry.

With the recent acquisition of the Fujifilm Acuity Advance, the company says it has been able to strengthen its competitive edge and enhance the level of print quality it can offer towards an ever-demanding clientele base.

Premier Printing, located in Winnipeg, Manitoba, has recently installed a Fujifilm Acuity Advance. Established in 1962, the company is a full-service print provider offering a diverse range of print solutions, most recently including large format digital printing. Since installing Fujifilm’s Acuity Advance, Premier Printing has reportedly enjoyed consistent growth within its large format department and excellent customer satisfaction with the quality of work produced.

The team at Abacus Signs with their new HP Designjet L65500 latex printer

The Komori Lithrone press installed at Ion Print Solutions in Alberta

Ion Print Solutions

Abacus Signs

Ion Print Solutions has recently installed Alberta’s first 10-colour perfecting press. The Komori Lithrone S40P Perfector prints at speeds of 15,000 sheets per hour. Calling the press “a truly remarkable piece of technology,” the company says it is built for sustainability and protecting the environment because it reduces paper waste, has a lower energy consumption, features 100% alcohol-free printing, and reduces solid waste and noise.

Abacus Signs is forging ahead in green printing with the recent installation of an HP Designjet L65500 in its Saskatoon-based shop. “By raising the awareness of businesses and consumers, we’re creating a demand for greener solutions,” says company co-owner Derek Reimer. “We’re changing the printing industry in the province and making it more environmentally-friendly.” In addition to the environmental advantages and low VOCs, according to Abacus Signs the HP Designjet L65500 provides greater productivity, efficiency and flexibility in developing high-quality print solutions for diverse sectors.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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NEWS & COMMENTS

News and comments UK’S THE TIMES NEWSPAPER STARTS CHARGING READERS TO ACCESS ONLINE CONTENT For the latest news and comments, visit us at

The Times newspaper in the UK has started charging readers for access to online content. The cost works out to about $1.60 CAD per day, or $3.20 CAD per week if users sign up for a subscription.

Following the Financial Times and the Wall Street Journal, The Times becomes the third major paper to charge for online access.

graphicartsmag.com

“It is with great pleasure that I welcome this outstanding new class of TAGA officers and board members. This group represents a great diversity of roles and views from the industry and academia and will help guide the organization to great success in the upcoming years,” said Bjorn Kruse, president, TAGA.

After losing a number of readers, and because income from advertisements is falling, newspapers like The Times are feeling the pressure. Some papers have vowed to keep content free, while others have started charging in order to increase revenue. Less people these days are purchasing physical newspapers, and more are looking to online sources for their daily news.

The risk is high: charging for access means that onceloyal readers could switch to another online source for news. Rival newspaper websites will reap the benefit for the time being; however, more and more publications are looking at charging for content as a viable option as the world keeps going digital.

TAGA is made up of more than 300 individual members worldwide and 15 active student chapters in various institutions and serves the CTO, CIO and R&D management personnel of printers, publishers, premedia companies. TAGA also serves engineers and scientists employed by graphic arts systems and equipment providers, ink manufacturers and paper manufacturers.

IAN BAITZ APPOINTED CHAIR

Serving as acting chair of the Graphic Communications Management program at Ryerson University since December, Ian Baitz was officially appointed in July for a five-year term. Colleagues at the school feel that this is a natural progression for Ian, having been a faculty member at Ryerson since 2001 and the associate chair since 2006.

The organization strives to provide a worldwide forum for sharing theoretical, functional and practical information on technologies for graphic arts print production.

AGFA GRAPHICS ACQUIRES HAROLD M. PITMAN COMPANY

In welcoming Ian, Abby Goodrum, interim dean of the Faculty of Communication & Design said, “Ian will provide leadership in the rapidly changing field of graphic communications management. He will be involved in the development of program partnerships as part of curriculum development and will actively work with the school’s constituents in the discussion, review and future directions of the school.”

Agfa Graphics has purchased the assets of Harold M. Pitman Company, a leading U.S. supplier of prepress and industrial inkjet, pressroom and packaging printing products and systems, raising Agfa Graphics’ revenue to over $500 million in the U.S. The acquisition strengthens the company’s distribution power and expands its presence in the U.S. market. Due to Pitman’s large customer base, Agfa Graphics can take advantage of unique growth opportunities in industrial inkjet and prepress solutions. In addition, the company will be able to complement its own developed industrial inkjet offering with the addition of a range of media, new inks and wide format printing systems, says Agfa Graphics.

TAGA WELCOMES NEW MEMBERS TO ORGANIZATION The Technical Association of the Graphic Arts (TAGA) has announced the results of its recent board election, welcoming several new officers this month. The new additions include Alexandra Pekarovicova (Western Michigan University), vice-president, Technical Papers; John Sweeney (FineEye Color Solutions), vice-president, Membership and Publicity; Martin Habekost (Ryerson University), vice-president, Education. In addition, several new and returning members have been elected to terms expiring in 2013. www.graphicartsmag.com

“One of the main drivers behind the decision [to acquire Pitman] was the fact that we gain a unique opportunity to significantly grow our inkjet business,” said Stefaan Vanhooren, Agfa Graphics’ president.

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NEWS & COMMENTS

FUJIFILM NORTH AMERICA RECOGNIZED BY INTERNATIONAL IMAGING INDUSTRY ASSOCIATION

es involves the education, training and safety of Fujifilm employees. The safety record at these facilities, as recognized by I3A with these awards, is important validation of our efforts.”

Fujifilm North America Corporation has been recognized by the International Imaging Industry Association (I3A) for having the highest levels of safety performance and leadership, which won the company four Safety Excellence awards and three Best in Class awards from I3A. Specifically, the awards recognized the safety performance at Fujifilm’s Hanover Park, Illinois; Rochester, New York; and Greenwood, South Carolina facilities.

Awards will be presented at the International Imaging Industry Association’s 64th Annual Conference in San Jose, California in November 2010.

The not-for-profit I3A is the largest imaging industry group worldwide representing almost all leading and emerging imaging companies.

The I3A’s Safety Excellence Award criteria judges the lowest recordable days away from work incidence rate as well as a low overall recordable incidence rate with the most hours worked during a calendar year.

“We are honored by these awards,” said Ryutaro Hosoda, president and CEO, Fujifilm North America Corporation. “A critical element of our efforts to build sustainable business-

MACKENZIE PULP MILL REOPENS After shutting its doors two years ago, the Mackenzie Pulp Mill is reopening, putting more than 200 people back to work. After being acquired by Netherlands-based Paper Excellence in April of this year, the economic future is looking bright for the region, located 700 miles north of Vancouver, BC. That future didn’t always look so optimistic for the mill however, after several attempts to purchase the facility by different organizations fell through, causing some serious ups and downs since its closure in spring 2008.

But on August 17, the mill opened its doors again and welcomed employees in a ribbon-cutting ceremony. It is estimated that an additional 500 spin-off jobs will be created in the area as production kicks off again. Producing up to 235,000 metric tons of pulp annually, the Mackenzie Pulp Mill is Canada’s most northerly softwood market kraft pulp mill.

Did You Know You Can Print On Magnets?

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NEWS & COMMENTS

As part of the acquisition, Paper Excellence, a subsidiary of the Asian conglomerate Sinar Mas, promised to spend between $30-40 million on upgrades to the mill. Mayor Stephanie Killam said that the new investment has spurred a sense of renewed pride in the community.

NEW PRESIDENT OF ROGERS MEDIA NAMED CTV Executive, Keith Pelley, has just been named as the new president of Rogers Media, succeeding the retiring Tony Viner. Effective September 7, 2010, Pelley will have overall responsibility for a number of Rogers Media properties including Rogers Publishing and Digital Media.

Pelley brings experience from CTV where he was executive vicepresident of Strategic Planning and president of Canada’s Olympic Broadcast Media Consortium. He was also president and CEO of the Toronto Argonauts from 2004 to 2007.

“Keith is a highly regarded media executive with strong business acumen,” said Nadir Mohamed, president and CEO of Rogers Communications Inc. “He is widely recognized as an exceptional leader, and a proven operator who delivers results. Keith’s incredible depth and breadth of experience will be an asset to our senior executive team as we leverage our media assets in an increasingly digital world.”

CPIA ANNOUNCES $73,750 IN SCHOLARSHIP FUNDING The Canadian Printing Industry Association’s (CPIA) Board of Trustees has announced that its Scholarship Trust Fund has awarded a total of $73,750 in funding to 56 students for the current school year.

“There was an exceptional group of applicants once again this year and we are very pleased to be able to support 56 dedicated students in their pursuit of a career in the graphic communications study,” says Don Gain, chairman of the Fund.

The CPIA Scholarship Trust Fund was initiated in 1971 through the efforts of a group of visionary printing industry executives. Since then, hundreds of thousands of dollars have been donated to the Fund as a result of the generosity of firms and individuals associated with the printing industries in Canada.

The primary objective of the Fund is to attract the most talented young people available to the printing industry by providing financial assistance to them while they are enrolled in an approved graphic arts management or technical program. In its written communications, the Board of Trustees has stated: “We are committed to the premise that it makes good business sense to help the brightest and best students achieve their scholastic goals.”

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NEWS & COMMENTS

EXPANDED CONFERENCE LINEUP ANNOUNCED FOR PRINT WORLD 2010

UNILEVER COMMITS TO SUSTAINABLE PAPER

Print World, the only printing trade show in North America with an exclusive focus on shorter-run printing, has more than tripled its conference lineup for the show this year from November 20-22 in downtown Toronto.

TRADE SHOW AND CONFERENCE

The conference includes a full agenda of keynote speakers, management seminars and special panel discussions. “This is the most comprehensive conference agenda we’ve ever had at Print World,” says show manager Sandy Donald. “We examine all the key issues facing printing today, with expert speakers from all over North America.”

Keynote Addresses New to Print World in 2010 are two keynote speakers who examine the future of print from different, yet complementary, perspectives. On Sunday, November 21, noted industry veteran Frank Romano will deliver his vision of the future in an address titled: Where is Print Headed? On Monday, November 22, Bob Young, print newcomer and founder of on-demand printing site lulu.com, will speak on How to Make Print Valuable in a Digital Age. For more information on the Special Panel Discussions and the Management Seminars, visit graphicartsmag.com for a detailed list.

As part of its commitment to double the size of the business while reducing its environmental impact, Unilever has revealed a new sustainability policy. The company’s goal is to source 100 percent of its paper and board packaging from sustainably managed forests by 2020.

This commitment makes Unilever the first global FMCG company to commit to sourcing all of its paper and board packaging from sustainably managed forests or recycled material within a clearly defined timeframe. As a first step in the plan, the company’s initial goal is to have 75 percent of its paper and board supplied by sustainable sources by 2015, before increasing that number to 100 percent by 2020.

“As a leading consumer goods company, we buy considerable quantities of paper and board for packaging to ensure our products are protected and transported safely,” said Unilever’s chief procurement officer Marc Engel.

Unilever will give preference to suppliers who are FSC certified.

The logos of acceptable forest management schemes will begin to appear on the packaging of Unilever’s portfolio of brands in order to increase consumer awareness.

CORRECTION

Graphic Arts Magazine would like to apologize for an error that was printed on page 8 of our July/August 2010 issue. An incorrect heading was included on the installation of a Standard Horizon BQ-470 perfect binder at Hume Intermedia Services. We apologize to Hume Intermedia and our readers for the error.

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Competition is fierce in today’s printing industry.

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A FRESH PERSPECTIVE ON THE STATUS QUO Dedicated to the success of their customers, Heidelberg’s consulting team creates customized, sustainable solutions for business excellence. With the experience and know-how to improve your business, consultants can offer a fresh perspective on your company; strengthening strengths and improving weaknesses.

The benefits of partnering with Heidelberg are far-reaching. You will be able to identify your most profitable customers and product types, achieve long-term competitiveness, establish an ideal positioning in the market, and develop a fact-based strategy for future investments.

“Most printers are fully occupied with the day-today pressures of running a printing company and have neither the time nor the resources to analyze their business in detail,” explains Peter Aston, manager of business consulting for Heidelberg Canada. “As a result, too many business leaders make critical business decisions based on intuition and personal experience without access to intelligent information. Heidelberg Business Consulting services help companies develop a more predictive information strategy based on facts and data that will enable them to assess their profitability and productivity with a high degree of accuracy.”

A REAL LOOK AT THE FACTS

“Businesses can’t execute change or re-engineer their current business procedures based on assumptions,” says Kevin Cross, president of Pointe-Claire, Quebec-based Compuset Printing. His company partnered with Heidelberg Business Consulting recently, and is already starting to see the benefits. “Accurately documented and proven facts based on months of sampling are essential to implement change.

This is where the value of objective third-party business consulting comes into play.”

Finding ways to reduce costs, improve effi-

Before: Prior to the continuous improvement workshop, this is how Heidelberg Business Consulting found the environment.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

After: A portion of the results of the continuous improvement workshop and 5S implementation.

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Continuous improvement workshop with operators and management

This was done as Part One at Compuset Part Two was the presentation of results in a straight forward manner Part Three is the development of the strategic plan for continual improvement Part Four, re-training of staff members Part Five, measurement of revised operations and comparisons to pre-program numbers Part Six, ongoing measurement, training and implementation of productivity improvement methods and policies including work environment.

“In the short time since we committed to change and began working with Peter Aston and his team, we have benefited by improved results. However, this is an infinite mission in which we are committed to Peter and his team. They will continue to be a major part of this task.”

ciency and maximize profits are three keys to success in today’s economy. In the midst of rapid change, Heidelberg Business Consulting can help you transform and continuously improve your business. Ideally, one year of production data is collected and analyzed, resulting in a full report that looks at make-ready times, speed, waste, colour profiles, your customers, job types, the industry, your team and utilization.

Consultants can then make unique recommendations for improvement, establishing where and how improvements can be made.

A fundamental shift to a smarter, fact-based enterprise should be on your agenda. You will discover how to react quickly and intelligently to the changing needs of your customers, and adapt your business practice accordingly. Your success is the goal of Heidelberg Business Consulting.

AN EXCITING AND PROFITABLE FUTURE

Harness the power of Heidelberg Business Consulting to help you navigate a changing environment. Develop your company into a strong and efficient organization, and face the future with confidence.

Compuset Printing’s Kevin Cross continues: “Cooperation and commitment are essential from the top management of the print customer.

Once that has been assured, the Heidelberg consulting team can bring their experienced consultants’ analytical skills to comprehend existing methods and compare measurements.” www.graphicartsmag.com

Find out more at www.businessconsulting.heidelberg.com.

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

ECO NEWS

Eco News

NEW IN PRINT: RECYCLABLE PAPER HANGERS Designed to replace traditional wire hangers, the recyclable “Smart Hanger” is becoming a new trend. With space for a printed advertisement, and made using FSCcertified paper, these paper hangers could be coming soon to a dry cleaner near you!

Somewhere in each of our closets, we all have that stash of unattractive wire hangers collected from various visits to the dry cleaners.

They can’t be recycled, so millions of them end up in landfills every year, damaging the environment.

A new innovative solution to this problem has popped up recently, one that makes sense environmentally as well as economically: paper hangers. As functional and sturdy as regular hangers, these can be recycled at the end of their use. Furthermore, they create a new space for printed advertising. Dry cleaning companies could use this medium to promote their own business to customers, or gain new revenue selling the advertising space to another business. They could even be used by clothing stores or hotels. Either way – it will be printers who benefit from this new avenue of communication!

KBA INTRODUCES ONLINE CARBON EMISSIONS CALCULATOR In collaboration with ClimatePartner, KBA has developed an online calculator to measure the greenhouse gas emissions generated by print runs. Once a company’s CO2 emissions have been calculated, users can learn how to offset their environmental impact through participation in certified climate protection programs.

KBA says it is the first printer manufacturer to offer an individualized easy-to-use solution of this sort. Interested print shops can enter relevant data into the calculator to discover their company’s carbon footprint.

Klaus Schmidt, director of marketing and communication at KBA says: “We hope to support our customers not only with highly energy efficient printing equipment and our commitment to waterless offset printing in environment friendly production, but also to help them to select the best printing substrate and finishing process with respect to environmental protection.”

Register to find out your carbon footprint at www.climateneutralprinting.com/kba/.

FSC INTRODUCES NEW LABELING SYSTEM

The FSC (Forestry Stewardship Council) has recently revealed new labels to appear on certified products. The old labels will be replaced by three new ones that identify the type of wood fibre in the product, and who produced that product. Existing FSC certificate holders have until January 1, 2011 to transition to the new system.

SUPPORT

The first label “FSC 100%” identifies products manufactured with 100% FSC-certified virgin fibre.

RESPONSIBLE

FORESTRY.

The second label “FSC Mix” identifies products manufactured with a combination of FSC-certified virgin fibre mixed with controlled virgin fibre and/ or recycled fibre.

The third label “FSC Recycled” identifies products manufactured with 100% recycled material, at least 85% of which is post-consumer recycled.

The remainder must be pre-consumer recycled.

When you consider that only 10% of the world’s forests are

By the start of next year, all producers of FSC paper, FSC-certified printers, and other manufacturers of FSC wood and fibre products must switch from the current 5-label system, to the new 3-label system. Certificate holders can reportedly, however, sell through their stock of products with the old labels, to avoid the cost of re-packaging.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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

Good Go od fo forr yo you. u. Go Good od fo forr our forests.

SM

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KRISTEN READ

2010 graph expo A SNEAK PEEK

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This year’s Graph Expo show at McCormick Place in Chicago promises “four days of comparison shopping, networking, live equipment demonstrations, seminars and critical decision making.” The show floor will be divided into four main sections: prepress, press & converting, wide-format, and mailing & fulfillment. To be held from October 3-6, 2010, Graph Expo is the year’s largest display of “live” running equipment in the Americas. With the exception of a few well-known press manufacturers, the show’s exhibitor attendance is looking exciting this year. More than 450 companies are scheduled to show off their stuff in Chicago this year – including most of the “big guys.”

www.graphicartsmag.com

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

The Executive Outlook Conference, taking place the day before the show opens on October 2, will be focused on the show’s theme of “The Challenge of Change in the New Era of Print.” The annual one-day technology and trends update conference is an indepth, educational event that will identify and explain the newest technologies on the forefront of print’s emerging future. NAPL’s chief economist, Andy Paparozzi, and media consultant, Steven Schnoll are among the industry experts that will be speaking at the conference. A printer’s panel, moderated by NAPL’s Howie Fenton, will shed some light on how to achieve success with a mix of press technologies.

Afternoon sessions will include “how-to” tutorials that get down to the nitty-gritty of how to harness the technology to cost-effectively produce an end product that provides a competitive edge and profit. A special announcement of the “MUST SEE ‘EMS” nominees will also be revealed at the conference.

Looks like an action-packed day – before the show even starts!

ture “Not only a full array of exhibitors, equipment and products covering all aspects of the newspaper publishing industry, but also innovative ideas for cutting costs and boosting profits.” Another first-time floor pavilion is called Digital Document Drive. This 1,200 square-foot show floor section is devoted to the needs of print professionals who create, manage and deliver transactional documents. Other interesting pavilions offering business diversification opportunities include PackPrint, GREENspace, Future Print and the Mailing & Fulfillment Center.

Also noteworthy is the G7 Summit, which is occurring in conjunction with the show. Held by IDEAlliance, the Summit will be presented live from the show floor, focusing on the entire workflow and all areas of print production. Experts will be on hand to conduct educational sessions exploring the G7 calibration process and how it fits into digital workflows.

With hundreds of exhibitors, over 50 different educational programs, and a variety of free presentations, the GASC website calls Graph Expo “a problem-solving adventure designed to help you make informed purchasing decisions.” So without further adieu, let the adventure begin!

There are also a few brand new things at the Chicago show this year, such as the News Print pavilion, which is dedicated exclusively to all things newsprint.

According to GASC President Ralph Nappi, it will fea-

Agfa

(Booth 844)

Agfa will feature a number of exciting things at its booth this year. The :Anapurna M 2050 high-speed 6-colour plus white, UVcurable inkjet printer is great for display printing and boasts a resolution of up to 1440 dpi. Also on display are the :Jeti 1224 UV Anapurna M 2050 6-colour UV-curable inkjet High Definition Colour printer inkjet printer, which features the widest colour gamut and highest productivity in its class; and the :Jeti 3324 Aquajet, an eco-friendly alternative to solvent-based fabric technologies.

Canon

(Booth 2027)

C.P. Bourg

(Booth 2036)

At press time of this issue, Canon is keeping its specific show line-up under wraps (might be some interesting surprises!). New technology from the award-winning imagePRESS and imagePROGRAF product lines will be highlighted, as well as the imageRUNNER ADVANCE series products, targeted for small to mid-range print production environments.

At its 32’ x 50’ booth, C.P. Bourg will showcase a range of innovations including the Bourg BSF Sheet Feeder, BCMe Bleed Crease Module and the award-winning BME Booklet Maker. This production line will fold, trim and saddle stitch 14x22.5-inch sheets to form unique 14x11-inch finished landscape booklets. Also showing is the new BSTE collator/feeder with ultrasonic sensors feeding into the BME Booklet-maker. Also on display are the C.P. Bourg BB3002 fully-automated perfect binder and the Ibis Smart Binder 2 with Pile Feeder.

(Booth 1061)

Avanti is continuing to focus on expanding its thirdparty integration portfolio with partners such as HP SmartStream, Xerox FreeFlow, Heidelberg Prinect, Kodak Prinergy and Printable Technologies. At the company’s booth, live demonstrations of all of these integrations will be featured. Version 12 of Avanti’s award-wining Print MIS system will also be showcased, which includes the Avanti CRM/Microsoft Outlook integration.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

(Booth 3612)

BBH will feature solutions and presentations that target the number one issue facing mailers today: reducing cost per mailpiece. The solutions demonstrated will represent a wide range of options for mailers of all sizes. At the company’s booth, show attendees will see the BBH MAILStream Inveloper, which combines envelope manufacturing and mailpiece assembly into a single, efficient process at speeds up to 30,000 mailpieces per hour. The Combo14 inserting system will be on display as well, which combines the functionality of multiple inserters and is able to change from flats to letters in minutes rather than hours. BBH is also showing the Criterion APEX sorter that can be configured as a multi-line optical character reader or barcode reader.

Visitors will see the brand new :Apogee 7.0 Workflow Suite that includes Apogee Impose, an Agfa-developed imposition module. Agfa is also highlighting its environmentally-friendly Amigo TS thermal printing plates, which are up to 50 percent faster than the original Amigo plate, and have a run length of up to 200,000 impressions without post-baking.

Avanti Systems

Bowe Bell & Howell

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Duplo - DKT-200 two-knife trimmer

Fujifilm Duplo

(Booth 2617)

One of the key products being showcased in Duplo’s corner is the DC-745 slitter/cutter/creaser. This is Duplo’s fastest digital colour finisher to date. It is an allin-one device that can perform up to 10 slits, 20 cuts and 15 creases in a single pass. It eliminates white borders and toner cracking on digital colour documents at incredible speeds of up to 50 sheets per minute. The company is a leader in digital colour finishing and also offers sheet feeders, full-bleed booklet makers, perfect binders, folders and UV coaters. Also on display will be the new DKT-200 two-knife trimmer configured with a System 5000 collating and booklet-making system.

Dynagram

The company will present the mantra, “why stand alone?”, that it says demonstrates how Fujifilm, together with its print partners, can uncover growth opportunities for all types of commercial printers through its complete portfolio of products and solutions. Many of these products, including the latest in CTP, digital printing, solvent printing, wide-format and software solutions will be present at Fujifilm’s booths.

(Booth 108)

This software solutions provider will be introducing two significant upgrades for its imposition packages – Dynastrip and inp02 for Adobe Acrobat. Dynastrip 6.5 will be launched at the show with its new dynamic template reflow. The company says this feature will dramatically reduce the number of templates needed for imposition work from different trim sizes and length by adjusting to the job’s source documents.

The product’s automation is also updated for sheetfed and web-to-print applications. A significant update to inp02’s Optimization Module will be showcased, providing more flexibility and control for optimized gang runs.

EFI

J Press 720 sheetfed digital inkjet press

(Booth 2000)

For the first time at Graph Expo, EFI says it will display its solutions around vertical markets that match customers’ business needs. The segments are display graphics, packaging and labels, enterprise office solutions, ad agencies/creative services, commercial, on demand/print for pay, CRD/small commercial and large commercial and publication.

Fiery System Stand

(Booth 423)

Goss

(Booth 1237)

Octiva single-sided film rolls

Goss is aiming to present unique solutions that will allow its customers 620os single-sided laminator to differentiate themselves and pursue new opportunities. As a leader in commercial web offset, the company is focusing on technologies that automate the process and reduce waste, extending the advantages of web offset to an expanding range of shorter-run applications. Additions to the company’s portfolio in North America include Akiyama Mega Jprint and M-600 Folia presses for perfecting applications, Sunday Vpak web offset packaging presses and Goss Purlux saddlestitchers.

(Booth 617)

Epson is another exhibitor that is keeping the contents of its booth in secrecy. The company is expected to make some very exciting announcements during Graph Expo. It will be revealing something new in Computerto-Plate that it says is poised to dramatically improve the way small-to-medium sized print shops do business.

We’ll have to wait until the show to find out! www.graphicartsmag.com

GBC

Known for its document finishing technology, GBC will be featuring its 620os laminator during Graph Expo.

The single-sided laminator is easy to use and is ideal for short to medium, narrow-format production runs from digital colour printers and offset presses. The company will also showcase its Octiva single-sided films. This line consists of three different film substrates including polyester (PET), polypropylene (OPP) and nylon. GBC’s Plockmatic booklet-making equipment will also be a highlight.

Visitors to EFI’s booth will see some familiar equipment such as the VUTEk superwide printer, Rastek wide-format printer and the Jetrion industrial inkjet system. The company is also showcasing its award-winning product portfolio, including print production workflow and management information software such as PrintSmith, Pace, MonPace iPad Menu arch, Radius and Digital StoreFront.

Epson

(Booths 627 & 1469)

The main attraction at Fujifilm’s booth is of course the much-anticipated J Press 720, which will be demonstrated live for the first time in North America! This ground-breaking sheet-fed digital inkjet press will run live in five presentations daily throughout the show.

Fujifilm says this device has the look and feel of an offset press, with the versatility and job handling of a digital device. It is capable of variable data printing and has an incorporated infrared drying system. Once imaged, sheets can be treated like an offset sheet, making the range of finishing options for this press much wider than any other digital print technology.

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Hans Gronhi

KBA

(Booth 4452)

Gronhi International will be exhibiting a GH524 fully automated 4-colour press, running live with its Speedy 52 CTP system. The company says this press has been accepted around the world for its reliability, high print quality and ease of operation, and is priced at a much lower capital cost than the competition.

GH524 fully-automated 4-colour press

T200 colour inkjet web press

Hewlett-Packard

(Booth 1200)

InfoPrint Solutions

(Booth 2017)

The InfoPrint 5000 MP will be on display at Graph Expo, which is the newest member of the InfoPrint 5000-series family, and also has the smallest footprint. It can run a variety of inks and fluids and can be used in various configurations. This digital high-speed inkjet printer boasts a low level of power consumption without compromising its features. The company will also highlight its awardwinning InfoPrint 1357 MICR technology, as well as its marketing and workflow solutions.

(Booth 1227)

Konica Minolta

(Booth 2244)

Lake Image Systems

(Booth 4307)

At Konica Minolta’s booth this year, visitors will see the company’s latest advances in output quality, document finishing and workflow efficiencies.

The bizhub PRESS C8000, Konica Minolta’s bizhub PRESS C8000 new flagship device, will be highlighted, as well as the bizhub PRO line of digital presses. At speeds of 80ppm for colour production printing, the PRESS C8000 accepts a wide range of heavy and coated stock, and uses an advanced humidification system to tame the most challenging stocks.

(Booth 2512)

Several items will be featured this year from INX International, the third largest producer of ink in North America. The company has a new line of EVOLVE Advanced Digital Solutions including the CP100 UV can printer and MD1000 UV flatbed printer. Both devices are for metal decorating customers and use INX Digital EVOLVE brand inks. The CP100 is designed for shortrun cylindrical printing and, according to the company, it is ideal for any printer looking to create specialized packaging and a new revenue stream. The MD1000 delivers real-metal sample proofs quickly and inexpensively for short-run production of decorative tins, general line containers and aerosols. INX International will also have its environmentally-friendly line of inks on-hand, including EcoTech and EcoPure.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

Kodak

KBA - Rapida 75E 29-inch press

At last year’s Print 09 show, Kodak noticeably didn’t bring any equipment, but chose to go for a more individual solutions-based approach. This year, the company still has a focus on helping its customers grow their business, while bringing some of the shiny new equipment we all love to see at trade shows! At the booth, visitors will see the Kodak Prosper 5000XL press, based on Kodak Stream Inkjet Technology. It has 100 percent variability, which the company says will enable print and marketing service providers to dramatically improve return on investment. The press provides a solution for short-run books with economics that drive operational and supply chain efficiencies for run lengths up to 7,000 books. Kodak will also present its K-Zone experience again this year, which is a forum featuring industry experts and peers discussing trends driving the industry today and into the future.

At Graph Expo, HP will be presenting the industry’s broadest portfolio of colour commercial and industrial printing solutions.

Among other products, the company will showcase its innovative and compact T200 colour inkjet web press. It can integrate with existing near- or off-line finishing, or new in-line finishing. It supports multiple applications with a 20.5-inch print width. HP will also highlight the Indigo 7500 digital press, which features the ability to print up to 120 A4 pages per minute in full colour.

INX International

(Booth 1255)

This year, KBA will highlight its range of award-winning press models (from 20-inch to 81-inch), and show off their ability produce jobs on a wide variety of substrates including plastic, lenticular, lightweight paper and board for commercial, packaging and advertising specialty markets.

KBA will be presenting its two newest press models, the Rapida 106 41-inch and the Rapida 75E 29-inch presses. The Rapida 106 boasts speeds up to 18,000sph and make-ready minimizing automation, while the Rapida 75E is an ecology-minded press that saves on energy and comes with a power consumption display.

At Graph Expo, Lake Image Systems is presenting its Discovery Suite of software and hardware solutions, that it says provides printers, converters and mailers with assurance that their printed product is 100 percent accurate. Discovery components can monitor print webs at speeds in excess of 1000 feet per minute, checking across the entire web. The Discovery Web

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Muller Martini

Monitor is a high-definition, full-featured video viewing station displaying the full web width. The Discovery PQ is a camera and software system with all the tools necessary to automatically and continuously inspect a variety of printing processes. Lastly, the Discovery Multiscan is a flexible camera and software system that can verify printed data such as addresses and bar codes. This Discovery suite works on sheetfed offset, flexography, digital, toner and inkjet presses, and even on difficult substrates such as films, foils and flexible packaging.

manroland

This year Muller Martini is highlighting several products. The Primera E110 is the latest addition to its family of saddle stitchers. It is fully automated and produces 11,000 cycles per hour. The company’s Orbit three-knife trimmer for perfect bound production will be at the show, featuring high levels of automation and extremely fast make-ready.

A static VSOP press unit will also be an attention-grabber.

(Booth 858)

Océ

The message of “believe in print” will be present at the manroland booth this year, with the company focusing on PRINTVALUE. As with last year at Print 09, manroland is using its booth not to display products, but to educate visitors on its printservices, printcom, printnet and printadvice programs. Those who stop by will also get to experience new innovations from the company in several presentations (including one in 3D!).

Products to be highlighted in these presentations include wide-format perfecting on the ROLAND 900 XXL, cold foil indexing with the PRINDOR inline device, the 18,000 sph ROLAND 700 HS and also the ROLAND DD press. The DD (Direct Drive) press can be seen in operation before and after show hours at the company’s Chicago Print Technology Centre location.

MGI USA

Mimaki

(Booth 1217)

Pitney Bowes

(Booth 3217)

(Booth 3601)

The focus for Pitney Bowes at Graph Expo will be innovative ways that mailers can lower operational costs, make production processes more efficient and enhance the value of cusIntelliJet Printing System tomer communications. On display will be the IntelliJet Printing Systems family, that can help transactional mailers migrate to digital inkjet printing in monochrome, full colour and even MICR. Visitors to the company’s booth will also learn about its Production Intelligence suite of output management and automated document factory software. Both the Mailstream Productivity and Mailstream Evolution inserting systems will be featured, as well as the FlowMaster RS Flex inserting system.

Presstek

(Booth 2600)

The Presstek 75DI press will be shown in North America for the first time at the Graph Expo. The company says that the press features “extreme automation” – job-to-job turnover in only eight minutes. With speeds of up to 16,000sph, it has a small environmental footprint with waterless printing technology, chemistry-free imaging on-press, fast run-up for minimal waste and consistent quality. Other highlights at the Presstek booth include the 52DI-AC with an in-line aqueous coater, the DPM Pro 400 and Vector FL52-AL CTP machines, as well as a 75DI press Compass platesetter.

(Booth 3212)

Mimaki will have a number of its flatbed and roll-to-roll printers at its booth. A device from its CJV series will be running Eco Sol Silver and White Inks. The company will also showcase two flatbed presses from its UJF series including the 3042 model that features UV LED curing technology. Visitors to the Mimaki area will also see a printer from its JFX line, as well as the company’s UJV-160 hybrid UV printer. www.graphicartsmag.com

Primera E110 saddle stitcher

The new Arizona 550 GT UV flatbed printer will be on-hand from Océ with speeds more than twice as fast as previous models. The company says this year it is introducing the graphic arts market to breakthrough innovation for short-run books, transaction marketing, personalized mailings, display graphics and more. FeaArizona 550 UV tured products include the Océ JetStream 1000 flatbed printer continuous-feed full-colour inkjet system, the Océ VarioPrint 6320 Ultra digital perfecting system and Océ PRISMA workflow software.

Well-known in the industry for its unique devices, MGI will be launching a new product this year – the DF360 5-in-1 paper finishing unit. This is the only multi-functioning JETvarnish digital inkjet finishing unit on the spot UV coater market that includes a lamination function, along with cutting, creasing, slitting and perforation. It is designed to complement both digital and offset presses and can bring many common finishing techniques together. The company says it is ideal for applications such as book covers, brochures, tickets, business cards, photo books, invitations, menus and more. MGI will also feature its flagship Meteor DP60 Pro multi-substrate digital press and the JETvarnish digital inkjet spot UV coater.

Meteor DP60 Pro

(Booth 637)

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

Ricoh

(Booth 2017)

At the Ricoh booth, the company says that visitors will experience different solutions that address issues and needs facing both customers and the production printing industry Pro C900 colour overall, as well as bridge the gap production system between the realm of print and advanced document management solutions and services. Ricoh will be releasing a brand new product at the show that’s under-wraps for now, but its booth will also feature the Ricoh Pro C900 and Pro C720 colour production systems, as well as the Ricoh Pro 1357 EX copier, scanner and production printer.

RISO

ComColor 9050

Xerox

(Booth 400 & 600)

With the broadest portfolio of market-leading digital production products, Xerox will feature many different print applications at the show. Look for the Xerox iGen4 Press, as well as the Color 1000 Press, iGen4 press 700 Digital Color press and the Nuvera 288 Perfecting Press. Visitors to the booth will also get to see the Espresso Book Machine. Realworld examples of what customers are producing with Xerox technology and solutions will also be on-hand.

(Booth 3111)

X-Rite & Pantone

(Booth 448)

Exhibiting together, X-Rite and Pantone will show a variety of new technologies in the world of colour science. X-Rite will feature the i1Profiler, its brand new colour profiling software that ensures quality, consistency and standards compliance. Pantone will highlight its PLUS series – the next generation of the PMS system for multimedia graphic design. It contains hundreds of new colours for greater design flexibility and contemporary impact, as well as several new features and digital tools.

(Booth 1637)

Highlights at the Screen booth include the Truepress Jet520 high-speed continuous inkjet press, which Screen says is the best-selling device in its class. The Truepress Jet2500UV will also be on-hand, delivering images on both roll-fed and flatbed-format substrates.

Screen’s Truepress Jet1600UV-F features two types of UV ink (for flexible and rigid media) that can be stretched by up to 200 percent, as well as cast or bent.

Other products at the booth Truepress Jet520 high-speed include CTP and workflow continuous inkjet press solutions.

Attendee registration for Graph Expo is now open at the GASC site www.gasc.com. You can also sign up on the website to access your own free Graph Expo Planner, which allows you to sort through exhibitors, search and select educational sessions, participate in networking events, and map out your show to make the most of your time. You can even make a copy to take with you in one neat printable planner.

Standard Finishing Systems (Booth 1244 & 1644)

As well, in mid-August a Virtual Preview of the show was revealed, offering an interactive sneak peek that includes videos, chat rooms, webinars and previews of some of the equipment, products and networking opportunities that will be found at Graph Expo. Check it out here: www.graphexpo.com/virtualpreview.

Standard will showcase 5,000 square-feet of feeding, finishing and mail inserting solutions under the theme “Think Intelligent Automation.” A product premier is the 17-clamp Standard Horizon CABS 6000 perfect binding system, which produces up to 6,000 books per hour.

The company will also show the all-new HT-80 automated three-knife trimmer, and the new Standard Horizon large-format AFC-746F folder, with record-setting throughput speeds up to 787 feet per minute. Other products on display CABS 6000 perfect binding system are the BQ-160 binder, CRB-160 cover creaser and the Horizon Stitchliner 6000 Digital, among others.

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

(Booth 201)

The iQueue Intelligent Color Workflow will be showcased at Xanté’s booth, which is a free, multi-faceted content and production management solution that was designed to support Xanté Ilumina Digital Color Press users. Xanté says iQueue provides up to 25% savings on toner cost due to special screening processes. Key features include spot colour matching, unlimited screening control, independent CMYK control, full colour management, flexible queue management, archiving and highly maximized output quality. Also on display will be a number of devices from the company’s Ilumina family of presses.

At Graph Expo, RISO will showcase several innovative and unique value-add graphic arts and transaction applications. The ComColor inkjet printing system will be used to demonstrate the printing of a full-colour transpromo marketing offer letter, showing an integrated MICR check. Full-colour variable data envelopes will be printed on a RISO ComColor 9050, and a range of 2-colour single-pass materials will be printed on RISO’s new MZ1090 digital duplicator – what the company calls a “mini 2-colour digital press.” The ComColor series from RISO prints up to 150 colour ppm and are ENERGY STAR qualified, consuming minimal electricity.

Screen USA

Xanté

Remember to stay tuned to graphicartsmag.com before, throughout, and after the show for up-to-date coverage, tweets, live blogs, photos, news, and more!

Kristen Read kread@graphicartsmag.com

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Revealing the Future of Print to Commercial Printers A Customized Trade Show for the Americas • Worldwide introductions of the hottest new technologies • Live equipment demonstrations of the latest applications and workflow solutions • Learn something new—over 50 seminars in 20 education categories • Network with industry experts and peers

Explore Equipment & Products of Interest to YOU • Digital Presses & Copiers • Offset Presses • Wide Format

• Software • Parts & Accessories • Consumables & Substrates

Discover Special Show Floor Features Back by Attendee Demand!

AND announcing the debut of T HE NEWSPAPER PAVILION

1899 Preston White Drive, Reston, VA 20191 USA | T 703.264.7200 | graphexpo@gasc.org | www.graphexpo.com

TECHNOLOGY

IAN BAITZ

A foundation in flexography Who isn’t curious about flexography these days and its growth in many print markets? Is a move into flexo the magic solution for printers who are concerned about their market in today’s economy? It is widely acknowledged that offset litho offers outstanding quality and digital allows for profitable short runs and variable data, but there is an undeniable buzz about flexo in our industry today. Is flexo the solution to changing markets for conventional printers?

Clients have heard how the quality of flexography has improved dramatically over the past decade, and printers are curious about the flexo market. Flexo is a unique and, pardon the pun, tremendously flexible technology offering continuous print, variable repeat length, enormous variety of substrates and a wide range of in-line finishing options. And who can forget flexo’s undeniable access to the lucrative consumer packaging market?

But is flexo right for you, and what does your company need to know about it? Together, we’ll explore some of the concepts surrounding flexography.

THE FLEXO MARKET

Flexo print technology finds its roots in converting: the manufacture of paper bags and cardboard boxes over a century ago. Converters sought a way of printing an image directly on their product, and flexography called aniline printing at the time, was born.

Today’s flexographic print market can be differentiated in a number of ways. For printers, one of the easiest ways is to consider press specifications and capabilities. Web presses, quite common in flexo, can be divided into narrow and wide-web. Additionally, there are the massive sheetfed corrugated presses and specialty presses such as flexo print units on envelope and bag converting machines.

Others describe the flexo marketplace according to the type of substrate: corrugated, paper, film and foil. Corrugated board and paper are fibrous substrates, meaning the stock is made from cellulose fibres and easily absorbs ink. Films – meaning plastic-type substrates – and foils are non-fibrous. Non-fibrous substrates create special challenges with ink laydown, drying and adhesion, but flexo is well-suited to these difficult substrates.

Narrow-web flexo presses are those with maximum web widths typically from six to 20 inches. Most commonly, individual printing units or “print decks” are arranged inline, similar to most offset presses. Narrow-web presses are most commonly associated with the label market and represent a typical entry point into flexography.

Wide-web flexo presses, those ranging from 20 inches and up – some with web widths in excess of 100 inches – are often used to print paper or unsupported film.

Think of bags for dog food, kitty litter, lawn care products or road salt. Wide-web high speed presses are commonly constructed with a massive temperature-controlled central impression cylinder surrounded by six to ten print decks. The CI press allows for a large press to have a relatively compact footprint and its CI design effectively supports substrates, minimizing stretch for better register.

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A RANGE OF SUBSTRATES AND INKS

One of the greatest strengths of flexography is its ability to print with good quality on a wide range of substrates, due to the flexible and resilient plate, a wide range of inks and ability to lay down a thick ink film when needed. Even the smaller entry-level narrow-web presses will effectively cope with a considerable range of paper stocks, adhesive label substrates, films and foils.

Paper substrates can be coated or uncoated, and include a wide variety of adhesive label stocks. Pressure-sensitive adhesive label stock consists of a three-layer sandwich: the face stock, which becomes the printed label, the adhesive layer itself and the peelable waxy-surfaced release liner. Face stocks are manufactured in a range of colours, finishes, weights and strengths. Adhesives come in a variety of applications, including permanent, extra-strong or peelable.

Release liner is available in different weights and thicknesses to facilitate die cutting and handling requirements.

Films include white, coloured, translucent and clear plastics, vinyls and other synthetic substrates. Some films have considerable stretch – think of plastic grocery bags – while others offer incredible strength and dimensional stability. Many are heat-sealable. Bi-axially oriented polypropylene (BOPP or poly, for short) is a popular transparent substrate that provides strength, hardness and exceptional clarity. Poly is well-suited to consumer product packaging such as snack food bags and labels on food, cosmetics, personal care products and household products. Polyethylene (PE) is another important film, used for the manufacture of dry-cleaning bags and plastic grocery bags. Films can also be manufactured as pressure-sensitive label stock with an adhesive layer and release liner.

Foils are metal substrates, made from rolled paper-thin aluminum or other metals. Common foil applications include butter wrappers and peelable lids for plastic yogurt and cheese spread containers. Some premium labels are printed on metal-surfaced paper or film substrates for effect, such as beer and wine labels, and labels on personal care products. Some plastic films are “metalized” with a very thin inner foil layer between layers of polypropylene to improve barrier properties.

In most cases, flexo printers and print buyers begin by selecting the right substrate for the end-use application, and then choose inks which will meet the requirements of the specific substrate and end use. Thankfully, ink manufacturers are incredibly helpful and work closely with substrate suppliers and printers to understand the unique chemical and surface properties of the substrate, end use of the product and any special graphic print requirements. Ink manufacturers will recommend or formulate an ink to work with any substrate, and it is not unusual for flexo printers to run a wide range of inks across their inventory of substrates.

Flexo inks are liquid and pourable. Inks come in waterbased, solvent-based and ultraviolet-curing (UV) www.graphicartsmag.com

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formulations. Historically, water-based inks were used on fibrous substrates and solvent-based inks were used on films. However, with today’s ink technology, many printers are successfully using water-based ink in a wide range of paper and film applications, making for faster wash-up and easing venting and ink disposal requirements.

In flexography, inks are often delivered to printers in concentrated liquid form. Prior to going on press, the ink is measured for viscosity and pH to ensure correct flow, laydown and drying. A draw-down proof is taken to determine the colour strength of the ink. If necessary, the viscosity can be reduced by adding water as solvent, or the colour strength can be reduced by adding a colourless extender. Inks are monitored press-side, sometimes using automated systems, to ensure viscosity and pH remain within target ranges despite exposure to air and substrate.

PLATES AND DESIGN ROLLS

The name “flexography” originates from the characteristics of the printing plate – a flexible rubber or polymer sheet with a relief image of line art, type or halftones.

The raised image area is inked directly by the anilox roll in a short, straightforward inking system. Flexo plates are available in a variety of materials and degrees of hardness (measured in “shore” using a durometer, similarly to offset printing blankets). The hardness or softness of the flexo plate affects its ability to hold fine lines and reverses and influences dot gain, also called tonal value increase. However, it is the same property that allows flexo to print on a range of challenging, irregular or fragile substrates including corrugated board and heavily textured stocks.

Flexo plates are made either from film (analog plates) or using a CTP exposure unit (digital plates). Analog plates are used in some plants, but CTP technology is becoming increasingly affordable. Many printers have found that, as in offset litho, CTP provides a simpler and shorter workflow, offers savings from eliminating photographic film and, most importantly, facilitates superior quality through better control of halftone dot values.

Many flexo printers rely on prepress providers for their plates. Prepress houses are quite common in flexo, and offer value-added expertise in colour correction, selection of plate material and quality control. By means of ganging multiple jobs for different printers on the same large polymer plate, the prepress house is able to offer efficiencies and control costs and waste to an extent that all but the largest of flexo printers could not achieve alone.

In flexography, plate cylinders (or “plate rolls”) are removable from the press and interchangeable. Any given press will accommodate a wide range of plate rolls of different diameters. By changing the plate roll for one with a larger or smaller circumference, the press can print a different repeat length. Of course, this necessitates having on-hand a range of rolls for different repeat lengths. The advantage of variable repeat length is that waste is minimized and versatility of the press is maximized. For example, a label press can print a label with a 3-inch length, with three labels around a cylinder with a 9-inch circumference. If the next job calls for labels with a 2-inch length, a change of plate cylinders will allow four labels on a cylinder with an 8-inch circumferSEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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ence. This practice allows for equal spacing of images on the printed web and minimizes waste.

A unique ability of flexo is that it is capable of printing a continuous image of various repeat length by means of replacing the plate with a design roll. A design roll is an engraved roll with a continuously repeating image around its circumference. Applications include wallcoverings, greeting paper or continuously “flood coating” a stock with a base colour.

Flexo plates are often gang-produced by sophisticated laser imaging equipment on large sheets of polymer plate material. While plates contain register marks and control strips, they are not punched prior to exposure as in offset lithography.

Plate mounting in flexography is accomplished by means of attaching the plate to the steel or aluminum plate roll using a specialized double-sided mounting tape, sometimes called stickyback. The plate is mounted to the cylinder with the cylinder removed from the press. A mechanical or camera-equipped mounting station hold the plate roll and allows the operator to squarely and consistently mount each plate in sequence, but a skilled operator remains essential to the mounting operation.

Mounting tapes can be made of cushioned foam or uncushioned plastic. Tapes come in a variety of hardness ratings, which influence print quality. Some tapes will yield better results on heavy solids, others on line art or halftones. The correct mounting tape is as important as the plate for maximum print quality.

ANILOX ROLLS – UNIQUELY FLEXO

The anilox roll is the heart of the flexo inking system, applying the ink directly to the plate and precisely controlling the ink film thickness. The anilox roll is a hard ceramic-surfaced roller that is precision engraved with microscopic cells to hold ink. The size and depth of cells control how much ink an anilox roll will deliver to the plate. Cell volume is described in a billion cubic microns (BCM) per square inch of anilox roll surface. The higher the BCM of an anilox roll, the more ink it will deliver to the plate.

Another property of the anilox roll is the cell frequency or line ruling. Anilox rolls can range from 200 to 2000 cells per linear inch. The higher the line ruling of the anilox roll, the smaller each cell is. Small, deep test-tube shaped cells will not empty of ink properly, so small cells cannot be engraved as deep as larger diameter cells. Generally, this means that a very high line ruling anilox roll will not carry as much ink or have as high a BCM volume as an anilox roll with a lower line ruling. While the concept of cell frequency of anilox rolls is similar to that of halftone screen ruling, the two should not be confused. Anilox rolls have a higher cell frequency than typical halftone screen counts.

The printer will use guidelines, rules of thumb and experience to select the correct anilox rolls for the job.

Factors such as the type of substrate, amount of coverage, image properties (solid, line or screen) and halftone screen count will determine the correct anilox roll to use for a job. Desired ink density and the colour strength of an ink may require changing an anilox roll for one with a higher or lower BCM cell volume. www.graphicartsmag.com

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The typical flexo inking system is very short – one or two rollers. After the cells of the anilox roll are filled with ink, the excess ink is metered, or scraped, from the surface of the roll by means of a doctor blade or occasionally a metering roll. On some presses, the anilox roll is the only roller in the inking system, rotating in the ink pan and delivering ink directly to the plate. On other presses, there may be a pan or metering roller that delivers ink from the ink tray to the anilox roll before the anilox roll unloads ink to the plate.

IN-LINE FINISHING

From the origin of flexography, with printing units installed in-line on box and bag converting equipment, flexo has been closely related to finishing operations.

Many flexo presses are equipped for post-print laminating using a self-wound adhesive laminate. The laminate provides a thin, clear layer over the printed ink film to improve durability, water resistance and gloss. Postprint laminating protects the printed ink film and allows water-based inks to be used on poly substrates, even in areas where the print will be exposed to water, as in the case of shampoo labels.

Even narrow-web label presses commonly offer several stations for rotary die cutting, perforating or sheeting.

Commonly, these stations are used for die cutting of the face stock of labels while leaving the release liner intact in order to allow labels to be delivered in rolls. Some flexo presses are equipped with folding, gluing, scratch or self-seal scent application or digital print units to allow for in-line processes, which improve efficiency and reduce work time.

EVALUATING QUALITY

Like any other printer, flexographers use tools to ensure quality at all stages in the printing process. Many of these tools, such as loupes, densitometers and spectrophotometers, are common to other printing processes. But flexo also makes use of some unique tools for ensuring quality at all stages of the job.

Because flexo inks are subject to evaporation, resulting in changes in viscosity and pH, it is necessary to monitor, adjust and test the ink before printing and during the press run. Ink viscosity – resistance to flow – is measured using a viscosity measurement cup, or efflux cup.

The most common is the Number 2 Zahn cup, a small metal cup attached to a long handle with a preciselysized small hole drilled in the bottom. By dipping the cup in ink and measuring in seconds the amount of time it takes for the ink to empty through the hole, the printer can evaluate viscosity. The longer it takes for the Zahn cup to empty, the higher the viscosity of the ink. If the ink viscosity is too high, the ink needs to be thinned using water or solvent. Once viscosity is controlled, the printer will use an electronic pH meter to verify that the ink is within the specified target pH range, usually between 8.0 and 9.5, or slightly alkaline, in the case of water-based inks. Proper pH control is necessary to ensure proper laydown and drying of ink. Small anilox roll hand proofers can be used to proof an ink on the final substrate prior to going on press to verify colour and density.

Flexo prepress providers and printers will evaluate plate quality before printing. Plates are checked for highlight, midtone and shadow dot values and line screen using a SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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special flexo plate analyzer, which can analyze the surface of the relief plate. A microscope or plate analyzer can be used to check dot shape or inspect for potential damage to the plate. A conventional Type A durometer is used to measure the hardness of the polymer plate in units called “shore.”

Anilox rolls are critical to print quality. The surface of the anilox roll can be carefully examined using a handheld microscope with 400x magnification. Anilox rolls are inspected to ensure that there is no damage to the surface of the roll or the ultra-thin walls between anilox cells. Cells themselves can be inspected to ensure that they are not plugged with dried ink, which would reduce their ability to carry ink to the plate.

Flexo printers are increasingly following industry specifications. Progressive, quality-conscious flexographers rely on guidelines published by the Flexographic Technical Association (FTA). The latest is FIRST 4.0, which stands for Flexographic Image Reproduction Specifications & Tolerances. The FIRST 4.0 manual offers a wealth of knowledge, best practices and specifications to help flexographers achieve standard predictable results. Many flexo printers are also successful in implementing G7/Near-Neutral Calibration.

The flexo industry is largely represented by the FTA, who have assembled a range of materials, manuals and online training opportunities. Through its online training portal called TEST Virtual Campus, with TEST being short for Technical Education Services Team, learners can explore over 350 different courses, including three levels of operator certification and courses in management and environmental issues. In Canada, the Canadian Flexographic Training Committee (CFTC) supports educational programs in flexography, including hands-on night school operator courses in the Toronto area offered to the public at Gordon Graydon Memorial Secondary School.

Conferences and shows provide great opportunities for printers to connect. Major events include the annual FTA Flexo Forum and Info-Flex trade show, the next which will be held in early May in Indianapolis and the FTA Fall Conference, which will be held in Louisville, Kentucky in early November. Expect as well to find many flexo printers at Label Expo in Chicago this month and at Print World in Toronto in November.

Flexo has a strong connection to packaging and label printing, but is experiencing inroads in some other print areas as well. While offset litho remains the leader in image reproduction quality and press speed and digital offers benefits in short run and variable data, there is room for each printing process to flourish in the areas of the broader print market where each excels. Whether your company is currently involved in flexo, considering a move into flexo, or working in conjunction with flexographers, we can all benefit from a better understanding of this important growing conventional printing process.

Ian Baitz is a professor and Chair of Ryerson University’s School of Graphic Communications Management. His teaching niche is in printing processes, especially offset and flexo, and material testing. Contact him at ibaitz@ryerson.ca

www.graphicartsmag.com

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

I N

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HP ignites customer growth during a cool economy With manufacturers scrambling to help printers with every conceivable aspect of their businesses, HP has once again raised the bar with an array of breakthrough products, helpful services and creative ideas that will be on display at Graph Expo 2010.

Since it began operations out of a garage in Palo Alto, California in 1939 with an initial capital investment of $538, Hewlett-Packard (HP) has been a company of constant innovation and relentless adaptation to ever-changing markets – not the least of which is the graphic arts industry.

feature is its multi-feeders and stackers that allow seamless switches between jobs, proofs and various media. The HP Indigo 7500 boasts unmatched offset quality and exceptional productivity for high-volume printing. This press pushes the economic break-even point while supporting a wide range of substrates. It also simplifies and automates PSP operations with HP SmartStream workflow solutions.

Fast-forward to 2010 and that tradition has continued as HP rolls out its latest solution to, in its own words, “Progressive, Profitable Printing” igniting customer growth with bold, bottom-linefocused solutions for Print Service Providers (PSPs) designed to give unprecedented added value to its customers.

HP’s line of Scitex printers is another key part of this mix. PSPs can increase turnaround times and diversify applications to grow their businesses with the HP Scitex FB500 and FB700. You can deliver jobs quickly with an efficient workflow that lets you load, print and collect media simultaneously. And, you can print on any rigid or flexible media including thick, heavy and long materials.

HP’s solutions will expand your existing services, streamline your operations and set you apart from your competition by making you more environmentally responsible and igniting more creative business-building ideas in an economy that continues to be flat. HP achieves this by offering the broadest portfolio of print solutions with a breadth most competitors cannot compete with.

Leading the way is HP’s popular Indigo series. The HP Indigo 3550, for example, offers on-demand printing technology at a low initial investment and is the ideal solution for launching digital production. The HP Indigo 5500 is a universal production device to help printers achieve increased profit margins by offering unmatched print quality, increased productivity and versatility. One key

HP Scitex 700

The HP Scitex LX600 and HP Scitex LX800 printers allow PSPs to productively print outdoor and indoor applications on a range of media without sacrificing image quality. In fact, outdoor prints achieve display permanence for up to three years unlaminated and up to five years laminated – and are scratch, smudge and water resistant.

Indigo 3550

REDUCE YOUR CARBON FOOTPRINT, INCREASE YOUR PROFITS

Reducing waste is essential to creating a competitive advantage and should go hand-in-hand with increasing your profits. A good example is the HP Designjet L25500 that will help you attract new, environmentally-focused customers by offering a complete solution (including waterbased HP Latex Inks and HP recyclable media) that helps reduce the impact of printing on the environment. In addition, the L25500 offers SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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TONY CURCIO

From postage stamps to building wraps, HP’s stated aim is “Progressive, Profitable Printing.”

This covers HP Indigo, Scitex, Designjet, Specialty Printing Systems and the new HP Inkjet Web Press and HP SmartStream workflow solutions. And, says the company, when you add creative ideas such as HP Capture business development resources, you have a partner that’s committed to helping a printer differentiate itself, rise above its competition and grow.

IGNITE YOUR GROWTH WITH HP AT GRAPH EXPO BOOTH 1200

An excellent place to view and review this technology first-hand is at Graph Expo 2010 (October 3 – 6, McCormick Place, Chicago) where HP will present “the industry’s broadest portfolio of colour commercial and industrial printing solutions” – products, it says, that accelerate and support the convergence of digital and conventional printing while opening new opportunities for commercial printers and other graphics professionals – an advantage not offered by most competitors.

HP Designjet L25500 Printer

unrivaled versatility with broad indoor/outdoor reach, including POP displays, trade show banners, event signage and vehicle wraps.

The HP Indigo W7200 Digital Press, with its ondemand printing capabilities, can also help you reduce your environmental impact while improving profitability. The two-engine press lets you run more jobs, take on more applications and offer value-added services.

Specifically, the booth will focus on areas that are currently helping its customers grow, such as commercial and photo finishing, packaging, publishing, indoor and outdoor signage and specialty printing.

The HP T300 Color Inkjet Web Press is a prime example of HP’s creative business-building ideas for the publishing industry. In fact, HP has become a leader in the emerging high-volume colour inkjet market for book, transactional/ transpromotional and direct-mail printing with the web presses’ breakthrough productivity for mass-market publishing and its ability to meet a broad range of publishers’ run-length needs.

HP’s commercial and photo finishing solutions allow you to deliver totally customized content as you seamlessly integrate printing and IT functions at full-press speed. You can generate high-growth revenue, for example, with one-ofa-kind, high-quality and extremely popular photo books by avoiding high initial costs and unnecessarily large runs.

Building on this success, HP recently introduced the T200 Color Inkjet Web Press – a more affordable entry point for the high-volume market. Now you can step up to full variable colour printing, gain increased productivity over a single-colour printing system and do more with CMYK – print high-quality images and graphics while handling multiple applications.

In the publishing and transactional category, you can accelerate turnaround times with HP’s streamlined digital workflows and lower your production costs by virtually eliminating changeover times. Furthermore, you can accommodate printing peaks and tight deadlines while offering your customers breakthrough prices and performance for printing high-value books and newspapers.

HP T200

For signs and displays, HP offers many solutions based on a variety of applications – from a one-stop, large-format shop for billboards and building wraps to short-run product packaging and digital fine art. Reduce your time to market by eliminating many conventional production steps and increase efficiency while lowering costs.

For more information about HP’s products, services and ideas, as well as its booth (#1200) at Graph Expo this October, please visit www.hp.ca. www.graphicartsmag.com

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

MANAGEMENT

STEPHANIE EAGLE

Featured markets Your monthly buyer’s guide to the latest print industry products This month: hybrid printers and converting equipment Typically, large-format inkjet printers have either a roll-fed or flatbed option, but what about the printers that have both? Print companies today need to be able to offer their clients a wide variety of capabilities without breaking the bank. That’s where hybrid presses are the perfect option. With the ability to print on rigid substrates as well as flexible materials, print companies are able to print on both types of materials without incurring the cost of a second machine. The flexibility of hybrid presses makes them suitable for a variety of applications in many different industries, including signs, displays, backlit displays, interior building materials, large-size posters, POP displays, vehicle wraps and more. For this section of Featured Markets, we’ve looked at four different printers, each with their own unique features.

HYBRID PRINTERS EFI VUTEk GS3200

This printer from EFI offers its users photorealistic quality printing, high productivity, and exceptional flexibility. The VUTEk GS3200 uses 12-picoliter droplet technology in combination with advanced three-layering capabilities to create high-definition print. The three-layering capabilities enables white to be printed as an overprint, underprint, spot, underspot, fill and overspot. All three layers are printed in a single pass and the technology allows the white to be used to emphasize certain aspects of an image instead of just using it as a flood.

colour plus white for enhanced image quality and a printing speed of up to 1200 sq. ft/hr.

Another interesting fact about the VUTEk GS3200 is that it has the capability to print up to two 60-inch rolls simultaneously!

Screen USA Truepress Jet2500UV

Screen USA’s Truepress Jet2500UV is a wide-format ultraviolet inkjet printer. What sets this printer apart from its competition is the image quality it produces using variable dot technology, its grayscale printhead with multi-layer function and its high-resolution capabilities, up to 1500 dpi. The Truepress Jet2500UV’s variable dot technology uses the grayscale printhead to output multiple droplet sizes, to produce better and smoother image quality in the highlight and fine detail areas.

The multi-layer function of the printhead means the Truepress Jet2500UV can print five layers (image, white, black, white and final image), which enables the image to be seen from both sides on transparent material, enhances the density and vibrancy of backlit displays and increases range of substrate that can be printed on.

To make sure there’s no downtime in your pressroom, the VUTEk GS3200 provides continuous board-toboard, board-to-sheet and roll-to-roll printing capabilities. In addition, changing from a rigid substrate to flexible material takes less than one minute.

Not only does the VUTEk GS3200 offer the flexibility of being able to print on both rigid and roll-to-roll material, but it also offers dual resolution, either 600 dpi or 1000 dpi, and dual printing speeds. To achieve the dual printing speeds the VUTEk GS3200 prints with CMYK plus white (named Fast-5

by EFI) for optimized throughput and a printing speed of up to 2400 sq. ft/hr.

The printer is then switchable to eight-

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

The Truepress Jet2500UV also offers a secure substrate fixing system that ensures materials stay completely flat when they travel through the printer. This is a great feature for companies that print on a lot of corrugated board or other media that tends to curl at the edges.

Other features of the UJV-160 include variable dot technology for better image reproduction and white ink overlay that enables brighter and more vivid images.

Mutoh ValueJet 160HA

Mimaki UJV-160

The UJV-160 from Mimaki Engineering is a unique UV inkjet printer because of its UV LED curing technology. The printer uses UV curing inks that are sensitive to light emitting diodes (LED), which are fixed immediately after exposure to LED radiation. The LED lamps that are used emit ultraviolet rays that do not create heat and, therefore, do not have to be pre-heated or cooled-down. The LED curing technology allows for faster turnaround time and increased productivity, with the elimination of post-press drying time. In addition, the energy consumption is approximately 50 percent less than UV printers using halide lamps.

The UJV-160 also has specially formulated flexible ink, which allows the ink to be stretched up to 200 percent without cracking, even if it is bent or curved. This enables better print quality on thin PVC that is usually used for vehicle wraps.

The ValueJet 160HA from Mutoh Industries, Ltd. is a hybrid printer that prides itself on being environmentally friendly. The ValueJet 160HA uses MUBIO INK, which is recognized by the EPA Design for the Environment program. The ink is a corn-based product that is comprised of 80 percent plant derived substances and contains no VOCs. To dry the ink only requires a pair of hot air knives and is typically dry just seconds after the ink is laid down.

Another feature of the ValueJet 160HA is that it uses Dynamic Variable Dot Imaging (DVDI) technology in combination with Intelligent Interweaving (i2) print technology to print. The DVDI technology adjusts each droplet of ink individually to ensure high speed and quality without consuming a lot of ink. The i2 technology lays down ink in a wave pattern to reduce or even eliminate typical inkjet printing problems such as horizontal banding, ink mottle and step mismatch banding.

As long as there has been printing there’s been the need to convert printed work into the final product. Packaging such as bags, pouches, labels, tags, folding cartons and corrugated boxes will always have to be created. This makes the converting industry a very large and broad sector and means there are hundreds of options when it comes to converting equipment. With so many options available, converters need to look into equipment that’s going to truly compliment their specific workflow and increase their quality and productivity. In this section of Featured Markets, we’ll take a look at some of the converting industry’s most innovative and interesting equipment available today.

CONVERTING EQUIPMENT Rotoflex Vericut 2

In today’s printing market, digital printing is becoming more and more popular, especially in the packaging and label industry. With this trend, comes the need for specialized digital converting equipment with more

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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effective and flexible options. The Vericut 2 is a die cutting machine specifically designed for digital web finishing. Coined the “next generation in digital web finishing,” the Vericut 2 not only die cuts but includes spot coating, cold foil, hot foil embossing, rotary sheeting and stacking, and slitting and rewinding capabilities.

The Vericut 2’s flexographic coating module allows for UV and water based vanish or ink to be applied in a flood varnish or spot coat. The die cutting module includes a 19” magnetic die cylinder, complete with flexible plate alignment. This means that the operator can take an existing flexible plate, for example a 12” plate, and mount it on the cylinder without having to change the cylinder.

The Vericut 2 also has an automatic registration control system that automatically positions on first registration mark and has an auto-learn feature that dynamically compensates for web print variables. This system ensures outstanding registration and tension control.

Hudson-Sharp Inno-Lok machine

The Inno-Lok machine, manufactured by Hudson-Sharp, is a pre-zippered film system that uses transverse direction closure technology to attach reclosable fasteners transversely to produce pre-zip-

pered rolls of film. The film can then be used on most horizontal FFS (form/fill/seal) packaging applications to manufacture zippered packaging products. Only a slight clearance modification is needed on the FFS fill tube in order to use the Inno-Lok pre-zippered film.

One of the main benefits is a potential savings the technology offers. This includes up to 50 percent in zipper material, up to 15 percent in packaging material and up to 20 percent in lost scrap. In addition, the Inno-Lok zipper has the desirable horizontal placement because the zipper is applied transversely to the edges of the packaging film.

Hudson-Sharp also offers the Pour & Lok zipper, which uses a similar manufacturing process and creates a reclosable pour spout for side gusseted packaging.

Kluge OmniFold folder gluer

The OmniFold by Brandtjen & Kluge Inc. is an automatic folding and gluing system that is designed to maximize converting capabilities while minimizing setup time. The feature that sets the OmniFold apart from other folding and gluing systems is that it is modular in construction, enabling immense flexibility. One OnminFold has the capability of producing a virtually infinite range of final products; something that would typically require multiple different folder and gluer machines.

The machine can be configured with the features that best suit your body of work and then additional elements can be added as your company grows or changes. Some of the features that can be added include drop-in scoring kit, fold hooks (for auto-lock boxes), tabbing, tipping, onserting, taping units and more. The OmniFold is commonly used to create lock-bottom boxes, partition packages, CD wallets, boxes and sleeves of various sizes and presentation folders.

Stephanie Eagle is a fourth year student at Ryerson’s School of Graphic Communications Management and during the summer she interned at the university.

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

FOR THE RECORD

KRISTEN READ

For the record This month I had the opportunity to chat with Ian Baitz, chair of the Ryerson School of Graphic Communications Management, to find out what he’s looking forward to most in his new job, and what’s new for students as the school year begins.

It was recently announced that you’ll be taking on the position of GCM chair full-time. Firstly, congratulations and good luck in your new post! What are you looking forward to most as chair of the program?

First and foremost, I’m looking forward to working with students and bringing them together with the industry, as well as helping students become excited and passionate about all the exciting opportunities ahead of them. One of my major goals is to double the number of industry awards and scholarships that are available to GCM students; right now we have 19.

What’s new for students in the upcoming year?

All sorts of things are new. First of all, GCM is growing.

We have over 450 students at the school this year, and we’ll have our largest first-year class ever. Students will see an increased emphasis on hands-on, activity-based learning and labs. We will also have highly active student groups for organizations like TAGA, the Phoenix Challenge and the Course Union.

There are also some new changes in our equipment as well. We have a completely re-equipped Mac lab including new software. The biggest example of this is the addition of HIFLEX’s MIS software. The school has also added new instrumentation equipment including an inkometer and flexo proofer. We can now incorporate more flexography into the curriculum because of the new flexo press that was recently installed at the school.

Another exciting thing is the beginning of planning for Drupa 2012. We will have a student delegation represent GCM at the event, so we will begin a 2-year project for the planning and fundraising of this trip.

You are in fact a graduate of the GCM program yourself, how have you seen it change over the years since you studied at Ryerson as a student?

There have been tremendous changes. The biggest would be in the growth of the program. When I was a student, my year started with 56 students and we graduated with fewer than 40. The size of the first year class has nearly tripled what it used to be. I’ve seen other changes as well in terms of course hours – they are half of what they used to be. This makes Ryerson more consistent with other universities, and really puts an emphasis on students learning how to manage their own time. Also, we now have a bindery lab at the school, which we didn’t have until we moved into the current GCM building back in 2002. I am also seeing a movement into flexography and digital printing and all the technologies that come along with it, like variable data printing and digital asset management.

“...challenging business environments are not new, nor are they unique to our field. However, we do need to recognize that our industry is changing, try to predict the direction it’s going, and make sure our graduates are meeting the needs of the industry.”

Another change that I’ve noticed is more student involvement with industry associations like the OPIA, SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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CPIA, CFTC and IAPHC, among others. One thing that remains unchanged though, is the amazing level of support from the industry, and the great opportunities for graduates of the program.

printers and buyers, as well as with other universities and schools of printing. We’ve developed close connections with schools in Canada, the U.S., Germany and elsewhere.

The print industry has noticeably suffered in recent years with the recession and the move towards digital and online methods of communication. Are you seeing this impact application rates to the school?

In terms of how we prepare students, our emphasis for some years has increasingly been on critical thinking, problem solving and comprehension of workflow systems. We also try to focus on understanding business and the importance of planning and project management. The school is making an effort to prepare students to be professional managers in the workforce.

Well, I continue to be very positive about the future of the industry. All industries are changing and though we focus on printing, there is hardly a sector that has not been affected by a weak economy. Even in good times, some companies struggle, and there were newspaper titles that closed even in the heyday of newspapers some 30 or 40 years ago. So challenging business environments are not new, nor are they unique to our field. However, we do need to recognize that our industry is changing, try to predict the direction it’s going, and make sure our graduates are meeting the needs of the industry.

This year we had 750 student applications for 146 first year spaces, so interest in the program continues to be strong at a 1 to 5 ratio. But we need to continue to work with the industry and high schools, so that young people can learn about the program and opportunities in the printing industry.

How is the program and its professors preparing students to work in a changed and challenged industry?

While the titles of our courses may not change often, the content is updated every single year, sometimes even more frequently. Professors are engaged with the industry and its associations and attend meetings and speak at conferences. They believe in lifelong learning, and continue to act on committees, conduct research, further their studies and actively work with vendors, SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

38

You have been the associate chair of the program since 2006, and acting chair since December.

What’s your favourite part of your job?

Without question, my favourite part of this job is working with students – especially ones who show interest in the printing industry.

Here’s my favourite question to ask – when you were a kid, what did you want to be when you grew up?

Well funny enough, I’ve always been intrigued by print.

That was always an interest of mine, going back to about the age of 5 or 6. I remember being fascinated by Gestetner machines and spirit duplicators, and when I was young I toured a newspaper plant and the presses there had a big impact on me. As well, in high school I took five years of graphic arts classes. So, it’s always been an interest of mine!

Kristen Read kread@graphicartsmag.com

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TECHNOLOGY

ANDREA MAHONEY

Keep automation software updated Using automation to save money and increase capacity is quickly becoming the norm in the graphic arts industry. Automatic preflight and optimization software for customer supplied PDFs reduces the amount of hands-on work in the prepress department.

This software must be updated regularly to keep up with Adobe upgrades to Creative Suites and PDF libraries. Purchasing maintenance agreements with your software ensures these constant updates are available to you when you need them. Please note as PDF libraries change, you may notice issues developing in older RIPs. This is where automation can help by optimizing PDFs for your workflow.

object individually, as this could cause a colour shift.

The complex transparencies detected are those from the effects pallet which include multiply, dissolve, colour burn, lighten, darken, etc.

Thirdly, an option to deal with overprints and overprint sensitive items is available in the optimization settings as well as in the ink purity settings. When applying GCR to areas that include an overprint, the original separation for this object will be maintained. A report will be generated with this error: PDF page contains overprint sensitive object, which forces preserve original separation. This is useful for Device N objects, spot colours and colours that do not contain black.

The current versions of SWITCH, Pitstop and Pitstop Server have been updated to deal with new versions of software from Adobe, Microsoft, third party plugins and many other industry products.

Since PDFs come from many different sources, versions new and old, automation systems must be able to handle just about anything, and they do. The latest version of Switch 09 can split and merge PDF documents without using Acrobat and comes with a brand new client. Pitstop Server and PitStop Pro support Windows 7 and there is command-line integration.

INCREASE SAVINGS BY AUTOMATING COLOUR Saving money by employing ink saving software is also on the rise, giving print producers faster makeready time by stabilizing gray balance and reducing the amount of ink on the sheet. These new technologies deal with Adobe PDF, which cause new issues to deal with as it advances.

Using a Colour Server inline with a Preflight Server gives you a hands-free, quality controlled workflow.

The Preflight Server, such as Pitstop Server, will send jobs requiring attention to an operator to deal with. All passing files can proceed to the Colour Server, which can then convert colours to the colour setting that you have chosen as your standard and apply ink saving GCR if needed. The Alwan CMYK optimizer also has superior transparency flattening tools to create a file that can be sent to soft proof, hard proof or press.

The transparency is dealt with on several levels. First, the preference setting allows you to choose whether or not to pass items with transparencies to an operator.

Choices include error folder, flatten the transparency or not flatten the transparency. This works great if you have SWITCH preflight files and sort them into categories to fit the workflow.

Secondly, the optimization settings have a section for PDF page rasterization. Here you can choose the type of rasterization when flattening transparencies. “All Transparencies” flattens everything including complex transparencies. “Complex Transparencies” allows the optimizer to evaluate two transparent objects together to maintain colour integrity instead of optimizing each SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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KEEPING UP TO DATE

Many people are currently using Alwan CMYK Optimizer and don’t realize the latest updates provide these features. If you think the routine updates are just for bug fixes you’ve got it all wrong. A maintenance agreement will keep your workflow up to speed with all the latest PDF libraries, improvements and technology breakthroughs.

With the current versions of SWITCH 09 update 1, Pitstop Server 09 update 3 and Alwan CMYK Optimizer 3.8.0, you have updates for PDF Library 9.0, Creative Suites 5, Windows 7 and the improvements discussed in this article, plus more.

For more information on these products visit www.alwancolor.com and www.enfocus.com Andrea Mahoney designs and installs automated workflows for all types of printing professionals. Tribay, a workflow automation company, offers the tools, training and setup for successful automated workflows.

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

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TECHNOLOGY

PETER DULIS

Fine art printing - a new opportunity It wasn’t long ago that artists wanting to produce open or limited edition prints of their artwork needed to have them reproduced via the traditional printing press. The biggest disadvantage was that the artist needed to purchase a run of at least 5,000 prints in order to make it worthwhile even to turn the press on. Therefore, the entire fine art reproduction market was dominated by a small group of publishers who financed, printed and distributed the artwork.

The first significant development in fine art printing occurred with the application of high-end Iris inkjet printers, which were used to produce prints. Scitex had created the Iris inkjet printer that could create amazingly detailed and faithful reproductions and was aimed at the prepress industry, which produced proofs for the printing press. But the $100,000 price tag of an Iris printer was not financially feasible for many artists and publishers. As well, even though the Iris printers created beautiful prints, the dye based ink set lacked the archival properties to keep the prints from fading over time.

Yet, this didn’t discourage early digital printmakers like Maryann Doe of Harvest Productions and Jack Duganne, a printmaker at Nash Editions. Finally in 1991, they got it right and Jack coined the phrase “Giclée Printing.” Giclée is the French verb meaning “to spray” (as from a nozzle) and this perfectly describes the manner in which the inks are dispersed onto the substrate in the digital printing process. The main intention of the word giclée was to distinguish “fine art prints” from those created for non-art or commercial purposes.

Today the term “Giclée” is commonly used by artists to describe a fine art print produced by the inkjet printing method, using archival inks.

This Giclée fine art printing technology, has taken the art world by storm and is presenting printers and photo labs with a great new opportunity to diversify their revenue stream. Artists seeking reproductions of their artwork are now looking for print-on-demand print solutions, as the sale of their artwork dictates.

The next significant development in fine art printing occurred with the introduction of the first usable generation of pigmented inks from Epson. Epson “Archival Inks” were a major breakthrough that forever changed the entire printmaking landscape, and yet they, too, had their short fall due to a lower colour gamut, metamerism and sensitivity to ozone deterioration. Yet, for a tenth of the cost of an Iris printer, Giclée print providers could now afford to buy an inkjet printer for fine art and photographic applications.

Over the last few years, we’ve had the introduction of a whole new generation of archival inks from manufactures like Canon, Epson and HP, that boast longevity up to 200 years and more. I think this could be considered another significant development in fine art printing.

HERE’S HOW THE PROCESS WORKS

The first step is to “digitize” the artwork by using a highend camera or scanner. When using a camera, a proper lighting setup will be critical to achieving good results. I have found that when reproducing an oil or acrylic paintSEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

42

ing that had a lot of texture to the paint, you will be wise to spend a little extra time to get the lighting just right as to enhance the 3D effect. If you do not have access to a high-resolution scanner or camera, consider outsourcing this service to a photo studio.

Next, load the digitized picture into a graphics program such as Photoshop to size, crop, modify background, do colour adjustments and clean the image.

Now you are ready to print the picture. You should first print two small 5” × 7” test prints to ensure that you have correct colour settings. This also gives the customer two options to choose from. Check the printer settings to ensure the output quality is what you are looking for.

For example, Canon printers have profiles built into their driver, so that when you match the paper with the profile in the driver, you get excellent results right off the bat, without having to create custom profiles. Although anyone doing any kind of serious work will wish to create a custom profile for the paper or canvas they wish to use.

After the customer has approved the test print, you may print on canvas or watercolor paper as many prints as are requested. Keep the digital file well stored so when the customer requires more prints you’ll be ready.

GICLÉE FINISHING

Giclée prints can be prematurely damaged if exposed to moisture or UV rays, so you would be wise to let the print cure for at least 24 hours before treating the surface. The inks are water based and will smear if liquids are accidentally splashed on the surface. By applying a liquid laminate over the artwork, it will not only protect the print, it will also give the print a real nice “work of art” finish.

RESEARCH BEFORE INVESTING

All three of the big manufacturers have made significant strides in fine art and photographic printing over the last few years. Canon with its brand new ipf6300 and ipf8300 12-colour printers has stepped up the game once again. The Canon Photoshop plug-in makes it easy for anyone to create beautiful looking prints right off the bat in 16 bit colour. The 12-colour pigment-based ink encompasses the entire CMYK and RGB colour spectrum. The latest Epson printers feature a 10-colour pigment-based ink system and have an optional spectrophotometer, which can be added on. Whereas HP features a 11-colour pigmented-based ink plus gloss optimizer and spectrophotometer on-board.

You can spend up to $26,995 for the 64” Epson Stylus Pro GS6000 or $4,695 for the brand new 24” Canon iPF6300 Giclée digital printer. Look for reliability, speed and colour gamut when choosing an inkjet printer. You are welcome to email me if you have any further questions.

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

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TECHNOLOGY

TIM MITRA

Publishing on the iPad So here we are more than halfway through the year and over 5 million iPads have been sold. Consumers are rapidly snatching up all the available iPad and iPhone 4 devices as fast as Apple can make them.

As a publishing professional you’re asking yourself “what does this mean to me? What impact does this have on the publishing industry and how do we as publishers get involved?”

Released to the public in April 2010, the iPad platform (aka iOS 4) has taken digital publishing by storm. If you have used an iPad then you already know that it is more than a big iPhone, digital book, Internet browser, or device for accessing digital media. It is a revolutionary device and it’s causing a paradigm shift in several information industries.

Users of the iPad are looking to you as publishers to deliver the content they desire in this new medium. Of course, this is not just limited to Apple products but it is also pending the release of smart phones and tablet devices by other companies. So how do you get your content into your reader’s hands?

Smart media devices all support Internet-based browser technologies and can access content online that is tailored to these devices with technologies such as HTML 5, CSS3 and JavaScript. Simply adding a bit of tagging and creating custom style sheets for your website will transform content for these mobile devices. Open source publishing platforms, such as WordPress and Joomla, can use templates designed to optimize the display of the content.

AppleScript, Automator and Mac OS X Services can also be used to automate and build web-ready content.

Using Apple’s free development tools, a competent

Web developer could build a Web-based applications with a Dashcode. Dashcode apps can then be converted into Xcode - the application that is used to create native Mac OS X and iOS applications for the iPhone and iPad. Apple has created its own digital reader for the iOS devices called iBooks. The iBooks Store is used to publish digital books in the ePub format. Applications like InDesign can export pages into this format. You can distribute your iBook publications from your own website or distribute for profit through Apple’s iBook store.

Resources like lulu.com are available to help you self-publish.

Starting at $99 a year, you can become an Apple developer and be able to publish applications to actual devices like the iPad. Once you become a registered developer and pay the fees, you can submit applications for approval to Apple’s App Store. If Apple approves your iPhone app, they will distribute the application through the App Store.

Native iOS apps are written using Objective-C. There are many resources available to get you up to speed.

Several books have been published in physical and digital form that teach users to build apps. Online resources available, such as Lynda.com and Apple’s developer website, offer learning materials online.

If you’re not already an experienced programmer, learning Objective-C has a steep learning curve. The TapLynx framework, among others, help build basic apps in xCode. Frameworks will help you build real iOS applications without having to learn Objective-C. You can also look into hiring a developer to help you build an app. Simple applications range from $2,500 to $10,000. More sophisticated apps take many months to develop and will cost even more. Experienced developers can be hired for between $80 USD and $160 USD to either consult or develop your application.

Single dedicated developers can cost around $6,500 USD per month.

It is both an exciting time and a nerve-racking time.

Publishing ink on paper has been under pressure for the last 15 years or so. The Internet has eroded any kind of profit-making and now the iPad presents an opportunity to deliver content to an end user who will be willing to pay for that content. Or, at the very least, advertisers will want the opportunity to deliver their message along with your content. If you’re producing a magazine or newspaper, a list of services or even a real estate listing, the iPad is proving to be a revolutionary publishing platform. You owe it to yourself to explore the opportunity for yourself and your clients.

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

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.COMMENTS

.com ments .comments

The latest activity at graphicartsmag.com

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

1 2

Photoshop disclaimer for fashion

3

Canadians still want a paper trail

4 5

World’s oldest illustrated bible

magazines?

New in print - recyclable paper

hangers

found

New advertising possibility - digit-

al license plates

Talkback Topics - check out what the industry is saying about some of the latest news: Re: Facebook - now the 3rd most popular spot to watch online videos “I watch more videos on Facebook than anywhere else…fun to find videos friends post…”

-Beth Warren Re: New in print - recyclable paper hangers “Kind of makes you think: ‘gee…why didn’t I think of that?’ It’s such a simple concept but innovative at the same time, providing new work for the printing industry.”

-Dylan Roderick

“It was an idea brought to Dragon’s Den, the Canadian television program that people present their ideas to [judges] for potential funding. I can’t remember if they actually funded this one, but they should have.

It’s a great idea and of course those of us in the printing industry definitely applaud it!”

-Myrna Penny “It will be a great source of revenue in our economy! And they say print is dead… I don’t think so! :) “ -Jenny Kreuser Re: Photoshop disclaimer for fashion magazines?

“Yes. I agree very much. Any amount [of photoshopping] other than sharpening should have a disclaimer. Time to get back to quality and the past terms of ‘a photo does not lie.’”

-Robbie

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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SALES

KELLY ROBERTSON

10 secrets to creating an effective sales proposal Before I started my sales training business, I worked in a corporate environment in which I had the opportunity to review many sales proposals for a variety of products and services.

Since then, I have had the good fortune (or misfortune, in most cases) to read dozens more and I’m still under-whelmed by most of them. Most of the proposals I see make the same fundamental mistakes. Here are 10 strategies you can use to ensure that your proposal stands out from your competitors

1

Open effectively. The vast majority of sales proposals start with information about the seller’s company. I have never figured out the rationale of this approach. Your prospect doesn’t care about you or your company. They don’t want to know how long you have been in business, what awards you have won, or what other companies you have worked with.

Effective proposals always highlight the problem that the prospect is facing and the impact that problem has on their business. And they do this early – on the very first page. If you feel obligated to include this type of information, place it near the end of the proposal.

2

Address their situation early. An approach that I have found very effective is to begin with a one paragraph summary of my prospect’s situation followed by the key objectives the company wants to achieve. This demonstrates that you have a good understanding of your prospect’s problems and concerns. I like to state the objectives in bullet-point form because it’s easier to read and absorb.

3

Show the value. This does not mean expanding at great length about your solution. Instead, it requires that you identify exactly how your prospect will benefit by implementing your solution. A technique I learned many years ago is to include several bullet points with each point stating a separate value proposition.

4

Avoid corporate-speak or marketing mumbojumbo. The best proposals are written in plain, easy-to-understand language. Never, ever use terminology that might be difficult to understand.

Although this is a simple concept, too many salespeople include wording or technical information that just isn’t necessary.

I learned this lesson when I submitted my first proposal many years ago. After earning the business, I asked my client why they chose me and she said, “Your proposal was easy to understand.”

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

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5

Keep it brief. I once read a proposal for a sales training program that spanned 24 pages. Decision makers are far too busy to read a long proposal. I understand that some proposals require a lot of information and detail, especially if you are recommending a complex solution. However, the longer your proposal the more likely it is that your prospect will skim through it and flip ahead to the investment.

It is much more effective to write a short, concise proposal and provide back-up information if needed.

6

Avoid the word “I” or “we.” The more times these two words show up in your proposal the more evident it appears that the proposal is about you, not about your prospect or his or her business or company. This also includes mentioning your company name. Keep your proposal focused on your prospect and use the word “you.”

7

Use titles or headings. This is particularly important if your proposal is relatively long – although it is an effective approach with short proposals too. Headings make it easy for your prospect to find key information. Headings also break up the page and make your proposal easier to read.

8

9 10

Include at least one testimonial. Testimonials remain one of the most effective sales weapons and you need to incorporate them into your proposals. I like to add these in my P.S. after my signature; although, I know people who include several testimonials throughout their proposals.

Include a summary. Many people will skip the details of your proposal and flip to the last page.

Effective proposals include a bullet-point summary of the services you will provide to your prospect.

End with a call to action. I used to close my proposals with, “If you require any additional information please feel free to contact me.”

Boring! Tell the prospect what you want them to do next. By the way, the next steps should ALWAYS be discussed BEFORE you write your proposal.

The purpose of a proposal is to demonstrate that you and your company have the best solution for the prospect’s problem. Apply the concepts that were mentioned in this article and stand out from your competition. © 2010 Kelley Robertson, All rights reserved.

Kelley Robertson, professional speaker www.kelleyrobertson.com 905.633.7750

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YOUR PERFECT CONNECTION TO THE PRINTING AND GRAPHIC ARTS INDUSTRY

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KBR Graphics

Offering the latest technology with a tradition of dedicated service Established in 1977, KBR Graphics has witnessed and adapted to the phenomenal changes in technology, products and methods in the graphic arts industry. Through strong relationships with customers and suppliers, KBR Graphics has developed a solid position in the industry based on service and sales. country, and factory-trained technicians available to offer assistance and expertise, KBR Graphics is well equipped to offer its customers the most dedicated service on all of its stable of products.

“We are as comfortable selling and installing a 7-colour Rapida 142 Press in Prince Edward Island as we are installing a Horizon PUR Perfect Binder in Toronto or Quebec City,” says Karl Belafi Sr., the founder of KBR Graphics. “We have the factory-trained sales and service team to do it in the proper way. As the founder of KBR Graphics in 1977, I am proud and confident to say to our clients and suppliers that they will receive the same attention and care from my sons Karl Belafi Jr. and Kevin Belafi as I have strived to deliver to customers over my 40 years in the graphic arts industry.”

The recent install of a KBR Rapida 142 at Kitchener’s Boehmer Box

THE LATEST IN PRINT, DIGITAL AND FINISHING

Servicing the provinces of Ontario, Quebec and Atlantic Canada, KBR Graphics is proud to be considered among the leading equipment dealers in Canada. Its customers range from small to large-size printing companies, to printing departments for multinational corporations and provincial and federal governments. KBR Graphics offers a wide spectrum of graphic arts equipment including major manufacturers such as KBA, MGI, Standard Horizon, Perfecta, Baum, Busch, Graphic Whizard and Challenge.

KBR Graphics prides itself in marketing products that are cutting-edge technology: In Printing – KBA products are the largest presses by sheet size, the fastest in set-up and make-ready, and the best quality for commercial and packaging printing.

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Installation of a KBR Rapida 75 press at Imprimerie Vincent in Quebec

SEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

Recently installed by KBR Graphics at Toronto’s Hume Intermedia Services is a new Standard Horizon BQ-470 PUR perfect binder, the first of its kind in Canada with the PUR glue system.

Company President John Hume says: “By installing the new Standard Horizon perfect binder, we are anticipating our customers’ everincreasing needs – for both PUR, which publishers are demanding, and improved reliability and productivity.” The full-service digital 50

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and offset print and fulfillment firm was established more than 22 years ago, drawing a broad base of over 200 customers. “Our clients rest easy in the knowledge that all the work we create for them is printed, bound, mailed or distributed under one roof. We are far more efficient than most.” Hume adds that it is his firm’s loyalty to particular brands that kept them with Standard Horizon and KBR Graphics.

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A Standard Horizon BQ-470C PUR is installed at Hume Intermedia

Another cutting-edge product offered by KBR Graphics to the Canadian market is the MGI DP-60 Pro. The 4-colour digital press is the flagship model in MGI’s Meteor line, designed specifically for higher-volume paper and plastic applications. The DP-60 Pro can accommodate a variety of substrates, and has the largest array of supported sheet sizes among digital presses.

No other digital press can switch between paper and plastic in a matter of seconds. It boasts the ability to add customized text, photos, barcodes and a host of other personalized options – making it the most versatile digital press in the graphics industry. After searching for a unique and innovative digital print solution such as this to bring to the Canadian market, at Drupa 2008 KBR Graphics became the exclusive distributor for MGI Digital Presses across the country.

LOCAL SALES AND SERVICE

Since it was founded over 30 years ago, KBR Graphics has matured in size from one person, to a staff of 20 highly-trained factory service and sales professionals located in Toronto, Ottawa, Montreal and Quebec City.

With equipment sales of 35 million dollars in the last 3 years, KBR Graphics is confident in expanding its capacities to offer sales and service into the third largest print market in North America. To enhance its identity in the Greater Toronto Area, the company has recently opened up a new location in Mississauga with a demo floor and warehousing of parts and consumables for product lines such as KBA and Horizon.

“KBR follows market trends by listening to its customers’ ever-changing needs,” explains company Vice-President Karl Belafi Jr. “We are always on the lookout for new products or product lines we can introduce to the Canadian market that will make our clients more efficient, productive, profitable, and give them an edge they so often need. We do so by being present at all trade shows such as Drupa, Ipex and Graph Expo, as well as making and keeping good contacts and relationships with existing and new manufacturers from around the world.”

Karl Jr., Karl Sr. and Kevin Belafi.

KBR Graphics brings the latest equipment to the Canadian market, enabling its customers to become not only more efficient and profitable, but to set themselves apart from the competition. With decades of experience in the industry, the company is a trusted resource for quality products and expertise. To find out more about the cutting-edge technology and dedication to service offered by KBR Graphics, visit www.kbrgraphics.com.

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MANAGEMENT

BARRY SISKIND

The simpler the display, the better A dilemma many exhibitors face is how much information to include in their trade show display. For small exhibitors with one or two product offerings, the answer can be difficult. For larger exhibitors with a multitude of products and services, which might also include several departments, the answer can become a nightmare. There is often so much to tell and the exhibitor wants to make sure the visitors get the right message. The solution starts by taking a step back and looking at the display from the visitor’s perspective.

Show visitors begin with the best of intentions. They have walked the show and seen dozens of exhibitors displaying a myriad of products. If there is a technical program at the conference or event, they will have also sat through a number of seminars and workshops.

These visitors are only human. There is only so much information the human mind can absorb. So, the lesson to be learned is that creating a display that tells too much is self-defeating. The last thing these attendees want is more information.

where: billboards, radio, television, newspapers, magazines, the back of ticket stubs, across the outside and inside of subways and buses, elevator doors, the computer you are using at this very moment, sidewalks, movie theatres, you name it. It seems that there isn’t a blank space that hasn’t been touched by a marketer. Your visitors have experienced the same.

Marketing clutter is unavoidable.

So, the most productive method of creating an attractive display is through simplicity. It’s not a matter of what more you can say, but how you can say it with less. This starts with a clear focus for your display and two crucial criteria – what is the message and who is it designed for?

WHAT IS THE MESSAGE?

If I were to ask you to identify your brand message in one or two sentences and you hesitated, that should be a clear clue that homework is needed. Trade show industry guru Bob Dallmeyer says, “If you can’t write your idea on the back of a business card, it’s not an idea.” How true this statement is.

What about those exhibitors with multiple products or those who share the costs of the display with their departments. How do you handle the conflicts in messaging? The answer highlights the need to create one overall message rather than trying to broadcast many. Then, once you have your attendees’ attention, you can direct them to specific areas in your display where their needs will be met.

WHO IS THE MESSAGE DESIGNED FOR?

Another consideration is that in many cases, visitors already know the details about your product or service. They learned about it on the Internet. They visited your website, read reviews in trade magazines and heard from their community through social media. A display that attempts to tell people what they already know is futile.

The solution is to ensure that the attraction efficiency is maximized when you are creating your display. This means that a good display will grab your visitors’ interest quickly without adding to the confusion they may already be experiencing.

This simple lesson may be easier stated than implemented. The trick is to look at the world of marketing.

We are inundated with marketing messages everySEPTEMBER 2010 | GRAPHIC ARTS MAGAZINE

52

Assuming that everyone who is attending the event is interested in your message or will buy your product is a fallacy. Albeit there may be some situations in well-targeted regional shows where you are looking to reach a very specific market. But, in most cases, trying to reach the entire audience may not be productive. The solution is to ask, which candidate will respond most favourably to my message (or product offering)? Create a profile ahead of time of who this person is, then when you are designing your display keep the profile in mind.

Next time you are developing a display let simplicity guide your decisions. You will find your results to be significantly better.

Barry Siskind is North America’s foremost trade and consumer show expert. He is author of “Powerful Exhibit Marketing.” Visit www.siskindtraining.com and learn how you can dramatically improve the bottom line at your next show.

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MY CUSTOMER ASKED ME

DIANA BROWN

My customer asked me “What kinds of clever packaging exist today (part 2 of 3)?”

In this second installment of outside-of-the-box packaging ideas, eco-sensitive and cohesively designed packages are the topics of discussion. It’s exciting to see a paradigm shift; whereby consumers are driving demand not only for what’s on store shelves, but also how those products are packaged.

Whether consumers demand that a package becomes more eye-catching, physically smaller or less harmful to the planet, our voices are being heard… and listened to. This is an exciting time!

Eco-Sensitive Puma’s “Clever Little Bag”

and rejuvenate the earth with the waste. By disposing of your Sun Chips bag in an active compost pile, all traces that the package ever existed will be gone in 14 weeks. It took the Frito-Lay Sun Chips team four years to find a plant-based polymer that met their packaging quality standards. The end result is using a polymer called PLA (polylactic acid or polylactide), which is derived from plants such as cornstarch or sugarcanes (renewable resources) versus petroleum (non-renewable resource). This marks a positive shift in sourcing sustainable corporate packaging decisions, driven by consumer demand.

Naked Coca-Cola Can What does 21 months, multiplied by 2 teams and divided by 2000 ideas equal? It equals one superb concept that’s setting precedence for corporate sustainable packaging initiatives. This intelligent outside-of-the-box design is composed of a single sheet of folded cardboard, coupled with a reusable and recyclable PET bag. Switching from Puma’s red box to their red bag reduces cardboard use by 65 percent and saves 8500 tons of paper each year, diverting millions of tons of waste from landfills. This shift also accounts for one million litres of fuel and oil saved each year, as well as decreased carbon dioxide outputs (by 10,000 tons each year). All of these savings help Puma lower their ecological “paw print.”

Check out the clever little video on YouTube.

This design by Harc Lee is created without any paint or dyes and is therefore more eco-sensitive than today’s Coca-Cola cans. This design eliminates the need for toxic paints during manufacturing and comes full circle by not requiring additional processing (paint stripping) when recycled. It is to be noted that this is only a concept and not available on the market; however, I believe that this sleek, eco-sensitive design is a perfect model for Coca-Cola’s packaging future.

Sun Chips 100 percent compostable bag What a superb idea! Take a package that is often difficult to reduce, reuse or recycle and establish a completely new environmental plan to revive, restore

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Talk about getting the party started! This life-of-theparty packaging consists of a 2-piece reflective case that snaps around a bottle of Absolut Vodka. This design captures what consumers want most: to have a great time… and Absolut Vodka has done just that!

This product will get you dancing and make you never want to stop!

Popcorn Popped Package These pint-sized packages of popcorn are witty because they mimic the event happening within them, by “popping” open when the contents inside do the same. What a fun way to eat a tasty treat!

French Rabbit Wines

Tetra Pak has lead the way in progressive packaging design for years (from portable juice boxes to soap refill containers) and this Tetra product is no different.

French Rabbit wines are derived from sustainably harvested vineyards in Southern France and French Rabbit also reinforces its sustainable stance throughout its packaging choices.

Panasonic Note

This simple, ingenious little package is certainly eye catching. Its minimalist design isn’t that much different from the way ear phones are typically packaged, which is why this so clever. There isn’t anything outrageously fancy about the packaging; it’s all about the subtlety of arranging the ear buds in a way that makes sense with the product. Bravo!

This Tetra-Prisma container reduces packaging by 90 percent compared to traditionally bottled wines and the lighter-weight design allows for two additional glasses of wine per container, providing consumers with one litre of wine for the same price as a 750 mL bottle. That’s enough to make anyone smile! An additional eco benefit of this design is the fresh sealing capabilities. Simply squeeze excess air from the Pak and twist the cap back on to enjoy wine that stays fresher than traditionally corked bottles. Now that is change we can all drink to!

Cohesive Design

It’s interesting to think that with each item scanned through the checkout, we, the consumers are voting for the products we want to see on store shelves.

Whether the products we buy consist of packaging that’s eco-friendly, cohesively designed, or neither, our choices pave the way for future decisions.

We are powerful! Stay tuned for the last installment of this three-part series where I will be exploring quirky and “unexpected” packaging from Nike, Reebok and many others.

Absolut Disco

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

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