June 2011

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JUNE 2011 • PRINTACTION • 00

CONTENTS Volume 50, Number 6

takes you to DRUPA 2012 In cooperation with LM Travel / Carlson Wagonlit – DRUPA experts since 1977

Features

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The Accidental iPad, Part II Turning his new gadget away from magazines to look at books, Zac Bolan continues a reluctant journey into the electronic distribution of content once the bastion of print

22

Environmentally Progressive Printing Industry suppliers weigh in on what they consider to be their most-prominent green technologies introduced over the past 12 months and decade

Packages available for 3, 4, 6 or more nights at the luxurious Excelsior Hotel Ernst, Cologne Great comfort • Great service • Great location 1.888.378.7208 • www.lmtravel.ca/drupa.htm

Print

6

NEWS PANTONE introduces its own certification program, The Aylmer Group buys a new Komori LS640, and Lowe-Martin celebrates carbon neutrality

8

CALENDAR July 2011 Quick printing networks hold fort in Las Vegas, BCPIA golfs at Morgan Creek, and ink manufacturers host an educational summit in Wisconsin

Join us today by calling

1.888.378.7208 or go to www.lmtravel.ca/drupa.htm

10 12

EXHIBITIONS From Dubai to Shanghai Norm Beange travels over 43,000 kilometres to scope out technology trends in faraway printing markets

CANADA’S LARGEST GRAPHIC ARTS, PRINTING AND CONVERTING SHOW

PREPRESS Musings of a Prepress Hulk Frustrations of a prepress worker spill out into the Twitterverse and gain a thousand followers with support

Columns

13

TRISH WITKOWSKI High Impact Folding Ideas (on the cheap!)

How using simple ideas such as long panels and asymmetry can make your next print campaign stand out

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VICTORIA GAITSKELL Re-monetizing the Book Views of the book-manufacturing paradigm from Transcontinental, De Marque, a Ryerson printer panel, and New York’s 7-day Book Week festival

Archive

34

June 1976 The C.N. Tower opens in Toronto, ABBA performs its mega-hit Dancing Queen for the first time, and printers are asked to forecast changes in the trade at Graphcomm

“The Graphics Canada show is the best chance for our graphic arts community to gather.

It’s a great showcase of innovative technology and a perfect forum to meet new suppliers and see new offerings from longstanding partners. All the industry players are there, both upcoming and established; whether you’re a player or you want to be you simply need to be at Graphics Canada.”

Rich Pauptit President – Flash Reproductions Ltd.

INTERNATIONAL CENTRE / TORONTO NOVEMBER 10-12, 2011

Resources 23 Services to the Trade Cover photo by Zac Bolan

www.graphicscanada.com

33 Marketplace JUNE 2011 • PRINTACTION • 3

PERSPECTIVE

Competing in Alberta n mid-May, manroland held a huge 4-day sheetfed summit – with more than 1,500 visitors from 75 countries – to discuss the future of offset printing at its facility in Offenbach, Germany.

Beyond the innovations shown, it is encouraging to see a high-level press-manufacturing executive directly address one of the greatest challenges facing print in decades. While desktop publishing certainly disrupted the direction of printing, it also fostered expertise and efficiency within the industry. Mobile computing, however, does very little in terms of putting power into the hands of printing companies. Clearly, it places power with consumers.

Over the past year, we have all seen the hype afforded to print-related iPhone Apps and QR codes with countless articles and seminars. Certainly, there are some very captivating applications for QR codes and its link between print and on-screen communications, but let’s not pretend QR codes are going to be the saviour of the printed product in the face of mobile computing. Yet, it is rare for a printing-tech exec go on record about the true scope of this technological disruption to printing, presumably for fear of discouraging investment.

During manroland’s Sheetfed Summit, however, Dr. Markus Rall, Executive Board Member responsible for sheetfed printing addressed the mobile challenge while emphasizing the direction of printing: “600-million Facebook users, 15 percent of advertising spending going to online media, a million iPad 2 devices sold on one weekend, 17-million iPhones sold in one quarter: the world is online and will become increasingly mobile. A tough competitive environment for print, but as the saying goes: competition is good for business. Today print is more creative and efficient than ever before: with countless enhancement variants, scents, Augmented Reality elements, 3D portrayals, individualization, personalization, and a virtually unlimited variety of substrates. The effect of print is undisputed.”

For too long, technology players have been portraying online and mobile communications as a friendly enabler of print. Certainly it does help to a degree, but these on-screen forces are clearly more of a competitor to print than a companion. Web-to-print, however you might view this term, is nothing more than standard evolution in printing workflow – an evolution printers must embrace, without counting on it to ultimately regenerate the printed product in a world powered by mobile computing.

To this end, it is also encouraging to see the continued growth and drive of the Centre For Excellence in Print Media (CEPM), situated within Edmonton’s NorQuest College. After bringing in colour expert Dr. Abhay Sharma as a Visiting Professor for the first three months of 2011, the educational institution once again tapped an industry expert to help printers in the region better understand viable paths forward with technology and business strategy.

Dr. Ken Macro joins CEPM as a Visiting Professor from June 13 to August 30, 2011. “I am looking forward to rolling up my sleeves and working with production personnel and executives from successful and progressive printing companies in Alberta to research production efficacy and to improve throughput, output and, hopefully, mindsets,” said Marco, a faculty member of the Graphic Communication program at California Polytechnic State University. He will be working with print companies in northern Alberta for up to nine weeks to improve productivity and processes through a lean-manufacturing program.

NorQuest appears to be fostering a positive printing mindset in Alberta. “It is a wonderful opportunity to have someone with Dr. Macro’s experience engaging companies in Western Canada through the Centre,” said Josh Ramsbottom, Principal at CEPM. “His expertise will advance our mission to help make the print industry more productive and competitive.”

I

Canada’s Graphic Communications Magazine

Building from the 5-year Environmental Printing Awards program, PrintAction magazine presents the Canadian Printing Awards to celebrate industry innovation and achievement Entry deadline: September 15, 2011 • Awards Gala (at Graphics Canada): November 10, 2011 Industry Achievement categories Free, nomination-based category

• Community Leader of the Year Award • Emerging Leader of the Year Award • Printing Leader of the Year Award • John A. Young Lifetime Achievement Award (Determined by PrintAction magazine)

Environmental Printing categories • Most Environmentally Progressive Printing Co. (250+ employees) • Most Environmentally Progressive Printing Co. (1-249 employees) • Most Environmentally Progressive Printing Technology • Most Environmentally Progressive Packaging Project • Most Environmentally Progressive Printing Project Quality Printing categories • Best of Show • Books • Self Promotion • Calendars • Brochures • Display Graphics • Business & • Packaging Printing Annual Reports • Labels • Direct Mail • Stationery Packages • Variable-data• Business Cards printing Campaign • Handset Printing • Magazines • Web Offset Printing & Catalogues • Finishing • Newspapers • Student Projects

Jon Robinson, Editor

Canada’s Graphic Communications Magazine.

Proudly published for two generations.

Editor Jon Robinson • 416.665.7333 ext. 30 • jon@printaction.com Associate Editor Clive Chan • 416.665.7333 ext. 25 • clive@printaction.com Contributing Writers Zac Bolan, Clint Bolte, Peter Ebner, Chris Fraser, Victoria Gaitskell, James Harvey, Nick Howard, Thad McIlroy, Gordon Pritchard, Josh Ramsbottom, Nicole Rycroft, Andrew Tribute, Trish Witkowski Publisher Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Associate Publisher Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Production Manager Anders Kohler • 416.665.7333 ext. 37 • anders@printaction.com Advertising Sales Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Advertising Sales Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Circulation ADPIC Subscription Services • 800.363.3261 • subscriptions@printaction.com PrintAction is published by Youngblood Publishing Limited and is Canada’s only national monthly publication serving the graphic arts industry. ISSN 1481-9287.

Annual Subscriptions: Canada: $31.15 ($27.57 + $3.58 HST) United States: CN$69.99; Other Foreign: CN$139.99

The Canadian Printing Awards will be hosted by Dianne Buckner, host of CBC’s hit reality television show Dragons’ Den. She was also host of the long-running CBC series Venture.

Contact us for more detailed information, entry forms or sponsorship opportunities.

Email: CPA@PrintAction.com Tel: 416.665.7333 www.PrintAction.com/CPA

4 • PRINTACTION • JUNE 2011

Notice: PrintAction, Youngblood Publishing Limited, their staff, officers, directors and shareholders (hence known as the “Publisher”) assume no liability, obligations, or responsibility for claims arising from advertised products. The Publisher also reserves the right to limit liability for editorial errors, omissions and oversights to a printed correction in a subsequent issue.

Prepress, Printing: Sina Printing Paper: Flo Gloss Text (80lb) and Flo Matte Text (60lb) from Buntin Reid Youngblood Publishing Ltd. 4580 Dufferin Street, Suite 404, Toronto, ON M3H 5Y2 We acknowledge the financial support of the Tel: 416.665.7333 • Fax: 416.665.7226 Government of Canada through the Canada Email: info@printaction.com • www.printaction.com Periodical Fund (CPF) towards our mailing costs.

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Mississauga, ON L5N 6H6 Tel. (905) 286-5155 Fax. (905) 821-0055 Email: info@k-north.ca Website: www.k-north.ca Follow us on Twitter: www.twitter.com/knorthinc

“After careful and exhaustive research, we chose the Komori LS1040P because of its superior quality of print, reduced makeready times, and environmental alignment.

It was the best machine we saw with a great team at Komori to support it. We have not been disappointed.�

Craig McEwen Managing Partner ION Print Solutions

Pictured with their new Komori are partners Peter Fargey (front) and Craig McEwen

PRINT NEWS

BRETT HUESTON, Karen Hueston and John Hueston of The Aylmer Express celebrate the purchase of a new 6-colour Komori LS640. The 40-inch press, purchased through K-North Inc., is installed at the company’s Barney Printing facility in Woodstock, Ontario. A fourth-generation, family-owned printing and publishing company based in Aylmer, Ontario, The Aylmer Express, in addition to Barney Printing, also has print, mailing and fulfillment facilities in London and Toronto. The new press is equipped with an anilox coater, as well as PDC-SII closedlooped colour control, the KHS-AI self-learning inking system, fully automatic plate changers, and Komori’s Automatic Make Ready system.

THE BURKE GROUP OF COMPANIES, comprised of four Edmonton-based operations, with Douglas Printing serving as the centerpiece offset facility, purchased a new Komori

GL640 through distributor K-North Inc. The new 6-colour, 40-inch press is rated with a maximum printing speed of 16,500 sheets per hour, while handling a sheet thickness of between 0.04 to 1.0 mm. In addition to Douglas Printing, Burke Group holds Douglas Xpress, focusing on 20-inch offset work; Maximum Imaging, focusing on wide-format inkjet; and Target Advantage, focusing on toner-based production and mailing.

Burke Group CEO, Ian Burke, incorporated the operations back in 2008, after purchasing Douglas Printing in 2005. In that time, the company has increased its staffing level from 22 to over 70 employees.

THE CITY OF SAN FRANCISCO decided to make the Yellow Pages and other print directories purely opt-in, meaning unless a resident asks for one, they will not get one delivered onto their doorsteps. San Francisco currently has 1.6-million business directories delivered each year, which, when stacked, would be 8 1/2 times the height of Mt. Everest. While many cities have an opt-out option for phone directories, San Francisco is believed to be the first municipality to go for an opt-in option. The city’s Board of Supervisors voted 10-1 to pass the legislation which the mayor then signed into law. According to the board, the directories not only cause seven million pounds of paper waste per year, but also damage the city’s recycling equipment, due to its bulk.

FUJIFILM CANADA in mid-May held a seminar series at its Mississauga facilities.

Over two days, printers were educated on technical topics such as colour management, inkjet trends and environmental compliance. Printers also got demonstrations on the latest Fujifilm products, especially its new offerings in inkjet. Dr. Abhay Sharma, Professor with Ryerson University, presented Profit through Colour Management; Francois Mitchell, President and CEO of Prisme Technologies, presented Business with Web 2 Print; Vince Cahill of VCE Solutions presented Where Inkjet is Heading; and John Piggott of Ecosafe focused on environmental issues.

TONY KARG, Director of Business Development and Marketing at Fujifilm Canada Graphic Systems, continues a 2-month assignment at Fujifilm’s corporate office in Tokyo. Karg is the first executive from North America to receive such an assignment. While the company would not release details about his stay, Karg is expected to return for a second Tokyo stint at the end of 2011.

While Karg is away on assignment, Brian Ellis has been chosen to look after Fujifilm Canada’s marketing duties for the Graphic Systems division.

IMAGEWORKS of Richmond Hill installed a new Morgana AutoCreaser Pro 50, purchased through distributor Sydney Stone. The newest generation of the AutoCreaser Pro 50, according to Morgana, has been developed with a 30 percent speed increase, which now equates to finishing 8,500 A4 sheets per hour (11,000 A5 sheets per hour). Imageworks, founded in 1994, also recently installed a new, toner-based Ricoh Pro C901s press – with a maximum print speed of 90 pages per minute and top resolution of 1,200 x 1,200 dpi.

GRAPHICS CANADA, the upcoming trade show to be held November 10 to 12 in Toronto, has added an AppleExpo program, aimed at the prepress crowd. “Together with our participating exhibitors, we will provide the valuable information that the experts in the print and graphics industries need to know to best understand how to evolve and grow their business in the future, and we are very excited to reach the target audience through the Graphics Canada show,” said Julian Lee, President of TechnoPlanet Productions Inc., organizers of AppleExpo Canada. The AppleExpo will present several seminars and workshops.

Dr. Abhay Sharma

Francois Mitchell

Vince Cahill

John Piggott

GMG, a German developer of colour management systems, moved deeper into the large-format-printing market with its acquisition of Aurelon, based in The Netherlands.

Aurelon develops colour management, raster image processing, and PDF software for applications like desktop colour proofs, largeformat images and packaging.

CORRECTION NOTICE: Last month, in the article Where Have all the Quick Printers Gone, PrintAction identified Print Three as the largest printing franchise operation in Canada, with close to 60 locations and a 150,000-square-foot plant in Toronto. Kwik Kopy Corp., however, has over 60 Canadian locations through Kwik Kopy Printing Canada.

6 • PRINTACTION • JUNE 2011

R. R. DONNELLEY has taken an equity position in Florida-based Solicore, which develops products for manufacturing smart cards, RFID devices, medical products, and electronic sensors. The companies have also committed to develop “the next generation of integrated power solution products,” using a combination of gravure, offset, flexographic, and what RRD refers to as digital-printing processes. “RR Donnelley’s definition of printing extends far beyond ink on paper,” said CEO Thomas Quinlan. “RR Donnelley is already serving complex supply chain needs for consumer, medical and commercial electronics manufacturers worldwide.”

LULU.COM, the North Carolina-based self publishing company, has expanded its printing capabilities north of the border to better serve Canadians, which, according to the company, will result in savings of up to 45 percent savings in shipping. One of Lulu’s partners is Toronto-based Astley Gilbert, which has 10 locations across Southern Ontario. Founded in 2002 by current CEO Bob Young, Lulu claims to have become the largest self-publishing portal in North America. It sources print vendors from all across North America. People looking to self-publish keep 80 percent of the revenues derived from each sale.

SALVATORE NOVELLO, VP and COO of Netpak; Karl Belafi Jr., VP at KBR Graphics; and Carlo Cammalleri, President and CEO of Netpak celebrate the installation of KBA Rapida 106. The 6-colour, 41-inch sheetfed press, purchased through KBR Graphics, is rated for a maximum print speed of 18,000 sheets per hour.

HEIDELBERG, at the interpack 2011 in Germany, introduced a new UV inkjet solution called DriveLine. Derived from the company’s Linoprint operations, DriveLine will be aimed at the pharmaceutical packaging market. Folding cartons produced through offset printing can be individualized with this new UV inkjet technology, both inline and standalone. The DriveLine F system can be integrated directly into a packaging line for the production of individualized blister pack foils, while the DriveLine B system supports multiple packaging lines simultaneously. The DriveLine C system prints on folding-carton boxes and blanks, which is suited for short runs with logos or labels in different language versions.

THE LOWE-MARTIN GROUP, based in Ottawa, celebrated the Carbon Neutral status of its Mississauga-based production and sales facility – which by all accounts makes Lowe-Martin the first carbon-neutral printer in Ontario, and the second in Canada (along with BC-based Hemlock Printers). Pembina and Climate Smart were employed to help measure Lowe-Martin’s carbon footprint and identify and implement conservation and reduction initiatives. Lowe-Martin also partnered with Carbonzero as its carbon-offsets provider. The celebration, held at the Art Gallery of Ontario’s Baillie Court in downtown Toronto and attended by more than 125 guests, included three environmentally themed presentations from, left to right: Ward Griffin, President and CEO of LoweMartin; Toby Lennox, VP, Greater Toronto Airports Authority, who also Chairs the Partners in Project Green initiative; and Hadley Archer, Ward Griffin Toby Lennox Hadley Archer VP, WWF-Canada.

AGFA GRAPHICS introduced a new model, called Leopard, to its inkjet-based :M-Press family. The :M-Press Leopard is designed to provide :M-Press technology at a lower price point than the Tiger. It prints at sizes of up to 1.6 by 2.6 metres and handles substrates of up to 20 kg/m2. The Leopard uses Agfa’s UPH 2 (Universal Print Head) greyscale variable drop technology and prints are instantly cured, according to the company.

DOLLCO PRINTING, led by a third generation of the Nicholds family (cousins Kevin, President, and Krista Nicholds, VP of Marketing), changed its name to Dollco Integrated Print Solutions.

The 93-year-old company identifies magazine publishing and product marketing as its two key printing sectors. Dollco today works with publishers of over 200 periodical titles, while also providing services ranging from target marketing to mailing for both the U.S. and Canada.

PANTONE is introducing new program to certify printers through the use of instruments and ink formulation software, focusing on measurement, control and communication. Companies printing to the GRACoL standard can use PANTONE Colour Numbers straight from PANTONE Guides; others can calculate the best 4-colour build for their press conditions by using PANTONE COLOR MANAGER software. Printers must pay US$7,850 to be a part of the PANTONE Certified Printer Program, which covers the first year of certification and a one-year PANTONE license. Additional plants can be added for $4,100. Re-certification is $6,050 per year.

SINA PRINTING of Markham has made a donation in print that helped send a local-area student to a internship at Nickelodeon Animation Studios in California. Kasia Niton, a student of Sheridan College’s Bachelor of Applied Arts Animation Program, earned a hard-won internship at the Nickelodeon Studios of Burbank, California, home of shows such as Dora the Explorer, Spongebob Squarepants and Jimmy Neutron. She designed a card that she sold to raise funds for her trip. Kasia has almost reached her funding goals and would welcome further donations. She has an online portfolio of her works, which can be viewed SCAN COPY PRINT of Edmonton, owned by Ashraf Jaffer, installed a Xerox Nuvera 200, which is described as the first such machine to be placed in the Albertan city. The company’s new toner-based, monochrome press is designed for perfecting and integrated with Xerox’s Makeready 9.0 software.

PIERRE GAGNON of Fujifilm Canada; Claude Leveillé of Pazazz; Haytham Elaloul of Pazazz; and Jerry Leclerc and Michel Thériault of Fujifilm celebrate the installation of an Epson Stylus Pro GS6000 into Montreal-based Pazazz Printing. The 64-inch, solvent-based GS6000, purchased through Fujifilm Canada, employs Epson’s recently introduced UltraChrome GS inks. The 8-colour, roll-to-roll machine produces a maximum resolution of 1,440 x 1,440 dpi.

SCOTT BLOXHAM becomes Regional Sales Manager Canada for Flint Group, which created the position to better serve the Canadian printing market. Based in Luxembourg, Flint Group is the result of the late-2005 merger between XSYS Print Solutions and Flint Ink Corporation. The parent company generated revenues of €2.2billion in 2010 and employs 7,300 people, worldwide. Bloxham is to primarily focus on flexography markets, into which Flint sells its line of nyloflex photopolymer plates, rotec sleeves and adapters.

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JUNE 2011 • PRINTACTION • 7

PRINT CALENDAR Surrey, British Columbia is home to the Morgan Creek Golf and Country club, a championship-class 18-hole course. The city is also home to over 600 parks and greenbelts, earning it the nickname of “The City of Parks.”

JULY

6

Allegra Network kicks off one of three print franchise conferences being held in Las Vegas over the next three weeks.

After the Allegra conference wraps up on July 9, the AlphaGraphics Conference takes place from July 8 to 11 and the Minuteman Press International Conference lasts from July 26 to 29.

11

Focusing on JDF workflows, the Automation Solutions Network (ASN) holds a group meeting in Los Angeles, California, which is to include a tour of Bridge Publications’ printing plant.

Bridge is the group that looks after the publications of Scientology and its former leader, L. Ron Hubbard.

US$350.

7

British Columbia Printing Industries Association holds its annual golf tournament at Morgan Creek in Surrey. The shotgun-start event, which includes dinner, begins at 12.30 pm, while golfers – limited to 144 – have earlier access to the driving range. $256 ($1,060 for a foursome).

12

The Canadian Marketing Association holds an introductory seminar (part 1 is held July 12 and part 2 on July 14) called Critical Math & Finance Skills for Direct Marketing Driven Organizations – led by Geoff Linton, VP of Inbox Marketer Inc. Learn key marketing formulas, calculate direct campaign metrics, including ROI, and interpret segment trends. $995

10

The National Association of Printing Ink Manufacturers (NAPIM) holds its 49th annual summer course called NPIRI, at Fox Valley Technical College. The programs is built around three modules including: Liquid, with topics like formulation, proofing and packaging substrates; Paste, with topics like offset prepress, energy curable, and testing; and the Combined Module.

15

Entries into PrintAction magazine Canadian Printing Awards are due two months from today (September 15). Building upon the 5-year Environmental Printing Awards program, the CPA initiative features over 20 categories organized into three distinct sections: Quality printing, environmental initiatives and industry contribution.

Pricing listed at standard rates, with * denoting available member or early-bird discounts.

8 • PRINTACTION • JUNE 2011

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PRINT EXHIBITIONS

From Dubai to Shanghai In a span of just four weeks, from March to April of this year, Canadian printing industry stalwart Norm Beange flew more than 43,000 kilometers to attend two tradeshows in growing print economies, Shanghai and Dubai.

PrintAction asked Beange, who operates one of the world’s leading finishing companies, and who has been to countless exhibitions over his 4-decade career, to give us his impressions of the advances in technology on the other side of the world. ver the past 20 years, I have noticed how an increasing percentage of floor space at printing tradeshows is being taken up by suppliers and manufacturers of bindery and finishing machinery. Naturally, most of my tradeshow experiences focus on the post-press side of the printing industry, but, regardless of where you play in printing, it is easy to recognize this growing exhibition of finishing and bindery technology. In my mind, it is one of the five most-significant tradeshow developments over the past few years.

I attended last year’s IPEX tradeshow in the United Kingdom, where finishing and bindery took up huge swaths of floor space. In fact, this May 2010 exhibition solidified what I see as the second major technology trend taking place at printing tradeshows: Finishing, such as die cutting, mounting, windowing, and foil stamping, appears to be overtaking bindery in popularity.

Third, I also notice how used-machinery dealers are spending money on exhibition booths that are very sleek and professional looking – certainly they are exhibiting in a much more prominent manner than just a decade ago. I first saw this trend developing in the mid-1990s at the massive Drupa exhibition in Düsseldorf, Germany. Again, IPEX 2010 really brought home the significant inroads being made by used machinery dealers, particularly outside of North America, with a dominating presence at major tradeshows. The used-machinery dealers I spoke with ascribed their rise to the maturation of the World Wide Web. The fourth major tradeshow trend I – and most printers – have noticed is that sheetfed offset presses are taking up less and less floor space at these exhibitions.

Certainly relative to even just a few years ago, offset press makers now appear to have a minimal presence at both European and North American events.

This fourth trend segues into the fifth major tradeshow trend in the growing exhibition dominance of what decades-old printers might refer to as non-traditional technology suppliers like Canon, HP, and

O

10 • PRINTACTION • JUNE 2011

Norm Beange, owner of Specialties Graphic Finishers in Toronto (top left), joined visitors from over 83 countries at Gulf Pack & Print 2011.

Epson. These companies very rarely showed up for printing industry events 20 years ago, but now have booths four or five times larger than traditional tech players.

Surprises in the Middle East

In March of this year, I decided to expand my own tradeshow experience outside of the typical North American and European fare and attend Gulf Print & Pack 2011 in Dubai, one of the seven regions of the United Arab Emirates. Gulf Print is the region’s largest trade show for the publishing, printing and graphics industries.

The 4-day event was held within an exhibition space at the emirates’ major airport and attended by 8,187 visitors, which organizers describe as a nine percent increase over the previous edition – held every two years. Visitors came from 83 countries (65 in 2009) and 36 percent of the overall attendance was from outside the

United Arab Emirates (30 percent in 2009).

I was shocked to see a complete absence of offset printing presses in Dubai. There was, however, an abundance of exhibitors selling what suppliers refer to as securityprinting machinery. These machines manufacture holographs and barcodes among other security features. Another aspect of the show that amazed me was the number of strong exhibitors selling unique foils, as well as foil-stamping and foil-application equipment.

This might be a Middle Eastern fad, but foil stamping seemed to be everywhere. In contrast to North American shows, there were a large number of exhibitors from China at Gulf Print 2011 – and relatively few North American exhibitors. Gulf Print 2011 was an exciting show to attend because I discovered new types of machinery and many new companies that do not exhibit at many Western tradeshows.

Domestic power in China

A couple of weeks after Gulf Print, in early April, I traveled to Dongguan, Guangdong province in China for the Print China 2011 tradeshow. On any given day there were about three-quarters the number of attendees as one would see at Drupa – recognized as the world’s largest tradeshow for the print and media industry.

There was an unbelievable amount of floor space dedicated to binding and finishing in Dongguan. The peculiar thing about this tradeshow, though, was the large number of exhibitors selling envelope-making equipment, as well as large mounting machines, box-making and mechanical binding machines.

When it came to the exhibitors at the China show, about 95 percent were domestic companies. Unlike the large amount of international visitors at Gulf Print, I did not see more than a handful

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With 1,261 exhibitors in 120,000 square metres of exhibition space, Print China proclaimed itself to be the second largest print-centric show in the world.

of non-Chinese attendees in Dongguan.

Over 20 exhibitors showed 45- to 110inch cutting machines in their booths; 16 exhibited 40-inch die cutters; and eight companies were selling a full line of folding machines, ready to handle mini folds up to map-size folds.

Another eight companies at Print China 2011 exhibited 10,000 cycles-per-hour saddle stitchers; six exhibitors had 6,000per-hour perfect binders and several exhibitors showed 6-colour 40-inch presses.

Clearly, the offset press remains an attractive piece of equipment in the Chinese printing economy, relative to Dubai and even North America.

Machine sticker shock

In China, I counted 12 exhibitors selling automatic steel-rule, die-making machines in the $200,000 to 300,000 price range. All of the prices, however, were much lower than what we are used to here in North America.

One specialized machine made in the United States (of which I own four) sells in North America for about $90,000. Two Chinese exhibitors were selling comparable machines for $15,000!

A dozen or so machines I looked into were priced anywhere from 60 to 90 percent less than American or European machines. If our economy was better, I would have been tempted to buy a clear plastic windowing machine, a 40-inch foil stamping machine or one of several sophisticated box gluers.

Drupa, which runs every four years, is next May 2012. My sense is that, as North America continues to slowly climb out its lingering, poor economy, we will see a surge of technical innovations. I am really looking forward to the 2012 version of the world’s largest printing tradeshow, to witness firsthand what has changed over these past four challenging years.

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AZURA. The standard.

Visit the Agfa Booth Print World Canada Booth # 1200 Graph Expo Booth # 844

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– Norm Beange nbeange@specialtiesgraphics.com

JUNE 2011 • PRINTACTION • 11

PRINT PREPRESS

Musings of a Prepress Hulk he plight of the prepress worker has got its own, green representative on Twitter: @PREPRESSHULK contains the musings of an anonymous prepress worker. Featured on prominent Websites such as Boing Boing and followed by over a thousand people, Prepress Hulk has clearly struck a chord with print workers everywhere.

PrintAction spoke to the Prepress Hulk about his work life:

T

PrintAction: What’s the most common issue you get?

Prepress Hulk: HULK SEE TOO MANY LOW-RES IMAGES!! HULK NO SQUEEZE BLOOD FROM STONE!!

Describe the worst file you have fixed.

HULK REPLACE LOGO ON ALL PAGES IN CATALOG!! CUSTOMER USE TRANSPARENCY IN QUARK!! ALL BROKEN!!

What was the most outrageous request you’ve had?

CUSTOMER PAY FOR TWO SPOT COLOURS, ASK HULK DRAW REALISTIC RAINBOW!!

What percentage of files you receive are good to run?

ALMOST NEVER!! MAYBE .5%!! EXPLAIN HULK SMASHES!!

How many keyboards do you destroy a month from Hulk Smashes?

ONE OR TWO!! HULK ALSO SPILL COFFEE SOMETIMES!!

How do you relax after a day behind the keyboard?

HULK MEMORIZE ELEMENTS OF TYPOGRAPHIC STYLE BY BRINGHURST!!

What advice does Prepress Hulk give to other beleaguered prepress people?

BE GLAD NOT USING DARKROOMS ANY MORE!!

FIND CREATIVE OUTLET FOR FRUSTRATION, BUT HULK IDEA TAKEN!!

If there is one thing you want to convey to designers, what would that be?

READ THE MAC IS NOT A TYPEWRITER BY ROBIN WILLIAMS!!

As a whole, does Prepress Hulk enjoy his job?

HULK ENJOY SOLVE PROBLEMS AND HELP CUSTOMER COMMUNICATE!! WORTH IT!!

HULK APPRECIATE FLASH DRIVE FULL OF LOW-RES LOGOS!! THANK YOU FOR HARD WORK, CUSTOMER!!

HULK SKIN PANTONE 362!! FOR CURIOUS HULK FOLLOWERS!!

HULK USE ILLUSTRATOR, BUT MISS FREEHAND SOMETIMES!! HOW HULK JOIN SUIT AGAINST ADOBE FOR SMASHING FREEHAND??

HULK SMASH IDIOT CUSTOMER!! SENDS LOGO AS “LOGO.DOCX”!!

– Clive Chan

HULK SMASH REGISTRATION BLACK IN ARTWORK!!

CUSTOMER BIG FAN OF THIN WHITE LINES, SEND FILE WITHOUT BLEEDS!!

PRINERGY SOFTWARE SAYS “DESTROY” JOB, NOT WIMPY “DELETE.” HULK LIKE!!

HULK DEAL WITH ACCENTED CHARACTERS!! A GRAVE SITUATION!!

HULK BE BREVE!!

CUSTOMER DEMAND COLOUR ACCURACY!!

ANYONE KNOW PANTONE FOR “TAUPE”??

SURE HULK FIND HI-RES PHOTOS!!

HAPPY SMILING CHILDREN!!

ALL FREE!!

NO PROBLEM!!

WEB FULL OF THEM!!

HULK NOT SURE WHICH FILE FINAL!!

FILE.PDF? FILE FINAL.PDF? FILE FINAL 3.PDF? FILE FINAL_(FINAL)_(2).PDF? FILE_REV_(5).PDF? 12 • PRINTACTION • JUNE 2011

TRISH WITKOWSKI

High Impact Folding Ideas (on the cheap!)

ne of the most common misconceptions about folding is that if you want to do anything interesting, it is probably out of your budget. I have talked to so many designers over the years, and most feel trapped in tri-fold hell when the budget is tight. So, printers, it might be a good time to open up the lines of communication and let your designer-clients know that there is a lot that can be done to make a low-budget project look like a million bucks. Here are a few concepts that will help get the conversation going.

Creative guillotine trims

O

Guillotine trims can give the effect of a die without the price tag. It’s amazing what a simple short trim on a cover or fold-in panel can do to even the most basic of folding styles. And guillotine trims do not have to be straight. Add an angled trim to a cover, or even better, along the top of an accordion fold for a waterfall effect.

Want to cut corners? I have a great sample in my collection: it is a 4-panel accordion, and the upper right and lower left corners are cut at angles. It makes a neat shape when flat and folded, and it really worked with their design concept.

Format change

Unless you absolutely have to fit into a #10 envelope or a brochure rack, there is really no reason not to try a different format. Make it longer, shorter, wider, or rotate it. It can be helpful to a designer to tell them when there’s extra room on the sheet, because they may be able to increase the trim size, or add another panel to their brochure.

guillotine trims guillotine trims

Broadside and short folds

A folding style can take on a totally different personality when it’s in a broadside format. The broadside option doubles the total area for a spacious, poster-style interior, yet it folds down very neatly into a tailored package. Take it a step further using one of my favorite tricks: Trim the corner at an angle for a graphic broadside broadside teaser – it looks like a die cut, but it’s actually just an angled trim!

Cheap and impactful.

Now, let’s take it a step further creatively by turning the broadside fold into a short fold. Short folds are broadside folds that do not meet at a flush edge. They’re shortened by whatever length you want, and you get a nice banner effect along the bottom of the piece (on the inside or outside). Usually, short folds are short fold short

inverted short fold inverted short fold

inverted short fold pocket

inverted short fold pocket

designed to lift up, but a fun trick is to design the short fold to pull down instead – it’s called an inverted short fold. If that’s not enough, turn the inverted short fold into a pocket to hold a sell sheet or smaller brochure. The pocket technique creates a nice little package without the extra cost of a die or glue. One note of caution: this concept gives the effect of a pocket, without the security of a real, glued pocket folder. It’s great for light marketing pieces, but if you really need the strength and durability of a folder, you should get a folder.

Long panels

The opposite of a short trim is an extended panel. In comparison, a short trim interacts with the content on the panel beneath it, whereas an extended panel is usually an extension of the back cover. An extended panel can create a fun graphic teaser, or a tab for information or branding.

Long panels work well for accordion folds and double parallel l l folds in particular, due to the fact that they have open trailing edges, as opposed to roll folds, tri-folds and gate folds whose panels tuck into themselves.

angled corner trim

Get asymmetrical

The key to getting attention is to do something unexpected. Asymmetry is a fun way to get a viewer’s interest.

I have a really cool sample of a double-parallel fold that is folded in such a way that it creates a stepped effect along one side. The manner in which it was folded (two parallel folds) doesn’t change, just the size of the sheet and placement of the folds. What is most exciting about this idea is that stepped folding styles can be complex specialty folds, but this folding trick achieves the look of a stepped folding style without the price tag. double parallel parallel double

Continued on page 33

JUNE 2011 • PRINTACTION • 13

VICTORIA GAITSKELL

SUPPORT

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Re-monetizing the Book I n late May 2011, at BookExpo America (BEA) in New York City, Canada and Quebec stepped proudly into the technological spotlight as Montreal-based Transcontinental Printing launched a new eBook Solution created in partnership with De Marque, a developer of international platforms for digital content, based in Quebec City. The annual BEA trade show bills itself as North America’s largest gathering of book-trade professionals. It is organized in conjunction with the Association of American Publishers and the American Booksellers Association (among others) and coincides with New York Book Week, a 7-day festival of special events to draw the public’s attention to top authors and books.

Transcontinental currently ranks itself as North America’s fourth-largest printer, owns 35 North American printing facilities with multiple capabilities, and produces over 50million books per year for the U.S and Canadian markets. The company’s innovative eBook solution numbers among many radical paradigm shifts in the publishing, production, ordering, selling, and distribution of books on display this year at BEA. New book business models

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Another May event, the Toronto Digital Printing Forum, conducted by Interquest Ltd. at Ryerson University’s School of Graphic Communications Management, also focused on changing business models in the book trade. In fact, it devoted an entire afternoon to statistics presented by Interquest and case studies presented by two panels of experts, one consisting of book printers and distributors, and the other of publishers. The trends that emerged in these sessions are summarized below. Most were driven by economic and environmental pressures for cost and waste reduction and demand for improved efficiencies to streamline and integrate the operations of ordering, production, distribution, billing, and sales reporting.

Forum speakers generally agreed that while market demand continues for books printed by traditional web and sheetfed offset presses, toner-based and inkjet printed books are on the rise, since they allow for the lightning turnaround times that have become mandatory, along with printing on demand, economical shorter runs, and the associated benefits of waste reduction, better inventory management, and reduced warehousing costs. Other contributing factors to the growing popularity of toner and inkjet book printing include the rise of selfpublishing and customization (for example, anthologies of required readings for college and university courses); new, environmentally progressive stocks; and recent improvements in electrophotographic and inkjet technologies (including new finishing devices and expanded automation and workflow integration capacities.)

Additionally, economic pressures, rising fuel prices, more complex technological demands, and more business generation via the Internet have promoted more acquisitions, and partnerships among both booksellers and equipment vendors. These partnerships include a rise in global print-

ing and shipping networks to print and distribute books closer to the point of sale.

Regarding electronic versus printed formats, a decline in the prices of e-readers and corresponding growth in the sale of ebooks now factor more and more prominently in publishers’ and booksellers’ revenue strategies. Case in point: In January 2011, Amazon reported selling 115 ebooks for every 100 paperbacks sold, and e-books accounted for about 10 percent of all the company’s trade-book sales. Although according to the Association of American Publishers, only seven percent of adults read e-books today, net sales of ebooks approached $70 million in January 2011, a 115.8 percent increase above the $32 million in sales recorded in January 2010.

Although the recession and pricing pressures have resulted in fewer books being printed and purchased, along with the closure of several major book retailers, consumer demand for printed books still clearly persists. For instance, in a January2011 survey by the Book Industry Study Group, 75 percent of students said they still prefer printed textbooks.

Accordingly, publishers and vendors must remain flexible in response to consumer demand for both e-books and p-books, while uncovering new revenue streams in the evolving marketplace. So far their new strategies include participation in emerging digital archives of content that can be catalogued, managed, and distributed to multiple sales channels in either electronic or printed formats. They are also experimenting with the potential for greater interactivity between printed books and catalogues and electronic media (for example, a printed children’s natural science e-book with links to reference pages in a printed volume as well as an interactive Website).

Transcon’s eBook Solution

Before BEA, I spoke with Bruce Jensen, Transcontinental’s Vice President of Sales for the Magazine, Book and Catalogue Group, and Simon de Jocas, Vice President of Business Development at De Marque, to learn more about the specific eBook Solution jointly developed by their companies.

“Transcontinental invested considerable time to understand the current market changes and opportunities, and then figured out if we could devise a solution and what it would be, and to source the best provider,” recounts Jensen.

“We began by asking what is the emerging business model for books between digital and print. Our answer was a hybrid of both. So all business decisions have been based on customer preferences for accessing content as both printed books and digital options. The biggest challenge facing publishers today is to plan what to do with content, how to distribute it over multiple channels, how to monetize it, and make money from offering new services and capabilities.

“In today’s marketplace, change occurs not in weeks or days but hours, so nimbleness to adjust to market changes rapidly was also paramount,” adds Jensen.

Continued on page 30

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TheAccidental iPad Part 2 – eBooks emerging

This month, after comparing the consumption of print and digital magazines in his May 2011 article, The Accidental iPad, premedia guru Zac Bolan turns his e-glare to books, graphic novels and the good ol’ library

by Zac Bolan

T

wo months later and I’m still cradling

IT in my hands – IT being the iPad2

I had never intended to buy. My mind still reeled with all the good intentions I had Photo by Zac Bolan

for the device as I talked myself into buying IT on that fateful launch day.

I could use IT as an eMagazine reader; an ePub reader; a digital newspaper, I told myself… basically an electronic aggregator of all that lovely print I consume on a daily basis.

16 • PRINTACTION • JUNE 2011

Deluded, I planned on trying it for a few weeks before returning it. Of course, the calendar pages flew away dramatically. After passing the 15-day return date, I told myself I’d just use it for another month to really get a feel for this digital publishing revolution, you know… sleep with the enemy as it were… then I would sell it. But instead I kept using the iPad2, wrestling with my conscience while trying to find ways to use this potentially disruptive new technology as a compliment to print.

My first foray into the digital reader world consisted of a comparison [see The Accidental iPad, Part I, PrintAction, May 2011] between the print and iPad editions of Condé Naste’s popular Wired magazine. As it turned out, the print version held up fairly well against the digital upstart. Don’t get me wrong, the iPad isn’t a bad eMagazine reader, it’s just that the Wired design team hasn’t fully embraced the potential of the interactive and rich-media content the iPad can deliver. Perhaps this was done intentionally in a bid to maintain some semblance of parity with the print edition.

Recognizing that neither print nor iPad editions could solely appease its subscriber base, Condé Naste now offers free iPad editions to print subscribers of many of its most popular magazines – including Wired. Users enter their subscription information into the magazine’s corresponding iPad App to download current and back issues. This shrewd move will help grow the eMagazine market without cannibalizing sales of the corresponding print editions.

With my magazine curiosity satiated, I now turn my attention to eBooks. Unlike eMagazines, the eBook market is already well established largely due to Amazon’s early push with the Kindle. Most readers I know have used a Kindle, Kobo or Nook eReader; and many have adopted these devices as their primary medium for consuming new books. I’ve had the Kindle App on my iPhone for some time, but could never bring Top photo: Sarah Meilleur, a Customer Service Manager at Calgary Public Library Central Branch compares print and eBook editions.

myself to read a book on such a tiny screen, no matter how many pixels Apple threw in my face. With the launch of the iPad2 and Apple’s iBook App, however, it became clear I would have to reconsider the eReader.

As it turned out I was quite anxious to read the last installment of John Twelve Hawk’s Fourth Realm Trilogy, entitled The Golden City, that had been just released to paperback. So, with credit card in hand, I dove head first into the online eBook world.

A novel approach

Naturally, the first place I looked for the novel was Apple’s own iBook store. I quickly learned that Apple’s success in the music download market has not been matched in the eBook world – my search for author “John Twelve Hawks” yielded only a flashing question mark. Closing iBooks, I then searched the App Store and easily found Amazon’s free Kindle reader for iPad. My second attempt at locating The Golden City was much more productive, further emphasizing Amazon’s domination in this market. After shelling out $9.96, the Kindle edition of The Golden City was loaded into my iPad and ready for reading.

I settled into my comfy chair and settled into the novel.

My immediate impression was mixed. I suppose Apple’s TV commercials showing readers flipping through the beautiful digital pages with impeccable typography delivered by iBooks had led me to expect the same from the Kindle App. Amazon’s delivery is much more pragmatic, however, in that its format seems to be based on MOBI. Kindle’s pages lack any artificial shading to simulate the depth of a print page and dispense with page curl animations when flipping. Pages instead scroll smoothly and quickly as the reader swipes to the left.

After about an hour of reading, I noted the iPad was still fairly comfortable to hold, however, my eyes were going a bit buggy from looking at the bright backlit shiny glass screen. Then I realized I’d been reading under a lamp that was causing quite a bit of glare on the iPad screen. Of course the lamp, a relic of habit, was completely unnecessary. I then dimmed the room lights, turned the brightness down within the Kindle App, increased the type size slightly and got back into the book.

Much to my surprise, the next time I looked at a clock, I’d burned through about a third of the novel.

It seems Kindle App’s quick, no-frills approach to page navigation, multiple font sizes and screen dimming enabled me to increase my recreational reading speed considerably, perhaps by as much as 15 percent.

I repeated the experiment with a free sample chapter downloaded through the iBook App and found similar increases in reading speed, though Apple’s animated page flips really do slow things down.

For a disposable, recreational read, the iPad worked quite well, however, it gets complicated if you want to lend your Kindle edition. Basically, you must transfer the rights to another user for a 2-week period, during which time you will not be able to access the book.

Fuel for coffee-talk

Burning through a trashy novel is one thing, but how would an eReader handle a more elaborate publication – one meant to sit on a coffee table for social consumption? The coffee-table book has long held this mantle, largely through its size and immobility. Defined by its hard cover and heavy construction, the coffee-table book is usually loaded with pictures and small blocks of text for the visually oriented.

First published in 2009, Al Gore’s Our Choice is a follow-up to his An Inconvenient Truth bestseller, and offers solutions to the climate crisis in a colourful and informative book with plenty of maps, charts, photos and diagrams – perfect for the coffee table. In April 2011, Push Pop Press launched the Our Choice App for iPad, iPhone and iPod. Push Pop’s cofounder and user interface designer, Mike Matas, demonstrated this new App-based book format recently at the Technology, Entertainment, Design (TED) conference held in Long Beach, California.

Matas swiped pages, unfolded pictures, and manipulated data on interactive maps and charts, showing that data could be visualized in new and innovative ways.

The tech-savvy TED audience loved it!

Push Pop’s new eBook technology enables writers and designers to offer rich interactive content without the labourious process of coding. The Push Pop business model is to license this software to publishers to build their own next generation interactive books.

With anticipation, I hastened to download and launch the Our Choice App. The book’s “cover” is a lavish globe spinning gently in space with the reader’s location highlighted. A swipe to the left brings up the first chapter indicated by a large photo and smaller “pages” along the bottom of the screen. Readers can select the page and zoom into the text immediately or continue to the next chapter. Every image can be picked up by pinching fingers and moved or expanded to reveal more picture. Each image is also labeled with a globe icon to reveal location.

Interspersed with static images are videos, interactive graphs, charts and verbal commentary from Al Gore, further driving the books message. The chapter on wind power features a diagram of a wind turbine that you can power by blowing into the iPad’s microphone (see page 18). Perhaps the most significant feature of the App-based eBook is that publishers can update the content much the same as a game developer might add a new level. This flexible approach to publishing could be a boon to the embattled textbook market.

But can an iPad replace a socially consumed coffee-table book? At a recent dinner party I passed my iPad around to the other guests so they could try Al Gore’s App. Everyone seemed enthralled with the interface and it took some coercion to get my iPad back. Oddly, I felt mildly uncomfortable as my guests handed my personal data around the room. My experiment had inadvertently revealed that the iPad is intended to be a personal device – coffeetable books are for sharing, iPads are not!

Navigating the “Our Choice” eBook App is simple. q The title page of each chapter can be swiped with finger to move to the next chapter. w Individual pages within the chapter can be accessed by tapping twice.

In the eBook App “Our Choice,” any diagram or photograph can be unfolded to reveal more data.

JUNE 2011 • PRINTACTION • 17

An interactive diagram from the Al Gore App “Our Choice”.

This style of interaction would be a valuable teaching aid in textbooks.

q

q The user blows into the microphone situated adjacent to the wind turbine, which spins in reaction.

w Indicated by the yellow pulses, power flows to both the battery and the house, both becoming illuminated.

e When the turbine stops, power continues to flow from the battery.

e w

The travellin’ iPad

I’ve long relied on Lonely Planet Publishers for their indispensible guidebooks when globetrotting. Besides detailed local logistical information covering accommodation, transportation and sights, the Lonely Planet travel books seek to impart an overview of culture and history giving the traveller a comprehensive view of the country they are visiting. The guides are also rife with detailed maps and photos, very useful for navigating unfamiliar cities.

On the downside, the well-printed perfectbound books are heavy – very heavy if you are lugging a backpack. For example, The Lonely Planet China travel guide is a hefty 1,048-page tome weighing in at 840 grams.

By comparison, the 16gb WiFi iPad 2 weighs only 601grams. A backpack traveller considering a multiple country tour couldn’t feasibly carry much of this weighty reading.

To research an upcoming trip to Vietnam, I once again fired up the Amazon Kindle App and purchased a copy of Lonely Planet’s Vietnam guide. I have to say that after looking at Push Pop’s Al Gore book, going back to the Kindle App’s EPUB-style layout was a bit of a bore. But, the reason for reading a guidebook is information and the Vietnam Kindle edition delivers the thorough Lonely Planet overview travellers have come to rely on – although, the eBook is lacking in a few key areas.

The print edition features 28 pages of full-colour photos, as well as 104 maps, some of which are also in colour. The Kindle edition features only low-resolution, black-and-white maps, some so poorly rendered that zooming in to read small-print street names is an exercise in futility.

Interestingly, the Lonely Planet Website sells both individual chapter and full book downloads of Lonely Planet guides in PDF format. I looked at a sample chapter from the same Vietnam guidebook and was happy to see fully zoomable vector maps, but still no photos. While the Kindle version offers all the benefits of MOBI (type resize, changing backgrounds, links, searches), the PDF version is an exact representation of the print edition, right down to the folios – a more comfortable format for frequent Lonely Planet users. Oddly, the PDF chapters available include neither the first 28 pages, nor the photographs and 18 • PRINTACTION • JUNE 2011

colour maps. The only way to get the entire book is to buy the print edition.

Pricewise, the spread is interesting. The Kindle edition is the least expensive at $13.99, the PDF download is priced at $19.99 and I found the print edition at a local bookstore for $29.99 – though it can be found for less online. While the minimalist in me would prefer to rely on the iPad version, my inner pragmatist demands the print edition for the complete contents as well as durability in conditions that could potentially include monsoons or pickpockets.

Dodging the library police

I wasn’t always adamant about buying books. At one time, most of my reading was managed through a local branch of Calgary’s library system. As my personal book collection grew, however, I stopped visiting the hallowed halls of lending, with my last visit more than 20 years past.

My other reason for staying away was an irrational fear of having long ago forgotten an overdue book that would lead to thousands of dollars in fines with compounding interest… a fugitive of library justice! However, while perusing the Calgary Public Library’s online portal, I learned that one

Charts in “Our Choice” contain embedded information accessed through a touch of the finger.

could actually borrow an eBook and, setting my fears aside in the name of research, I went down to the Central Branch to obtain a library card.

As I entered the building, my eyes darted to the left, then right, looking for the library police who were surely watching for me. Instead, I found Sarah Meilleur, a Customer Service Manager at Calgary’s Central Library, who assured me that there was indeed a library statute of limitations! I quickly regained my composure and obtained a current library card and pin number – essential for obtaining an eBook online. I then asked Sarah how it all worked.

“The Calgary Public Library provides ebooks and e-audiobooks for our customers through Overdrive, an outside

The Lonely Planet Vietnam Guidebook in Kindle and PDF formats each have their strengths and drawbacks, but neither contains the full content of the print edition. q The Kindle Edition features fully searchable text. w Kindle Edition maps are in laughably low resolution. e The PDF edition is an exact representation of the printed page, but not searchable. r PDF maps are vector based and fully zoomable.

provider that we purchase titles from,” Sarah explained.

As she continued, it became evident that the system is really quite simple. Readers use their library card number and PIN to log into the library’s Website to browse and download books from a large collection of digital offerings. A variety of file formats are offered, including both eBooks and audiobooks.

“You can also access Overdrive audiobooks and e-books from the Library using the Overdrive application on your iPhone, iPad or Blackberry,” Sarah added.

As I scrolled through the myriad of available titles, I asked Sarah about Digital Rights Management within the Calgary Public Library’s E-Lending system.

“The Library doesn’t manage the DRM, Overdrive does that, based on the files they provide us,” Sarah clarified. “Overdrive is also controlled by the publishers in this area – for example, the Harper Collins decision to limit downloads from libraries to 26 times per copy purchased. The way it works is the Library purchases digital copies that can only be checked out to one person at a time. This is why customers sometimes need to place holds on books that are checked out.”

After thinking about it, the publisher’s DRM model seemed quite odd to me. The purchasing of digital copies appears to be the publisher’s attempt of bringing the print model to the eBook world, something that doesn’t relate to digital reality. Surely a subscription model would be more realistic where libraries would simply pay for the number of downloads they consume. I asked Sarah if publishers placed such restrictions on print books.

“None whatsoever,” she replied, “we’re free to do what we wish with print books.”

As I looked around the crowded library, it became apparent that this was still a

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hall of print. While there are computers available for library patrons, their primary use is Internet access, not eReading, as eBook DRM requires a file to be registered to an individual’s device. Just beyond the library glass, however, I could see light rail passengers staring at their eReaders in a passing train.

“I would say that e-book consumers read more often now,” Sarah opined, “because books are more accessible on mobile devices while commuting.”

I wondered aloud if the bricks-andmortar library would disappear one day.

Sarah smiled, “I personally don’t see libraries ever disappearing because we are about more than just books... we are about lifelong learning, literacy, and community engagement. There will always be a need for those things, and for an institution that provides these opportunities – especially one that is open to everyone!”

As I left the Calgary Public Library, I glanced back, half-expecting the long arm of the library police to tap me on the shoulder. Ironically, it turned out the Library still had my name on file, and my record was spotless – flushing years of perfectly good paranoia down the drain!

are quite simple, consisting of a series of JPG page scans in a digital wrapper that applies compression. The eReader applications open these files allowing the reader to flip through the pages sequentially.

As Keith had never used an iPad as a comic reader, I wanted to put one in his hands. I installed the Comic Glass eReader App and loaded the 1985 DC Comics classic Crisis on Infinite Earths for our meeting. Keith brought the original print edition to the table. We exchanged mediums and started reading.

I asked Keith what he thought of the digital comic interface and page navigation with a swipe of the finger.

“Any electronic comic book is going to have some element of that. When I’m reading a CBR I turn my laptop sideways with the keyboard on the left side, because you naturally read on the right hand page,” Keith explained. “Then I keep my left hand on the page down button for navigation. But a laptop is a little awkward as a book.

“The iPad is also heavy for just holding.

If you think of the iPad as an eReader, it doesn’t pass the one hand test. That is the make-or-break point for an eBook as far as I’m concerned. I prefer reading on the Revenge of the trade paperback bus, but often have to stand during rush I crossed the street and meandered to- hour. I generally end up just watching wards the Calgary Tower, home of the something on my iPhone.”

Vertigo Mystery Theatre. I wanted to talk As I leafed through the original DC about a very specialized form of print comic, I asked Keith how important is it with my good friend Keith Callbeck, the for a comic reader to see the entire page at marketing and communications director once. “Vitally important,” expounded for Vertigo. Keith is an avid connoisseur Keith. “In my opinion, this is what a lot of of comics and graphic novels. the eReader interfaces are doing wrong.

The world of the comic-book collector Comic books are not a panel-by-panel art has also been transmogrified by technol- form – but comic strips are. Another ogy. Once the exclusive domain of obses- phrase for comic books is ‘sequential art’ sive antiquarians clutching hermetically because the juxtaposition of elements and sealed first editions, appreciation of comic the way the page is laid out is part of the storytelling. Similarly, if you design a 3-panel comic strip, you don’t put the third panel on another page, because there is no continuity. Through their default settings, many comic eReaders force you to read with the wrong orientation or view only a small portion of the page.

This is due to the small screen size of the tablets.”

Playing the devil’s advocate, I asked Keith if that meant he didn’t like the iPad. “It’s actually a better comic reader than I thought it would be,” Keith quickly responded. “The simplicity of changing the layout to a two-page spread is really quite nice. And the ability to zoom Reading digital comics ultimately drove collector Keith right in on a frame really imCallbeck to seek out trade paperback collections. proves readability. art has reached a new audience through “The iPad has definitely moved up the digital file sharing of scanned collections list for me as an eReader,” he continued, of classics – and, of course, big-budget “but since I’ve been re-reading old colmovies. Comic readers can now access lections on my laptop, I’ve actually spent their favourite titles on any number of more money on the print versions.” tablets as well as their computer screens.

This caught me by surprise, I asked The comic world even has its own propri- Keith to elaborate. “Reading those old etary file formats created by the fans. CBR comics again in digital form reminded (Comic Book RAR) and CBZ (Comic me what it was like to read them for the Book ZIP) are the most common formats first time. I can remember where I was used to package comics. The file formats when I bought those comics, and it 20 • PRINTACTION • JUNE 2011

In viewing a 2-page spread from the 1985 DC Comic “Crisis on Infinite Earths” the reader must read across the spread in a “Z” fashion to follow the story. In this orientation it’s virtually impossible to read the text on anything smaller than a 17-inch screen.

Even the cover of “Crisis on Infinite Earths” should be viewed as a spread to appreciate the art.

brought back not only the nostalgia factor, but also how much I enjoyed them.

“I’m now buying these collections in trade paperback form.” Keith admitted, “I just bought a set that was originally 12 comics at 95¢, but now in trade paperback form runs about $40.”

“Ah-HA!” I said in my best superhero voice – “Print strikes BACK!” iPad as an eReader

I’ll be keeping the iPad for the time being, but eReading will not be its raison d’être in my world. There are more cost-effective and practical ways to read. Besides, the iPad is far more useful as a computing device – I wrote this article using the iPad, a wireless keyboard and the iA Writer App for example. But that doesn’t mean the iPad won’t influence print. Already we’ve seen its impact on the magazine world.

Until recently, few predicted that publishing giant Condé Naste would opt for the dual media subscription model of print combined with download. It seems that the value of print’s tangibility has been recognized and factored into periodical publishing models for the foreseeable future.

The question remains as to whether re-

actionary book publishers will adapt to this new reality. Books are meant to be a shared medium. Current publisher DRM models make eBook lending awkward at best, and the personal nature of iPad use precludes lending the device. Perhaps a dual track print/digital model could work for book publishers as well.

And any environmental edge the digital medium implies is quickly vanquished by the many massive server farms sprawling across the countryside – most people are oblivious to the fact that transferring one 4MB file through the cloud requires as much energy as boiling 17 kettles of water.

Perhaps most importantly, books are meant to be a record of the moment, and the relative permanence of print works well within that paradigm. The fact that eBooks and App-based publications can be updated might be a boon for technical and textbook publishers but offers a nefarious opportunity to those wishing to edit the past.

Besides, books will still be books long after the iPad is just another relic in the Smithsonian.

Zac Bolan’s blog: blog.softcircus.com

TECHNOLOGY REPORT Featured Technologies • Agfa :Azura TS • :Amigo TS

Environmentally Progressive Printing

• Canon imageRUNNER ADVANCE • imagePRESS • EFI LED Curing • VUTEk GS3250LX • Epson MicroPiezo technology • SurePress L-4033A • Fujifilm FLH-Z

This month, PrintAction magazine asked technology suppliers from every facet of the industry what they consider to be their most environmentally progressive technology or strategic initiative introduced over the past decade; and over the past 12 months. Their chosen technologies, and reasons why, illustrate the many different ways in which companies currently view the greening of print.

• GMC Open Document Publisher • Inspire • Heidelberg Heidelberg SM 52 Anicolor • AirStar 3000 • HP Planet Partners • Scitex LX850 • InfoPrint Precision Marketing • Automated Document Factory • Kodak Thermal Direct • Trillian SP • Komori KHS-AI • GL40 • manroland Ecologic • Ecometer • Mohawk Loop

Heidelberg Canada

• Mutoh MP Ink • Objectif Lune PlanetPress Watch • PlanetPress Capture • Presstek Aurora • 75DI • Sappi eQ • Xerox EA Toner • Managed Print Services

AirStar 3000 Air Cabinets Past Year Suggesting a printing press is only as environmentally efficient as the peripherals supporting it, and that every press needs air (a major draw on energy consumption), Heidelberg recognizes its new AirStar 3000 as the most environmentally progressive product it has released in the past year. The system combines virtually all individual blowers for providing vacuum and blast air into a single, central air supply cabinet. All air settings required for specific substrates are calculated by the Press Center, and sent to the AirStar. A combination of turbo radial blowers and frequency control means that only the required amount of air for each substrate is generated. For example, on some jobs, not all radial blowers will kick-in. According to Heidelberg, the result of this technology is an average 30 to 50 percent reduction in power requirements for air supply. The company continues to explain that less air generation results in a lowering in heat transfer, reducing the overall heat generated in the pressroom, which results in a cleaner print shop.

Speedmaster SM 52 Anicolor Decade Heidelberg Canada earmarked its Speedmaster SM 52 Anicolor press, launched in mid-2006, as its most environmentally progressive technology of the past decade. The SM 52 Anicolor, according to the company, can reduce make-ready times by as mush as 40 percent when compared to conventional offset presses, due to anilox technology and the fact that there are no ink zones to be adjusted for colour. This reduces power requirements for make-ready. As well, Heidelberg states that during the make-ready process, waste sheet savings are cut by up to 90 percent as no colour adjustments are required. All colour adjustment is done in prepress prior to the make-ready.

Heidelberg also explains how less paper waste means less CO2 emissions for paper manufacturing and wasted CO2 for non-sellable sheets. The SM 52 Anicolor can also employ Heidelberg’s EcoLogo-certified, low-VOC inks.

22 • PRINTACTION • JUNE 2011

USED EQUIPMENT

Agfa :Azura TS Decade Based on installation numbers, Agfa describes its :Azura TS as the market-leading environmentally progressive printing plate. The thermal-working plate is built around the same ThermoFuse technology employed in :Amigo TS (see below). :Azura TS is rated for run lengths of up to 100,000 impressions, while holding up to two to 98 percent screen tints at 200 lpi.

:Amigo TS Past Year Agfa launched a new version of its :Amigo TS plate, described as running up to 50 percent faster than the original :Amigo, in May 2010. The low-chemistry, thermal plate holds increased sensitivity with an enhanced image contrast. :Amigo TS is based on ThermoFuse technology in which, during the exposure process, thermoplastic pearls absorb energy, melt and fuse together, bonding to the aluminum substrate. Unexposed areas are removed by washing the plate surface with :Amigo Clean Out Solution or in conventional thermal plate processors. :Amigo TS is rated for run lengths of up to 200,000 impressions unbaked and longer when baked.

Canon imageRUNNER ADVANCE series Decade With its line of imageRUNNER ADVANCE office equipment, Canon states that it has lowered CO2 emissions by more than 30 percent by focusing on manufacturing, energy use, and logistics. Canon also explains it manufactures the imageRUNNER ADVANCE with 100 percent recycled and bio-based plastics, when possible. The imageRUNNER ADVANCE is RoHS compliant, after Canon restricts the machine’s use of 24 hazardous substances, as opposed to the six substances specified in the RoHS initiative. This press also meets ENERGY STAR standards.

imagePRESS C7010VP Past Year Canon Canada chose its imagePRESS technology based on the printing quality and productivity of this press line. First introduced as a platform in 2007, Canon launched the updated imagePRESS C7010VP model in May 2010.

According to Canon, some recycled paper stocks can be printed on the imagePRESS, which has long been an issue in toner-based printing, while all of the machine’s toner bottles are recyclable. The imagePRESS is compliant with Europe’s stringent RoHS regulations and, according to the company, is also designed for complete, end of life, recycling. According to Canon, the imagePRESS C7010VP model requires less power to operate than offset presses and most large toner-based systems, while the C7010VP is also equipped with Sleep and Low Power modes.

Fujifilm FLH-Z processor Decade Fujifilm Canada recognizes the FLH-Z plate processor series, ranging from 35.5 inches up to 66 inches in size, as its most environmentally progressive product of the past decade. According to Fujifilm, because this processor replenishes on an as-needed basis rather than traditional, less-accurate methods, the company’s thermal plates are always processed under optimal conditions. Fujifilm continues to explain the resulting benefits are improved consistency and significantly reduced chemical usage, which mean lower costs as well as the environmental benefit of reduced effluent.

JUNE 2011 • PRINTACTION • 23

BUSINESS FORMS

EFI LED curing Decade According to EFI, its most environmentally progressive technology of the past decade is LED curing technology, as applied in some of the company’s inkjet, wide-format printers. EFI claims that LED technology, relative to traditional UV-curing systems, consumes less electricity, reduces the amount of waste from a bulb perspective, allows printers to work with thinner substrates (smaller carbon footprint), less waste attributed to bulb degradation, and less printer idle time associated with the lamps warming up. 


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DIGITAL EQUIPMENT

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Decade HP describes its long-standing Planet Partners program as an easy way to recycle printing supplies, large-format media, computer equipment, and rechargeable batteries. The program ensures that returned products are properly recycled.

Planet Partners also includes the only closed-loop ink cartridge recycling process in the world, according to HP, using plastic from recycled water bottles and used HP inkjet cartridges to create new cartridges. HP states the program allows for the recycling of large-format HP substrates that are printed on HP devices.

Scitex LX850 Past Year HP’s recently introduced Scitex LX850 inkjet system is designed to employ the company’s fundamental Latex Ink Technology, first introduced in 2008 as its future ink platform for environmentally progressive production with inkjet machines.

HP Latex inks have a water-based formulation and are described as not producing ozone or hazardous air pollution. In addition to the Scitex LX850, HP also recently introduced the Scitex LX820 in a roll-to-roll configuration. Both of these HP systems work with HP LX610 Latex Scitex inks.

Presstek Chemistry-free CTP Decade Presstek points to its chemistry-free platemaking technology, which has been incorporated into a range of technologies (DI presses, platesetters and printing plates), as its most environmentally progressive technology of the past decade. Building from this base technology, Presstek’s chemistry-free Aurora plate can now be imaged with thirdparty platesetters.

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Past Year Commercially released in early 2011, the Presstek 75DI with inline aqueous coater builds on the environmentally progressive benefits provided by the company’s earlier released DI machines – of smaller format size. With the 75DI, chemistry-free plates are imaged on-press, which results in precise registration, waterless printing, and fast makeready and lower waste (as little as 20 makeready sheets). The 29-inch 75DI prints at 16,000 sheets per hour and, according to Presstek, goes from digital file to printed sheet in as little as six minutes. In addition, the on-demand ability of the 75 DI helps to reduce inventory obsolescence.

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Komori KHS-AI Decade Komori describes its KHS-AI as its most environmentally progressive technology of the past decade, based on the software’s ability to reduce waste – with more consistent first-pull accuracy, for example. KHS-AI software continually learns the conditions of a printing press and keeps it operating at peak efficiency.

Through the KHS-AI system, Komori incorporates self-learning into inking by integrating the spectrophotometer with the console. When colour deviates from standard, the scanner automatically updates the inking program to compensate for the deviations on the next job. Self-learning is also applied to the air settings throughout the press. The AI technology can save air settings with a specific job and can also use learned air settings on jobs that have never been run. AI also presets register, including skewing and fan-out, before a single sheet is wasted.

According to Komori, this eliminates repetitious register moves and automatically increases efficiency and reduces waste. With its Sequence and Smart Feedback features, KHS-AI further eliminates downtime between jobs and speeds on-the-fly density changes.

GL40 Past Year With the GL40, Komori introduces a new model to its Lithrone family of sheetfed, offset presses. The GL40 includes several environmentally progressive features, including a presoaked cloth system to handle blanket and impression cylinder wash-up. This wash-up feature means companies are not required to house drums of solvent, while the disposal of the presoaked cloths also helps printers to better manage residual solvent for disposal. According to Komori, the new GL40 press has approximately 20 percent less energy consumption relative to previous models. The GL40 also incorporates KHS-AI (see above) and can be fit with Komori’s energy-saving HUV curing system.

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NEW Over 50,000 sq. ft. Facility 24/7 Production Full In-house Bindery and Finishing Fully Automated Process Books, Magazines, Catalogues, Posters, Brochures, Flyers, etc.

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Epson MicroPiezo Decade Epson Canada chose its patented MicroPiezo technology, applied primarily in inkjet systems, based on the number of innovations and environmental benefits it has generated over the past several years, while also still holding massive future potential.

According to Epson, MicroPiezo technology is characterized by precise ink ejection control, an ability to accommodate a variety of ink materials, and its head durability.

Epson MicroPiezo itself is used a range of applications, from printing at home to printing of signage, textiles, LCD colour filters, labels and IC boards. Epson feels MicroPiezo carries numerous underpinning environmental benefits, such as reduced waste materials, energy consumption and chemical use, while also providing for the development of more compact equipment.

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SurePress L-4033A Past Year Largely based on above environmental benefits of Epson MicroPiezo technology, the company launched its inkjet-drive SurePress L-4033A press in May 2010, primarily designed for low-volume label production. Epson also claims the following environmental benefits specific to the SurePress L-4033A, including: No need for pretreatment because of the SurePress’ aqueous (AQ) pigment ink adhesion on a variety of standard label stocks; reduction in consumables use because of its colour-matching technology; and the L-4033A’s reduction of waste materials because there is no need for special cleaning fluids during maintenance.

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PlanetPress Capture Past Year Objectif Lune recognizes the March 2011 release of PlanetPress Capture version 7.2, which allows the capture of handwriting on business documents. According to the company, this software bridges the gap between signature capture and document output management by automating series of business processes at point of signature. This generates various environmental benefits, according to Objectif Lune: Instead of printing multiple copies of the same business form, like a work order or a delivery note and requesting a signature on each copy; only one copy is required with PlanetPress Capture. As well digital copies, with the handwritten signature, can be electronically distributed to all required departments, and automatically archived.

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GMC Open Document Publisher Decade GMC points to its Open Document Publisher based on the software’s ability to reduce consumables, as well as providing greater efficiency. Open Document Publisher software is designed to collect all customer statements and invoices, as well as related internal print documents, and integrate them into the postal stream. In addition, Open Document Publisher can also redirect printed output into email, sort by geographic location, delivery date and postage class. For example, one GMC-enabled customer uses Open Document Publisher and intelligent house-holding to combine statements from different utility companies.

GMC Inspire

1-866-689-2677 Committed to Fine Quality: Books Binders Letterpress Foil stamping Embossing Die Cutting Steel Die Engraving Finishing 416 701 0111 1 888 798 8975 CAN 1 800 811 6368 US

26 • PRINTACTION • JUNE 2011

Decade Objectif Lune points to its PlanetPress Watch workflow tool, first commercialized in 2000, because of its ability to monitor the lifecycle of a printed document, from its creation, production and distribution to its archiving. This includes the waste reduction associated with personalization, as well as the ability to communicate the document’s contacts through email or online.

Past Year Introduced in March of 2011, GMC Inspire is described by the company as an end-to-end Customer Communications Management (CCM) platform, which employs both digital and print channels.

According to GMC, its CCM platform allows clients to optimize their most environmentally friendly delivery channels, including mobile and desktop screens, SMS, email, fax, RSS as well as print.

Kodak Thermal Direct Decade Available worldwide since late-2005, Kodak recognizes its Thermal Direct nonprocess plate as its most-successful environmentally progressive product over the past decade. The Thermal Direct plates, according to Kodak, develop on press without the use of chemistry, while holding the resolution and imaging accuracy of traditional thermal products.

• Three Didde Webs • 5-colour, 26” Komori • 6-colour, 40” Komori • Two Jet Envelope Presses • Digital Printing • Two AB Dicks • Bindery • Pre-Press • Direct-to-Plate

Trillian SP Past Year Commercially released on a worldwide basis in July 2010, Kodak’s Trillian SP thermal plates are designed to reduce the amount of chemistry needed in processing.

According to Kodak, the plates also provide environmental benefits by eliminating the use of preheat and post-bake ovens, even for long jobs in harsh chemical environments.

Ecologic initiative

Ecometer Past Year manroland’s Ecometer application, released in early 2011, provides various tools for printing companies to calculate, plan and document their environmental progress. It also calculates optimum energy and resource use, based on information like machine type, production volume, and paper consumption. The tool offers specific suggestions for improving the environmental progress of a company’s manufacturing. For example, it reveals the total savings that are possible over a year or over the total service life of a press. In addition to representing energy efficiency, reduced emissions, and resource savings, the Ecometer provides an ecological assessment for predefined press configurations and indicates savings for carbon dioxide, energy, and the cost of materials. The Ecometer provides a company with documentation that can be used with sales activities.

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manroland Decade manroland points to its Ecologic branding as its most environmentally progressive initiative over the past decade. The Ecologic initiative includes various technological developments within its press systems to reduce waste and energy consumption. Some of the technologies fitting into Ecologic, include: ROLAND SelectInkSupply, allowing for a constant low ink level in the ink fountain; SelectDampeningFiltration; SelectCleaningSystem for blankets or impression cylinders; SelectCombiCenter Plus; SelectAirStation supply cabinet; SelectDryer IR/TL; SelectPowderExtraction: and the SelectPowderSystem Plus.

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Past Year Sappiâ&#x20AC;&#x2122;s recently introduced eQ initiative is a program designed for elevating customersâ&#x20AC;&#x2122; environmental knowledge. The company in May 2011 expanded its eQ Website, which was first launched in late 2010, to be an information source for its customers. The related eQ Tool is an interactive Webbased application that allows printers and designers to explore a full range of factors behind choosing a environmentally preferable paper. It also allows users to generate a customized product statement that summarizes the environmental benefits of choosing Sappiâ&#x20AC;&#x2122;s papers for a job. In addition to its eQ insights department of white papers, Sappi supports the eQ program by publishing both a Web and print version of its eQ Journal.

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Emulsion Aggregation Toner Decade In 2003, Xerox introduced Emulsion Aggregation Toner (EA), which transformed the companyâ&#x20AC;&#x2122;s toner-manufacturing process from an energy-intensive reduction process to a more organic growing process. According to Xerox, the EA Toner production process uses 25 percent less manufacturing energy than conventional toner processes. Xerox also points out that its EA Toner typically results in a 20 percent reduction in fusing energy per page.

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Past Year Introduced in May 2011, Xerox points to its new alliance with Cisco, which is designed to provide Xeroxâ&#x20AC;&#x2122;s managed print and cloud IT outsourcing services to customers over Ciscoâ&#x20AC;&#x2122;s network infrastructure. Illustrating Xeroxâ&#x20AC;&#x2122;s growing focus on services, the company explains this partnership eliminates the need for environmentally taxing and costly IT and print infrastructure. Xerox Managed Print Services (MPS) are available through Cisco Borderless Networks; reducing operating costs, protecting confidential data from any location and improving employee productivity with advanced mobile and cloud printing applications.

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InfoPrint Precision Marketing initiative Decade InfoPrint Solutions points to its “Precision Marketing technology” as its most environmentally progressive initiative of the past decade. According to the company, Precision Marketing, relying on various InfoPrint hardware and software, as well as the device-independent Advanced Function Presentation architecture, produces personalized marketing messages on statements, invoices, and similar documents, such as replacing inserts with targeted onserts and print-ondemand forms. In addition to print, the initiative also focuses on digital-communications channels.

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launched its Managed ADF Services, powered by cloud computing, as part of its pre-existing Automated Document Factory (ADF) platform. According to InfoPrint, ADF generates numerous environmental benefits based on its ability to optimize a company’s printing production. InfoPrint describes online viewing, selective print and suppression, and reprint management as key waste reduction tools in the ADF platform.

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Mohawk Loop Decade Mohawk recognizes its Loop line of papers based largely on its range of papers with Post Consumer Waste (PCW) fibre. The PCW content of papers within the Mohawk Loop line range from 50 percent to 100 percent.

According to Mohawk, all Loop papers are FSC-certified, carbon neutral and manufactured via wind-power offsets.

The Loop line includes weights from 24 writing up to 18-point folding board for packaging.

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MP Ink Decade & Past Year Mutoh released is MultiPurpose (MP) Ink earlier in 2011 as an ink that can print on both rigid and flexible substrates, while still holding several environmentally progressive properties.

According to Mutoh, MP Ink is composed of 60 percent bio-based materials and contains no hazardous air pollutants (HAPs) or heavy metals. Mutoh continues to claim that MP Ink is composed of renewable resources. The ink runs on Mutoh’s ValueJet 1608 hyrbid inkjet system for large-format production.

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Gaitskell Continued from page 14

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“Another guiding principle for De Marque was to find a solution in which all the players in the book chain still have their raison d’etre,” continues de Jocas. “The goal was not to replace but to enable each member of the book industry – publishers, retailers, and end users – to participate in the solution. The end user or book buyer can still buy books at stores or on the Internet.

Even the printing industry – Transcontinental being one player – has found its place in the solution as well.”

“Publishers are the main beneficiaries and participants in the new system,” Jensen explains. “In addition to large publishers, it supports smaller ones, who can’t necessarily afford their own robust technology departments, and helps them find an inexpensive way to get into new markets.

Additionally, printers who plug into the system gain the ability to be full-service providers by developing and monetizing new business solutions for their customers using our relatively simple system.”

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The eBook Solution works by enabling participants to access its three international digital platforms that store and deliver books to numerous retail channels. De Marque launched the first platform, called ANEL, in early 2009, comprising publishers in Quebec and French-speaking Canada. The same year, they added a second platform composed of three major publishing groups in France, called Eden Livres. In 2010, the company added a third platform, called Edigita, including three major publishers in Italy.

Participating publishers each deposit their content in one of the warehouses where it is accessible to all selected distributors. Publishers can thus connect to a large number of retailers quickly via already predetermined rules and choose which retailers they want to sell to.

Jensen confirms that among the strengths of the system’s international linkages to three platforms with titles in English, French, and Italian is that a publisher who subscribes to any one of the warehouses can access books and publishers in all three. Thus the system enables publishers to penetrate language and geographic markets that they previously thought were inaccessible.

Additionally, publishers only need to upload one file in ePub (an industry standard) format for all commercial channels.

Through a simple conversion process, the files are then delivered as print-ready PDFs. de Jocas explains that this feature offers a huge advantage compared to other systems where publishers have to make the same change for each distributor. Jensen adds that the one-file system greatly facilitates reprints of older and discontinued titles (a process that traditionally has been a significant source of new revenue for publishers), as well as the revision of text and formats, creating new editions, and locating the most current versions of titles. de Jocas points out that another advantage of the system is its neutral software platform. He says the system is “agnostic” in that it is written to work on any platform, whereas other solutions may be built to work with either Mac or PC platforms only. (As another example, all e-books purchased from Amazon must be read on a Kindle or within a Kindle app

as opposed to any other e-reading device). de Jocas also enthuses about the fact that the solution doesn’t impose specific security, pricing, or marketing protocols, leaving publishers free to make many of their own choices and devise their own pricing and marketing strategies. This built-in flexibility also includes the ability to customize sales reports, billing, and accounting information, depending on which areas and markets the publisher wants to concentrate.

“Stressed-out bosses can look at current sales statistics in the format they choose 24/7. That’s very powerful,” says Jensen.

“People need better information to decide on successful marketing strategies, as well as flexibility in pricing strategy based on market responses. The flexibility of the system gives publishers the opportunity to do specific market testing without a huge financial outlay.”

Already the success of the eBook Solution is such that Transcontinental has been selected as the official eBook partner for the Canadian Booksellers Association (CBA).

In a May 16 media release, Mark Lefebvre, President of CBA, stated “Our partnership with Transcontinental provides our members with award-winning software that will allow retailers to address their customers' digital preferences and ultimately better serve them by offering e-reading options that consumers are demanding. Additionally, the sales reporting and consumer analytics functionality of their program provides retailers with a unique solution not yet seen offered by the bigger corporate retailers, so the competitive advantage is huge with this product.”

In a parallel development, also in May (apparently a huge month for book-trade developments!), the American Booksellers Association (ABA, a not-for-profit trade organization of independently owned bookstores with storefront locations) entered into an agreement with On Demand Books (ODB), maker of the Espresso Book Machine (EBM, a production line for perfectbound paperbacks) to promote the EBM to their members. As well, the agreement helps publishers gain access for their titles to EBM’s affiliated content network in exchange for software-licensing discounts for their members who purchase or lease the machine.

Earlier, in September 2010, On Demand Books and Xerox announced a partnership whereby Xerox will market, sell or lease, and service the EBM worldwide. On Demand reportedly plans to have more than 150 EBM installations worldwide by the end of 2011.

In a quick e-mail summing up Transcontinental’s activities at BEA, Cathy Stojak, Marketing Projects Manager for the company’s Book, Magazine & Catalogue Group, wrote: “We had a full three days of demos – lots of traffic and a few contracts signed. One thing’s for sure – having spoken to all sizes of book publishers, I realize their pain points all seem the same: How do I plan effectively for my content and how can I create new ways of monetizing?

“This industry has really been shaken and it’s great and inspiring to see how publishers are rolling up their sleeves and getting busy trying to figure out what’s best for them,” she concludes. “Each case is different, so there is really no set marketing strategy – just lots of options and technology.”

Victoria Gaitskell is keen to exchange ideas with readers at victoria@printaction.com

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Witkowski Continued from page 13

Asymmetry also works with gate folds, among others. On a standard gate, push the break between the panels to off-centre.

Interesting! On a closed gate, make the two leftmost panels shorter, and the rightmost panels longer to create a short cover and a step on the right edge.

Asymmetry Asymmetry

Visual tricks

This is a fun one – folding offers interesting ways to reveal information, and sometimes the way to create impact with a folded piece when you’re on a budget is to do so with a snazzy visual trick. One sample I have that I’ve always enjoyed is an old Verizon piece. It has a short panel and on that panel is a phone on a cradle, and when you lift the panel, the phone is off the cradle and in your hand (the face of the phone is printed on the underside of the short panel), and the image revealed by the panel is an empty cradle. So, utilizing a basic short trim and interesting imagery, you can also amuse and captivate the recipient.

Frugal folding is fun

I hope the above examples has given everyone new hope that lower budget projects do not have to be dull or look cheap. There are lots of great options to consider, so get crackin.’ Also, I encourage printers to send this article to their designer-clients or to have a conversation about the options listed above. They’ll thank you for it.

gate

gate

closed gate

closed gate

Trish Witkowski is Chief Folding Fanatic at the online community foldfactory.com. An educator, author, speaker and award-winning designer, Trish has a specialized expertise in folding and is the creator of the FOLDRite system, and host of the popular weekly e-video, “60-second Super-cool FOLD of the WEEK.” Contact Trish at trish@foldfactory.com

“Fold of the Week” celebrates 100 episodes

PrintAction Marketplace is the most effective way to conduct industry-specific trade.

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Email: classifieds@printaction.com Tel: 416.665.7333 x37 FOR SALE Solna 425 boxfeed and electrostatic spray under power great condition. Polar 72 cutter, AB Dick 9810, MBO folder, plate burner, plate processor, Challenge drill, complete package, $40k. Seperate items, call.

Call: (416) 892-3332 WANTED SELL YOUR COMPANY TO US. We want to buy a die cutting company.

Please contact us at: buydiecuttingcompany@gmail.com DIGITAL PRESS OPERATOR WANTED Printing company (Toronto) requires digital press operator. Experience working on Mac & PC would be a minimum requirement. Any other print related experience would be a benefit. We will train the appropriate candidate.

Send resume to: swarren@warrenswaterless.com CSR WANTED Printing company (Toronto) requires CSR. Send resume to: swarren@warrenswaterless.com LOOKING TO PURCHASE Wide format digital company with annual sales between $300,000 & $3,000,000.

Contact derek@mi5print.com HELP WANTED Digital Print F/T position for D/T Co. Required 4 years minimum experience in prepress & large format printing.

Email resume: ram.digital.inc@gmail.com INSTRUCTOR REQUIRED FOR A PRINT TRAINING FACILITY The Phoenix Print Shop is looking for a Graphic Communications Instructor. This position is responsible for developing, delivering and evaluating a comprehensive print work-flow curriculum that provides Phoenix youth with the skills and experiences required to gain entry-level positions in the graphics industry. This includes instruction in pre-press, offset and digital printing, wide-format imaging and bindery.

Please email resumes to: alexandra@phoenixprintshop.ca

On May 19th, Trish Witkowski of foldfactory.com posted her 100th episode of her popular e-video series “60-second Super-cool Fold of the Week.” For two years now, a growing audience in the thousands has tuned in to the viral video series that offers creative inspiration, useful print production information, and a surprise folding-related t-shirt slogan. “Fold of the Week was just an idea I had one day,” says Witkowski, who lives in Baltimore, Maryland, “I would write and write about folding and nobody was interested. Since folding is dimensional and I had to show everyone just how versatile and creative print finishing can be.” When asked about the shirts, she says “I needed a fun gimmick. I think the print industry takes itself a bit too seriously sometimes, and I wanted to have fun with it and keep the mood of the videos light. I think some of my fans watch as much for the fold as they do to see what my shirt is going to say!”

60 Folding Ideas Following up on her 2010 folding companion, called The Standard, Trish Witkowski of FoldFactory.com again joined forces with Sappi to publish Folding for the Frugal ($29.99). The 2-sided publication offers 30 low-to moderate-budget folding options in one direction, and with a simple flip, offers 30 high-budget folding splurges in the other direction. All of the folding styles featured in the picker have coordinating videos posted on FoldFactory.com.

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Central is a Canadian FSC certified marketing & print management company, dedicated to providing exceptional customer service. We understand our clients’ needs and earn their trust by striving to exceed their expectations. Through our investment in talent and new technology, we create outstanding products and ideas, becoming essential partners in the success of our clients’ projects.

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JUNE 2011 • PRINTACTION • 33

ARCHIVE

June 1976 The CN Tower opens in Toronto; Viking I reaches Martian orbit, eventually becoming the first craft to land safely on the red planet; and ABBA performs

Dancing Queen for the first time on the eve of Swedish King Carl XVI Gustaf’s wedding.

Graphcomm Tells How It Will Be in 1981 The GraphComm conference, held in New York, had more than 600 delegates attending.

Leaders of the graphics arts industry projected their expertise: “Typesetting is a misleading label for the sector. The service should include such things as database management, text management, electronic editing, retrieval and so on,” said G. William Teare Jr., President of Bru-el Graphic Inc. Denis K. Vanier of Vanier Graphics had this to say: “Technological assault will divert business away from traditional forms at the rate of 10 percent a year – in essence, slowing to some extent the fairly high growth rate of the industry.”

“The two most significant threats are: first, the escalating costs of doing business and secondly, the advances being made by competing media. One way to counter the latter is through market analysis – the painful planning and research cycle that can help the printer better meet his customer’s needs,” said Rodney L. Borum, President of the Printing Industries of America.

Postal Rate Increases for Post Cards, Greetings, etc.

Postal rate increases for greeting cards, post cards and other domestic third-class and parcel mail has been released by the Post Office. Under the changes, the cost of two-ounce, addressed, third-class mail rises to 8 cents September 1 from the present 6 cents. There will be a second increase to 10 cents on March 1, 1977.

Third-class unaddressed mail, such as advertising supplements and some unsubscribed magazines, will increase to 1.75 cents an item plus 10 cents a pound from the present 1 cent an item plus 8 cents a pound.

Polychrome opens new Technical Centre for Trade Demonstrations Polychrome in Canada opened a technical centre in its new premises at 26 Greensboro Drive, Rexdale Ontario. Fully equipped with all the latest equipment, including a baking oven to bake the Polychrome positive plates, it is designed to handle small groups of printers for a concentrated course on camera, stripping and platemaking techniques.

Above: Steve Stasiak wipes up a pre-sensitized plate.

Left: Polychrome technical personnel process a plate for an evening session.

34 • PRINTACTION • JUNE 2011

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