March 2012 by PrintAction

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CONTENTS Volume 51, Number 3 Features

The Iron Index Detailing the technological infrastructure – sheetfed, web, toner, inkjet and prepress – of over 250 Canadian printing companies, traditionally rooted in big-iron presses

NEWS Isabelle Marcoux becomes Chair of Transcontinental’s powerful board, Norm Beange is named to the BIA Hall of Fame, and Imprimerie L’Empreinte installs an XL 105

CALENDAR April 2012 NorQuest teaches three key steps of lean manufacturing in Winnipeg, EFI hosts Connect at the Wynn, and 4over officially opens up its Mississauga facility with a tour

NEWSPAPER Toronto Star Press Centre Celebrates 20 Years A photographic tour of the nation’s largest newspaper plant and the automation which drives its daily production

DRUPA SPOTLIGHT Technology Preview A brief look at the innovations on display this May that will direct the technological course of the printing industry for the near future

Columns

VICTORIA GAITSKELL Concept-brands Leverage Packaging to Drive VQA Wines Ontario’s premium wineries describe double-digital growth in new craft products and how packaging plays an integral part of their success

NICK HOWARD The Trickle-up Effect to Industrial Digital drupa 2012 will feature new distribution deals and joint developments between traditional litho press makers and their once digital foes

CATHERINE CARTER Giving Success the Green Light An overview of the business sense behind environmental initiatives like compliance, purchasing, carbon neutrality and the new ISO 16759 standard

SUPPORT

RESPONSIBLE FORESTRY.

Archive

March 1997 The English Patient wins best picture, the comet Hale-Bopp makes its closest approach to Earth, and printers in Canada embrace new digital print technologies

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

Resources 34 Services to the Trade Cover Illustration: Clive Chan

45 Marketplace MARCH 2012 • PRINTACTION • 3

The New Twenty-nine gigantic Intel chip plant sits directly across the street from HP’s ElectroInk plant in Kiryat Gat. These are the primary manufacturing facilities of Israel’s number-one and number-two AInformation Technology companies, respectively. Israel spends 4.5 percent of its GDP on civilian

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research and development, which is the world’s highest mark on a per capita basis – a significant investment despite the country’s relatively small population. This penchant for R&D was front and centre during HP’s recent pre-drupa briefing in Israel, where the company introduced 10 new printing systems, including a completely new 29inch-format Indigo 10000 platform. It holds enormous potential to alter the landscape of both commercial printing and packaging production. Behind the enormous R&D budget put into the optics and engine mechanics of the Indigo 10000, sits HP’s all-important and ever-expanding Kiryat Gat ElectroInk plant. HP feels the liquid properties of ElectroInk positions Indigo technology in a different quality category relative to competing electrophotography/toner systems. The company abhors its Indigos being referred to as toner machines. However, I have a similar distaste for the term “digital press,” primarily because it is now an overused marketing term for a mature technology, which diminishes the value of a commercial printer’s skill. I feel the re-imaging of a drum instead amounts to an evolution in prepress that also drives modern litho presses. All print is an analogue animal and, ultimately, the term digital printing creates too much confusion between inkjet and toner processes. This is becoming ever more apparent as developers of both technologies begin to compete more directly with each other, vying for traditional litho pages. When it is commercially released in early 2013, the Indigo 10000 will be competing for these pages with the emerging cut-sheet inkjet presses carrying a similar 29-inch format size. “We believe this is going to take us into the heart of the offset market,” explained Alon Bar-Shany, VP and GM of Indigo, to some 120 journalists at the pre-drupa briefing. For nearly two decades, after arriving in the printing industry in the 1990s, based on pioneering work by Indigo founder Benny Landa, production-strength toner presses remained in a sub-20-inch format, largely because of the huge R&D costs associated with stretching out the complex optics of an electrophotographic imaging drum. The technical achievement of the Indigo 10000 presents a new printing paradigm and enormous opportunity for HP to sell more ElectroInk, particularly when the company releases derivatives of this new Series 4 platform. The HP Indigo 20000, a roll-to-roll machine aimed at flexography, and the Indigo 30000, designed for folding-carton, are both scheduled for release in late 2013. HP began producing ElectroInk in Kiryat Gat in 2004, shortly after purchasing Indigo from Landa, and the company has been adding ink-manufacturing capacity at a feverish pace ever since. During the pre-drupa briefing, Bar-Shany reported how ElectroInk usage is expected to increase at annual rate of between 25 to 30 percent. This figure clearly describes a positive trend in the amount of work produced on Indigo systems, which increased from 9-billlion pages in 2008 to an estimated 20 billion in 2012. In this 4-year period, bookended by drupa 2008 and 2012, HP installed more than 1,200 Series 3 Indigo presses, which includes the 7000 series and WS6000 series of presses. The total worldwide install base of Indigo machines now reaches over 6,000, which represents a formidable competitor of proven technology to both offset and inkjet systems. Jon Robinson, Editor

Variable Imaging Canada’s Graphic Communications Magazine. Proudly published for two generations. Editor Jon Robinson • 416.665.7333 ext. 30 • jon@printaction.com Associate Editor Clive Chan • 416.665.7333 ext. 25 • clive@printaction.com Contributing Writers Zac Bolan, Clint Bolte, Peter Ebner, Chris Fraser, Victoria Gaitskell, James Harvey, Nick Howard, Thad McIlroy, Gordon Pritchard, Josh Ramsbottom, Nicole Rycroft, Andrew Tribute, Trish Witkowski Publisher Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Associate Publisher Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Production Manager Anders Kohler • 416.665.7333 ext. 37 • anders@printaction.com 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

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PRINT NEWS ROLAND ORTBACH becomes CEO of manroland web systems Inc., which is the newly established North American sales and service entity for the German-based company, sold to L. Possehl & Co. in early 2012. The new division, which is currently operating out of the existing manroland facility in Illinois, became officially active on March 16 and is a separate legal entity from manroland sheetfed, which is owned by Langley Holdings. Ortbach began managing TOWER LITHO’s Dino Siriopoulos, Presi- press-supply operations back in 1991 dent; Press Operators Cliff and Shameed; when he was named as Director of Operand Paul Siriopoulos, Vice President, cel- ations with manroland Canada. He ebrate the installation of an HP Indigo joined Sears (part of the Miller Company 7500 press, which was first moved into in Canada) as a salesman in 1984. their plant in late 2011. Andre Soriano, IT Manager at Tower Litho, notes how the new Indigo, with seven colour channels, allows Tower Litho to expand its production into plastic applications. Tower Litho was founded in 1971 and currently operates out of a 25,000square-foot Toronto facility X-RITE and Pantone unveiled a new cloud-based initiative called PantoneLIVE. The service aims to provide centralized access to brand colour data. It will enter service on June 15. Brand colour standards are the principal component to the system and are derived from real ink on real substrates using real printing processes. This allows brand owners to predict how corporate spot colours will reproduce on a variety of substrates, including brown corrugated, clear film and white polypropylene. Access to the system will cost designers US$99, while those in pre-production and production will have to pay US$1,150 and US$2,650, respectively. A colour audit for a brand owner starts at US$4,500.

TRANSCONTINENTAL, in integrating the six plants bought from Quad/Graphics Canada, has announced it will shutter two of its newly acquired facilities. The Dartmouth Quad/Graphics plant in Nova Scotia and the the Rivière-desPrairies Quad/Graphics location will be shut down in April and June respectively. A third location, Quad Graphics QueNet Media premedia centre, based in Markham, Ontario, will be integrated with Transcontinental’s existing facility DAN BARBAGALLO, President of Unisource in Mississauga. Some 500 jobs out of Canada, announced a rebranding of the Transcontinental's current 6,900 emMondrian-Hall division under the name ployees will be eliminated. According to Unisource Wide Format. Mondrian-Hall the company, the new Quad/Graphics was purchased by Unisource Canada assets will bring $230 million in new back in 2009 and the company feels the business within the next two years. new name better positions its expansion into the signage and photo printing markets. Supporting the rebranding strategy, Unisource Wide Format is launching a new private label brand, called SelectSource, from which the company will sell display medias for applications like banners, posters, signs, interiors, photography, POP displays, decals, engineering drawings and fine art.

NORM BEANGE, President and founder of Toronto-based Specialties Graphic Finishers, will be inducted into the Binding Industries of America’s (BIA) Hall of Fame this June, during the association’s annual conference in St. Louis. Describing the rationale behind its inductions, the BIA states, “These individuals have gone above and beyond the call of duty for their profession, the industry, and the BIA. This award is designed to perpetuate the lifelong careers of the people in the JAMES DOWNHAM, CEO of Toronto-based trade bindery, graphic finishing, and cus- The Packaging Association (PAC), announced a new partnership with global tom loose-leaf industry.” standards owner IFS Management GmbH of Berlin, Germany. The move is specifically engineered to bring international recognition of PAC’s PACsecure food safety standard for individual packaging materials, which results in a name change to IFS PACsecure. IFS Management already provides the industry with IFS Food, benchmarked by the Global Food Safety Initiative (GFSI), and IFS Logistics standards. The group’s supply chain standards are represented by more than 12,000 certifications, globally. IFS The three founders of TC Transcontinental (left to right): Claude Dubois, Rémi Marcoux PACsecure will now be submitted for and André Kingsley. GFSI benchmarking and made available around the world.

TC TRANSCONTINENTAL, during its annual shareholders’ meeting in Montreal, paid tribute to its patriarch and co-founder, Rémi Marcoux, who, as previously announced, is now succeeded by his daughter, Isabelle Marcoux, as the new Chair of the Board. “My dream was to found a company that was built on my values and that would last for a long time. Every day I have had the great pleasure of realizing this dream,” said Rémi Marcoux, during his address to the shareholders. “In addition to enjoying seeing Transcontinental grow, I also have a great feeling of pride. We are members of the select group that has been in business for 35 years or more, and this is a wonderful achievement.” Isabelle Marcoux (below), Transcontinental’s Vice President of Corporate Development, has been Vice Chair of the Board since 2008. She spoke to shareholders about her father’s legacy: “Rémi is giving us a company with assets which place it in an excellent position for the future: sustained growth, loyal and satisfied customers, a strong corporate culture based on the values of innovation, respect, performance and teamwork, a low debt level, a commitment to sustainable and responsible development and excellent corporate governance.” 6 • PRINTACTION • MARCH 2012

KOMORI CORPORATION of Tokyo signed a new global sales and distribution agreement with Konica Minolta Business Technologies, which also includes future joint development of toner- and inkjetbased presses. The inkjet press, to be manufactured by Komori, is scheduled for a prototype showing this May during the drupa 2012 tradeshow in Germany. The distribution portion of the agreement is specifically aimed at Komori selling Konica Minolta’s toner-based presses, bizhub PRESS C8000, to the commercial printing markets in the United States, Japan, China and Europe.

IMPRIMERIE L’EMPREINTE’s Thierry Valleé, Operator; Marc Labonte, Operator; Francois Chartrand, President; and Sebastien Chartrand, Director of Operations, celebrate the installation of a Heidelberg Speedmaster XL 105 6+L press. The Montreal-based printing company, which also provides Website development, design, and mailing services, is housed in a 58,000-square-feet facility with 115 employees. Imprimerie L’Empreinte was founded in 1986 in a 5,000-square-foot plant with eight employees.

QPRINT’s Victor Lopes, Prepress Operator, and Mohamed Shariff, President and owner, oversaw the installation of a Heidelberg Suprasetter A52 computer-toplate system. The commercial printing company in Toronto has been in business for 30 years and today runs a full in-house graphics department, while providing both toner and sheetfed-offset printing, as well as various finishing services. CORRECTION: In the February 2012 photo of Epic Imaging’s purchase of a Fujifilm Acuity system, company Founder Chris Robinson was incorrectly identified in the photograph. Robinson was second from the right, standing next to Fujifilm’s Bryan Hall.

Gumpp, Purchase and Production; Dieter Betzmeier, Order processing and Technology; Dr. Daniel Raffler, Human Resources and Company Development; MANROLAND WEB SYSTEMS GMBH, two and Dirk Rauh, Commercial Divisions. months after the group was purchased by L. Possehl & Co. during bankruptcy pro- JIM SAUSE takes on a new sales role foltection proceedings, introduced a new lowing his promotion to Executive Viceexecutive structure, including: Uwe President of Sales and Marketing for Agfa Lüders, Managing Director; Peter Kuisle, Graphics North America, based in ElmSales, Service, and Marketing; Franz wood Park, New Jersey. He previously 2003, and moved into its current 17,000square-foot Pickering location in 2007. The company employs 15 staff members.

served as Executive VP of Business Development and Marketing for the company. Before joining Agfa Graphics, Sause was President of U.S. distribution giant Pitman Company, which Agfa purchased in mid-2010. He began his career with Pitman in 1991 and held various positions within the company including Operations Manager-New York District, Regional Operations Manager-NE and Executive Vice-President.

JAMIE MACLELLAN, Graphic Design Coordinator of CleanRiver Recycling Solutions, oversaw the installation of an Agfa Anapurna Mw. The 6-colour, wide-format-inkjet machine includes an inline white channel. A division of Midpoint International in Aurora, Ontario, CleanRiver Recycling has been in business for 21 years and provides recycling and waste containers for businesses to reduce landfill waste. The operation runs an in-house graphic and design department for clients who require label and poster work, including graphics printed directly on high-density polyethylene (HDPE).

ARI BALABANIAN, President of Data Document Solutions in Mississauga, installed an Agfa Anapurna M2. The wide-formatinkjet machine has a 6-colour, UV ink system that reaches a top speed of 23.1 m2/h (720 x 720 dpi) and a top-quality (720 x 1,400 dpi) speed of 8.3 m2/h. Focusing on the production of direct marketing materials, Data Document also provides services like fulfillment, data processing, MICR imaging, inkjet addressing, tip-on, and poly-bagging.

Sunday Presses Higher productivity. Lower costs. New opportunities. ROB PRESS, owner of Signage Source in Pickering, Ontario, recently installed three key pieces of wide-format printing technology, purchased through Fujifilm Canada, including an Acuity Advance HS, a Kongsberg i-XL24, and an Epson Stylus Pro GS6000. As its name suggests, Signage Source focuses exclusively on the signage market servicing creative agencies, marketing firms and retail outlets across Canada. The company has been in business since

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MARCH 2012 • PRINTACTION • 7

PRINT CALENDAR

APRIL Winnipeg is the home of the main production facility for the Royal Canadian Mint. Established in 1975, all of the coins in circulation are produced at this 14,864-square-metre building. Its high-speed striking equipment can create up to 15 million plated coins per day.

The 2012 Printing Industry Financial Executives (PIFE), designed for anyone with financial oversight at a graphic communications company, conference takes place in St. Louis. The event is held in conjunction with PIA’s Continuous Improvement Conference, running from April 1 to 4.

4over Inc. celebrates its arrival in Canada with a grand opening ceremony at its 40,000-square-foot Mississauga plant, complete with an 11:00am ribbon cutting and tour of the facility and its products.

8 • PRINTACTION • MARCH 2012

The Toronto Craftsmen celebrate some of Ontario’s best printing with their annual dinner, at The Duncan House in Toronto, to highlight local winners in the International Gallery of Fine Print awards

Label Summit Latin America 2012 beings in Guadalajara, Mexico. Launched in 2004, the conference annually alternates between Mexico and Brazil. It attracted between 750 attendees last year.

Submissions are due today for the annual awards competition hosted by the Binding Industries Association (bindingawards.com). Finishing companies from across the continent vie for the sector’s top Product of Excellence Awards.

Cleveland hosts the 8th annual Converting & Package Printing Expo with global exhibitors. The event includes a robust conference schedule covering topics like flexo, gravure, toner, finishing, coatings, laminating, and drying, among others.

EFI hosts its annual Connect Users’ Conference at the Wynn Hotel in Las Vegas, with over 150 breakout sessions and keynote sessions from company leaders like CEO Guy Gecht and VP Marc Olin. The event will feature EFI partner booths.

NorQuest College lands in Winnipeg to host another day-long workshop in its traveling lean manufacturing series. The event is designed to show small- to medium-sized printers three key steps they can take toward workflow efficiencies without incurring any costs. $79

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PRINT NEWSPAPER

Toronto Star Press Centre Celebrates 20 Years T

he Toronto Star’s Vaughan Press Centre opened its doors in November 1992, charged with the production of the nation’s highest circulating newspaper. At the time, it was the most advanced production facility of its kind, equipped with the latest in automation. Automated Guided Vehicles (AGV) would be in charge of keeping the six massive Colorman presses fed at all times. The facility also had an automatic truck unloading system which could relieve a tractor-trailer of its paper rolls in just eight minutes. The plant is the largest of 10 within the Torstar Printing Group in Ontario. In February, the Toronto chapter of the International Club of Printing House Craftsmen organized a guided tour of the $400 million facility. Today, the plant is staffed by 400 people and produces up to 55,000 copies per press, per hour. The plant handles many Torstar properties, including free commuter dailies.

– Clive Chan

q e

u qOne of the Toronto Star’s six 12-unit Colorman presses wTools of the trade e & rFour KodakTrendsetter CTPs fed via fibre optic link from The Star’s downtown production office produce 20,000 plates a week tThe plant produces newspapers and inserts beyond the Toronto Star (the Auto Show daily newspaper shown) yMassive ink tanks feed the presses from below uThe paper staging area, where dozens of rolls of newsprint are consumed to produce The Star’s circulation, which covers most of Southern Ontario.

10 • PRINTACTION • MARCH 2012

o 1)

(Other letters and colours available upon request.)

iThe gripper and stacker systems of the mail room

o32 laser-guided automated

guided vehicles handle the transport of newsprint both before and after printing 1)The Vaughan Press Centre from above 1!The plant nearing the end of construction in 1992 1@The press room, with these delivery units close to being fully installed, awaits concrete that would be poured to fill in the floor area around the press units themselves 1# Ken Plumb (centre), then Director of the Toronto Star Press Centre, guides visitors from the CDNA Repro 92 Conference around the plant under construction

At we’ll go to the mat for our Customers! MONTHLY SPECIAL! With every envelope or letterhead purchase, receive a set of free business cards – up to 2 colour, flat or raised, or full colour digital and 20% off your next purchase – any purchase.

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MARCH 2012 • PRINTACTION • 11

Canon/Océ (Hall 8a: 3rd largest booth)

By Clive Chan

Technology Preview While there will no doubt be surprise announcements at the show itself, most vendors have already quietly announced some, if not all, of what they will bring to world’s largest print trade show. Here is a sampling of the innovations announced so far that deserve a visit within drupa’s 17 halls.

Canon and Océ’s relationship continues to develop as they jointly occupy 3,750 square metres of booth space. The Océ ColorStream 3700, claimed to be 43 percent faster than the ColorStream 3500 will make its debut, as well as upgrades to Océ’s JetStream Mono series. On the wide format front, the Océ Arizona 318GL, launched at FESPA, will also be shown.

manroland (Hall 6)

drupa Innovation Park (Hall 7)

manroland sheetfed systems GmbH and manroland web systems GmbH, two of the resultant divisions from its sale earlier this year, will partner at drupa 2012. While the sheetfed side has been silent, the web division, owned by L. Possehl & Co., says they plan to show new presses such as the Colorman e:line and the 96-page heatset Lithoman S.

The drupa Innovation Park takes on the topic of printed electronics for 2012. The Organic and Printed Electronics Association will be on hand to show the wonders of its 120 members. From RFID to printed display technologies, this is the place to see the possible and impossible features of print.

Xeikon (Hall 8a) Xeikon will be upgrading and consolidating its toner web presses into its 8000 series. The Xeikon 5000 will be superseded by the Xeikon 8500, the 6000 by the 8600, and the 8000 by the 8800. The company will also kick off a new generation of basysPrint UV platesetters in 4-up and 8-up configurations, as well as a new flexo plate imaging system called ThermoFlexX.

EFI (Hall 5)

Epson (Hall 5)

Kodak (Hall 5: 6th largest booth)

EFI, which has been growing by leaps and bounds through acquisition, has promised a revolution inkjet printing through a new machine code-named Orion. The company would reveal few details, except that the new machine uses LED curing and is faster and cheaper than the DS prototype, which failed to launch after its debut at drupa 2008.

Epson will be demonstrating an early prototype of a small-footprint UV inkjet device for label printing at drupa. Dubbed the SurePress X, the machine uses Epson’s latest generation Thin Film Piezo (TFP) print heads and is the first Epson product to utilize UV ink. Ready to ship is the SureColor SC-S30600 64-inch, 4 colour roll-fed printer, which the company claims is the lowest priced printer in its class.

Kodak will be highlighting its NexPress series with a fifth imaging unit that can run special effects such as gold, pearlescent and neon effects, as well as adding capability to produce security documents using MICR. The company will also show off the Prosper 6000XL inkjet web press, which can produce 160 million A4 pages a month, and the Prosper S30 imprinting system, which prints at up to 3,000 feet per minute.

HP (Hall 4: 2nd largest booth)

Presstek (Hall 4)

MGI (Hall 4)

Heidelberg (Largest booth)

HP will be showing 10 new machines in its production printing portfolio, headlined by the B2-sized Indigo 10000. Many of the company’s new Indigos will feature a new mode of print called Enhanced Productivity Mode, which eliminates the use of the black channel for increased speed. Its inkjet web press series will be expanded with the new T230, T360, and T410 models.

Fresh from its management change, Presstek will show its commercialized 75DI, which will be its first formal showing for Europe. It will be shown in a 5-colour configuration with inline aqueous coater.

The new AlphaJet is a B2-format inkjet sheetfed press that promises 6-colour UV printing at up to 3,000 sheets per hour. The UV inkjet technology is based on that used in the company’s JETvarnish and JETcard machines. Commercial release is planned for 2013.

Once again having the largest presence at drupa, Heidelberg will debut a new line of presses known as the SX Series. The SX line slots between the CX series (launched at IPEX 2010) and the flagship XL series. It will also consolidate its digital printing initiatives under its Linoprint name with Linoprint C moniker for commercial printing machines (co-developed with Ricoh) and Linoprint L for labeling and packaging.

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EskoArtwork (Hall 8b)

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Esko will be launching the latest iteration of its packaging and signage software, Suite 12 as its central product at this year's drupa. The new features will focus on Web and mobile tools to allow brand owners to remotely affirm designs, colours and production. The company will also launch Kongsberg’s XN, a mid-range cutter aimed at finishing digitally printed jobs, such as signage and packaging. Finally, the company celebrates the 15th birthday of Enfocus PitStop software with an update to Version 11, including automation through JDF and XML.

While introduced in prototype form last drupa, the JetPress 720 will return in commercialized form and run continuously on Fujifilm’s stand. It will be joined by an as-yet-unnamed B2 format carton-printing variant, slated to ship in 2013. Fujifilm has also enhanced its XMF workflow system with new modules which focus on colour management, enhanced MIS connectivity and mobile device support. Finally, the Brillia HD LH-PXE, a new long-run (up to 500,000 impressions unbaked), low-chemistry plate will be shown, targeted for an immediate release after the show.

While keeping most of its new technologies under wraps, Xerox has themed its 2012 drupa showing around the famous acrobatic troupe Cirque du Soleil, with daily performances scheduled. The company will show off its CiPress 500 Production inkjet system along with a new line of light production monochrome toner machines known as the D95/D110/D125, named according to production speeds.

Landa (Hall 9)

Screen (Hall 9)

Benny Landa, famed founder of Indigo, will show off his new technology known only as “Digital Nanographic Printing” which promises ink drops the size of a germ and could possibly mean the end to clogged nozzles. His new company, known as Landa, was founded after HP’s acquisition of Indigo in 2000.

drupa 2012 will see the commercial launch of the B2-format TruePress Jet SX, which was introduced at IPEX in 2010. The inkjet machine has upgraded specs compared to the IPEX model: it is able to produce on boards of thicknesses up to 0.6mm. Screen’s Truepress Jet520 gets a web inspection option called JetINspection JI-500, which analyzes each page against RIP data and flags flawed pieces for rejection during finishing.

Muller Martini (Hall 14) Muller Martini will show 10 pieces of equipment at its booth, covering all of its business divisions.

Goss (Hall 17) Goss will be showing single units of its printing presses, both in static and live demonstration versions. The company will be introducing its ColorLiner CPS and Magnum HPS newspaper presses, the latter of which is targeted to the Asian market. Goss' packaging zone will have two new Sunday Vpak packaging presses. Goss claims both machines to be up to 200 percent more productive than its sheetfed counterpart. Finally, the 96-page Goss Sunday 5000 will show off its quick plate and blanket changes.

Xerox (Hall 8b)

KBA (Hall 16: 4th largest booth) Wurzburg-based KBA will be showing the fruit of its collaboration with RR Donnelley, which was first announced in March last year. Called the RotaJET 76, the device uses water-based pigment inks to print on web widths of up to 30.7-inches to produce up to 3,000 A4 pages per minute. KBA will also show its new Rapida 145 press, which prints at up to 17,000 sheets per hour (15,000 in perfecting mode). The Rapida 105, 106, and 76 will also be shown with new enhancements.

Kolbus & Timsons (Hall 16)

Komori (Hall 15)

In a collaboration between two companies, UK-based Timsons and Germany-based Kolbus will show off an inkjet book production line. The T-Press, a 53-inch inkjet web press will use Kodak’s Stream technology and be shown at drupa connected to a Kolbus SF 832 sequential feeder and KM 200 perfect binder. The companies say they are targeting the production of titles that have prints runs of between 500 and 2,000 units per order.

Komori will have a strong stable of new machinery for Dusseldorf. Headlining the company’s new offerings is the recently announced collaboration with Konica Minolta in producing both a B2-format web press and a 29-inch sheetfed press. According to the company, both devices will be commercialized within one year. On the purely offset side, Komori will demonstrate a new 41-inch, H-UV-equipped, carton press called the Lithrone GX640 and a four-colour, 37-inch sheetfed offset press known as the Lithrone A37.

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Concept-brands Leverage Packaging to Drive VQA Wines athy Cannon, Director, Wines, at the Liquor Control Board of Ontario (LCBO, Toronto) says innovative concept-brands and a corresponding influx of new packaging techniques in the wine market are propelling sales of Ontario VQA wines sky high. Concept-brands create a meaning greater than any given product or service delivered under that brand name. Apple provides the ultimate example, because the company manufactures and markets various electronic goods, all of which are recognized for being easy to use, yet powerful, while looking very cool. And now the same concept-brand trend is hitting Ontario VQA wines. The Ontario VQA label is a quality designation from the Ontario Vintners Quality Alliance, an independent authority overseeing the province’s wineproduction standards. Cannon, who heads up LCBO’s entire buying and inventory team for both domestic and international wines, explains: “For a long time, Ontario wineries relied on outdated packaging and the assumption that, if it’s a great wine, it will sell. But like it or not, buyers of the Ontario VQA category are buying based primarily on packaging and whether they can relate to it. “So for about the last three years, less traditional kinds of labels have put a different face on the category and taken away the pretentious side of wine. The new packaging is funky and fun. It leaves customers not feeling intimidated and gives them the confidence to shop around and pick up products with intriguing packaging and try them. VQA wine doesn’t look like something my parents drink any more.” Cannon confirms that the new products driving growth are mainly less expensive wines (in roughly the $10-$15 price range) targeting younger, entry-level customers, who are not brand loyal but crave something new and exciting. “It’s not just happening with wine,” Cannon clarifies. “Whenever we put new things out that have funky packaging and a neat name – poof! They’re instant sellers to younger customers who want to be on top of the trend.” Cannon says the new style of wine branding coincides with a trend in Ontario and worldwide to produce

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14 • PRINTACTION • MARCH 2012

“The idea is to attract people to buy wine throughout their lifespan as a consumer, so we offer a big selection of conceptbrands that allows introductory customers to shop around and have fun in the VQA section, then, when their palate is ready, move up into the more premium wines LCBO sells in the Vintages section.” Cannon reports that, as a result of new products, branding, and packaging over the past two years, the LCBO has seen double-digit growth of 16 to 18 percent in Ontario VQA sales – a level significantly outpacing their total wine sales, which grew four percent. Innovative brands at Henry of Pelham

Truth or Dare Wines Your turn! www.legendsestates.com/truthdare Please enjoy responsibly. Visit the LCBO for details and/or purchase. Truth # 213975, Dare # 213967 & Sparkling Rose # 213959

new wines consisting of a blend of several grape varietals (e.g., Riesling plus Chardonnay). She says the blends are designed for wider appeal and describes them as “easy drinking – milder, tastier, not overly sweet but off dry, with a lot of fruit but not a lot of tannin.” She explains that the strategy behind all these changes is to build the base of Ontario wine shoppers and get the current shopper to buy more over time: “We recognize that younger customers around age 25 have fewer responsibilities than older adults and thus higher disposable incomes and higher levels of alcohol consumption. So we wanted to reach them at the tipping point of moving from coolers into wine.

Cannon credits Henry of Pelham Family Estate Winery (St. Catharines) with pioneering the new Ontario brands. Traditionally, the winery’s Henry of Pelham brand has always focused on classic premium wines and emphasized the winery’s heritage, commencing with its namesake, settler Henry Smith of Pelham. The company’s branding departure came in 2008 with the launch of Sibling Rivalry, a portfolio of three wines with colourful, hand-drawn graphics emphasizing the personalities and lighthearted partnership between the three brothers Paul, Matthew, and Daniel Speck, who founded the winery with their father and still run it today. “The Sibling Rivalry branding tries to make the wine easy and approachable. It suggests fun and special occasions, especially by the way we are dressed on the label – in blue jeans, but expensive designer ones,” says Daniel Speck, VP Sales and Marketing. “Because of the winery’s association with premium brands, the wine has to be of good quality, but in this case it’s three different blended varietals – red, white, and pink – one for each of the three brothers. “The fact that Sibling Rivalry was such a big hit came as a surprise. We were terrified when we did it, but we felt we had to. So many new wine products are being launched into the LCBO that the old guard was feeling their limits, and then the economy went off a cliff, so we needed to bring something new to market. It wasn’t really how we saw ourselves, and our real fear was, if it

was a total flop, it could also do some damage to the original Henry brand.” Following the success of Sibling Rivalry, they launched their next new accessible concept-brand in 2011: House Wine Co., consisting of a white Riesling Pinot Grigio and a red Cabernet Shiraz blend with labels resembling writing on a chalkboard and more marketing rubric aimed at banishing wine snobbery; for instance: Does good wine have to be complicated? At our HOUSE, we believe too much stuff gets in the way of simple pleasures. We go to our favourite resto and say “just bring us what YOU like, we trust you” and it’s always awesome. “The House branding creates a climate for long-term storytelling, as well as the growth of our customers as wine consumers. I love going to a local barbeque joint in blue jeans with my wife to drink beer and eat pulled-pork sandwiches, but we also got dressed up and went to the Ritz-Carlton for our anniversary. In the same way, customers can be in two mind spaces. People can drink House one day and Henry the next, depending on the occasion and their state of mind. The reality is people are not as brand loyal as they used to be, so we see more brands being developed so wineries can hold their volume and grow their business,” says Speck, whose winery plans to launch two new line extensions of the Housebrand portfolio in the coming months.

Saving the planet at Château des Charmes

Michèle Bosc, Director of Marketing at Château des Charmes (Niagara-on-theLake), says the fastest-growing cohort of wine consumers is the Millennials, who are willing to spend more disposable income on experiences like visiting wine country. “The younger generation is also interested in the local movement, in wine as an agricultural product, and in saving the planet. And the social-media revolution has transformed food and wine from being topics for geeks to subjects for everyday people. As a result, our marketing has to appeal to all these factors.” Bosc has engaged with the socialmedia wine community for at least twoand-a-half years and adds QR codes to her product labels: “QR codes make our labels dynamic for tech-savvy Gen-Yers. Typically, conventional labels are printed once a year, and the information stays static on them until the winery sells out of that vintage. But QR codes enable consumers to obtain the most current information on our winery’s Website – even while they are drinking our products at a reception, where the codes act as a more trendy and environmentally friendly form of advertising than a stand-up cardboard display.” Bosc’s marketing collateral details how her father-in-law, Paul Bosc, who founded the winery, established sustainable agri-

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MARCH 2012 • PRINTACTION • 15

FEWT! Y AL ONLM S EF ROO

culture from the beginning, and how their environmentally conscious packaging uses FSC-certified papers, lighterweight glass, and screw caps only sparingly, since corks have a significantly lower carbon footprint. They donate a portion of profits from two of their wines to the Toronto Zoo, while their recently released Generation Seven wines, comprising an easy-drinking white and a red blend, raise funds for a Canadian youth anti-hunger charity called Meal Exchange. The Generation Seven label shows a tree with a trunk resembling a DNA strand and seven framed caricature-like portraits in its branches, representing seven generations of the Bosc family who built the winery. “Generation Seven is also an ages-old ecological concept that says we must consider the decisions we make today for seven generations into the future,” adds Bosc.

Tattoos and Love Potion at Legends Estates

Legends Estates Winery in Beamsville, Ontario, collaborated with a renowned local tattoo artist to design a three-wine portfolio called Truth or Dare, launched about a year ago, and consisting of a fresh white blend (Truth), a bold red blend (Dare), and a sparkling rosé. “I wanted a concept that would entice a demographic aged 19 to 40 to try wine instead of another alcoholic beverage,” explains Legends Vice-President Paul Lizak. He says the brand’s plastic-sleeve bottles are more common for alcoholic spirits than wine: “While a conventional wine label costs 10 to 15 cents, a shrink-wrapped sleeve like this costs 45 to 65 cents; but we felt it was important to use the sleeved bottle as a showpiece, because people shop with their eyes first.” The sparkling rosé’s price tag of under $20 is rare, but Legends makes the wine using an unconventional tank-manufacturing process that helps keep the price Continued on page 34

16 • PRINTACTION • MARCH 2012

NICK HOWARD

The Trickle-up Effect to Industrial Digital ne of the more interesting developments with traditional lithographic press makers over the past couple of years has been their partnership with press makers from what is commonly referred to as the digital world. Four of the largest litho press makers, Heidelberg, KBA, Komori, and manroland have all announced varied forms of distribution deals and joint development projects, which will truly begin to take form this May at Germany’s massive, quadrennial drupa tradeshow. Heading into drupa we have seen more specific information coming out about these recent partnerships, including Heidelberg working with Ricoh; KBA with R.R. Donnelley; manroland with Océ (Canon); and, most recently, Komori with Konica Minolta. The distribution portion of these joint ventures centre around toner machines, as the developers of digital hope to leverage long-established channels of litho press makers. Some of these toner-based ventures will involve OEM-type plans, with rebranding and integrating higher-end controls for commercial printing, but there is little doubt that most of the R&D shared between these new printing partners is to instead focus on the production potential of inkjet machines. In relation to their speed and format

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size, excluding the potential impact of HP’s new 29-inch Indigo 10000, tonerbased presses by and large have found their niche in the commercial printing world. A majority of commercial printers have installed some sort of toner machine and are now looking for next-generation, more-productive replacement devices. With their commercial-market expertise, litho press makers will certainly help in this regard, but, the true focus of development is with inkjet systems because speed and format size can be expanded to capture more pages – signatures – within the commercial-printing space.

While new inkjet-based production machines, both sheetfed- and web-fed, will be unveiled at this year’s drupa show, most will be in either a prototype form or in the early stages of commercial release. To this end, we will also see the revival of the single press unit, as inkjet developments are integrated onto traditional litho presses. The single-unit printing press is a near-obsolete machine in the litho world, but the laboratories of inkjet giants are working diligently with litho players to mount single units without the need for colour control, blankets, water, etch or plate – this is the beginning of the future.

In the new pressroom there will be a simplified process that could re-define and potentially eliminate the long perfector. Consider how even a 16- to 32-page web press can radically change. The future is coming, but, as any profitable printing company knows, one cannot rely on the unproven without putting your business at risk. In other words, litho, even at the next drupa 2012, will remain front and centre. There is still a lot of work to be done for inkjet to truly steal pages from litho, but these joint ventures – unheard of 10 years ago – hold enormous potential to alter the future of printing with what can be classified as industrial digital systems. Current industrial digital

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Joint ventures between lithography and digital press makers are a strategic way for interested parties to cover all the bases in a changing print environment. Certainly, we have seen such development in the past, even from the smaller press makers like Miyakoshi, Hamada and Ryobi who, for many years, used their press-making skills to provide components for the likes of HP, Presstek and Océ. The renewed engagement of traditional sheetfed and web offset press manufacturers, which better understand chassis and transport systems for running high-volume production and handling larger sheet sizes, holds enormous potential to build industrial digital machines that will forever shatter the traditional printing platform. In a nutshell, the trickle-up effect of industrial digital has the potential for lowering the costs of print, but to reach this point companies need industrial iron platforms that can bridge the gap. Consider, for example, how Inca Digital relied on its development partnership with Thieme, a technology giant from the Continued on page 38

18 • PRINTACTION • MARCH 2012

CATHERINE CARTER

Giving Success the Green Light ow times have changed. Once viewed as a marketing savvy way to win business and create a unique selling point, an environmentally responsible approach to print production is now an essential business tool for leaner, more profitable operations of all sizes as will be widely demonstrated at drupa 2012. Ultimately the aim of environmental sustainability is to minimize the impact of any action on the environment while taking into account employment, income, society and local economy. For the energyintensive printing industry, which also relies on utilizing wood pulp, producing pulp and paper in a way that minimizes negative environmental impact must take into account the overall production process emissions, water consumption, solid waste production, energy consumption and their related emissions and air pollution. Companies should also ensure that a comprehensive waste management chain effectively handles and disposes of any waste that cannot be reused or recycled. For printers, steps toward a more positive environmental impact could be as simple as recycling paper in-house or making the right paper, ink and glue choices to aid recyclability, reviewing transportation measures, and educating staff to ensure lights and computers are turned off at the end of shifts. Or they can make complex steps such as attaining environmental accreditation schemes like the Eco-Management and Audit Scheme (EMAS), a management tool for companies and other organizations to evaluate, report and improve their environmental performance, or ISO 14001, that addresses various aspects of environmental management, analyzing energy consumption of pressroom and post-press equipment

before purchasing or investing in ways to harvest energy from renewable sources. Industry consultant Davide Biancorosso says entrepreneurial Italian companies have installed solar panels to generate their own electricity and in some cases generate more power than they need so the excess can be sold back to the national grid. Australian Vega Press took a different approach and scooped the Heidelberg Eco award for Sustainable Innovative Solution after coating its roof with a special reflective surface to stop the sun’s UV rays getting through. Together with highly efficient building insulation, this has reduced the cost of the air conditioning, electricity consumption and therefore harmful greenhouse gases. Understanding the drivers

Research by Trucost, an organization that helps clients understand the true cost of business in order to use resources more efficiently across operations, supply chains and investment portfolios, reported the world’s top firms cause $2.2 trillion of environmental damage via pollution, with greenhouse gas (GHG) emissions serving as one of the top contributors. GHGs along with quantities of waste (disposed to landfill, incinerated or reused and recycled) and the release of volatile organic compounds (non-methane VOC) are the printing industry’s main impacts. The key drivers to embracing sustainable practices, to address these impacts, are: legislation, end-user and economic, as well as dedicated business owners. There are a myriad of international agreements, commitments and legislation that affect operations in the industry such as the Kyoto Protocol and the International Organization for Standardization (ISO),

Carbon Reduction Commitment, Hazardous Waste Regulations, Integrated Pollution Prevention and Control (IPPC), Local Air Pollution Prevention and Control (LAPPC), REACH and Waste Electrical and Electronic Equipment (WEEE). Adhering to the law or international agreements, however, is not enough when it comes to making a significant reduction in an operation’s environmental impact. That is why companies look to certification processes such as IS0 9001, the quality management system designed to help organizations meet the needs of customers and other stakeholders, ISO14001 and EMAS for a more structured and end-user recognized approach. All require a thorough recording and review of processes and actions undertaken as well as year-onyear commitment. Standard compliance

Alex Jahanbani, ME Printer Editor-inChief points out that customer demands to comply with international standards forces companies in the Middle East to apply for environmental certifications. He states that although Environment Management Systems are not mandatory,

in the future, printers will be forced to adopt environmental policies and laws to regulate print operations and bring in sustainability to help end users improve their reportability and accountability. Davide Biancorosso highlights Italy’s adoption of directive 2008/99/EC on the protection of the environment through criminal law. He says it should: “Encourage more companies, especially those that serve the large customers to adopt an environmental management system, be it a ISO 14001 certification or EMAS registration.” The next greatest influencer is the enduser. After all, firms that do not meet the tendering criteria will not win the work. Paper sourced responsibility is one area that features highly on tender documents with Forest Stewardship Council (FSC) and Program for Endorsement of Forest Certification (PEFC) grades frequently requested. In fact, in Italy the number of printers certified doubled from 2009 to 2010 and this trend looks set to continue. FSC certification now covers more than 125-million hectares in over 80 countries. Over 226 million hectares have been PEFC audited in 30 countries. Continued on page 42

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As we approach yet another technology cycle, PrintAction’s Iron Index is reflecting the change in emphasis when it comes to production. Produced for more than a decade, the purpose of the Index is to chart the technological trends of a broad spectrum of printers in Canada – the vast majority of which we have tracked for over a decade. In the past year, we have witnessed a rising investment in inkjet printing technologies, though its impact is only starting to be seen in companies’ production ratios. As production inkjet technologies continue to mature, the shift from offset, and even toner, production will no doubt continue to be felt. PrintAction would like to extend its thanks to all the companies who recognize the importance of the Index by taking time to respond to this unique Canadian survey. Special thanks goes to students of Ryerson’s Graphic Communications Management program for assisting in updating this year’s list.

20 • PRINTACTION • MARCH 2012

The Iron Index is not available in the digital edition of PrintAction. If you are a subscriber, please refer to your printed edition for the full listing.

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reasonable. Lizak says the winery hosts a lot of weddings, but they never had a sparkling wine to offer guests until now. He wanted to label the rosé “Love Potion”, but LCBO turned down the name because of its supposed implications of sexual prowess. “Their response didn’t really make sense to us, when LCBO already has other names like Fat Bastard [one of the newer, uncharacteristically cheeky French labels] on the shelf,” he laughs. Another of their recent brands, aimed mainly at women, called Diva, contributes some of its profits to a local women’s shelter. Next Legends plans to produce an exclusive new premium wine for Vintages. Consumer engagement and foreign markets for Pillitteri

Straight Up is the new brand of red and white blended wines launched last year by Pillitteri Estates Winery (Niagara-onthe-Lake). Like other new VQA brands, it is skewed towards the younger market of “aspirationals” – but especially towards women, who are the primary wine purchasers among youthful consumers aged 20 to 25, according to Jeff Letvenuk, Pillitteri’s Marketing and Media Relations Manager. Straight Up’s labels are clearly addressed to people who don’t know anyPRINTING EQUIPMENT

34 • PRINTACTION • MARCH 2012

thing about wine. For instance, the white wine’s label reads: You’re bright, fun and easy going. You love to enjoy a glass of crisp, refreshing and delicious wine on a sunny patio or while relaxing on a hot summer day. You know what you want, an easy drinking, great tasting WHITE. You can’t be bothered with all those fancy names you can’t pronounce – gew-urz-tra-what? And let’s be honest, what wine doesn’t go with chicken? The label also provides such basic information as which foods the wine goes with, the exact temperature to which you should chill it, and the size and shape of glass in which you should serve it. But one omission on Straight Up’s packaging is the Pillitteri name. “We consider it a secondary brand and a distinct entity that requires a different type of marketing, more of a beer approach,” explains Letvenuk, whose tactics for Straight Up include social-media marketing and attractive young brand ambassadors, who distribute wine samples, beads, sunglasses, and other giveaways at major events likely to attract the target demographic. Letvenuk expects their next venture, scheduled for launch this summer or fall, will be even more heavily consumer driven. Letvenuk explains that, unlike Straight Up’s keep-it-simple approach, packaging

for higher-end wines, aimed at established wine drinkers and high-knowledge consumers, uses thicker glass, unique bottle styles, and a more prestigious-looking label with more and different information. Thus Pillitteri’s Exclamation brand, aimed at affluent Baby Boomers, has a label made of pewter and is inspired by a work of modern art owned by the winery. Unlike many other Ontario wineries that sell their products mostly in Ontario or other Canadian provinces, Pillitteri markets its wares aggressively to over 30 different countries. Letvenuk uses several different label suppliers, including one producer of shorter-run digital labels for foreign test-marketing in places like China, where he says consumers want all wines to have a very traditional look. He especially appreciates label suppliers who offer him not only original designs but also new technologies for embossing, 3D textures, holograms, and other enhancements to keep things looking fresh, since the LCBO requires wineries like his to reinvent their products every three to five years.

Girls rule at Colio Estate

Cannon identifies one of the best launched Ontario brands as Girls Night Out (GNO) by Colio Estate Winery (Harrow), a brand targeted directly to women. Doug Beatty, VP Marketing (Mississauga), says the b r a n d - co n c e p t originated in his discussions over the kitchen table with his wife and daughters, plus the fact that women account for a majority of all household purchasing decisions. “The expression ‘Girls Night Out’ may mean something different to every woman you talk to, but it always carries a sense of respite from the drudgery of everyday life, a sense

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of empowerment, and an exclusive realm that we guys will never belong to,” says Beatty. He sought approval for the label designs, each showing a different style of dress, from a circle of close female friends before taking them to the presentation stage. “At the time, things were still male-dominated at the LCBO, as well as with my own management and ownership team. So one of the biggest hurdles we faced was selling the concept. But when I showed it to women, it resonated with them. “As the concept evolved, I struggled to keep all male opinions away to avoid compromising both the concept and the integrity of the product, because women will not put up with anything that speaks to them of deception and patronization,” he explains. Today the GNO portfolio consists of seven wines, some blended and some single varietals. In 2008, Colio launched the first three wines at Buff Nail Lounge in Toronto, so guests could enjoy manicures and pedicures while sampling the products. A portion of proceeds from every bottle sold was donated to Girls Helping Girls, a charity that assists female college students in financial need. For GNO Rosé’s 2011 launch, AllStick Label Limited designed a label with a likeness of a sequined dress requiring a technically challenging combination of foil and a pearl finish. PRINTING EQUIPMENT

36 • PRINTACTION • MARCH 2012

In 2010, Colio launched four GNO flavoured wines with a light alcohol content, fruit flavour profile, and names like Tropical Tango (grapefruit/ pineapple/lemon) and Citrusberry (blueberry/ blood orange). At first Beatty thought the flavoured wines might diminish the reputation of Colio’s VQA products, but he also recognized that women might drink Chardonnay with a meal, but might want to drink something more fun while sitting around the pool. Like Speck, he ultimately decided the new line extensions were a way of speaking to the same audience on different occasions. His future plans include marketing partnerships with large retailers and female-targeted movies, as well as expansion into most of the world’s major English-speaking markets Cannon says other countries, especially in the New World, have climbed on similar bandwagons, but that Ontario is by far the current world leader in innovative wine brands: “Recently we had a French conglomerate visit which commented on how great our Ontario VQA section looked and thought the French had a lot to learn from it. It’s exciting for Ontario winemakers, because for a long time they were chasing and copying every other country. For once, other countries are looking to Ontario as a leader.” Victoria Gaitskell is keen to exchange ideas with readers at victoria@printaction.com

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screening-printing world, to build the game-changing Onset S70 – now printing on materials at speeds of over 6,458 f 2/hr. This machine and others like it will forever change the screen printing world. Agfa built its web-fed, single-pass Dotrix inkjet system with a chassis from Edale, a large technology player in flexography. Conceptually it’s not much of a stretch to imagine a 40-inch inkjet press with a very large impression cylinder and a multitude of imaging heads mounted over it. Maybe it perfects and duplicates the same thing on a second unit. However, if this near-future machine arrives – if it is to make true inroads into commercial printing – it must be inexpensive and not tied to the click-charge model associated with toner-based presses. The inkjet inks, which are currently a clear consumables target for the press makers, must have better density properties and ultimately be less expensive. Finally, the service or maintenance

inkjet presses will fit into specialized applications. While this technology position can surely by leveraged by smart printers with niche work, expanding these systems into a 40-inch sheetfed inkjet press for more general commercial work will also carry a much higher price tag. Getting a finance package on one’s own when machines are currently at a much higher cost than litho – a lot higher – will be a challenge. Cost of ownership is a massive issue, as it covers not only the costs of running the machine but also maintenance. If the heads cannot be serviced easily and at least past 5-million sheets without reconditioning, this becomes a problem because litho, with its mature construction and features, can still clobber digital with price and quality. Litho remains viable because it’s a lowcost tool to produce work in the 29- to 40inch-format size. This will continue until inkjet can showcase a similar platform that runs almost as fast, costs virtually the same, and has similar maintenance costs. Working from a roll is not practical for most commercial printing operations.

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of a commercial inkjet press, whether sheetfed or web-fed, must be reasonable and not subject to very expensive cleaning or repair. The limitations of developing a truly commercial inkjet press can be classified into three key categories: Speed, price and cost of ownership. Speed is definitely a detractor for all current digital or direct to paper technologies. I believe speeds must reach at least 10,000 to 12,000 sheets per hour (sph) in order to attract mainstream attention. Fujifilm’s Jet Press 720, which is clearly in the lead market position for sheetfed-inkjet-press development, only carries a throughput of 2,700 sph in a 20 x 29-inch format. A relatively slow-speed device – when compared to current litho speeds – with a large sticker price, predominantly determined by the cost of print-head technologies and integration, suggest current 38 • PRINTACTION • MARCH 2012

The roll has a fixed width and is not easy to handle. Certainly its fine for book innards, transactional or direct-mail applications, but we need a machine that works like a sheetfed press and can handle any size and thickness up to at least .8 mm (.032 inches). That’s what commercial printers need to see at drupa 2012. Some manufacturers point out that initial cost of the machine is not the issue, but rather cost per sheet. They have a point. With the complications of needing to pre-coat an offset or uncoated sheet (prior to print), however, some familiar questions arise relating back to the mid1990s arrival of Direct Imaging presses. Heidelberg’s GTO-DI, as well as its later SM 74-DI press, had significant issues in terms of cost of operating. Although revolutionary at the time, these presses imaged onto plates then blankets and ultimately Continued on page 40

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Howard Continued from page 38

lost favour with many commercial printers because of the cost per thousand sheets. At Drupa 95, the biggest draw at the Heidelberg booth was not the 8-colour perfector, but the Quickmaster DI-46. Heidelberg sold hundreds very quickly. Just as fast, many buyers soon realized the limitations in size and cost of maintenance left little or no financial return. All these early attempts were part of the process to take us to the next step. Some call this “bleeding edge technology,” because there is a lot of blood left on the floor. KBA in joint development with Scitex created the Karat: A very unique 29-inch version of a direct imaging press. But, again, the higher costs per thousand relative to litho – along with its limited format (4-colour + coat) – left this machine in a very narrow market space. Komori’s Project D, which launched at drupa 2000, became the first 40-inch sheetfed press with imaging heads, but this design too was plagued with high costs and only incremental savings compared to litho.

does not apply to print and is instead typically used when specialty equipment is directly tied to a product. This allows finance people to write-up a credit based on the much lower costs of manufacturing print and then rationalize. Currently most digitally driven technologies, whether CTP or a toner-based press, are on a very short technology cycle. Valuations struggle to reach a 5-year end-ofterm value because it’s known that technology drives these machines more than longevity. When speeds of output change or hours of use go beyond a certain limit these machines take a big hit in value. The distance between a machine built in 2005 and one today is huge and often means mothballing or even scrapping the unit. Re-sale is also very difficult because most equipment has proprietary parts or software tied into service contracts. This has always affected the photocopier business. I recently had a discussion with a major leasing company. They were looking at a deal for an inkjet-based platform. The price tag was over $1 million. Being HP Inkjet Web Press T400

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The workflow flexibility of CTP essentially destroyed the on-press imaging business. The PAX-DI, a joint venture between Presstek, Adast and Xerox, was another version of the SM74-DI concept, but it also struggled with similar issues. These early press versions still transferred onto blankets, needed some sort of plate material that had to be mounted, and the heads were both delicate and costly to maintain. The technology leap in hindsight was just not there. Future industrial digital

Let’s fast-forward five years: If, in fact, the industrial digital platform arrives how will it affect financing? There are two primary issues for commercial printers to consider. The first is complex and involves how the financial community will resolve to provide loans and leases. Litho equipment can be rationalized but what about a completely new inkjet platform? This brings forth the second major issue with valuation. Radically new technology creates havoc when it comes time to appraise a piece of equipment. The new value is known but with the commonly recognized approach to value – Fair Market Value – there may need to be an agreement to seriously look at the little used “Income Approach” as the main criteria for advancing funds. The Income Approach traditionally

new, it threw a wrench into standard riskbased analysis and they were struggling for insight as to where this technology would be in five years. The reality is that it is currently impossible to forecast valuations or even depreciation, as we are just now seeing heavy-duty, larger-format equipment on the horizon. Banks will have a difficult time coming to terms with value. Unless speeds increase, costs go way down and litho-type dependability is on offer, the Industrial Digital future won’t be arriving en-masse to the world’s pressrooms right away. Other than the few avant-garde printers out there who want to be on the edge of technology, the rest of us will soldier on with what works and right now nothing in the mainstream commercial segment works better than modern litho technology. While it took Benny Landa’s Indigo technology a relatively short time to capture the imagination of the printing world, it filled a niche production space in commercial printing, based largely on the shrinkage of run lengths. Now we wait and see if inkjet presses can go further and capture traditional litho pages. Nick Howard has been involved in the printing industry since 1976. He manages Howard Graphic Equipment Ltd., which has been involved in the supply, sale, rebuilding and appraisal business since 1967. Nick can be reached at: nhoward@bellnet.ca.

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tified but this management standard is designed to help any business, not just those in the printing industry, reduce their environmental impact and not to measure the carbon footprint of individual products. The formal framework of 16759, against which print media products can be measured and the results certified, will enable printers to confirm to their customers that the carbon footprint for the print they produce complies with an international standard. And print buyers want the assurance that a printerâ&#x20AC;&#x2122;s calculations are transparent, clear and comparable across sectors and geographies. It is hoped that ISO 16759 will encourage media buyers and consumers to think more carefully about how they invest in and use media. The standard is designed to provide data that will enable comparisons of the carbon footprints of different print media products. However, it is structured in such a way that one could also use it to compare different media products, which should provide the printing industry with the basis for valid and comparable media footprint evaluations, including electronic media. While strong incentives to encourage operations to review their carbon footprint are all well and good in Australia there are mounting concerns about a controversial proposed carbon tax. Wayne Robinson, Editor of Australian Printer, warns: â&#x20AC;&#x153;Many in the printing industry think this will send print offshore, as effectively Australian printers will have to pay a tax on the printed products, whereas overseas printers wonâ&#x20AC;&#x2122;t, even though they are selling print into Australia. This puts local providers at a disadvantage.â&#x20AC;?

End user demands are driving companies towards adopting new purchasing policies and management, states Biancorosso, adding: â&#x20AC;&#x153;Italy is full of printers who first moved towards sustainability and then validated what had been done with Life Cycle Analysis and in some cases with labeling.â&#x20AC;? He continues to explain how the Italian association of manufacturers of paper Assocarta has been working hard to educate consumers about how traditional print has less negative impact on the environment than people think. It has sought to reinforce the value of print and collaborate both nationally and internationally to dispel myths that saw the industry as a deforester and high polluter. Compared to previous years, there has, therefore, been a strong increase in the chain of custody certification accompanied by a lesser but growing ISO 14001 and EMAS registration. In terms of investments, there has been a greater focus on more sustainable technologies, consumables and chemicals with low environmental impact. The Australian printing industry has also been highly successful with research showing it has reduced its environmental impact by 97 percent over the last 20 years, through cost-cutting exercises. The knock-on effect of the higher-profiled FSC and PEFC grades is the increased demand for recycled options. As a result the range of choice has expanded, too, so now printers can virtually pick the amount of virgin or recycled fibre they would like to match the requirements for the job or customer. Pressing initiatives Sustainable measures can be adopted as Carbon considerations part of day-to-day operations such as Interest in carbon neutral grades is installing an energy-efficient press. The increasing too, whereby manufacturers latter is where many press manufacturers offset the carbon dioxide emissions cre- are focusing research and development. ated when making their paper. CO2 is KBA has developed presses that can use made when burning fuels to produce the up to 40 percent less energy than its simisteam used to dry paper on a paper ma- lar sized counterparts, while its VariDry chine and generate the electricity re- Blue drying technology cuts power conquired. It can be offset by purchasing the sumption by up to 50 percent. equivalent amount of carbon credits from For Japanese printers, this issue has projects that have saved carbon dioxide. been brought sharply into focus by the If a company wants to mitigate the ef- March 2011 earthquake. Toshiyuki Namba, fect of manufacturing they can subsidize Editor-in-Chief of Insatsu Joho at Printing renewable energy/environmental projects & Publishing Institute, says large operaat other sites through the purchase of car- tions in Tokyo are legally required to cut bon offset credits creating the carbon neu- electricity consumption by 15 percent tral status. It should be noted, however, while small- and medium-sized printers that this is a de-regulated market and it is are trying to do so voluntarily. not always clear that the offsetting will reEmission reduction is also a key issue duce the overall impact. It is also better to and manrolandâ&#x20AC;&#x2122;s 900 XXL 7B press has reduce emissions in the first place rather been awarded â&#x20AC;&#x153;Emissions Testedâ&#x20AC;? status than simply paying for those created. by BG Druck und Papier (Employersâ&#x20AC;&#x2122; There are many companies that sell Liability Insurance Association of the credits while buyers and sellers can also Printing and Paper Processing Industry), use an exchange platform to trade, such as while Komoriâ&#x20AC;&#x2122;s presses have gained BG CE the Carbon Trade Exchange. The largest Emission Tested certificates by The Berufspot market for carbon credits is the Eu- sgenossenschaft Druck und Papierverarropean Climate Exchange (ECX), fol- beitung. There is also a concerted effort to lowed by the Chicago Climate Exchange run alcohol free to reduce the need for (CCX) in the United States. harmful chemicals, as well as investment Currently there is no international stan- in waterless printing. Waterless printing dard for printers on carbon impact reduc- provides operations with a unique selling tion but the forthcoming ISO 16759 should point that combines high-quality, colour address this. It pulls together the various consistent print with sustainable credencarbon calculators used throughout the tials creating an environmental proposiworld in the printing industry, to provide tion and enabling printers to add value. international accountability and transFogra Graphic Technology Research parency. Many printers are ISO 14001 cer- Association, which promotes print engi-

neering and its future-oriented technologies in the fields of research and development, is committed to ensuring chemical products used in printing, such as cleaning solvents and fountain solutions, are environmentally friendly and meet health-and-safety standards. It says the requirements concerning chemical products for printing are increasing and as such so is interest in its own certifications. Fogra spokesperson Rainer Pietzsch, says: “The system of testing and certification of sustainable products by Fogra is well known and accepted. Whenever additional requirements arise in the market, the criteria for testing and certification will be adapted.” MOVING & INSTALLATIONS

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With high VOC content, it is not unsurprising how inks are placed under the sustainable spotlight. Happily now with forecasts to 2016 predicting the continued introduction of less environmentally harmful formulations and chemicals, the emphasis will be on eco-solvent and water-based versions of liquid inks replacing more active solvent systems (those responsible for VOCs). Predicted too is a significant rise in the use of radiation-cured ink systems with electron beam (EB) joining UV. There is an increasing trend for wide-format printers to adopt eco-solvent printers while another major change is from traditional light sources to the more energy efficient LEDs.

Also to be considered are the presence of hazardous air pollutants (HAPs), typically, commercially available in solvent-based inks. To improve transparency, the National Association of Printing Ink Manufacturers (NAPIM) in the United States has a rating system for inks based on their renewable content, known as Bio-derived Renewable Content (BRC). NAPIM also says bio-derived renewable materials such as oils from plants and trees can be used in place of petroleum-sourced materials. In fact, Stehlin Hostag Ink’s Inkredible sheetfed offset inks (Stehlin Hostag is part of the huber group, represented in Canada by Hostmann-Steinberg) are based on eco-friendly raw materials. In-

novation in digital printing inks include HP Indigo’s ElectroInk, that has a new particle grinding process cutting energy consumption by up to 40 percent and Xerox’s XPIS hot melt inks that eliminate the need for further fixing or fusing treatment. Deinking success

Until only recently the majority of digitally and inkjet printed stock could not be recycled because the inability of the sheets to be de-inked – a result of the paper coating ensuring printability. Deinking enables Hydrophobic (water-repellent) ink particles to be separated from hydrophilic (water-soluble) fibres. This is fine for offset and Continued on page 44

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gravure printing but water-based inks, such as inkjet and non-deinkable flexo inks, traditionally cannot be separated this way. Solutions are being sought by organizations such as the International Association of the Deinking Industry (INGEDE), which supports research in deinking and cooperates with other players in the field of recycling, as well as printing ink and machinery manufacturers, paper finishing industry and suppliers of additives. The Digital Print Deinking Alliance (DPDA) has also revealed that in recent trials nearly all of the inkjet print it tested successfully de-inked. Implementing the three Rs

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Sustainability is a vital element in any successful business’ growth development plans because taking steps to reduce, reuse and recycle are fundamental to cutting waste, improving working practices, legal compliance, gaining accreditations, winning new business, keeping shareholders happy and even engaging and retaining staff. Plus, it is part of every business’s responsibility to its market. The true cost of waste alone can be as much as 25 times the cost of disposal, according to The Carbon Trust, an independent not-for-profit company set up by the UK Government, and potentially as much as four percent of a company’s turnover. In UAE, the municipalities already have measures in place to combat this and insist companies recycle their waste and reduce their CO2, says Jahanbani. Also companies registered in the Dubai and UAE Free Zones that provide infrastructure and incentives to benefit business have to adhere to the environmental standards set by the free zone management. Alain Vermeire, Editor-in-Chief, Grafisch Nieuws, Belgium, says printers’ main motivation is clearly economics with the resultant green image second. He added that while printers should take account of sustainability in any investment and inform customers about sustainable practices, possibly via a sustainability report, green washing should be avoided. “It could be counter-productive,” he comments. He also warned printers not to focus only on green issues at the expense of short-term and long-term viability: “The challenge for the printer is first to answer the needs of its customer in a profitable way, and secondly in a sustainable way. If you forget the first, the second one becomes meaningless. For example Dutch company Chevalier International may well have been the greenest printer of the Netherlands but they went bankrupt.” With so much effort from all aspects of the print production chain focusing on addressing these issues it is clear that sustainability is extremely high on everyone’s agendas. As a result of a lot of hard work and positive action the industry has a very strong positive message to send and it is important that everyone is vocal about presenting it. Catherine Carter of Southampton, United Kingdom, provides freelance communications support for various printing entities, including Duomedia. She is a regular contributor to Print & Paper Monthly. This article was prepared specifically for printing professionals with regard for drupa 2012 taking place this May in Germany.

PrintAction Marketplace is the most effective way to conduct industry-specific trade. Whether it is excess equipment, employment offers or business opportunities, trust PrintAction to get your message read by the maximum number of relevant prospects. Email: classifieds@printaction.com • Tel: 416.665.7333 x37 • Fax: 905.752.1441 ____________________________________

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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. Call Joe at (416) 766-8519 ____________________________________

OTTAWA QUICK PRINT SHOP FOR SALE Great location in central Ottawa and motivated seller. All equipment included. Contact (613) 700-5269 or www.iprintdowntown.com ____________________________________

PRINTING BUSINESS FOR SALE Long established printing business in Kitchener, Ontario for sale. Low cost entry opportunity for sales motivated entrepreneur. Part time experienced employee available up to six months to ease transition. $53,000 includes business, equipment, customers. Email classifieds@printaction.com with "Box 3000" in the subject line if you are interested ____________________________________ FOLDER FOR SALE Morgana DocuFold MK2 folder, 2 years old, excellent condition. Upgrading. Call (905) 370-1875 ____________________________________ FOR SALE Heidelberg cylinders, foil stampers & diecutters : 22x32, 21x28, 15x20. Prefer to sell as a package deal. Email stormpress@hotmail.com ____________________________________ PREPRESS OPERATOR WANTED Prepress operator/lead person required. Minimum 5 years experience. Must have knowledge in Indesign, Photoshop, Illustrator and Quark. Good knowledge of imposition & trapping required. Email resumes: hrdept@west-star.com or fax to (416) 201-8885 ____________________________________ BOOKLET MAKER FOR SALE Standard Horizon FC20A/SPF-20 stitcher/folder/trimmer with Docufeed 150 booklet maker – $9,500. Contact Dave Bates (416) 504-9696 ____________________________________

FOR SALE Original Heidelberg cylinder die cutter size 55cm x 77cm (22" x 30-1/4") SBGS. Machine is in excellent condition, operation is very smooth and quiet!! The machine has been outfitted with new Ministry of Labour standards guarding. Email sales@bestprintingquipment.com or call (416) 908-2227, (416) 427-5915 ____________________________________ EMPLOYMENT OPPORTUNITY PCL Graphics in Toronto is a leader in environmental graphics. We are looking to add to our finishing department and the candidate must have the following attributes: passionate, detail oriented, critical thinker, motivated. Email raymond@pclgraphics.com ____________________________________ FOR SALE Well established printing company since 1974. West of Toronto. Digital, offset printing sales 350K+. Recurring customer sales. Profitable. Owner retiring. Call (905) 845-5471 ____________________________________

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Thursday, September 27, 2012 International Conference Centre, 6900 Airport Rd., Mississauga, Ontario 10:00 a.m. – 8:00 p.m. (includes lunch), sponsored reception at 4:30 p.m.

Contact Sara or Stephen for more information and to register sara@printaction.com • stephen@printaction.com MARCH 2012 • PRINTACTION • 45