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CONTENTS Volume 52, Number 2 Features

The SCSI Awards Zac Bolan picks his favourite prepress software in the categories of Best Supporting Utility, Best Media Manager, Best Font Manager and Best Imaging Suite

A Licence to Print Publishers and printers in Europe, North America and Asia discuss how they capitalized on producing pages for the 50th anniversary of the first James Bond movie

Technology Report: Imaging Hardware Update Detailing the newest imaging and plate technologies introduced since drupa, by leading suppliers in the flexography and commercial printing markets

NEWS Kodak sells pieces of its patent portfolio for $525 million, USPS tells management to prepare for liquidity conditions, and Avanti donates $75,000 to the University of Waterloo

CALENDAR March 2013 Print UV lights up the Wynn in Las Vegas, the CMA presents Marketing Now in Halifax, and Pacific Bindery’s Kris Bovay hosts BCPIA’s LinkedIn workshop

SHOW Scenes from CES A pictorial report on some of the imaging and computing trends driving communications at this year’s Consumer Electronics Show in Las Vegas

Column

NICK HOWARD Jumping to Carton Conclusions World-leading press makers are leveraging relatively quiet, but significant, advances in sheetfed technology to fit the packaging sector

Archive

February 1973 Construction of the CN Tower begins, Hägar the Horrible debuts in North America, and TPH’s paper bikini contest hits some rough waters

Resources 19 Services to the Trade Cover photo: Clive Chan

25 Marketplace FEBRUARY 2013 • PRINTACTION • 3

PERSPECTIVE

Rare Printing Gems n late-January, a rare 159-year-old four-anna Indian stamp, with an image of Queen Victoria’s head upside down due to a printing error, was to be put on the auction block. Organizers were Iexpecting the stamp to fetch around $110,000, which is a staggering sum for such a small item. With 20 to 30 of these stamps still in existence today, however, it pales in comparison to the rare gems philatelists like to describe as the world’s most valuable items by weight and volume. By this measure, the Treskilling Yellow stamp from Sweden is thought to be the most valuable item in existence. Only one Treskilling Yellow has ever surfaced. Weighing just 0.02675 grams, it was purchased by an anonymous consortium in 2010 for an undisclosed sum, although it logically sold for well over the $2.3 million price it went for in 1996. Even at the $2.3 million price tag, the Treskilling Yellow (or Tre Skilling Banco) is worth around $85 billion per kilogram. The Telegraph reported the Swedish stamp was expected to fetch around $8 million at its 2010 auction. The Treskilling Yellow was rescued by a 14-year-old who found it in his grandmother’s rubbish bin in 1885 and sold it to a dealer for just seven kronor. The three-shilling stamp was first issued in Sweden in 1855. This particular stamp was printed in yellow by mistake, when it should have been green. Some of the world’s other most valuable items in existence includes The Inverted Jenny, a U.S. stamp issued in 1918 with what seems to be an inverted image of a Curtiss JN-4 airplane, but it is actually the frame that is printed upside-down. With less than 100 in existence, a single piece last sold for around $825,000 in 2007. The Benjamin Franklin Z Grill is a 1-cent postage stamp depicting Benjamin Franklin, issued by the USPS in 1868. With only two known pieces in existence, it last sold for $930,000 in 1988. The Stamps of Mauritius (issued in 1847) were the first stamps issued in any part of the British Empire outside of Great Britain. Only one specimen is now known to exist today, which sold for over $1 million more than a decade ago. The British Guiana One Cent Black on Magenta (1856) was printed on poor quality paper with black ink magenta coloured. With only one piece known to exist, it was last sold in 1980 for $935,000. The rarest Canadian stamp, with two in existence since production in 1868, is the 2c Large Queen on laid paper, which last sold for over $200,000 in the mid-1990s. More information about these rare printing gems can be discovered at the upcoming National Postage Stamp Show taking place in Toronto this April. 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, Dr. Martin Habekost, 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 Intern Tiffany Kay Garcia • 416.665.7333 ext. 34 • tiffany@printaction.com Advertising Sales Sara Young • 416.665.7333 ext. 31 • sara@printaction.com 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

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.

PrintAction is printed by Sina Printing on ChorusArt Gloss 80lb Text and 70lb Velvet Text available from Unisource Canada. Youngblood Publishing Ltd. 610 Alden Rd., Suite 100, Markham, ON L3R 9Z1 Tel: 416.665.7333 • Fax: 905.752.1441 www.printaction.com Publications Mail Agreement Number 40010868 • ISSN 1481-9287 Return undeliverable Canadian addresses to subscriptions@printaction.com We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage. 4 • PRINTACTION • FEBRUARY 2013

In today’s printing presses sheets are zipping through at ever increasing speeds. This means that as the sheets pass from one set of cylinders to another any slippage or shift will result in printing problems. Everything from slurring to doubling can result. KOMORI understands that a stable transfer is one of the keys to high quality print. Using diamonds that never wear is one of the solutions to this problem and KOMORI has it! As the totalizer increases, the wear and tear on grippers and pads show up in print problems and presents you with high maintenance costs to resolve. Not so with KOMORI! Why? It’s also in the timing. At the transfer point, each set of grippers remains closed on the sheet for a period of time and this is measured in degrees. You may be surprised to learn that most leading press manufacturers build in only one to two degrees of closed travel. KOMORI took a different approach and employ four degrees. This means that taking into account rapid opening and closing times, KOMORI gives almost four times more time for the sheet to transfer. Consider the Relay race when the baton must be passed from one runner to another. If the runners had the ability to run together for a longer period of time, wouldn’t the potential for a dropped baton decrease? Of course, it would and that’s another reason why, over the life of a KOMORI, it just keeps on giving you incredibly lower operating costs!

Tel. (905) 286-5155 Fax. (905) 821-0055 Email: info@k-north.ca Website: www.k-north.ca

PRINT NEWS GARRY PROUDFOOT, described by the British Columbia Printing Industries Association as an industry pioneer within Vancouver’s printing community, passed away on January 4. Proudfoot was 67. He founded Web Press Graphics in the mid-1960s with Pierre Péladeau as a business partner, an operation that continues today as part of Quad/Graphics in Port Coquitlam, British Columbia. ANTONIO PEREZ, CEO of Eastman Kodak, announced the company sold part of its patent portfolio for US$525 million to a consortium led by Intellectual Ventures. This consortium includes major tech players like Facebook, Google, Microsoft, Apple, Samsung, RIM, HTC, Fujifilm, Huawei, Amazon and Shutterfly. As a result, Kodak agrees to drop patent cases against the purchasing companies, the most notable of which is a $1 billion suit against Apple filed last year. Kodak’s sale of these patents was a key condition to it obtaining financing worth US$793 million from bondholders. After the sale of these 1,100 digital imaging patents, Eastman Kodak still retains over 9,600 patents in other business areas.

CHRIS BURKE and Sean Learney, press operators at Prime Data, oversaw the installation of a Presstek 52DI press. In business for over a decade, Prime Data of Aurora, Ontario, focuses on a range of direct-mail marketing services, particularly around fundraising campaigns, including data analytics, email integration, VDP and fulfillment. Prime Data creates a large volume of offset shells to run through its Konica Minolta toner presses for shortrun customization. The company states the Presstek 52DI will allow it to handle longer, more cost-effective runs of offset shells, as well as more versioned runs. MONIQUE HANIS becomes COO and VP of Marketing and Communications for the Sustainable Forestry Initiative Inc. She has more than 20 years of varied communications experience, including a previous position as Director of Communications for the Solar Energy Industries Association. She also held top strategic roles at America’s Community Bankers, the Mortgage Bankers Association, and Independent Community Bankers Association, as well as with revenue-generating publishing operations. Hanis has spent the past three years on the Board of Directors of the Washington, D.C., metro chapter of the International Association of Business Communicators. 6 • PRINTACTION • FEBRUARY 2013

TC TRANSCONTINENTAL signed a contract extension to provide flyer-printing services to Best Buy and Future Shop until 2015. As part of the new contract, TC Transcontinental is to also provide new distribution services in Quebec and the Atlantic provinces for the two retailers. TC Transcontinental claims the contract extension is to provide around $30 million in incremental business.

AVANTI COMPUTER SYSTEMS made a $75, 000 donation to Ontario’s University of Waterloo. The donation was made in large part because Avanti’s three owners, Stephen McWilliam, Patrick Bolan and Peter Funnell first met while attending the University of Waterloo. The trio later formed a partnership to purchase Avanti in 2004 and have since tripled the size of the company and expanded its reach well RÉMI MARCOUX, founder and member of beyond Canada’s borders. the board of directors of Transcontinental ROBIN HAVLICEK, owner of RAD Printing Inc., is donating approximately 160,000 of Calgary, celebrates the installation of Class A Subordinate Voting Shares of the a new Xerox 550 system, which she has company to educational institutions. The nicknamed Carmen. RAD Printing is donation is being made through Capinabel celebrating its eighth year of business this Inc., a corporation that is controlled by February. According to Havlicek, the Xerox Marcoux. He founded Transcontinental 550 allows her company to handle heavier in 1976 and was Chief Executive Officer stock, while increasing speed. The Xerox until 2004, when he became Executive 550 will also increase RAD’s ability to print Chairman of the Board; he remained in on envelopes, which boosts an existing that position until February 16, 2012. strong presence in producing wedding packages, as well as stationary packages and promotional items. ART SETO, a professor with Ryerson University’s Graphic Communications Management (GCM) program, received the Dean’s Award for 2012. This marks the first time that a GCM faculty member has earned the award. He was chosen from amongst approximately 100 instructors employed within Ryerson’s Faculty of Communication & Design, which includes GCM – Canada’s only 4-year degree-level program dedicated to graphic arts studies. Seto was chosen for his transformation of the two semesters of JOEL QUADRACCI, CEO of Quad/Graphics, bindery courses, which are now regarded as completed the acquisition of substantially all of the assets of Vertis Holdings for a GARY HUGHES, formerly the long-stand- some of the most-popular courses with net purchase price of $170 million. This GCM students. He was also recognized for ing President of Muller Martini Canada, assumes a purchase price of $267 million becomes Director of Global Packaging his teaching of the estimating course. less the payment of $97 million for current for Muller Martini, which initiated a new assets that are in excess of normalized workcommitment to the sector in 2009 when ing capital requirements. Quad/Graphics it acquired patents for the Variable Sleeve used cash on hand and drew on its revolving Offset Press (VSOP). Muller Martini credit facility to finance the acquisition. “We now has over 100 presses operating in have strengthened our retail ad insert, direct various packaging sectors. The company marketing and in-store marketing solutions, also announced Werner Naegeli, forand have expanded our support services to merly President of Muller Martini USA, include media planning and placement, and becomes President of Muller Martini marketing services,” said Quadracci. The North America, which includes Muller combined company will employ approxiMartini Canada. mately 25,000 employees from more than IPEX, long one of Europe’s largest printing tradeshows, to be held next year in London, faced further setbacks with separate announcements that Komori, Xerox and Landa will not be exhibiting. This follows similar announcements made in summer 2012 that Heidelberg, Agfa and HP will not participate. In an interview with UK publication PrintWeek, Benny Landa states that his company will not participate in any trade show currently on the calendar, save for the next drupa in 2016.

PREMIER PRINTING’s Phil Calverley, Press Operator, and Tom Bennett, QCR Manager, oversaw the installation of a new waterless RYOBI UV-DI press into their Winnipeg facility. It is the first such press installed in Canada. Purchased through Canadian Printing Equipment, the UV-DI press allows Premier Printing to offer 16-micron production on a range of substrates including plastic, PVC, Polypropylene and various synthetic papers.

70 print-production facilities in North America, Latin America and Europe. VERTIS shut down its plant in Fort Erie, Ontario, following the completion of it being purchased by Quad/Graphics. The plant, one of three that was not part of the Quad/Graphics acquisition, was the only Canadian operation owned by Vertis. It employed around 100 members of the Communications, Energy and Paperworkers Union Local 425G (Niagara region).

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track and distribute marketing assets. The FlowMaster RS Flex inserter can process a range of materials and sizes, including letters at speeds of up to 16,000 pieces per hour and flats at a speed of up to 12,000 per hour. With the new system, Interlinc states it is anticipating an increase of inserting efficiencies of around 40 percent.

HEMLOCK PRINTERS installed a new 40-inch, four-colour Heidelberg Speedmaster 102 perfecting press on its production floor in Burnaby, British Columbia. Hemlock describes the installation as a first of its kind in Canada, because the press itself was manufactured in a 100 percent carbon neutral process through the purchase of climate-protection certificates in accordance with the Kyoto Protocol. The company’s new press joins existing eight- and 10-colour perfecting presses, while also filling what the company describes as a need for more efficient production of one-, two- and four-colour print work. INTERLINC DIRECT, based in Mississauga, installed a Pitney Bowes FlowMaster RS Flex inserting system to boost its production of personalized marketing materials. Interlinc operates a fulfillment and print facility integrated with its Web-based management information systems to manage, control,

NANCY SOBHY has been appointed by Unisource Canada as Senior Marketing Manager, Paper and Wide Format, for Canada and the USMA region. With more than 10 years of product management and marketing experience, Sobhy most recently spent three years in Australia as a product manager for a global merchant. She previously worked within Canada’s printing industry focusing on printing ink and commercial production. She holds a Bachelor of Technology degree with a minor in Marketing from Ryerson University’s Graphic Communications Management program.

CANON resolved, through a New York District Court, a patent infringement dispute with Zinyaw LLC (TonerPirate.com) concering certain toner cartridges and photosensitive drums. This includes any toner cartridges containing such photosensitive drums, sold for use in Canon or HP laser-beam printers. As a result, TonerPirate is prohibited from making, using, selling and offering such products for sale in the U.S. TonerPirate will also make to Canon a payment of an undisclosed sum in connecSTEPHANE FORTIN becomes President of tion with the resolution. Technorol Inc., a manufacturer of rubber DAVID ALLEN was confirmed as the new rollers for printing and industrial Chief Executive Officer of PaperlinX, markets since 1995, based in Granby, based in Australia. He had been serving Quebec. He previously worked for as Interim CEO since August 2012, dur- ACTEGA Kelstar over the past 12 years. ing the paper distributor’s significant Fortin has also appointed Real Gratton as restructuring process. Joost Smallenbroek a Technical Representative for Technorol has been promoted to the position of in the Ontario Region. Over the past 35 years, Gratton has worked for companies Chief Financial Officer. such as AB Dick, Western Lithotech, BRIAN GOTT becomes Chief Financial Offi- Mitsubishi Chemicals, Lastra and Agfa. cer for manroland Inc. and manroland Technorol also distributes a range of Canada Inc. Gott joined manroland Inc. in consumables for the printing industry. late 1999 as its Accounting Manager and most recently held the position of Con- CORRECTION NOTICE: In the Canadian troller. He earned a BA from the University Printing Awards gallery, PrintAction Januof Illinois and an MBA from Benedictine ary 2013 issue, we incorrectly identified University. In late-December, manroland’s Brad McDonald as Parker MacDonald. parent company, manroland sheetfed Brad McDonald is a Senior Sales Executive GmbH in Germany, announced the deliv- with Presstek, while Parker MacDonald is ery of its 100th press since the company the Regional Sales Manager with Ernest began trading on February 9, 2012. Green. We apologize to both gentlemen.

FEBRUARY 2013 • PRINTACTION • 7

PRINT CALENDAR São Paulo is the largest city in the southern hemisphere, representing the second largest largest GDP. The city features a subtropical climate deemed by locals as among the most unreliabile in the world, where one can experience all four seasons in a single day. The city also has over 30 daily newspapers serving its more than 11 million citizens.

MARCH 3

Self-described as the only event focused exclusively on the UV printing market, the spotlight for Print UV 2013 is on sheetfed printing. Held at the Wynn Encore Resort in Las Vegas, the event will include tips on how commercial and packaging printers are “making UV happen” as well as how to sell UV. $1,495

San Francisco plays host to the annual National Postal Forum, an educational and networking event for mailing professionals. The four-day event features more than 100 workshops and 100 exhibitors, as well as an opening address by the U.S. Postmaster General. $950

The BCPIA continues its LinkedIn Workshop which educates printers on how to better employ the social networking tool to connect with 20,000 industry members in the Greater Vancouver Area alone. The seminar is presented by Kris Bovay, General Manager of Pacific Bindery. $100

8 • PRINTACTION • FEBRUARY 2013

The Canadian Marketing Association looks East as it holds its Atlantic Marketing Conference in Halifax titled Marketing Now. It will focus on the evolving channels of communications to consumers, including social media and mobile marketing. $299

The World Association of Newspapers and News Publishers presents its Printing Summit 2013 in Hamburg. The event will feature international speakers in the newspaper field, including Adrian Norris, Creative Director of The Globe and Mail. EUR 1,875

FESPA for the first time will bring its trade show to the Brazilian market with the four-day FESPA Brasil in São Paulo. The event will be collocated with ExpoPrint Digital, the largest digital printing show in Latin America. With this new addition, the event aims to surpass its 35,000 visitors it had in 2011.

Extreme Offset: Troubleshoot, Control, Optimize is a workshop put on by the Printing Industries of America as a first step to implement a colour-managed workflow. The three-day event promises to help press operators slash makeready times, and quickly diagnose root causes for problems. $1,195

KBA Sheetfed Offset technology

Why KBA?

Printers are asking ”Why KBA?“ Here is why… KBA has the worlds fastest printing presses, the world’s shortest make ready times, the most versatile presses that can run the widest range of substrates…and we are easy to do business with. Since we are so financially strong so we can invest in R+D; we are growing, hiring and investing in our industry, all like no other! Our brand new ground up presses like the Rapida 106 runs at 20,000 sph, has no side lay, can change plates while the press is running and has so many synchronized make ready features we could not list them all. Also, as the world leader in packaging our new Rapida 145 is the fastest and most automated in its class. It is time to rise to the next level of productivity and to grow your company’s profitability, call us at 800-522-7521 and one of our experts can discuss how KBA can help you. Let us show you how easy we are to do business with! KBA Canada phone: 800-522-7521, na-marketing@kba.com, www.kba.com

Photos by Zac Bolan

PRINT SHOW

Scenes from CES

q he Consumer Electronics Show gives the world a peek at trendsetting gadgets, gizmos, and cutting-edge communications tools, coming to a retailer near you. The 2013 show moves us further away from traditional computing with more wearable and portable innovations.

q Intel still holds the prime CES real estate

in spite of the fact they announced little of interest at this year’s show. Interestingly up-and-coming Chinese electronics manufacturer Hisense occupied the spot traditionally assigned to Microsoft who were not exhibiting at this year’s show.

w Thousands visit the Qualcomm booth at CES 2013, most oblivious to the company’s controversial and digerati-deprecating keynote presentation in which everyday users were depicted as vacuous social-media addicts.

e Intent on joining the personal POV action cam market, Panasonic introduced their version of the wearable video camera. The camera records to an arm-mounted drive (and makes you look like a wanna-be cyborg).

r Once known for their instant photo technology, Polaroid moves into the growing mobile audio market with their Mondrian-inspired speaker line launched at CES.

t y

t In a bold move imaging giant Fuji shows their latest in consumer photography tech – a point-and-shoot camera the produces instant prints. After snapping, the print emerges from the camera and develops before your eyes in just a few minutes… déja vu!

y Attending CES 2013 to moderate the Digital Health Revolution conference supersession, Arianna Huffington takes time to meet the public at the HeartMath booth.

u The Tat’z Nail’z Imaging System brings on-demand inkjet printing to the lucrative manicure esthetics market with this innovative device. Users can choose from more than 50,000 designs or upload their own.

i Is a Segway a little too complex for you?

i 1!

o 1@

An Inventist model demonstrates their gyro-stabilized electric unicycle people mover – the Solowheel.

o Vancouverite Jenny Lai of Catalyst Lifestyle products shows of her company’s new waterproof iPhone case, crowd-funded into existence through kickstarter.com.

1) Casio demonstrates their new point-of-sale retail video signage product. Shop owners can upload any facial image in JPEG format, write some copy and send it to Casio who will animate the sign. The video animation is projected onto a carved, frosted glass screen.

1! Crowds gather to see the stunning Samsung OLED Smart TVs at their stadium-size booth.

1@ Nano-coating of smartphones can make devices virtually waterproof as demonstrated by P2i, one of several molecular waterproofing technologies on display in at CES 2013. – Zac Bolan

NICK HOWARD

Jumping to Carton Conclusions ntruths often metastasize into reality all presses recently introduced around drupa. “It isn’t a board press,” he replied. “We until after the war when the old English dearound us. Politics arguably provides In fact, any press printing to 1 mm (0.40 need a board machine here, not a paper signed Mann Fast Five was duplicated and the most consistent train of falsehoods inches), which has skeletal transfer cylinders, press.” sold as a PZO and PVO series press. This becoming dogma, or perhaps it is the reli- double-size impression cylinders, air in I just had to shake my head – double-size design did not have any inherent positives gious zealots of all faiths who polarize fol- transfers, and carton-attachment options cylinders, 40-point capacity and skeletal for running carton. The Variant changed all lowers into believing we’re right, you’re like receding non-stop deliveries, large di- transfers – bingo! – This is a board press. that. wrong. The world of print too is not im- ameter in-feeds, press up-lifting features or Harris, meanwhile, a US-based press mune from basing opinions on guttural as- UV capabilities, can be considered a pack- Unexpected surprises maker from yesteryear, did have a unitized sumptions, particularly when it comes to aging press. All five of the world’s major in the laboratory press with double-size transfer cylinders, advances in press technology. press makers can deliver such machines During the late-1960s to 1990s, Planeta but also single-size impressions. NonetheThis is an environment created by all of today within a very close measure of com- was long the most-common sight in the less, Harris was able to run board on all its today’s press makers, as they compete for petence – depending, of course, on which world’s packaging plants. The press maker presses, especially in the 60-inch and tightening market share with highly ad- features a printing company values most. became an unexpected carton favorite 77/78-inch formats. The same held true vanced offset press lines and assowhen printers discovered for the American-built Miehle machines. ciated workflow. For the past that, particularly following During this period, Roland, Harris, decade, printers have watched offthe launch of its Variant se- Miehle, Crabtree and Nebiolo were the set-press innovation – often not ries in 1965, how good they prime competitors to Planeta in most of fully appreciated, because of the were at running thick mate- the +3b sizes. marketing dollars and future inrials (in sizes from 4 to 8). These historic companies over time were terests poured into toner and Based in Soviet-controlled either absorbed or decimated by today’s inkjet platforms – redefine tradiEast Germany, with a cash- modern press makers. Planeta was scooped tional run-length boundaries. up König & Bauer, The new Rapida 145 (introduced at drupa, May Today, offset press makers are known today as KBA. 2012) is described by KBA as a popular investalso leveraging significant Before purchasing ment with packaging printers because of its sheetfed advances, in particular, to Komori GLX: The design concept of very large impression and Planeta, KBA was fospeed and large sheet-size format. At 17,000 redefine application boundaries. transfer cylinders are key to a packaging press, as are in-feed cused as a web-offset sheets per hour, the Rapida 145, with its 41.73 x Their main target is the packaging designs and delivery slow downs that are beefed up for heavy manufacturer and be57.09-inch format, is 13 percent faster than any Planeta was the trailblazer in design of the large cylinder of its competitors in the VLF space. sector, more specifically longer- stock. ginning to make its and also skeleton transfer design, beginning in run carton production, which is 1965. Today every manufacturer has this to some mark with finely traditionally a field ruled by large- extent. Beginning in 1981, Komori was the first tuned Intaglio maformat sheeted presses. KBA con- company after Planeta to build presses this way. chines for currency tinues to lead this production. sector and has conKBA also had a trolled a 50 percent very popular stable of market share, globally, letterpress machines, in large-format offset as well as a range of for well over a decade. smaller sheetfeds like In 2012 alone, KBA the KRO and SRO, held more than a 65 but these were mostly percent market share 72 cm (28-inch) main North America’s chines. Early experilarge-format sheetfed manroland’s ROLAND 700 HiPrint HS is ments with the 3b Heidelberg’s designed for producing long-run jobs in sector. format brought out an array of Speedmaster CX It came as no great both the high-quality commercial and odds and sods, one press in par102, introduced packaging sectors, reaching up to 18,000 surprise during a re- sph. It features the AutoPrint smart control ticular drew upon the Heidelberg at drupa with production cent conversation that system for quick-change job, automatic Rotaspeed’s mirror image platspeeds of up to a printer suggested, start-up sequencing, self-learning ink slide form. KBA then introduced a 16,500 sph, can “There is only one pre-set and network software with inline unitized RA104 press in the handle substrates company that makes a colour control and IntegrationPilot plus. 1980s. The purchase of Planeta such as flimsy packaging press.” Most every production or provided the company with the Okay – not every papers, stiff operations manager holds strong opinions press maker builds mamarket to advance its developboard, and a wide range of about the offset machines they run, chines with stock transment of the 104, and subsequent plastic materials. whether it is the result of a close – often his- fers exceeding 1 mm, larger sizes, into a respected toric – relationship with their press sales- but it is of little conseworldwide sheetfed line. person or mechanic, or just a general quence for 95 percent of all packaging ap- strapped Deutsche Demokratische RepubToday, KBA’s RA142 (now RA145) and likability of the press architecture itself. plications anyway. Even the most lik (DDR) government, Planeta needed especially the RA162a have done exceedThere are a myriad of reasons why press- experienced press operators tend to ignore western hard currency and sold presses to ingly well in carton shops, building on rooms becomes entrenched in machine this fact because they are so deeply rooted the market at prices significantly lower years of expertise that began with the Varibrands and their perceived positions in the in tradition and cannot see the forest for than their real value. ant series. manroland, with its past link to market. Big double-size cylinders were unheard Roland Ultra and 800, has also enjoyed histhe trees, which became crystal clear on my These historic positions, however, once recent visit to a high-end cosmetics printer. of at the time and it even became possible torically significant placement in carton so clearly defined in the printing world by These types of plants – where double to use these innovative presses for printing shops when it comes to large-format application and run-length, and therefore hits, overprint varnishes and unique com- on micro-flute (F-flute up to 1.8 mm). De- sheetfed. press format size, are shifting more than binations of inks and coatings are part of a spite struggling with poor Robotron In late-2007, Heidelberg opened its new ever. Large-format sheetfed will continue press operator’s everyday life – are always electrics and associated quality-control is- €45 million Wiesloch-Walldorf assembly to dominate high-volume packaging for pushing the print-production envelope. sues, the Planeta design still presented an hall, measuring 375,000 square feet, to proyears to come, but today’s innovations in This particular cosmetics printer had just enormous advancement over all other duce large-format sheetfed presses (Speedsheetfed – not to mention recent advances bought a new press that would soon arrive. competitors – even if it took a while to im- master XL 145 and Speedmaster XL 162) in in toner and inkjet technologies – mean al- I was there to inspect a used press on its part the true potential of these presses to an effort to eat into the size 6 and 7 market most any modern press format size can im- way out the door and so I asked the lead the marketplace. share controlled by KBA and manroland. pact packaging, which was certainly the pressman for his thoughts about the older Prior to 1965, Planeta, an old established This is a second large-format-sheetfed effort case with several modern 40-inch sheetfed machine. builder, did not really find its sales imprint Continued on page 24

FEBRUARY 2013 • PRINTACTION • 11

quiet hush falls over the massive auditorium as the lights dim and the last few tuxedoed gents escort their bejeweled ladies to their seats. Centre stage, a lone figure steps into the spotlight and clears his throat…“Ladies and gentlemen, tonight the Academy of Premedia and Prepress Software Arts and Sciences would like to welcome you to the 1st Annual Software Academy Awards – The 2013 SCSIs.” The crowd goes wild and rises to their feet in anticipation of the pending announcements. Who will win best Supporting Utility? Best Media Manager? The suspense is palpable. Disliking long, drawn-out award shows I fidget, trying to get comfortable in my formalwear while hoping the acceptance speeches are mercifully short! Let’s face it, 2012 wasn’t exactly a banner year in the premedia software multi-verse. Aside from the much anticipated launch of Adobe CS6 back in May 2012, most new software releases during the past year tended towards incremental improvements rather than life-altering features. That’s not necessarily a bad thing – after all, modest progression is better than entropy in the software world. And at some point we have all been guilty of neglecting to keep our collection of aging software current, stoically holding the status quo. It’s easy for busy professionals to miss incremental improvements in their favourite applications, especially given the evolutionary nature of the software industry. Consequently, it’s good to catch up with old friends in the software world once in a while – even if that means wearing an ill-fitting rental tux to some cheesy awards ceremony. The usher leans over me and asks me to quit mumbling as the emcee makes his first declaration.

has undergone substantive changes to reflect the new digital content landscape. Perhaps most significant of these is support for Web fonts in Fusion 4.0. When embedded within a Webpage or specified in a cascading style sheet, Web fonts enable the display of fonts not present on the end-viewer’s computer. Fusion users can now access the entire Google Web font collection through Suitcase, enabling greater typographic control of online content. Similarly, Suitcase Fusion connects

Suitcase Fusion's Font Panel shown here in Adobe Photoshop.

to WebINK, Extensis’ commercial Web font site with thousands of fonts from well-known foundries. Users can browse and utilize the entire WebINK collection free of charge while designing online assets, only paying the appropriate licensing when the site goes live. This added capability to work with Web fonts ensures that cross-media designers will be able to better match their print and online work. Also new in Fusion 4, Extensis Font Panels bring font browsing and management to Adobe Creative Suite applications including InDesign, Illustrator and Photoshop. Besides being able to search and preview typefaces without leaving the host application, users can also activate new fonts. Custom Font Digests enable users to build font collections containing fonts from any source including both local and Web fonts that will work within any of Extensis Font Panel. When a designer builds a Font Digest in Photoshop for example, it will be available in both the Illustrator and InDesign Font Panels. The Suitcase Fusion 4.0 application features user interface improvements including the addition of new toolbar commands, custom preview colours and the ability to create font sets from selections within the Fusion interface. Additionally, users can now specify particular fonts as “Favourites” for easier access. Similarly, users can create automatically updating Smart Sets of fonts determined by a variety of states and attributes, similar to the Apple iTunes Smart Playlist feature. All in all, the newest version of Suitcase Fusion delivers an enhanced user experience, streamlined workflow for Creative Suite users in addition to full cross-media font management and production tools. Thankfully that went fairly quickly; sometimes those font people can go on and on. The emcee steps back into the spotlight as the applause subsides.

“In the category of Best Font Manager, the winner is…” Suitcase Fusion 4.0 www.extensis.com Full version US$99.95 Upgrade US$49.95 Free full function 30-day trial Extensis has been around for nearly 20 years and some version of Suitcase has resided on my prepress workstation for nearly as long. The current incarnation of this respected font manager was born of a synthesis of Diamondsoft’s Font Reserve and Extensis Suitcase back in 2006, validating the ‘Fusion’ suffix. Last reviewed in the July 2008 issue PrintAction, the 2012 incarnation of Suitcase Fusion Suitcase Fusion's Mac interface (left) and web font integration mean designers can embed fonts into Webpages, ensuring design consistency between on-line assets and print.

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application, the user is presented with the intuitive Layers interface flanked with an image browser to the left of the workspace and familiar Navigator and Layers panels on the Perfect Photo Suite 7 right. The workspace contains basic www.ononesoftware.com editing tools including transform, Full version from US$149.95 crop, trim, mask, retouch, move and Upgrade from US$79.95 zoom tools. Within this environFree full function 30-day trial ment, users can jump to each of the When last reviewed in PrintAction suite tools by selecting the clearly (August 2010), OnOne Software’s marked function in the menu bar, impressive Plug-in Suite 5 promised to make digital automatically repopulating the workphotography “faster, easier, better”, and in most ways space with applicable tools. Aside from combining all lived up to the promise. Since then, the crew at OnOne the plug-ins in a harmonized interface, OnOne has have been busy improving an already robust photo edspent considerable time and effort improving each of iting product aimed at the imaging professional who the products. needs just a little more than Photoshop can provide Perfect Mask greatly improves on the masking caon its own. pabilities first introduced in Mask Pro with a range of Being a plug-in developer can be a tough job when powerful tools, including Keep, Drop and Refining Photoshop is constantly evolving to hold its spot as Brushes, Automatic Background Removal, as well as a top pixel editor, especially when its newest features are variety of cleanup tools to enable users to mask very often ‘inspired’ by the very plug-ins it hosts! While complex images such as hair with relatively little effort. Perfect Photo Suite 7 functions can still be accessed New to Photo Suite 7, Perfect Portrait provides reindividually through the plug-in architectures of Photouching and correction tools specifically designed for toshop, Elements, Lightroom or Aperture, it’s evolved dealing with the imperfections of human skin. Addiinto a powerful standalone workflow for improving tionally, users can adjust eye and teeth whitening as images, applying artistic effects, precise masking, well as detail – far easier than a trip to the dentist! creative focus and black-and-white conversions. Perfect Effects brings everything from antique film Additionally, the Genuine Fractals image enlarging grains through edge manipulation and artsy frames to technology has been incorporated into Perfect Resize your image editing workflow with real-time previews within the latest iteration of the suite. and bespoke controls to make each effect unique. The When first launching the Perfect Photo Suite 7 Perfect black-and-white plug-in steps users through an archive of historical monochrome print processes, again allowing each to be customized in a variety of ways to suit any taste. My favourite suite plug-in is FocalPoint 2 that enables users play with focus in order to recreate the look of very fast lenses and to precisely control depth of field, especially when used in conjunction with Perfect Mask. It can take a bit of practice to get the hang of using OnOne’s innovative FocusBug to adjust size, blur and vignette but it’s worth the effort. Once you get FocusBug, Photoshop’s Blur Tools seem downright primitive in comparison. In addition to circular focus adjustment, FocalPoint 2 includes planar focus necessary to create the trendy tilt-shift miniature effect. Historically, OnOne Software’s best-known application has been Genuine Fractals, its renowned image enlarging software. Now rebranded as Perfect Resize 7.5, the app still harnesses OnOne’s proprietary fractal-based interpolation algorithms with much faster processing speeds than earlier versions. In plain English: It makes pictures bigger and sharper more quickly! Additionally, Perfect Resize offers presets covering everything from social media and video through massive gallery wrap canTop: Perfect Effects provides a vast array of film grain, vignette and filter

“And in the category of Best Imaging Plug-in Suite...”

effects in addition to borders, frames and edges. Bottom: Perfect B&W simulates hundreds of different monochrome film and print processes.

vases. In a prepress workflow, this tool can be invaluable for improving those horrible 72-dpi images your customers keep asking you to throw on press. As well as the customary user guides, OnOne University holds more than 100 online video tutorials, as just one part of a vast knowledge base. For my money, this is far more useful than a PDF. Each plug-in is available for purchase individually should you only require a single function, but buying more than one can quickly out-price the standalone version of the entire suite. At $499, Plug-in Suite 5 (2010) was a solid product at a good price. Starting at $150 for the standalone version, Perfect Photo Suite 7 (2012) represents an astounding value that can add profitable new capabilities to the prepress department with a relatively short learning curve. Nice, I had my fingers crossed for Perfect Photo Suite 7! I squirm in my seat and consider loosening my bowtie. “This past year has seen some tough competition in this next category”, the emcee proclaims.

“The 2012 SCSI award for Best Supporting Utility goes to…” Parallels Desktop 8 www.parallels.com Full version US$79.99 Upgrade US$49.99 Free full function 14-day trial Like it or not, few in the prepress business can exist solely in a Mac ecosystem. Whether running a Windows version of Creative Suite to maintain your customer’s file integrity or opening the odd file in CorelDRAW (or even worse, Microsoft Publisher), prepress pros need to regularly access a PC Workstation. When I first reviewed Parallels v4.0 for PrintAction (July 2009), virtual machines had just crossed the line from sluggish emulators to marginally useful tools for running a guest operating system and its applications. Since then, Parallels has steadily improved to the point where even processorintensive Windows apps run briskly alongside Mac applications performing on current hardware. Released in September 2012, Parallels Desktop 8 leverages all the power of the latest Mac configurations and OS X 10.8 (Mountain Lion) to bring virtual machines near to workstation performance. Parallels claims up to 30 percent faster performance for Desktop 8 and, as a regular user, I would have to concur. At this point, I should mention that running a Parallels Desktop 8 VM on a solid-state drive (as found in the Macbook Air) is blazingly fast. If you use virtual machines often, consider taking the SSD plunge – you won’t believe how fast they run! Aside from the speed bump, the latest Parallels software includes support for Mountain Lion’s dictation tool in Windows apps, as well as the stunning retina display found in the newest Macbook Pro configurations. And while on the topic of graphics, Desktop 8 features greatly improved performance for graphicsContinued on page 22

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By Jonathan Webster

THE LEGENDARY SUPER-SPY AND CULTURAL ICON, JAMES BOND, is a fictional character that was created in late-1952 by a dashing, British former World War II naval intelligence officer and fledgling author: the late Ian Fleming (1908–1964). In time for the busy holiday season, publishing and printing companies around the globe took advantage of the 50-year anniversary celebrations of the very first Bond movie, Dr. No.

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Leading executives of printing houses from the United Kingdom, Europe and Asia share their experience with this unique printing opportunity to profit from the enduring commercial and cultural magic of James Bond. The sheer scope and range of Bond-related printed matter helps illustrate how attention to the timing of important cultural anniversaries can have a significant positive effect on your bottom line. On the April 13, 1953, the hardcover version of Casino Royale (designed by Fleming himself), hit UK’s bookshops priced at the current equivalent of 52 British pence. It sold out. Demand was so high that three print runs were needed. And the rest, as they say, is publishing history. Fleming was to write another 11 Bond novels and two short-story collections. He was also to see Dr No optioned and brought to the big screen by the canny American-Canadian production team of Cubby Broccoli and Harry Saltzman. As of today, James Bond is the most successful spy story phenomenon of all time. Accounting for over 100 million hard-backs and paperbacks sold to date. It has also spawned the second-most successful film franchise ever (the first being Harry Potter), which has generated some £5 billion pounds for the film production company EON Productions (now owned by Cubby Broccoli’s daughter, Barbara, and her halfbrother, Michael G. Wilson). Factor in all the millions of videos/DVDs and Blu-Ray discs sold around the world – not forgetting the computer games and other merchandise – and Bond is one of the most successful cultural business phenomena of all time. This winter publishers and printing houses around the world have fallen over themselves to satisfy the demand from an international public hungry for allthings 007; especially in the wake of the 23rd Bond movie: Skyfall. In fact, just in time for Christmas 2012, there has been a deluge of books, special magazines, playing cards and tee-shirts all showing that when it comes to Bond – print matters! Vintage partnerships: Ian Fleming, Jonathan Cape and CPI

The 50th anniversary of the first James Bond movie unleashed one of the most ambitious publishing programs in recent history, reaching printers and suppliers across the U.S. and United Kingdom, Canada, Europe and Asia.

On the March 16, 2012, the mighty Random House Group and Ian Fleming Publications Ltd. announced that Vintage Publishing, a division of Random House, all publications as Ian Fleming Brand Manager. Together “The series reads like a Who’s Who of classic spy fichad acquired the 10-year license for Ian Fleming’s entire with an editorial team of six, and Random House’s fortion,” says Dino Bishop, CPI Books’ Marketing and ComJames Bond backlist in print and ebook format, along midable production/design department, Drake-Lee set munications Manager, clearly proud of the fact that CPI with Fleming’s two non-fiction titles. about instigating no less than two series styles for the 14 got the deal to print all 14 Ian Fleming-James Bond paVintage Books is the sister imprint of Jonathan Cape, books: one under the Vintage paperback imprint and perbacks for Vintage. “[It] includes Casino Royale, Dr No, who were the original publishers of Ian Fleming’s Bond one under Vintage Classics. This is the first time that an Diamonds are Forever, Moonraker, From Russia With Love, stories, and published Casino Royale in 1953, the first in author’s entire backlist has been published under both Goldfinger, Thunderball, and five other 007 famous titles.” the series of 14 Bond books penned by Fleming. imprints. CPI set up a dedicated team to work on the two VinCorinne Tucker, Managing Director of Ian Fleming To help physically realize Vintage’s ambitious publishtage Bond paperback series. According to Bishop, this Publications Ltd. (IFPL) commented: “We are delighted ing program for Fleming’s Bond novels, Random House consisted of a customer service executive handling the to be reuniting James Bond with his original publisher. turned to the pan-European printing company: CPI cover proofing and printing at CPI’s British CroydonThis new deal, incorporating both print and ebook forBooks. based colour facility, CPI White Quill, and also executives mats, represents a significant step-change for Ian Flemat binding facilities in Chatham and Reading. ing and his work.” “An account manager from CPI held meetings Whilst Richard Cable, Managing Director of with Random House production managers Vintage Publishing, was clearly equally deand designers in the early stages,” recounts lighted when he said: “Bond, James Bond. Ian Bishop, “to ensure that the particular look and Fleming’s famous Secret Service agent 007 refeel required for the series was achieved.” mains one of the most iconic of all literary creWhen asked if the printing of novels like ations, and continues to thrill new and existing the Vintage James Bond series is a specialty readers alike. We are very excited to welcome… of CPI, Bishop was eager to spread the comFleming’s books to the Vintage list for the first pany gospel. “CPI manufactures around 160 time and to reunite him with Jonathan Cape. million books in the UK every year, in hardWe are hugely looking forward to working with back and paperback – not only novels like the IFPL to re-launch the list in 2012, a year which James Bond books, but also non-fiction and marks the 50th anniversary of the first James academic books, journals and periodicals. Bond film, Dr No, and sees a new 007 adven“We are part of the European CPI Group, ture [Skyfall] hit the big screen.” Europe’s largest black-and-white book printer, Vintage Publishing Sales Director Tom with the capacity to print 700 million books Drake-Lee, a lifelong fan of the Bond novels, each year across our 17 plants in several difwas as pleased as punch when he learned that CPI’s automated binding line used to finish Vintage Publishing’s Bond ferent countries – including the UK, France, he was to head up the publishing team across anniversary projects. FEBRUARY 2013 • PRINTACTION • 15

Germany, The Netherlands and the Czech Republic. Our commercial print division in the UK, CPI Colour, specializes in high-quality exhibition catalogues like the book we produced for the London Barbican exhibition, Designing 007: Fifty Years of Bond Style.” With such a prestigious project, regardless of CPI’s obvious girth, there are still a number of technical challenges to producing 14 classic James Bond paperbacks in cutting edge design and finishes. Even if the printing and binding of the text was relatively straightforward as, at their core, the books are B format paperbacks. As the covers were designed to work as a series, which required a great deal of extra care to ensure the books would sit well together as attractive objects on the book shelf. It was, therefore, decided by Random House and CPI executives that the covers should be printed on the reverse (uncoated) side of the cover board, in ‘Crusade’, to give a textural, vintage feel to the series. Inks, of course, react differently on the uncoated side of the board, resulting in more muted colours. Also, the design used solid blocks of colours that were, in some cases, similar across a number of titles, but had to be distinctive from one another. So the challenge was that each title had to be distinctive from the rest, yet appear to be part of the same family. In addition, it was determined that the brand style for the Vintage imprint was to use ‘Vintage Red’ as a solid strip on the spine. This red had to be consistent across all the Bond Vintage titles – something that, as Bishop states, “was difficult to achieve when printing on substrates as different as smooth coated and rough uncoated boards.” To ensure that the titles worked as a set, and that the colours appeared vintage, and that the Vintage Red was con-

Taschen & Zanardi, a European coupling

We now travel from mass-market paperbacks to a one-off, high quality, almost literary 007themed tome – The James Bond Archives – published by Taschen. Taschen is a pan-European publishing company, but with a strong British retail/publishing presence, that produces books primarily for culture vultures ranging in subject from film to fine art to photography. The company’s offering in last year’s momentous project for 007 is the aforementioned The James Bond Archives, a huge, beautiful and thoroughly comprehensive book, which will cost punters anywhere from £135.00 to a cool £650.00! Put together with the blessing of EON Productions by a team of writers led by the legendary Taschen editor Paul Duncan, it was decided that only a printing company with specialist art book production expertise could finesse such a tome into being. And so Taschen chose Zanardi of Milan, Italy. “As a James Bond fan, I was delighted to lead this project,” says Paolo Borri, Zanardi’s Customer Services

MOM Books turned to China's 1010 Printing because of its specialty in producing cost-effective 4-colour books. The BOND On BOND book was soon on press again after its initial 100,000-piece run.

sistent, a number of proofing stages were performed. CPI’s in-house laboratory developed special ink mixes for the ‘Vintage Red’ to ensure colour consistency across different substrates. Once Random House was happy with the final proofs and design, the text files were sent electronically to CPI as PDF files; and the cover files were supplied on disc. A company of CPI Books’ size and turnover can afford some pretty impressive hardware. And, according to Bishop, the following machinery was mobilized for the James Bond Vintage series: “The text for all Bond paperbacks were printed on one of our Timson ZMR presses; whilst the covers were printed on our Heidelberg Speedmaster 75 XL press, which has five printing units and extended drying.” Apparently, the Vintage James Bond series has been a resounding success for Random House/CPI Books, as evidenced by the fact that, according to Bishop: “CPI started by printing [under instructions from Random House] many tens of thousands for each title. But what is particularly gratifying is that the series has already reprinted, with some titles now on their third impression.” 16 • PRINTACTION • FEBRUARY 2013

Manager, “but I knew that we were going to have quite a task to get this project – a high-quality, complex volume of 600 pages – just right. Nevertheless, I had full confidence in our 30-strong team that were mobilized to take care of the prepress, printing and binding phases of the book.” What also raised the confidence bar, as far as their client Taschen was concerned, is that Zanardi is a fullservice manufacturer specializing in printing and binding any and every kind of book imaginable. As Borri states, “We pride ourselves in the wide variety of jobs that come across the shop floor – everything from highend illustrated books such as this one, but also educational and corporate text books, travel guides and top quality facsimile reproductions of rare, out-of-print books. Our customers are major and mid-sized companies with rigorous manufacturing requirements for discriminating audiences.” Despite Zanardi’s expert manpower and use of printing presses/technology of the highest quality (The James Bond Archives was produced using KBA 120 x 160 printing machines), it was still going to be a challenge producing very expensive, 600-page books in matte coated

paper in a high-end print run reaching into the thousands. “This was definitely not an easy product,” recounts Borri. “The print process had to be very accurate, but the real challenge was in binding a book of this size [41x30 cams] and weight [about 8 kg], and, most of all, to produce the kind of bespoke cover required – with two different materials and three colour blockings. “To achieve the quality and sheer scale and depth required, a good part of this work had to be effected manually, and needed world-class highly specialized technicians from Zanardi and Taschen to be present. It was a labour of love,” continues Borri. “However, when I saw the finished book roll off our presses, it brought a lump to my throat. This is a real quality offering. One that we at Zanardi are very proud to have been a part of!” MOM Books, Bond on Bond

Michael O’Mara (or MOM Books as it is known) is a British publishing imprint but with an international reach that is one of the market’s most canny players, impressively and consistently punching above its weight. This publishing house decided to get a famous past screen Bond acting legend (Roger Moore) to front its glossy, hardback 007 book: BOND On BOND. With always a careful eye on costs, MOM Books have of late frequently gone the Chinese route when it comes to getting cost-effective printing. Its printer of choice for BOND On BOND was 1010 Printing of mainland China. 1010’s International Sales Director, Andrew Law, explains: “Head office mobilized a team of 15 1010 executives and operatives to produce BOND On BOND, both for the UK edition, and for various international co-editions. [For example: Globe Pequot in the USA/Canada, and Knesebeck in Germany, including: prepress, customer service, press minders, binding and packing.]” Approximately 100,000 copies of BOND On BOND have been printed to date on 128-gsm matte art paper, using a Heidelberg CD 102-5 printing press, and then bound on a Kolbus. The whole production/printing process was all done in-house at 1010’s printing plant in Yuanzhou, in the southern Chinese province of Guangdong. Apart from the question of cost and speed of execution, 1010 was clearly a good choice for this kind of printing job. “BOND On BOND is a fine example of a quality 4-colour book, and we are wellknown for specializing in the printing/production of 4c books,” says Law. When asked about the particular challenges of producing this book for MOM Books, Law emphatic explains: “The actual printing was pretty straightforward, but the book was printed during our peak season, so we had to make sure the final copies were ready on time, which we did. Also, as there were a number of different language editions, we had to ensure there were no problems such as a 16-pp section of the English-language edition accidentally appearing in the German edition of BOND On BOND! “Similarly, we had to carefully follow the packing instructions so the correct quantity of each edition were sent to the correct publisher.”

from 12-22. We also created a Skyfall deck featuring images from the latest movie.” On top of this, Carta Mundi, to cannily tap into the current boom in professional and amateur poker, produced 3,000 limited edition 500 chip poker sets to celebrate the 50th anniversary. The poker sets are numbered and contain two decks of the James Bond 50th anniversary cards, which are gold gilt-edged. The cards and chips in Carta Mundi’s special Skyfall poker sets were actually featured in Skyfall the movie,” says Fox, who was eager to share some technical production information. “A high-quality plastic coat is used to protect the surface of our James Bond playing cards, and this gives our cards their glossy, waxy sheen,” she explains. “The actual cards are constructed out of Corona 305-um paper.” Bert van Pelt, Carta Mundi’s Business Manager (Retail), explains: “We have produced all of our Bond cards since 2002 here at our manufacturing plant in Belgium. We have some bespoke manufacturing machines which are essentially all-in-one offset machines that cut, collate and coat our playing cards, and then very neatly package them up into complete decks.” Although he did not have exact figures, Van Pelt was able to reveal that, “Since Carta Mundi One of the enduring images cinema-goers 2002, Carta Mundi has produced a very all over the world have of James Bond is considerable 200,000 decks of Bondwhen 007 gives some baddy a financial themed playing cards. And that figure is rapping in one of our globe’s plush casi- going to significantly increase with the nos. Although roulette often plays an im- addition of sales of both the James Bond 50th anportant part in such scenes, it is more niversary sets and through a bruising game of cards the Skyfall pack.” that Bond typically Carta Mundi has bashes the baddies where worldwide penetration it hurts – in their wallets! with dedicated offices in Carta Mundi, a 250-year countries as diverse as The old company headquartered in Netherlands, Sweden, Germany, Belgium, is the world’s leading Austria, Switzerland, France, India, producer of playing cards. Its comAsia, Turkey, the United States and Mexmercial division showed its enterico. So Van Pelt’s claims for future sales prising streak when it pitched EON can be taken at face value. Productions for (and got) a merchandise license to produce a range of several Bond-themed, Shaken and stirred very appealing, high-quality decks So what are we to conclude from all this of playing cards/poker sets back James Bond publishing and printing acin 2002 to coincide with the tivity? Although none of the interviewees last James Bond film starfor this article were prepared to throw ring Pierce Brosnan their figures into the open – mainly (Die Another Day). because, to be fair, at the time of writThe close commercial relationship being this article they did not have exact retween EON and Carta Mundi (which is turns to hand – the very fact that there Latin for Maps of The World) endures up had been several significant re-prints of to the present day. many of the above mentioned books Despite the growth in online gaming, (some running into the tens of thouplaying cards are still big business accord- sands) is a very healthy sign. ing to Carta Mundi’s UK Marketing ManThus indicating that publishing and ager, Chloe Fox. Being a Bond fan herself, printing James Bond books provides she needed little prompting to enthuse companies with both great PR and culabout this latest offering from Carta tural cachet, and fine financial returns Mundi. “We have three new decks for into the bargain. James Bond cards this year. First up are two James Bond 50th Anniversary playing Jonathan Webster is a UK-based journalist card sets, featuring images from movies and contributor to Het Graffishes Weekblad 1-11, and the second set featuring images and Deutsche Drucker. These days it is not unusual for large printing houses to devise special proprietary processes to give themselves an edge. However, whilst, 1010 does not utilize proprietary print processes as such, the company does use its own impressive inhouse ERP and content-proofing systems. These were essential parts of the process ensuring BOND On BOND was delivered on time. The neat thing about 1010’s ERP system is that it identifies any potential production bottlenecks so they can be pre-empted. “Online proofing is an important part of the process,” says Law, “on a project such as this it allows the proofs to be viewed simultaneously by the various stakeholders in the project. It is also quicker as you don’t need to wait for hard copies to be sent via courier so there is an environmental benefit as well. As it so happens, our online proofing system is called ‘Thibault’ and was actually named after my young son by the CEO of 1010 at our sales meeting two years ago, when we were thinking of a name for this system.” Happily for MOM Books and 1010 Printing, BOND On BOND has gone into re-print, so much so that that initial run of 100,000 copies will soon look rather small fry.

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TECHNOLOGY REPORT

Imaging Hardware Update Plate imaging technologies continue to be the bread-and-butter for some of the industry’s largest technology suppliers. This month, PrintAction takes a look at what some of the printing’s leading plate and imaging suppliers have brought to market since drupa 2012. :Azura CX125

Presstek Commercial plate: Introduced in May 2012, Aeon is described as a high-resolution thermal plate that does not require preheating. It provides run lengths up to 200,000 impressions without baking; while optional post-baking enables runs of up to one million. Aeon can be used in both UV and conventional printing. Newspaper plate: Introduced in May 2012, the new PearlDry PhD 830 Blue is described as a nextgeneration, waterless thermal printing plate, which is predominantly aimed at the newspaper sector. Presstek describes PearlDry Blue as a true chemistryfree plate that can be imaged on 830nm thermal CTP systems from a range of manufacturers. Requiring only a water wash after imaging, the non-ablative plate features handling and operation for up to eight

Fujifilm Flexographic imaging: In October 2012, Fujifilm introduced the FLENEX DLE system, which the company describes as both a faster and more environmentally friendly alternative (no VOCs are emitted) to common laser ablation mask (LAM) systems. Reaching the Canadian market in 2013, the initial incarnation of FLENEX DLE includes the FLENEX DL-25 plate-setter and FLENEX WV-1 plate. Plate processing: In May 2012, Fujifilm launched the XR-1200F as a new system for handling developer waste reduction and water re-use. Based on a low pressure/low temperature distillation process, using a heat pump, the technology separates plate chemistry into concentrated waste and distilled water. It is compatible with Brillia HD LH-PJ/PL/PX low-chemistry plates. Long-run commercial plate: In May 2012, Fujifilm launched Brillia HD LH-PXE, a positive-working thermal CTP plate for long-run commercial sheetfed and web applications. Also fitting into the company’s lowchemistry offerings, the Brillia HD LH-PXE is rated for run lengths of up to 500,000 impressions unbaked or a run length of over one million when baked.

18 • PRINTACTION • FEBRUARY 2013

hours. It outputs resolution of 1-99% dots at 200 lpi (80 l/cm), and FM stochastic screening. The plate is rated for run lengths up to 100,000 impressions. Commercial plate: Introduced in May 2012, Aurora EXP is described as a chemistry-free, daylightsafe metal plate that can be imaged on a range of thermal plate-setters. It is rated for up to 50,000 impressions and requires only a water wash after imaging. Commercial plate: Introduced in early 2012, the new PhD 830 is a negative working pre-heat thermal plate. It supports run lengths of up 250,000 impressions without baking and a million plus with an optional post-bake.

Medium-run commercial plates: In October 2012, Fujifilm introduced its third-generation low-chemistry Brillia Ecomaxx-T3 thermal plate, using the company’s new MultiGrain Z surface treatment, to North America. The plate produces 1-99% at 200-lpi and is compatible for FM 20 stochastic screens. It is rated for run lengths of around 100,000 impressions. Newspaper plate: In October 2012, during IFRA Expo, Fujifilm introduced the second iteration of its Brillia Pro-VN low-chemistry violet newspaper plate. The Brillia Pro-VN2 produces 2-98% at 1,200-dpi (100-lpi) and features an unbaked run length of up to 300,000 impressions. Fujifilm also applies its multigrain structure to its LH-NN2 newspaper plate, which is suitable for abrasive stocks, producing resolutions of 1-99% at 150-lpi. FLENEX DL-25

Agfa Graphics High-volume commercial plate: The :Energy Xtra plate is rated for up to 600,000 impressions without baking. Agfa states :Energy Xtra provides a wide latitude on press, resulting in faster start-ups and low dampening levels, as well as a stable ink/water balance to produce 1-99% at 200-lpi AM, 20-micron FM and :Sublima 280-lpi XM Screening. Newspaper gum: A new violet newspaper gum, introduced in October 2012, is claimed to both lower consumption and extend bath life by around 30 percent. The gum can be applied in Agfa’s :VXCF85 clean-out unit (using a pH-neutral solution) with its low-chemistry, violet :N94-VCF photopolymer plate, designed for coldset printers (run lengths of up to 200,000). Newspaper plate-setters: In May 2012, Agfa introduced two new plate-setters for high-volume newspapers, including the newly designed :Advantage N PL HS, which can hold up to 6,000 plates in a fully automatic setting (two pallets of 3,000 plates each) and the :Advantage N TR HS. Both plate-setters run at speeds of up to 350 plates per hour. Commercial clean-out unit: The :Azura CX125, introduced in May 2012, allows Agfa’s :Azura TS thermal plates, described by the company as chemistry-free, to be applied in higher-volume environments. Employing a two-step cascading process, Agfa claims the :Azura CX125 (handling plate volumes of up to 40,000 sqm, with a bath life of up to 7,000 sqm) can reduce gum consumption by up to 60 percent relative to previous Azura clean-out units.

Mitsubishi Commercial plate-setter: Introduced in May 2012, Mitsubishi introduced its new Violet DigiPlate plate-setter, called VDP-CF3070, for the small- to medium-sized commercial printing market. Plates are exposed, punched, washed-off, dried and cut to format for printing. The DigiPlate is configured with two roll magazines and an integrated register punch to automatically handle different formats. Commercial plate: Introduced in May 2012 in conjunction with the DigiPlate VDP-CF3070, the Violet DigiPlate plate is described by Mitsubishi as a true chemical-free, violet sensitive polyester-based offset printing plate. It utilizes a polymer crosslinking technology to create the image area without chemicals, requiring only water for rinsing. Commercial plate-setter: In 2012, Mitsubishi introduced its new Thermal DigiPlate plate-maker, which is described as a process-less CTP system for 2-up printers. The technology is capable of running 1,200 dpi at 75 plates per hour.

Kodak Newspaper plate: The Sonora News Plate, released in mid-2012, is described by Kodak as a process-free thermal product that eliminates the need for processing equipment and chemistry. It produces 3- 97% at 150 lpi and 36-micron stochastic screens, with a run rating of up to 200,000 for coldset web, 50,000 to 75,000 for direct litho, and up to 10,000 for UV-ink applications. Commercial plate: The Sonora XP Process Free Plate, released in late-2012 outside of North America, eliminates the need for processing equipment and chemistry, and has increased speed and latent image contrast over Kodak’s previously released Thermal Direct Plates. Rated for run lengths of 200,000 impressions on web presses and 100,000 on sheetfed presses, and available in VLF sizes, the plate produces 1-99% at 200 lpi with FM 20 stochastic capability. Flexographic imaging: Kodak introduced the FLEXCEL Direct System in mid-2012 to provide what the company describes as an affordable, high-quality system producing elastomer/ITR sleeves. The system is more than just an engraver, as its quality-to-affordability offer relies on the integration of hardware, workflow and media. Commercial/packaging plate-setter: The Trendsetter 1600 plate-setter, introduced in 2012, is a semi-automatic system to provide a more affordable option for large-format imaging, relative to the fully automatic Magnus VLF Quantum plate-setter. The Trendsetter 1600 plate-setter, with Squarespot Imaging Technology and Quantum capability, is optimized for Kodak’s recently introduced Sonora XP Plate. Commercial plate-setter: Upgraded in July 2012, the Magnus 800 plate-setter features a 27 percent increase in throughput and a new power-save mode, including remote on/off functionality. Available with options like Automatic Pallet Loader (APL), the Magnus 800 plate-setter is designed for mediumand large-size commercial printers. Plate-line software: Intelligent Prepress Manager 2.0 (iPM 2.0), introduced in October 2012, is a monitoring and reporting system with mobile connectivity to control CTP and plate-line systems. iPM 2.0 currently provides support for Kodak’s Magnus 800, Magnus VLF, Trendsetter 800 and Trendsetter 1600 plate-setter.

Heidelberg Commercial plate-setter: In May 2012, Heidelberg announced it would collaborate with Lüscher to integrate UV technology on its Suprasetter series of plate-setters. The Suprasetter 106 UV is geared for high-volume customers requiring the use of over 15,000 m2 in plates per year. Commercial plate-setters: In May 2012, Heidelberg introduced new functions for its Suprasetter plate imaging systems. This includes a smaller processor for the Suprasetter 105 ACL/DCL to reduce chemical and power consumption. The company also unveiled a new option for creating 5,080-dpi resolution with its Suprasetter A52 and A75 entry-level models, as well as the Auto/Dual Cassette Loader (ACL/DCL) unit for the Suprasetter 105 and A105.

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Screen Commercial plate-setter: In May 2012, Screen introduced its new PlateRite HD 8900Z thermal plate-setter as the company’s new A4-size, 8-page flagship model. The system produces a relatively high production speed of 67 plates per hour at 2,400 dpi (1,030 x 800 mm/40.5 x 31.4 inches). Screen now offers 26 different PlateRite models spanning 4-, 6-, 8-, 16-, 24-, 36-, 40- and 48-page formats. Flexographic imaging: In May 2012, Screen introduced its new line of PlateRite FX thermal plate-setters for flexographic and letterpress applications. The initial device is the PlateRite FX1524, designed for solvent and water-wash photopolymer plates to reach 4,800-dpi quality levels. The system leverages Screen’s proprietary Flexo Dot screening.

Southern Lithoplate Commercial plate: Launched in February 2012, Southern Lithoplate’s new-generation Integra 830 P plate is a positiveworking, no-prebake thermal product for CTP systems. It is rated for runs of up to 250,000 impressions and for a 1-99% resolution at 200 lpi, while holding the ability to hit 10-micron and 20-micron screening.

Flint Flexographic plate: Introduced in November 2012, the newly designed nyloflex ACE plate (first introduced in 2001) features support for growing prepress trends in high-definition flexo and

ECRM Commercial plate-setter: Introduced in May 2012, the new Nautilus 8 violet plate-setter is engineered to image plate formats from 2- to 8-page signatures with resolutions from 1,200 dpi to 2,540 dpi. With a maximum format of 37.4 x 46.0 inches, the Nautilus 8 supports traditional screen rulings of over 200 lpi (or 350+ lpi equivalent with DM screening).

basysPrint Large-format plate-setter: In May 2012, basysPrint, a division of Xeikon NV, introduced its new series of plate-setters for the exposure of large-format UV-sensitive offset plates. Comprising of three models, Manual (M), Semi-Automatic (SA) and Automatic (MCA), the new series is capable of exposing plates of up to 1,485 x 2,100 mm (58 x 82 inches) in size at resolutions up to 2,400 dpi. Each model is equipped with the company’s new flEXpo (Flexible Exposure) option for exposing plates. PRINTING & EMBOSSING

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Esko Flexographic imaging: In May 2012, Esko introduced its Full HD Flexo concept for a worldwide commercial launch in 2013. The concept combines Cyrel Digital Flexo (CDI) plate imagers with Inline UV2 and HD Flexo technologies. Esko projects the concept will push flexo printing to a new quality benchmark comparable with gravure and offset, because it bridges the argument of flat top dots versus round top dots to create the best possible combination of dot structures on the same plate. Flexographic imaging: In May 2012, Esko introduced the CDI Spark 4835 Auto with digital Inline UV2 for flexo plate-making. The CDI Spark 4835 Auto is equipped with a digital UV back-exposure, automated loading, imaging, digital main exposure and off-loading to the processing unit. Label imaging: In October 2012, Esko introduced its new CDI 2530 system designed as a high-quality, affordable option for small label companies in North America. Employing Inline UV1 and magnetic drum technologies, the CDI 2530 images digital flexo plates up to 25 x 30 inches. It comes with an incorporated plate loading table and an EasyClamp II drum for easier and faster plate loading, while integrating with the Kongsberg XN for automatic label cutting. Flexographic imaging: The late-2012 introduction of HD Flexo Pixel+ technology is an optical, electronic and screening enhancement for HD Flexo imaging to support the creation of flat top dots with different plate vendors like DigiCorr, DigiFlow, Lux and Next. HD Flexo Pixel+ is said to lead to a substantial increase in solid ink density.

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intensive applications such as gaming or video editors. Users can now assign up to 1GB of video memory to their virtual machine. Also, Parallels’ new presentation wizard makes short work of configuring Microsoft Powerpoint presentations running in your virtual machine to a connected projector. Windows apps are also better integrated into the Mac OS – for example, Windows apps now appear in Launchpad and Mission Control alongside Mac apps and an “Open current page in Internet Explorer” button appears in the Mac Safari toolbar. Moreover, Parallels Desktop 8 integrates Windows with the OS X Notification Centre, creating a truly Mac-like user experience. As with previous versions of Parallels, Desktop 8 enables virtualization of legacy operating systems such as Windows XP, Vista and Windows 7, as well as the latest out of Redmond – Windows 8. Parallels also supports a variety of Linux operating systems, FreeBSD, OS/2 and Solaris in addition to older Mac operating systems. Taking full advantage of the latest Mac hardware and operating system, Desktop 8 assures fast file transfers through the new USB 3 inputs and allows users to utilize Mountain Lion track-pad gestures in Windows apps. In short, Parallels is a powerful and stable solution for running guest operating systems on your Mac that just gets better with age! Nice to see these utilities get some attention – the big name Premedia stars always

steal the headlines! Like the rest of the audience, I’m wondering if there could be an upset in the hotly contested image management category. A hush falls over the room as the emcee announces the final winner.

“And finally, in the Category of Best Media Manager, the SCSI goes to…” Media Pro www.phaseone.com Full version US$199.00 Upgrade from US$59.00 Free full function 60-day trial In the early days of digital asset management, photographers and imaging professionals had few options for organizing, cataloging and managing large collections of visual assets. So when I stumbled on iView Media Pro more than a decade ago, I immediately recognized a powerful media manager with a simple, yet effective interface and I’ve been using it ever since. Microsoft acquired Media Pro in 2007 and morphed it into part of the ill-conceived Expressions software suite – effectively taking a perfectly good application and interfering with it. Rebranded as Expressions Media, the product was shortlived with Microsoft dropping it from the suite in 2009. Thankfully, though no longer officially supported, my original iView Media Pro kept on running until

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Phase One pulled this capable application from the Microsoft dumpster in 2010. So why would you pay for a media manager when you likely already have Adobe Bridge or iPhoto? Simply, Media Pro creates catalogues of images with detailed EXIF (EXchangeable Information File format) information and previews, whereas Bridge shows the contents of a directory while iPhoto kidnaps your images into a cache. Neither of these strategies works well with very large image collections, something Media Pro has excelled at for more than a decade. The current version of Media Pro manages photo and video files in more than 100 different formats and can import directly from a variety of sources including disks, URLs and directly from tethered cameras. Once imported, images can be batch renamed, scaled, rotated, moved, duplicated and otherwise modified in a variety of ways. Media Pro has powerful light table viewing capabilities in addition to presentation and slideshow features built into the application. Media Pro can also automatically generate contact sheets or custom Web galleries that can easily be uploaded to any Web server. While not a household name in the prepress world, Phase One has long been recognized as a leader in the professional medium format digital camera and workflow software market. Phase One brings considerable image-processing experience to Media Pro, which now features an Image Editor panel full of tools to adjust saturation, create duotones and remove grain among other functions. Although not as robust as Photoshop, these tools cover a large percentage of everyday image processing tasks. When necessary, users can also direct any image within the catalogue to Photoshop or any other user assigned pixel editor. In addition to Media Pro, Phase One also provides a free Media Pro Reader application for viewing catalogues and slideshows created in the full version. The catalogue creator can choose to either embed full resolution images that can be extracted through the reader, or include previews only to prevent unauthorized usage. A fully functional 60-day demo of Media Pro can be downloaded from the Phase One Website, giving you plenty of time to see if this image management strategy works in your world.

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NUMBERING MACHINES

Teaching Old Apps New Tricks

The stage lights dim on the 2013 SCSI Awards. As the crowd files out of the auditorium and the A-listers disperse to their exclusive SCSI after-parties, I reflect on the year in software and worry about getting my tux back to the rental place before it closes. I have reviewed most of these products for PrintAction at some point in the past and Iâ&#x20AC;&#x2122;ve been using them all on a daily basis for years. While it might seem odd for me to re-visit these premedia stalwarts, these old software friends have seen significant improvement in 2012 and warrant a second look. The inclusion of new features, streamlined workflows and in some cases significantly better pricing have put all of these apps right back on the top of my list of favourite premedia tools. Zac Bolanâ&#x20AC;&#x2122;s blog: blog.softcircus.com FEBRUARY 2013 â&#x20AC;˘ PRINTACTION â&#x20AC;˘ 23

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More than one kind of apple

Looking over modern press designs, I cannot see a definitive winner in today’s for the company, because back in 1972 Hei- carton-press debate when it comes to 40delberg designed and showcased a size 6 Ro- inch machines (with the major press taspeed, but quickly scrapped the project makers actually building 41-inch forwithout making any sort of impact into mats). Today, any one can provide a press ideally suited for packaging. Besides some Planeta and Roland’s domains. The original Heidelberg Speedmaster variances in options, including some that Classic, in the 40-inch format space, are unique to each manufacturer, the proved vastly inadequate to cope with the field is more level today than at any time expanding packaging sector. Sheet sizes in our recent past. Throughout modern times, especially were shrinking from VLG to 3b, which meant companies like Heidelberg were left in the world of print, many decisions are out of the game, watching through the made without regard for real facts. They window. You just could not buy enough are driven instead by visual and sensory weather stripping and foam to stop the perceptions that are seized upon and exSpeedmaster Classic’s 10-inch cylinders ploited by the folks making and marketing the equipment you buy. from marking. In China and India, the sheer terror of Heidelberg’s position in the packaging sector began to change in 1986 with its de- buying a perfecting press is a great examsign launch of the 3-sided-transfer CD ple. Press doctrine, which usually starts at (Carton Diameter) press line. Now Heidel- the supplier level, wicks its way down to berg too had a press that could handle the user and suddenly an opinion beboard. As much as the concept of a 3-sided comes fact. In India, for example, there cylinder seems avant-garde (Solna origi- are companies that would even pull out nated this design), the CD was extremely the pincer from a Speedmaster and insert popular and a big hit for Heidelberg. Trou- a homemade gripper bar in its place, so deep was the conble-shooting print viction that perissues proved to be fecting machines a challenge, how- “He who asks is a fool for the road to ever, as technicians five minutes, but he who were ruin in straightlike to work on even print applications. number transfer does not ask remains a India remains to problems, not work fool forever.” this day a strong out mathematical user of the older formulations. The – Chinese proverb Planeta Variant arrival of the CD, however, buoyed Heidelberg’s business and presses because they are cheap and do went on to be sold en-masse to both com- not mark nearly as much as a 10-inch mercial and carton establishments. The Speedmaster Classic. Developing councompany’s new version 40-inch carton tries like India were not able to buy CD press, the Speedmaster CX 102, has up- and Lithrone presses in the used market grades from its flagship XL 106 but retains because of lack of supply and high prices. Not until these countries started to CD cylinders and the triple transfer. Meanwhile, Mitsubishi expanded its grasp the long perfector did they change portfolio to add a designated carton press, perceptions. Excuses were always somecalled the FC, which would not run paper, what factually based and that is what gave just board, and there were several variants relevance to the mindset. True – a perup to 1 mm that a printer could purchase. fecting press is complicated and more exAlong with the 3b, Mitsubishi extended its pensive to maintain, but not to the extent range to include slightly oversized size 5 of removing it. Just like politics and religion, no single and 6 versions. Most of these machines press maker owns the total solution. were also destined for carton plants. Komori was not sitting around doodling There are enough crises and flare-ups to either and in 1981 launched its Lithrone prove that the world around us cannot series. This press incorporated many good find common ground by separating fact bits of design like unit construction, dou- from fiction. In our world of machinery, ble-size cylinders, robust frames and a sheet however, talking rationally about differtransfer thickness up to 0.8 mm. The ent ideas can get things done and lead to Lithrone 40 also evolved into 44- and proper benchmarking conclusions where 50-inch versions. To better understand the everyone can work from fact. Printers and suppliers alike can beimpact of Komori’s design, many of the features implemented by the Japanese press come so blind-sighted by stories and maker back in 1981 are now being skewed history lessons that we sometimes employed on the presses of competing fail to consider what is true. With cartonvendors. These Komori presses are right at machine buying decisions, it is much home hammering out carton just like the more important to understand a supplier’s level of after-sale service or the real others I’ve mentioned. manroland, following its early-2012 costs of ownership, before deciding on all reincarnation, remains visible in 3b to size their press features. There are certainly 8 (700 and 900 series machines). man- divisive and justifiable reasons for choosroland had owned the carton business at ing one press over the other, but it is just one time. Looking back at the Roland days wrong to assume any one manufacturer its major challenge was losing out on price owns today’s folding-carton podium. to Planeta. Anyone in this business will tell you its mighty difficult to claw back market Nick Howard has been involved in the share. But again, with the advances in printing industry since 1976. He manages sheetfed technology reaching a near-uni- Howard Graphic Equipment Ltd., which has versal crescendo, manroland’s presses are been involved in the supply, sale, rebuilding in-line with the successful designs KBA and and appraisal business since 1967. Nick can be reached at: nick@howard-direct.ca Komori established in the early-1980s. Continued from page 11

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CONSUMABLES & PARTS SALES COORDINATOR WANTED As a leader in the Graphic Arts industry, we are expanding and currently seeking an inside Consumables & Parts Sales Coordinator. The ideal candidate should have experience in the Graphic Arts industry in either supplies or equipment. This position will require the direct engaging with existing and new customers in promoting our consumable & parts lines. Strong communication and computer skills, especially with Outlook and Excel are an asset. Please respond in confidence to hr@k-north.ca ____________________________________

FOR SALE Time for early retirement, this Toronto offset printing company was established in 1983. All equipment & accessories stock & supply inventory and very loyal clientele are for sale. Annual sales 200k approx. Fax Joe at (416) 766-8519 ____________________________________

BINDERY POSTIONS AVAILABLE Growing, expanding East Toronto bindery requires the following: • Polybagger operator • Saddle stitch binder operator • Working afternoon supervisor Must be experienced and work well under tight deadlines with minimal supervision. Salary commensurate with experience, only candidates being considered will be contacted. Please forward resume. Email classifieds@printaction.com with "Box 1207" along with position being applied for in the subject line, by fax to (905) 752-1441 or by mail to PrintAction, 610 Alden Rd., Suite 100, Markham, ON, L3R 9Z1 ____________________________________

PRINTING & EMBOSSING

Tel: (905) 780-8680 Fax: (905) 780-8682

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61-556 Edward Avenue Richmond Hill, Ontario L4C 9Y5

WANTED Old printers type, cuts, engravings, presses etc. Turn your stuff in storage into cash. Call Don: (416) 267-2598 or Email don@donblack.ca and leave message saying you saw it in PrintAction ____________________________________ EXECUTIVE SEEKS NEW POSITION within the distribution and manufacturing industries that support the graphic arts and sign & display market. ca.linkedin.com/in/taitscottca ____________________________________

PRINT BROKERS & SALESPEOPLE WANTED! FREE OFFICE SPACE! Excellent opportunity to grow your print clientele at a centrally located print shop. Great support team of design, print production and admin. Restrictions apply. Email for more information: sales@canadianprintingresources.com

INFO@AZPRINTERS.COM

WEB TRADE PRINTING SPECIALTY PRINTING

WANTED URGENTLY FOR EXPORT USED OFFSET PRESSES KORD 64, SORDZ,SM 74-2,KOMORI L-426

We Buy Heidelberg: K-Line/S-Line/ Speedmaster/GTO/MO Komori: 1,2,4 or 5 colours & any size Adast: 714/715/724/725 Mitsubishi: Any model Ryobi:: 2800CD/3200CD Itek: 960/975/985 Hamada: 500/600/700/800 Polar: 72/82/90/92/107/115 CM Horizon-BQ: 220/240/260/440/460 Any model surplus printing machines, paper cutters & bindery equipment.

IMMEDIATE DECISION We buy one piece/entire plant $$$$ TOP PRICES PAID $$$$

Buy & Sell Used Printing Equipment

Call: (416) 824-0236 (647) 835-6224 33 Denison Ave., Brampton, Ontario L6X 0H2 E-Mail: gr_trade@hotmail.com Tel/Fax: (905) 450-2748 FEBRUARY 2013 • PRINTACTION • 25