May 2013

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CONTENTS Volume 52, Number 5 Features

14

Bright Likes, Big Tweety In Part 1 of a three part series on social media, Zac Bolan breaks down today’s four main platforms, before sharing the views of social-media gurus (Part 2) and how to implement a business plan (Part 3)

16

Flexo Finesse Three leaders from Canada’s flexography sector provide their perspectives on the current business environment and emerging technologies that are shifting the process into high gear

20

Technology Report: Carton Production Folding-carton production is still dominated by large-scale offset, with press makers continuing to introduce sheetfed innovation, as new inkjet and software begin to reach the market

:Jeti 3020 Titan Unbeatable, upgradeable wide format solutions

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NEWS Mario Plourde becomes CEO of Cascades, Kodak moves to sell Document Imaging to Brother, and Walmart Canada launches a one-million-run glossy

8

CALENDAR June 2013 Avanti wraps up its Users Group Conference, BCPIA helps develop the new salesperson and high-end CSR, and CMA presents the Content Marketing Show

10

SHOW grafik’Art Montreal A pictorial report of printers and suppliers who gathered at Place Bonaventure in downtown Montreal for the region’s printing exposition

t The only field upgradeable, scalable unit– configure to grow with your business needs t Lowest UV ink consumption–save ink, reduce costs t Extremely accurate–photorealistic quality with 6C printing t Print multiple boards simultaneously, with maximum productivity of 2,433 ft2/hr

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Build your business with uncompromising image quality.

NEVA MURTHA Dealing a Better Hand for Canada’s Boreal Canopy’s printing-sector campaigners describe why the Vancouver non-profit pulled out of the 2010 Boreal Forest Agreement and new initiatives in paper supply

Archive

30

May 1988 The Oilers sweep the Bruins to win the Stanley Cup, the Soviets withdraw from Afghanistan, and state-of-the-art prepress spurs Transcontinental growth

t Endless applications with in-line white ink

Contact us at: 800 540-2432 x 858 0288 www.agfagraphics.com

Resources 20 Services to the Trade Cover photo: Clive Chan

29 Marketplace MAY 2013 • PRINTACTION • 3

Announcement of Quebec / Maritimes Customer Service Addition We are proud to announce a strong addition to our growing National Sales and Customer Service team. Please welcome Ms. Marie-Claude Gray as Customer Service Representative and Inside Sales. Marie-Claude is fluently bi-lingual and focused specifically on the needs of our Quebec and Maritime customers. Marie-Claude will be pleased to discuss our growing portfolio of products which includes: ESKO digital workflow, OKI digital presses, photopolymer plates (solvent, thermal and waterwash), liquid photopolymer, platemaking systems, mounting & splicing tapes, corrugated mounting and printing supplies, doctor blades & end seals, rubber, metal engraving, anilox rolls, parts washers, cleaning solutions, press peripherals such as ink pumps and viscosity control, and a variety of sundry tools and supplies.

Marie-Claude can be contacted as follows: Office: 1-800-263-0236 x3012 Email: marieg@williamson.ca

PERSPECTIVE

Imaging Pioneer he printing world lost one of its true modern-day pioneers in April with the passing of Efraim “Efi” Arazi, at age 76. Described as the father of Israeli hi-tech by Israel TNational News, Arazi was the founder of three groundbreaking companies, including Scitex, Electronic For Imaging (EFI) and iMedia. Without completing high school, Arazi was accepted to the prestigious Massachusetts Institute of Technology, where he would work closely with NASA to help develop the camera that was eventually used to broadcast the historic Apollo 11 moon landing in 1969. A year before Neil Armstrong’s first steps on the moon, in 1968, Arazi founded Scitex Corporation and grew it to become one of the first Israeli hightech firms, at its peak employing over 4,000 people. Scitex also became one of the first Israeli firms to be listed on the NASDAQ. (In 2005, HP – the world’s largest technology company – paid US$230 million for Scitex Vision, the primary asset of Scitex Corp., which continues as a prominent imaging-technology brand today.) Arazi then founded Electronics for Imaging (EFI) in 1988. The San Francisco-based firm had 18 employees and earned $1.7 million in revenues after its first fiscal year. Serving as EFI’s first CEO, Arazi completed an initial public offering for the company in 1992. Two years later, fueled by Fiery, which is described as the industry’s first colour server, Fortune magazine named EFI the fastest-growing public company in the United States. Today, Fiery continues to drive many of the most-advanced imaging technologies, while EFI itself has grown into one of the world’s powers of imaging science. For the 12 months ended December 31, 2012, EFI reported revenues of US$652.1 million, up 10 percent year-over-year when compared to the same period in 2011. Arazi later went on to found another high-tech firm called iMedia, which developed tools for cable, satellite and terrestrial television operators to transmit video. In 2005, Israeli news Website Ynet named him the 148th greatest Israeli of all time based on a poll of its audience. “We are all deeply saddened by the passing of our founder and one of the most influential leaders in the history of our industry, and we send our sympathies and condolences to Efi’s family,” said Guy Gecht, current CEO of EFI. “Though no longer with us, Efi’s spirit of entrepreneurship, brilliant creativity and love of innovation will always remain at EFI.” 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

.com Advertise in PrintAction’s 2013 Buyers’ Guide and be included in the newly launched Online Edition ABSOLUTELY FREE! The Online Buyers’ Guide can also include company logo, display advertising, company profile and link to company website – all for one low price!

Contributing Writers Zac Bolan, Clint Bolte, Peter Ebner, Chris Fraser, Victoria Gaitskell, Nick Howard, Thad McIlroy, Gordon Pritchard, Josh Ramsbottom, Nicole Rycroft, Trish Witkowski Publisher Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Associate Publisher Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Production Manager Anders Kohler • 416.665.7333 ext. 37 • anders@printaction.com Advertising Sales Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Circulation ADPIC Subscription Services • 800.363.3261 • subscriptions@printaction.com

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4 • PRINTACTION • MAY 2013

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: $39.99 ($35.39 + $4.60 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.

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!

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PRINT NEWS PHIPPS DICKSON INTEGRIA (PDI), with an investment of around $800,000, added a new Kodak NexPress SX3300, with dimensional and metallic printing capabilities, to its production floor in Kirkland, Quebec. PDI’s new NexPress – the first such model brought into Eastern Canada – includes Kodak’s optional feature to run a 26-inch-long cut sheet which allows the press to work with 30 percent more printing surface. The NexPress SX3300 also allows PDI to apply Red, Green or Blue toner in a fifth imaging unit. The Quebec-based printing company also trumpets the fifth imaging unit’s ability to run gold, pearlescent effects, red fluorescing dry ink, or a dimensional varnish.

MARIO PLOURDE becomes President and Chief Executive Officer of Cascades, headquartered in Kingsey Falls, Quebec, succeeding the company’s long-time leader Alain Lemaire, who remains Chairman of the Board. Plourde arrived at Cascades in 1985 and occupied various positions including Controller, Plant Manager and General Manager. In 1997, he was appointed Chief Operating Officer of the Specialty Products Group, and was President of this group from 2000 to 2010. He has been managing the entire company’s operations since 2011, as Chief Operating Officer of Cascades, which includes three major divisions (Tissue Group, Containerboard Group and Specialty Products Group). Lemaire’s brothers, Bernard and Laurent, also conMULTI BOOKBINDING’s Louis Baribeau tinue to serve on the board. (VP Sales), Yvon Sauvageau (President) and Patrick Paquet (VP Production), with Pierre Paquet (husband of the late Suzanne Ferron, company founder) celebrate their 25th year of operation at La Cité Énergie de Shawinigan. Multi Bookbinding (or Multi-Reliure in French) was purchased in 2007 by the partnership of Sauvageau, Barbibeau and Patrick Paquet (son of Ferron). The company, which resides in a 56,000-square-foot facility, is known for being one of the largest case binderies in the country and JOHN MILLS becomes CEO of Inca Digital also as a large producer of perfect bindbased in the United Kingdom. Dr. Mills ing, creating more than five million holds a PhD in Physics and has extensive books a year. experience in developing industrial technologies, especially in the fields of inkjet and plastic electronics. He also previously served as Director of Development at Domino Printing Sciences and Vice President and COO of Plastic Logic. For the past four and a half years, he was CEO of DataLase. The company’s preceding CEO, Bill Baxter, remains on the Inca board. EASTMAN KODAK, which entered bankruptcy protection in January 2012, reached an agreement with Japan’s Brother Industries for the sale of specific assets of Kodak’s Document Imaging business. The proposed cash purchase would come in at around US$210 million and Brother would also assume deferred service revenue liability of the business, which totaled around US$67 million as of December 31, 2012. Kodak may seek to obtain a higher or better offer for the business, which includes scanners, capture software and related services primarily for enterprise customers. Brother products include printers, multifunction printers, sewing machines, large machine tools, label printers, typewriters, fax machines, and computer-related electronics. 6 • PRINTACTION • MAY 2013

CCT PRINTING’s Ning Li, Production Supervisor, and Tracy Ma, President and owner, oversaw the installation of a Heidelberg Speedmaster CD 102-5+L press. The Scarborough, Ontario, company has 20 full-time employees and is celebrating its 25th anniversary. Ma purchased the company in 1995, seven years after it was founded as a typesetting operation (CCT stands for Chinese Computer Typesetting Centre). She moved into sheetfed-offset production in 1998 and six years later purchased CCT’s first 4-colour press from Heidelberg, a Printmaster PM74-4. Two years after that, she then expanded with a Speedmaster SM-74-5P+L.

ness distributor with 85 distribution centres in the U.S. and Mexico. In 2007, the company expanded into Canada with a 150,000-square-foot facility in the Greater Toronto Area. In November 2011, the company pulled out of Canada completely, citing the decline of the print marketplace. Unisource is a Georgia-based distributor with a global workforce of roughly 4,000 people. The company was formed in 1996 when it was split off from Alco Standard Corporation. Georgia Pacific then purSTEVE KLARIC becomes a Regional Sales chased it in 1999 and a majority stake was Manager with KBR Graphics Canada and sold to Bain Capital. According to Forbes will focus on continuing the Montreal- magazine, in 2011, the company is the 82nd based company’s long-established presence largest private company in the world. in the Ontario market. Klaric holds close to 24 years of sales and product management experience with capital equipment for the printing sector. He most recently served with Heidelberg Canada as a Product Manager, Wide Format Inkjet, and previously worked with short-run finishing technologies through an Ontario distributor.

PRESTON HERRIN becomes Vice President of Sales and Marketing for Californiabased 4over Inc., which entered the Canadian market in April 2012 with a new operation in Mississauga, Ontario. Herrin previously served as VP of Business Development at CafePress Inc., which sells unique products from apparel and drinkware to posters and electronic accessories. 4over Inc., established in 2001, provides trade-printing services through its online property supported by what the company describes as 400,000 square feet of office and production space located in various North American cites. Herrin also spent more than 20 years with Standard Register Company, where he was recognized as one of the company’s youngest multi-million-dollar producers at age 25.

IMPRESSIONS PRINTING’s Darryl Turley, Director and Partner, Paul Gregurovic, Press Operator, and Cory Stuart, Director and Partner, oversaw the installation of a new Kodak NexPress S3000. Located in St. Thomas, Ontario, Impressions Printing has served the southern Ontario market for 40 years. Before installing the NexPress S3000, Impressions Printing had been running toner-based applications through a black-and-white Kodak Digimaster system. Impressions Printing became the first commercial printer in SEAN SAWA becomes Regional Manager Ontario to use Kodak’s recently intro- for Anderson & Vreeland (A&V) Canada. duced NexPress HD Dry Ink technology. He is to concentrate on providing technical sales and service support for cusBANK OF CANADA unveiled $5 and $10 bills tomers throughout Ontario and Western in its line of polymer notes, which com- Canada. Sawa brings to his new position pletes the series that began in November 18 years of technical sales experience in 2011 with $100 notes. The $50 bill arrived the flexo, print and packaging industries. in March 2012. Commander Chris Hadfield He was formerly responsible for sales of presented the first view of the $5 note print-related consumables and equipwhile orbiting the planet in the Interna- ment at Williamson Printing Materials. tional Space Station. The new $5 note has a space motif, representing Canada’s con- TORSTAR launched a new set of Environtributions to international space research, mental Purchasing Principles for the paper and the $10 note honours the importance supply chain of three of its primary operatof Canada’s railways. Bank of Canada ing entities, including Harlequin, Star Media Governor Mark Carney stated more than Group and Metroland Media Group. The half a billion Canadian polymer notes company’s new paper purchasing principles have been put in circulation, while con- – produced in collaboration with non-profit tributing to a reduction in counterfeiting Canopy over the past eight months – are designed to encourage suppliers to eliminate by 92 percent since 2004. the use of fibre from ancient, endangered UNISOURCE revealed it has been in talks forests and to also focus on the use of postwith International Paper, parent company consumer recycled and FSC fibre. Torstar’s of xpedx, to investigate merging their dis- Star Media Group and Metroland Media tribution businesses. At press time, the two Group together publish over 125 daily and parties signed a non-binding letter of in- weekly newspapers across Canada, while tent. xpedx is a $6 billion business-to-busi- Harlequin publishes over 110 titles a month.

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LÜSCHER AG MASCHINENBAU of Gretzenbach, Switzerland, filed for bankruptcy stating it is impossible to continue trading in its current situation of over-indebtedness combined with a significant fall in incoming orders over the past nine months. Lüscher primarily focused on developing XPose! branded computer-toplate systems for flexographic sector in Europe. While its products were sold in more than 60 countries, primarily through a network of dealers, Lüscher has subsidiaries in Germany, France, Italy, Spain and Hong Kong, as well as a sales office in the United Kingdom. Lüscher reported to have more than 1,600 CTP installations worldwide. WALMART CANADA launched a new, free glossy magazine, including a 100-page first issue, produced by Rogers Media’s Custom Content division. The new magazine, called Walmart Live Better, is to be produced as a 1-million-copy run six times a year and made available at all of the Walmart Supercentres in English Canada, as well as through a dedicated Website and mobile versions. Walmart claims 8-million Canadians visit its stores each week. Walmart Live Better – targeting the coveted women’s 24 to 45 age demographic – arrives shortly after one of the company’s largest retail competitors, Target, opened up 24 outlets across Southern Ontario.

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ASSOCIATION OF AMERICAN PUBLISHERS (AAP) produced a report stating, that in 2012, U.S. trade publishers’ net revenues grew by 6.2 percent over 2011 numbers. The data, based on numbers provided by 1,193 publishers, also notes the rapid growth of eBooks which now account for 22.55 percent of revenues compared to 16.98 percent in 2011 and just 3.17 percent in 2009. When the report started tracking eBook numbers in 2002, the number was at 0.05 percent. According to

a report by Publishers’ Weekly last fall, Canadian publishers reported that digital book sales were estimated to be 12 to 13 percent of the book market for 2012, up from the 12 to 13 percent figure of 2011. ARIAN GMBH of Gleisdorf, Austria, becomes the site for the first European Fujifilm Jet Press 720 installation. The unique B2-size sheetfed inkjet press is now in production to complement Arian’s screen- and tonerbased printing presses. In February 2012,

PrintAction reported Digital Edge Print and Media Services Ltd. of Mississauga as the first operation in Canada to install Fujifilm’s J Press 720. Digital Edge, in addition to its offset-based commercial production, is heavily focused on in-house data capabilities with mailing services. Arian GmbH specializes in the production of POP, POS, outdoor advertising and self-adhesive products, including 3D design and development. It is a family-run business with over 220 employees.

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Toll Free: 888.738.4657 MAY 2013 • PRINTACTION • 7

PRINT CALENDAR

JUNE 1

Avanti wrapped up its annual User Group Conference yesterday in Toronto (May 29 to 31) at the Westin Harbour Castle, including speakers like Chris Leduc of Duke Printing and Kevin Lanuke of Blitzprint.

4

Canadian Marketing Association, in partnership with the The Art Of Marketing, hosts its 2013 National Convention at the Metro Toronto Convention Centre. Over 1,500 attendees are expected at the event, built around the theme of The Future of Marketing. $899

5

The Southwestern Ontario branch of the Ontario Printing Industries Association holds its annual golf tournament at Doon Valley in Kitchener, followed by the OPIA Toronto Golf Classic on August 15 at Angus Glen.

21

Now in its fifth edition, Chennai plays host to PrintExpo 2013 which proclaims it has grown by 70 percent since its last show. 14,000 people are expected to visit the Chennai Trade Centre to browse the technologies offered by more than 200 print vendors.

10

Printing Industries of America near Pittsburgh hosts IDEAlliance and three days of G7 Expert/Professional Training, with a blend of lab instruction and hands-on training to apply the G7 method on both offset and toner presses.

25

25

Canadian Marketing Association presents its 2013 Content Marketing Show at the The Second City Theatre in Toronto. Content marketing is described as the essence of a brand’s conversation with its audiences – vitally important with today’s hyper-connected audiences and real-time conversations. $699

FESPA 2013 takes place at the ExCel London Exhibition Centre in the United Kingdom. This year’s event includes the Jet Set Conference with free presentations by print service providers (PSPs) about business growth. FESPA is a federation of 37 national associations for screen, inkjet and textile printing.

11

Canadian Marketing Association holds a Digital Measurement and Consumer Understanding Seminar to learn about measuring campaigns and tactics both online and off. Explore metrics across different mediums to gauge true consumer impact. $345

13

British Columbia Printing Industries Association hosts Gary Stang and a two-part development program in the Vancouver area. The morning focuses on The Salesperson, New to Print, and the afternoon investigates The High Performance CSR.

13

Printing Industries of America holds a G7 Offset Press Operator Training Program to explore practical applications of executing and maintaining the conditions required for a successful G7 implementation within a printing plant. $1,195

The temple of Kapaleeshwarar in Chennai (formerly known as Madras) is a monument to Shiva, the Supreme God of Shaivism. Believed to be built in the 7th century (though the age is in dispute). The structure is a prime example of Dravidian architecture, which contains intricate carved stone figures of deities, warriors, kings and dancers.

8 • PRINTACTION • MAY 2013

Perfect even after 500 million impressions. Not all presses are made equal. manroland.com

Members of the Imprimerie Pub Cité team

PRINT SHOW

Compuset Printing and Packaging’s Ramses Iskander, Kevin Cross, Christian Lamarche, Daniel Raymond and Yovan Gavrich

grafik’Art Montreal he province of Quebec, according to the organizers of grafik’Art Montreal, holds more than 32,000 people employed in the graphics arts industry, while generating over $4.5 billion of business annually. In late-April, graphic arts professionals from across the region gathered in downtown Montreal to discover the newest trends in printing.

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Myriam Beaulie and Michael Green of Hueneye.com

MultiCam’s John Wilson, Pamméla Fournier, Jacques Bélanger and Steve Croisetière

Members of Groupe Nustream

Yann Giraudet of Afix Juana Wu and Leo Yan of JHF Vista

Jeff Lo of Max Media Graphic Supplies

Regent Desjardins and Bernard Barrette of MiniMedia International

Members of Ricoh Canada’s production printing group

Denis Leftakis and Anne Charbonneau representing the Association Québécoise de l’industrie de l’imprimé (AQII)

Line Latreille of ICC Technologies

Kelly Devereaux of Engraver’s Express

Marc Arsenault and Brian Meshkati of SinaLite.com

Ernest Green & Son’s Roger Parsons, Pierre Trottier and Patrick Desilets

Guy Tortolano of UDUCAT.com

Erika Gilbert, Valérie Cusson and Nathalie Julien of Cascades Fine Papers Group

Guillaume Chayer with Karl Belafi Jr. of KBR Graphics

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TEL: 905.760.5522 FAX: 905.760.5523 TOLL FREE: 1.800.731.4MPI INFO@MPIPRINT.COM 139 BASALTIC ROAD CONCORD, ON L4K 1G4 | MPI TURBO IS A DIVISION OF MPI GROUP *OFFERS ARE VALID FOR THE MONTH OF JAN. AND FEB. 2013. SOME CONDITIONS MAY APPLY.

Monique Albernhe of Reliure RSP Bindery

Mike Wildbore and Roger Parsons of Ernest Green & Son

Rodrigue Sabourin, Sue Tucker and Kim Savard of ND Graphics

Eric Wilson, Michael Daoud, Marc-Antoine Groulx and Jean-François Ferland from Océ Canada, a subsidiary of Canon Canada

Glen Alderton of Spinnaker Coating, David Toledano of Duroflex Specialty Papers and Rob Anderlik of Nekoosa Coated Products

Fujifilm Canada’s Daniel Montpetit, Jerry LeClerc, Mace Hoover, Nat Parente, Pierre Foisy, Wayne Flaherty and Andre Hamel

Robert Harrison and François Laplante of Vinyform

Jacqueline Couillard and Gerald Petel of Macaron

Bruce Steinberg of Relyco Business Solutions

Denis Leftakis of Imprimerie Pub Cité

Edward Gravador and Thomas Feeney of Ultima Displays

Members of the KBR Graphics team

Stephen Longmire, Associate Publisher, on PrintAction’s grafik’Art booth

Adeline Caron, Ming Chung, Brian Armstrong and Brock Pagnello

Ignac Copot of Acme Neon & Plastics Sign Supplies, Glen Debes of Arlon Graphics, and Frederick Samson of Acme Neon

Plastic & Paper Sales’ Bruce Baldwin, Guido Amato and Frank Catalfo

Mario Brisson and Ronald Pelletier of Poste-Matik

Jeremie Naberge and Réal Vachon of SublimArt

Stan, Jeff and Gail Greene of Announcement Convertors

Luigi Cristicini and Marc Huot of Drytac Canada

NEVA MURTHA

Dealing a Better Hand for Canada’s Boreal ering 170 million acres of carbon-rich forests, the CBFA was designed to be fully completed by May 2013. Instead, mere weeks from the finish line, not a single hectare has been protected and only one caribou conservation plan has been advanced to government for approval. Milestone after milestone has been missed and repeatedly postponed. Collectively, the participating forestry companies have failed to complete a single one of the conservation milestones of the agreement but have continued to log extensively in the Boreal’s old growth forests and caribou habitat.

Continued on page 28

80

80

70

70

70

60

60

60

40 30 20

50

milestones

50

40 30

50 40 30

20

20

10

10

10

0

0

0

72

million hectares encompassed by the cbfa

28.5 ? million hectares in logging deferral 2010 – 2012

million hectares in deferral in 2013 remains uncertain

O

hectares legally protected as an outcome of the cbfa

51

woodland caribou herds found in the Boreal Forest

1

Caribou Action Plan proposed by the cbfa

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12 • PRINTACTION • MAY 2013

While we feel confident that some incremental conservation gains will emerge from this process, they will not be at the scale that is needed. Canopy instead has decided to secure conservation via other avenues. Canopy remains committed to large scale Boreal protection and to collaboration. We have decided that our resources are better applied to re-invigorating our effective work in the forest products marketplace and in developing new strategic alliances with forestry companies who are truly interested in taking action. One of Canopy’s first priorities will be

80

caribou action plans

I

The agreement was to engage for three years in honest, interest-based negotiations to jointly achieve scientifically guided protection of large tracts of forest, ensure abundant habitat for threatened and vulnerable species such as woodland caribou and secure a reliably certified flow of fibre for forest product customers globally. Canopy entered into the agreement with high hopes anticipating its potential as a game changer not only for Canada’s Boreal forests, but also the world’s climate, the Boreal forest industry and the hundreds of printers and publishers we work with in North America who want eco-papers. Cov-

hectares (millions)

’ve never been a huge country music aficionado but in recent weeks have come to appreciate the implications of Kenny Rogers’ song, The Gambler. “You got to know when to hold ‘em, know when to fold ‘em� took on more meaning to us at Canopy as we assessed and struggled with the lack of progress in the Canadian Boreal Forest Agreement (CBFA). Having exhausted all avenues to overcome the barriers to success within the process and after a thoughtful assessment of the deep lack of progress, Canopy concluded that it was time to withdraw from the CBFA. In the end it was “know when to walk away� that characterized our recent decision to leave the process we had been part of establishing. Three years ago, building on the conservation model of the Great Bear Rainforest, Canopy was one of the lead negotiators of this bold new initiative – one that recognized the importance of large-scale Boreal forest protection for both the vibrancy of ecosystems, as well as the forest industry. Hopeful of the potential for making large conservation strides, Canopy chose to work with environmental colleagues, the Forest Products Association of Canada (FPAC) and its 19 member companies to jointly craft and implement a plan to secure a healthy future for Canada’s boreal forests.

O

Caribou Action Plans enacted by government

75

Milestones set by the cbfa in 2010 to be met by 2013

19

Milestones met as of April, 2013

56

Milestones outstanding

Source: Canopy

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Bright Likes BigTweety

Finding your way around the Social Media metropolis

Part 1 - Covering Your Assets by Zac Bolan

Can we talk? Does anyone really Like you or your company? When was the last time you were Retweeted? Been Endorsed by any of your connections recently? How many Views have you had in the past week? Starting to feel insecure? Left out?

I

t’s funny how these seemingly innocuous words take on an air of significance in the social media universe. If you’re like me you still remember the early days of connecting with friends and family through primitive online portals such as Friendster and MySpace. Of course, that was before the social media genie fully emerged from its bottle. Now few of us can avoid interacting with some form of social media on a daily basis and businesses are feeling increasing pressure to include social media in their marketing mix. But why bother? Does anyone really care if your company invests time in social media? You may be quick to answer no, but be forewarned: If you dismiss social media and fail to engage the next generation of print buyers on their home turf your company runs the risk of drifting into irrelevancy. Printers used to be very social animals. Back in the halcyon days when there were more than enough print jobs for everybody, printers regularly met through social organizations such as the Printing House Craftsmen Club and proudly exhibited their work to peers. As print consolidated, increased competition forced 14 • PRINTACTION • MAY 2013

many printers to become protective of their client lists. This combined with the new reality of price conscious customers has driven many printers to the other end of the social scale, just as the world is spreading its social wings. In the pre-social media days, printers who worked hard for their clients enjoyed referral business, and in a service-oriented industry like print, word of mouth can make or break a company. Well, like it or not, it’s no longer word of mouth, it’s Likes, Tweets and Endorsements. And instead of working out customer problems one-on-one, suddenly it’s all on someone’s Wall – warts et al. This new social paradigm seems innocent enough on the surface. But lurking under the placid yet crowded streets of Social Media City is a complex, intertwined and multifaceted labyrinth of metrics, analytics and invasive technologies designed to manipulate the online world we live in. Fortunately, with a little elbow

Anatomy of the Twitter Page: q This blue check indicates this Twitter account is verified as belonging to Justin Bieber – fake celebrity accounts abound. w The numbers show Beebs has far more followers than he follows. This is a fairly typical balance for a celebrity; regular folk tend towards a 50/50 balance. e If you want to be BELIEBER #37,662,233 then click here. r Enhanced profile pages allow businesses to control branding. t The ‘Who to follow’ box contains recommendations based on my Twitter habits (not Justin’s). You can see Travel Alberta has paid to promote themselves to the top of my list. y A typical Tweet containing user names has been Retweeted by Bieber, meaning it now goes out to all of his followers. u The hashtag #BELIEVETOUR has been included in this Tweet, ensuring it will be grouped with other Tweets containing this hashtag. i Trending hashtags based on my location and whom I follow. This can be changed to show trending hashtags in any region where Twitter is active. Continued on page 24

who can stay ahead of changing low migration safety standards? you can. Sun Chemical has been developing, testing and promoting the use of technology and products for low migration packaging for decades. Our patented SunPak™ LMQ inks, which ensure the lowest odor and migration possible, were recently honored with a 2012 InterTech™ Technology Award. Count on Sun Chemical to help lead the way in low migration packaging solutions.

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FLEXOGRAPHY IN CANADA CAN BE A DIFFICULT PROCESS TO TRACK, as many of its users are more likely to define themselves as converters, label printers or packaging producers. Much like

By Clive Chan

other forms of printing, however, flexography users are also pressured with declining run lengths and more demanding turnaround times. Whereas once a label printing firm can spend most of a day to set up a job that would run over the course of a week, the increase in SKUs coming from brand owners and decrease in run lengths mean that those printers may be running upwards of a dozen different jobs in a shift. PrintAction spoke with three members of the industry on their thoughts about how some technologies are helping the flexographic process remain competitive while others such as inkjet are eroding its traditional short-run markets.

Describe how you view the flexography user base in Canada: Kelly Roberts: Currently the market is very active. There have been a number of presses purchased within Canada and there will be several gearless and servo presses coming onto the market. In saying that, unfortunately there also has been a reduced number of clients. This has occurred through acquisitions where U.S. firms have purchased flexo packaging houses here in Canada and have taken the equipment out of the plant back into the U.S., not to mention other key international companies have pulled out of Canada. Even though we've had a reduced number of clients and reduced number of locations to visit, I believe packaging is still healthy as other companies have been able to pick up that business and are doing very well at growing their plants. On the narrow-web side, it has been a very similar situation. We've had some

Recent innovations in flexography Esko Full HD Freshly commercialized in time for this year’s FFTA INFO*FLEX show in San Diego in late April, Esko’s Full HD system builds on its HD Flexo technology. It combines the company’s inline UV2 LED-based exposure system with its screening technology. According to Esko, this allows the combination of different dot structures on the same plate, creating both smooth highlight printing as well as solid ink laydown. Support for labels and corrugated printing will follow later this year.

Mark Andy Performance Series Mark Andy’s Performance series narrow web press, introduced in 2010, has gained significant traction in just three years, selling over 225 machines. Consisting of three models, the P3, the P5 and the P7, the machines target changeover time in its design. The four colour job on the P5, for example, can be changed over in three minutes, according to the company. Mark Andy also addresses inline finishing, one of the more significant bottlenecks in narrow web flexo printing, with its Quick Change Die Cut (QCDC). It allows the operator to change dies from job to job in as little as 90 seconds, compared to an average of 7 1/2 minutes using older technologies.

Fujifilm FLENX DLE System Described as both a faster and more environmentally friendly alternative to other laser ablation mask systems, the FLENEX DLE (Direct Laser Engraving) system is a simple two-step process which involves a laser imaging the plate and a rinse. Fujifilm’s WV-1 DLE plate can produce between 1 to 99 percent dot coverage at 175 lpi. No Volatile Organic Compounds (VOCs) are produced during imaging.

16 • PRINTACTION • MAY 2013

large organizations close, however, the presses were able to stay in the country and were sold to other organizations who had different business philosophies in these tougher times and have been successful at it. In short, flexography is healthy and will continue to grow. In my experience, no new companies have entered the printing marketplace in the past five or six years. We did work with some narrow web press individuals who created new companies six or seven years ago. They had the experience of working within label shops for 10 to 15 years and thought they would make a go of it with their skills and experience. Canflexographics worked closely with them on their start-up phase, and all have done pretty well. Unfortunately, this type of new business start-up hasn't occurred much since; new press purchases have been occurring with well established companies buying new equipment.

Sun Chemical SunSpectro Sunsharp Sun Chemical’s SunSpectro Sunsharp solvent inks are designed for high speed wide web applications such as bread bags and frozen food packaging. The Sunsharp HR provides heat resistance of up to 350 degrees while maintaining gloss levels.

Kelly Roberts is the President and CEO of Canflexographics, a Burlington, Ontario-based firm that was founded in 1986. He has led the company for the past 12 years and has been very active with the Canadian Flexographic Training Committee (CFTC). He was elected to be part of the Board of Directors of the FTA and FFTA in April.

Bob Szoke: The state of flexography is really improving on getting higher fidelity printing. Even on some of the older pieces of equipment, I see the guys doing a much better job at measuring what they’re doing. There’s an old joke: What’s the difference between a flexographer and lithographer? A lithographer knows what he’s doing, a flexographer thinks he does. For years flexography never measured what they were doing, and now there is a lot more measuring, therefore their accuracy on print is improving. At one time, flexography was opinion printing, where people said “it looks good enough to me,” now it’s about doing your measurements. There’s a lot of new equipment out there, but even on the older equipment, flexographers are upping their game. Stephen McElroy: Consumer competition is making brand owners more demanding of their colour communication. Increasingly they are exploring and embracing flexo due to faster turnaround and quality that matches or exceeds offset while maintaining a lower cost. Heat shrink films and stand-up pouches are examples of perfect flexo

Bob Szoke is the principal of Flexoneering, a consultancy firm that works between brand owners and trade shops to ensure quality matches a brand’s standards. An over 30-year veteran of the flexographic process, he was previously a columnist for FlexoAction magazine as well as print managers for some of the largest names in Canadian packaging.

Stephen McElroy is the President of Williamson Printing Materials, a Grimsby, Ontario vendor which recently celebrated its 60th anniversary. While new to the technical side of the business, McElroy has a 25-year career in both the brand owner and advertising agency side of the printing and packaging industries.

applications and their increased adoption go to get religious to printing to the numis helping drive growth in the Canadian bers. If you look at the printers up here flexo market. who aren’t printing very well to the numbers, they are afraid to do so because How unique is Canada's flexo market? the cost implications. They need better Roberts: I think our uniqueness at this inks, some instrumentation, and it may point in time has a lot to do with the eco- increase the price a tad while you bring nomics of the world’s trade and what the press to numbers before you get into transpires there, coupled with borders production, but, in all honesty, it’s a more being tightened and ever fluctuating ex- efficient way to print because you have change rates. We have an abundance of less waste and less rejects. Some of the equipment in Canada and enough to Canadian market is slow to react because service not only our population but that they feel it’s too expensive or too problemoutside of Canada. We have a significant atic to print to the numbers all the time. The Canadian market is hurting right amount of capacity and the ability to now because some of the American service other heavily populated areas. printers are more effective than we are, Szoke: I travel a great deal down to the therefore the cost per impression is a little states doing approvals. The U.S. opera- bit less. Canadians are getting hamstrung tions that I’ve seen, compared to the about the profitability of printing and Canadian ones I have experience with, getting a hurt a little bit so they’re a little are much more religious about going to slower to react. It’s more of a profit genthe numbers than we are. The Canadian erating aspect more than anything else. market still has a McElroy: In general you can characterize little ways to the Canadian flexo market as highend, short-run and fast turnover. The challenge is that our customers see and want the marketing techniques and flexo ben-

efits they see in the U.S. and be able to replicate this in a market a fraction of the size. Williamson’s focus on partnering with our Canadian customers makes us acutely aware of our uniquely Canadian market dynamics. For instance, because of this emphasis on short runs, customers don’t want excessive levels of stock on the floor. What would you say are the most significant tech developments recently? Roberts: The advancements in flexography continue to be prepress along with the ability to change over jobs and significantly reduce waste due to the fact that runs are getting shorter and shorter. Clients want less product right away: They may be purchasing the same amount over the full year, but they want the minimum amount for each shipment. Servo press technology has been out there for a while and the Continued on page 18

Bobst F&K 20SIX CS An evolution of the Fischer & Krecke (which Bobst acquired in 2008) FP 16 series, the FP 20Six is a central impression flex press that runs unto 2000 linear feet per minute on web widths between 43.3 to 67 inches. The design was based on the company’s survey of its customers as well as improvements on anti-vibration technology via redesigned bearings and locking mechanisms. These improvements in precision allow the adjustment of the anilox to the substrate to a resolution of 1 micron. The machine garnered a lot of attention at drupa last year when the 10-colour machine was shown in full operation.

AV Flexologic FAMM HS Developed by Dutch-based AV Flexologic (an offshoot of Anderson & Vreeland), the Flexo Automated Mounting Machine claims to reduce the plate mounting steps on sleeves from the traditional 45 minutes to seven minutes through automation. In addition to speed, better mounting consistency is also a selling point, leading to fewer plate-related problems on press. The latest variant is known as the FAMM HS, which is a robotic high-speed version for the narrow web market.

Kodak Flexcel Direct System

Windmoeller & Hoelscher EASY-SET HD The EASY-SET HD module is an improvement to the EASY-SET system initially launched nearly a decade ago for the company’s central-impression presses. The system takes into account the latest generation high-resolution plates by analyzing the printed image through a line camera. It also considers other factors such as pate, stickyback, anilox, substrates and generates a 3D topography of the print design and reports the predicted production conditions. As a result, the company says set-up times and waste is reduced by using optimized and reproducible settings.

The Flexcel Direct System produces in-the-round (ITR) plate sleeves using a high speed laser which is claimed to be 50 percent faster than traditional engraving lasers. It uses a two-step production process. Flexcel Direct Media is available with image repeat of between 250 to 1,080 mm (10 to 42-inches) with lengths of between 50 to 1,600 mm (two to 63 inches) and the sleeves are made to order.

MacDermid LUX MacDermid approached the flat top dot from another angle through the application of a lamination layer. Compatible with all flexo laser equipment, the LUX system increases performance, plate durability and the desired flat top dot. Since its introduction in 2010, there has been over 150 installations. By the end of 2013, the company plans on releasing LUX In-the-Plate (ITP), a product which will put the properties of the lamination layer inside the plate. MAY 2013 • PRINTACTION • 17

presses. In a broader sense, although it’s five years or so old, the implementation of HD Flexo is now taking off at an inadvancement on those presses would be creased pace. We see digital platemaking the ability to quickly change over press – and the evolution of accurate colour transitioning from Job A to Job B in the communication to match a brand shortest amount of time with a signifi- owner’s entire marketing mix as crucial. cantly reduced amount of waste. Smart Graphic Position Systems have come How motivated are Canadian along with organizations coming up with flexo users to adopt these new different registration and impression sys- technologies? tems. For the narrow-web market, again Roberts: I think it’s critical they adopt these that same ability to change over quickly new technologies because they will be combecause they are competing with the dig- peting against it. For current markets who ital market where those users can go from are currently producing jobs that require a job to job within inches of one another. half a day or three quarters of a day setup on a job can now be reduced to just an Szoke: Inks – finally we’re getting inks that hour. It would be significant in their ability actually print the right colour and density. to produce more in one day and to expand What I’m finally seeing are inks that get the market they are in. I think they are good density. The good plates that are out eager to not only get into that technology, there, with flat-top dots, won’t show its but remove some of the older technology true benefit without good inks. The end from their facility so they can focus on very users said “I want images that have much quick changeovers, increased efficiency and more fidelity and much more pop on the cost savings. print,” therefore the converters pushed the ink companies, the ink companies Szoke: They aren’t doing it fast enough, responded. The combination of the ink to be honest, but they’re getting there. companies, the new plates and the new Any converters who are sitting on their software to make the plates have come hands and not improving their equiptogether, driven by the end users. ment, not improving their operations, If the end users wanted simple two will be out of business really quickly. colour line printing, we wouldn’t have any It’s definitely not easy. You just have to development. I’ve seen process printing be very religious about standard operatnow where I haven’t seen it before. I was ing procedures. You have to establish doing a proof for a fertilizer company and them and follow them to the letter. The when we were all done, it was an amazing biggest difficulty is convincing the manpackage. I got talking to the brand man- agement in these companies to do that. ager one day and he said, “Last year, the The cost of doing that, if they have old same fertilizer in that bag sold for consid- presses that just won’t get there and need erably less. I took over that brand and new presses... you’re looking at significant went from a good looking three colour funding. However, even older presses, if line job to a six-colour process job and they pay attention to what they’re doing, doubled the price of the fertilizer and I’m they can print much better than they are. outselling it by 150 percent.” At the end of the day, when you print betEven some of the older equipment out ter, your profitability goes up, not down. there is starting to work better. The guys When you print to the numbers, checkare managing what they’re doing, from ing all the components before you go near the press right to the inks. When you get the press, the press time will go down beinto some of the newer presses, some of cause it’ll take you less time to set up and the work they’re doing is just outstand- more efficient on the run. I would say the ing. It’s not uncommon for me to see 175 most convincing argument is that printing linescreen on wide-web flexo these days. better is not easier, but is more profitable.

Chan

Continued from page 17

McElroy: Of course on the narrow-web side, the increasing adoption of digital presses puts additional pressure on fast turnaround on flexo

DuPont Cyrel DigiFlow DuPont introduced its DigiFlow system just prior to drupa last year as a system which allows 1:1 reproduction of digital dots and screen solids on a digital plate whereas on conventional digital plate imagers can produce quality high resolution dots but suffer when creating solid screening. The processor creates a controlled atmosphere which leads to flatter-topped dots. DigiFlow technologies can be retrofitted onto DuPont’s existing line of exposure units.

18 • PRINTACTION • MAY 2013

DuPont Cyrel DigiFlow

Harper HEX Launched in March of this year, Harper Corporation’s new division produces plate and bridge sleeves made with carbon fibre, meaning that they are lightweight but still solid. They are also designed to make plate mounting easier for the operator through the use of a “Flow-Thru” feature, allowing air to permeate the system.

McElroy: Canadian flexo printers are some of the best in the world. Our experience is proof that in order to compete on the world stage and be leaders and award winners, Canadian flexo printers tend to be early adopters of new technology, innovation and process improvement.

challenged by litho on a cost-per-impression basis. Litho presses also set up a lot faster than a flexo press, unless you have one of those new robotic flexo presses.

McElroy: We do see some of this occurring, particularly with commercial printers adding a narrow web capability. The better colour gamut, availability of a wide Should commercial printers look to flexography to get into packaging? range of substrates, and in-line finishing Roberts: It’s really a matter of volume. It’s make flexo the technology of choice. about how large these organizations are and how big these runs are that have been Is flexo in any danger of being the separation between flexo and digital. eclipsed by digital in the near future? Both printing processes can produce Roberts: Absolutely not. Much of the spectacular packaging results. It’s about advantages in flexography lies in performhow quickly you require the turnaround ance, and flexibility on substrate ranges – and how long the run is you are selling. I don't think there’s a straightforward answer. If somebody says “I’m a commercial printer and want to get into [packaging] and my first step is to avoid all this flexo stuff and get into digital,� they can find themselves pretty well handcuffed when they start to attract orders that are outside of the sweet spot for digital printing. The flexo presses are coming down in run size, and digital presses are moving up in run size. Maybe they’re not overlapping right at this moment, but they could be soon. Even at drupa, there were organizations out there touting a lot of capabilities but weren’t able to sell the product. A lot has been said, but I don’t think there’s a lot of equipment out there capable of it yet, if it is, then it’s going to be happening in the near future. If not, I can see that we may still be five to six years away from the overlap.

each and every day flexography is being pushed on different substrates. The speed of a CI flexible packaging drum press exceeding 1,200 feet a minute is still a ways off from the digital world. Szoke: On short runs and prototypes, it’s getting its ass handed to it, especially for things such as shrink labels, which are becoming more and more popular. The cost of getting to the image is a lot easier and cheaper on digital than on flexo where you just hit print and you’re there. It’s really doing a number on the label industry. I’m still a flexographer, dyed in the wool, but I’m looking at the cost per image and at certain breaks, digital is less

expensive than flexo. I’m going to take a guess from what I’ve seen that for shrink labels and standard labels, at 40,000 digital may be nudging to be less expensive; it’s certainly less expensive at runs less than 20,000. At runs over 40,000, flexo is still less expensive. The new fully robotic flexo presses help, but the bad news about that is they can be $10 million presses. The operators don’t go anywhere near the print stations [during production]. They load two jobs at a time and the press does the changeovers and in less than the length of the press, the next job is up and running with colour changes. Some of the new presses with Continued on page 27

A New New W World orld of P Print rint Q Quality uality With W iith LUXÂŽ LUXÂŽ Flat-Top Fllat--To op Dots Dots from frrom o MacD MacDermid ermid

Szoke: They should do it only if the product deserves it. If I’m doing a sheetfed job like an ice cream box, trying to get that job to be profitable in a roll-fed operation means diecutting in the press, which can be difficult. The nice thing about flexo is that it’s very inexpensive to change repeat lengths. If I have a web litho press, changing the repeat length is enormously expensive. Flexo and litho are just putting ink down on paper. I’ve been doing approvals on litho, flexo and gravure and now I don’t care what kind of printing it is. I just look at how good it is. Flexo still leads the parade on wide web flexible packaging. For narrow or mid-web, it’s being

Flint nyloFlex NExT Flint Group’s NExT system uses high-intensity UV-A light to image flat-top dots and surface screening. Through LED imaging, the machine requires no additional consumables such as inert gases or film. An In-the-Round sleeve version is also in the works.

When you want to elevate the quality and consistency of your flexo print, look to the global leader in flattop dots, MacDermid’s LUX Platemaking process. With more than 150 installations spread throughout the world, MacDermid’s LUX Platemaking process has proven that it can consistently rival the quality of gravure and off ffsset. LUX is touted by users around the globe as technology that enables other pre-press print technologies to perfor o m even better. And as the simplest, most cost-eff ffeective way to incorporate ff flat-top dots into your workflow, choosing c LUX is one of the easiest decisions you can make for o your business. When you’re looking to take your flexo print to new heights, count on the global leader in flat-top dots, MacDermid.

1IPUPQPMZNFS 1MBUFT t &RVJQNFOU 1IPUPQPMZNFS 1MBUFT t &RVJQNFOU 1IJMMJQ -FF %SJWF "UMBOUB (" 64" t 5FMFQIPOF t XXX NBDEFSNJE DPN QSJOUJOH Š 2013 MacDermid, Inc. All rights reserved.

MAY 2013 • PRINTACTION • 19

TECHNOLOGY REPORT

Featured technologies: • Esko ArtiosCAD 12 • Esko Kongsberg XN

Carton Production

• Fujifilm J Press 720 F • Heidelberg Diana X80/X115

Some of the printing industry’s largest technology suppliers are funneling enormous

• Highcon Euclid

development efforts into folding-carton production, which is still dominated by

• HP Indigo 30000

large-scale offset processes. The near future of such work will continue to be focused

• KBA Rapida 164 • Komori GLX40

around sheetfed offset, which itself continues to evolve for the sector, as new inkjet

• QuadTech Inspection System

and software applications begin to reach the market.

• Screen Truepress JetSX

Highcon Euclid Highcon introduced its Euclid machine, which the company describes as “the world’s first production speed digital cutting and creasing machine,” in May 2012 at drupa. Designed for the foldingcarton market, the machine uses Highcon’s patent-pending DART technology, which stands for Digital Adhesive Rule Technology, to create crease lines or rules. Multiple lasers and optics to then cut sheets. The complete process, which helps reduce costs associated with traditional die-making, is controlled by a data-driven architecture that provides design flexibility. The Euclid can handle sheet sizes up to a maximum of 760 x 1,060 mm and stock thicknesses from 0.3 to 0.6 mm.

Screen Truepress JetSX Screen USA’s Truepress JetSX is a sheetfed inkjet-based press (B2-format) with a new standard feature, introduced at drupa in May 2012, that allows for printing directly onto paper package materials, coated board and cardboard up to 24-point in simplex mode and 16-point in duplex mode. A postcoat unit applies a thin spot coat to seal and protect image areas. An infrared drying unit dries the sheets before delivery, allowing sheets to go directly to postpress. The new capabilities allow for the production of full-colour folded cartons, print-on-demand packaging and specialty items like personalized wrapping paper. In addition to its ability to print on thicker substrates and prescored and creased board, the Truepress JetSX handles coated and uncoated cut sheets, including any gloss or matte standard stock, with no need for a pre-coating stage. The 4-colour Truepress JetSX – with variable-data capabilities – is based on multi-level grayscale print-heads. Truepress JetSX also features a traceability function utilizing serial numbers or control barcodes to provide a range of added-value applications in short-run commercial packaging for products like machine parts, pharmaceuticals or medical equipment. The Truepress JetSX relies on a vacuum flatbed paper handling system based on traditional offset press technology. The press employs water-based pigment inks and Screen’s FM screening technology. It features a minimum droplet size of two picoliters and can output at 1,440 x 1,440 dpi with a maximum sheet size of 20.8 x 29.1 inches. The top speed of 1,620 simplex sheets per hour is the equivalent of 108 A4 pages per minute. The Truepress JetSX can be combined with the Screen’s EQUIOS frontend and various third-party finishing technologies.

20 • PRINTACTION • MAY 2013

Highcon Euclid

Komori GLX40

Truepress JetSX

Komori’s new Lithrone GLX40 press, first introduced in May 2012 at drupa, is designed specifically for the carton-printing market. The press runs an expanded sheet size (reaching up to 29 1/2 x 41 5/16 inches) to handle a maximum 41-inch printing format. It can run a maximum sheet thickness of 0.040 inches (1.0 mm). Catering to the carton market, the press also features higher capacity feeder and delivery systems. The North American release of the Lithrone GLX40 is to have a rated top speed of 18,000 impressions per hour. The press features simultaneous changeover processes that take place in Komori’s new Smart Sequence technology, supported by the company’s long-established KHS-AI system. It comes standard with PDC-SX Print Density Control and can be fitted with Komori’s dua-camera PQA-S Quality Assessment System and KID Komori Info-Service Display. In addition to a coating system, the Lithrone GLX40 can be equipped with Komori’s unique H-UV drying system, which requires a single lamp mounted on the press’ delivery.

Heidelberg Diana X 80/115

USED EQUIPMENT

Heidelberg introduced a new Diana Inspection Control module for its Diana X 80 and Diana X 115 folding-carton gluing machines in May 2012 at drupa. (The Diana X 80 was also introduced at drupa for working with smaller blanks.) At drupa, Heidelberg also launched an upgraded Braille module for the Diana X systems to enable embossing of five lines of Braille and apply Braille to any of the panels on the carton. The Diana Diana Inspection Control module Inspection Control module is designed to check over the entire area of carton blanks with the use of an integrated camera, which compares the print image with either a digital proof (PDF) from the prepress stage or reference blanks that have been scanned in. The Diana Inspection Control module is installed immediately after the blank aligning section, which allows the system to identify print defects at belt speeds up to 1,000 feet per minute. Colour defects, register inaccuracies, barcode errors, and print image deviations are detected along with defects such as carton damage and scratches. The Diana Inspection Control module is installed immediately after the blank aligning section, which allows the system to identify print defects at belt speeds up to 1,000 feet per minute. Defective blanks are automatically ejected by the inline ejector of the Diana system. The inspection results are documented and recorded in a database.

Heidelberg Diana X 80

Esko ArtiosCAD 12 Version 12 of Esko’s ArtiosCAD software, released September 2012, is aimed at structural packaging design, which can enhance carton products. With more than 13,000 ArtiosCAD software licenses already installed worldwide, the company classifies the new ArtiosCAD 12 as a major release primarily because it helps move packaging design from 2D to 3D with tools for design, editing, rendering and visualization. ArtiosCAD 12 integrates the latest native 3D file import libraries from Esko’s technology partner, Spatial. The new version also includes a 3D import preview feature to select individual parts from a model assembly, while users can also fill a carton, case or tray with the product to be packaged. Placement of one design within another is now easier with the new Collision Detection feature, which gives visual feedback when the two designs intersect. To more accurately communicate printable areas for graphic design, ArtiosCAD 12 is able to show the flap priorities of panels. For Re-Board and multi-wall displays and designs, ArtiosCAD 12 can add edge bands for finished edge calculations and visualization, along with building reverse v-notches with partial cuts for accurate conversion of these materials. ArtiosCAD 12 also allows users to build Retail Ready Packaging (RRP) designs and automatically create 3D animations, which can show user-defined perforations and tear-away designs required in RRP packaging designs, in addition to the full set of common perforations. The concept of Intelligent Dielines in ArtiosCAD 12 is a set of editing tools to enrich an ArtiosCAD file with detailed panel information, such as ‘Copy free’, along with placeholders for barcodes, nutrition facts and other pre-defined artwork. Users can also opt for Esko’s ArtiosCAD 12 Enterprise version, which provides for Cloud-based collaboration through WebCenter 12. With ArtiosCAD 12 Enterprise, all assets are centralized in a corporate private cloud for online collaboration between design groups, CAD and graphic designers, suppliers, brand owners and production. An ArtiosCAD 12 online dashboard provides feedback on project introduces 3D status, task lists and other parameters. MAY 2013 • PRINTACTION • 21

DIGITAL EQUIPMENT

Fujifilm J Press 720 F Fujifilm’s new J Press 720 F, a specialized folding carton press based on the company’s existing J Press 720 model (known as Jet Press in North America), was unveiled as a product demonstration at drupa 2012. It is scheduled to reach commercialization by the end of 2013. Key features of the J Press 720 F include its B2 format size and use of UV ink. Fujifilm also trumpets the J Press line’s ability to produce offset quality on a range of substrates through an inkjet process. The J Press 720 F employs Fujifilm’s SAMBA print-heads to produce 1,200 x 1,200 dpi resolution in a single pass. The press also uses Fujifilm’s recently developed waterbased VIVIDIA UV inks (VIVIDIA WV Q), which allow for fast drying of thicker folding carton work. Fujifilm currently describes the speed of the J Press 720 F running at 1.3 seconds per B2 sheet. The system can also be integrated with an online varnish coater.

Fujifilm’s new J Press 720 F

Esko Kongsberg XN The recently introduced Kongsberg XN table, released May 2012, can be fit with four tool heads and a range of insert tools, including a new solid-board v-notching insert, a corrugated paper-core board v-notching insert and a Braille tool insert. It can also be equipped with a milling spindle, called MultiCUT-HP. The Kongsberg XN is available in seven sizes from 66 x 50 inches to 87 x 258 inches. Esko also highlighted its i-cut Suite designed to drive narrow or large format printers and/or finishing systems. i-cut Preflight handles efficient preflighting and editing of incoming PDF files, while i-cut Layout is a module to assist with the optimum use of a substrate through shape nesting and tiling. i-cut Vision Pro makes sure that die-less cutting contours match printed images, while i-cut Automate reduces operator intervention.

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HP Indigo 30000 The HP Indigo 30000 press, scheduled for commercial launch later this year, features a 29-inch-wide printing format and is designed for the folding-carton sector. The liquid-toner, sheetfed press prints on most any substrate up to 24 point, including, according to HP, all types of off-the-shelf paperboard, metalized board, and plastics, enabling the production of almost any box, sleeve, or blister application. Users can employ an integrated priming unit for running off-the-shelf board. The press, which prints on a minimum 8-point substrate thickness, can produce up to 4,600 colour sheets per hour. It includes HP Indigo’s recently introduced One Shot print process. HP states the machine is capable of running 20 different jobs per shift (1,000 sheets on average per job) with minimal setup and waste. The press can produce up to 4,600 colour sheets per hour. At drupa 2012, HP also introduced its Indigo 5600 and 7600 models that are suitable for producing small-format, short-run carton work.

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22 • PRINTACTION • MAY 2013

HP Indigo 30000

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KBA Rapida 164 KBA’s new Rapida 164 press, introduced in February 2013, is described as the big sister to the Rapida 145, which itself was first unveiled in May 2012 at drupa. The Rapida 164 press features a marginally larger sheet size and higher print speed than its predecessor Rapida 162/162a machine (first introduced in 1995 and, with several enhancements, became one of the most dominant sheetfed presses in the book printing and packaging markets). The maximum sheet size on the Rapida 164 (format VIIb) is 1,205 x 1,640 mm, while the maximum print size is 1,190 x 1,640 mm. The Rapida 164’s maximum production speed is 13,000 sph or 15,000 sph with KBA’s high-speed upgrade. The Rapida 164 also incorporates the same DriveTronic components as the Rapida 106 and Rapida 145. KBA’s DriveTronic approach on the Rapida 164 begins at the shaftless DriveTronic feeder with its individual, direct drives for all controlled motions. DriveTronic Infeed provides for motorized adjustment of the front lays, and a touchscreen display with direct function keys allows for more reliable and intuitive press operation. As a unique feature in this press-format class, the Rapida 164’s sidelay-free infeed DriveTronic SIS is designed to avoid marking issues with sensitive substrates, eliminate the need for operator

KBA Rapida 164

intervention, and provide the highest possible alignment accuracy. In addition to the plate changing variants SAPC (semi-automatic; change time approx. 110 seconds per unit) and FAPC (fully automatic, with new optimized change process; change time three minutes for all units), the Rapida 164 can now also be configured with plate cylinder direct drive for simultaneous plate changing (DriveTronic SPC). In this case, the total plate changing time is reduced to 110 seconds, irrespective of the press length. When the Rapida 164 is equipped with DriveTronic SPC, the blankets and impression cylinders can both be washed parallel to the plate changing. To this end, the press possesses a second washing beam (CleanTronic Synchro). The two washing beams can also be used together for blanket washing – for a time savings of up to 50 percent, according to KBA. Since drupa 2012, all Rapidas, including the 164, are supplied with KBA’s new ErgoTronic console with wall screen. This console accommodates various online systems for quality control, such as the automatic colour measuring system ErgoTronic ColorControl or the register measuring systems ErgoTronic ACR and ICR. Online integration with KBA DensiTronic and the pre-press department is also possible.

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grease, any business can dive into these murky catacombs to harness social media tools to build brand and attract customers. But where does one start? The social media cityscape can be daunting – seeming vast, uncharted and cluttered with digital shanties. In reality you are seeing the surfeit of social media assets that make up a very complex online ecosystem. And while you may be drawn to the arcane side streets of Social Media City, the best place to start marketing your business will inevitably at the heart of the metropolis. You’ll probably recognize the names on the four tallest skyscrapers in Social Media City, but you might be surprised to find out what goes on behind closed doors.

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Facebook, The Town Hall With more than a billion active users, Facebook is the undisputed community centre of Social Media City. Starting life as a dorm-room project, Facebook has grown into a multidimensional platform with applications, news feeds, time lines, photo galleries, messaging, voice calls, and perhaps its most infamous feature – the Like button. While the majority of Facebook’s income comes directly from advertising revenues, the social network has a far lower click-through ratio than search engines such as Google or Yahoo. For that reason Facebook is constantly developing new features and monetization strategies. From the user perspective, Facebook has evolved into a communication network for friends and families while growing into a major photo-sharing site. Additionally, Facebook incorporates significant search features with the intention of keeping their users from wandering off to Google or other search engines. Aside from individual user pages, Facebook also supports groups with powerful collaboration functions including file sharing and messaging. Facebook Groups are used for every facet of collective interaction, ranging from purely social to workplace and special interest needs. With the recent introduction of dedicated business pages, Facebook also enables businesses to pay for sponsoring posts and have their offers appear in timelines. In spite of this additional expense, businesses are still flocking to Facebook. Business pages build a community around companies and/or products through users posting comments. Companies can also gather Likes from individual users, which are supposed to indicate a level of interest. Additionally, Facebook is good for sharing successes and gathering testimonials. Companies such as Red Bull and Target utilize Facebook effectively to bolster their respective brands. But is Facebook really the way to connect with your target demographic? After all, you might think, how many

Facebook-addicted teens buy print? Well, taking a look at Facebook’s real demographics, you may be closer to your target audience than you realize. As of April 2013 more than 46 percent of Facebook users are over 35, and better than half are female. And the fastest growing segment is the 50+ demographic, so pretty soon Baby Boomers will outnumber teenagers. So instead of shelving Facebook as a teenybopper timewaster, start considering it a powerful yet casual networking tool... the town hall of social media.

Twitter, The Party Line Twitter is a real-time micro-blogging tool that enables users to share textbased information with Followers in the form of Tweets. Current numbers show more than half a billion active users send an average of 58 million Tweets per day. And their ranks are swelling with an astounding 135,000 new accounts opened every day. Twitter is unique in social media because of the immediacy of communication as well as the brevity of the message. Tweets are restricted to a maximum of 140 characters and often contain hashtags (think – searchable topics), handles (user names) and links to other online content. Followers monitor the Twitter feeds of people, organizations and companies they Follow, acting as audience for their Tweets. When a Follower decides a Tweet is particularly noteworthy, they can Retweet the posting to their Followers, exponentially expanding the audience for the message. Retweeting can spread a particularly engaging or timely Tweet virally, potentially reaching an audience of millions in just a few hours. Justin Bieber has more than 37 million followers – if he Retweets your message a lot of people are going to read it, and perhaps click the link! While Bieber is an extreme example, it does illustrate how quickly tweetable information can spread. I recently met with the head of marketing for a local Calgary restaurant chain and he revealed his firm has spent nothing on outbound marketing for 11 of their 13 years in operation. Instead, his group employs marketing assistants who are continually monitoring the Twitter feeds of the restaurant’s Followers. The team actively engages these users and through interaction draws customers to their restaurants. For example, if I was to Tweet some local friends the message ‘Guys, its’ Thursday – where are we going to meet for burgers and beers? #zacsfriends, the marketing team would Tweet back‌ ‘Bring your group to our restaurant for free Chicken Wings. DM for reservation. #zacsfriends. Within this organization marketing efforts trickle down to every employee in each location. Servers are encouraged to build their own list of Followers and Follow as many of their clients as possible. Twitter is then used by clients and wait staff to make reservations and get real-

time restaurant activity information such as availability of tables or specials. Additionally Twitter can be invaluable as a real-time customer service tool. A company’s service staff can be monitoring Twitter feeds in real time watching for negative customer feedback or comments. Forward thinking companies such as Car2Go and WestJet proactively resolve their clients’ problems within minutes of being posted on Twitter. Besides helping their customers, these companies benefit from having the general public perceive them as responsive.

And, like the best things in life, Twitter is free, right? As a user you could be forgiven for thinking that. Behind the business veil, however, a whole lotta money is changing hands. It turns out Twitter is in the promotion business in a very big way – entrepreneurs can promote Tweets, Trends and even Accounts. Just look at the first pick in the ‘Who To Follow’ sidebar on your Twitter homepage, I’m willing to bet there’s a small ‘Promoted’ label showing; that company is paying to attract your attention. Enhanced Profiles, another lucrative sideline for the little birdie, offers companies the ability to brand their homepage for a fee. And while Twitter Ads have been quite effective for some business users, these ads can now leverage keyword targeting in timelines for maximum effectiveness – yet another buck in Twitter’s back pocket. And Twitter is not stopping there. As of April 2013, Twitter is in the entertainment business with the launch of Twitter Music, a special music discovery site with accompanying iPhone App. Additionally Twitter is allegedly in talks with major television networks and close to a distribution deal. This little blue birdie is getting bigger by the day! However, perhaps the most overlooked (and possibly nefarious) feature of Twitter is the ability to use your Twitter ID to register and interact with other social media assets such as Pinterest. When using Twitter as your online identity competing assets are suddenly exchanging information. For example, updating your blog or LinkedIn profile can automatically generate an announcement Tweet to your Followers. For that reason, I like to think of Twitter as the party line of Social Media City, although for printers Twitter as social media JDF might be a more apt analogy.

TRADE PRINTING

LinkedIn, The Chamber of Commerce I’ve heard LinkedIn half-jokingly referred to as Facebook for adults. But with more than 200 million professional users worldwide, LinkedIn is no laughing matter. Embraced by business as the premier online B2B forum, you’ll have to look pretty hard to find the beerbong infused party pictures so prevalent on Facebook. Interestingly, LinkedIn’s Canadian penetration far exceeds other markets on a per capita basis with nearly 20 percent of Canada’s population registered. For many, LinkedIn compares to a business directory or digital Rolodex and is used as a prospecting tool, as well as a job seeking and recruitment platform. For now LinkedIn draws more on the male demographic (59 percent) though this is rapidly changing. And the majority of LinkedIn users have some level of influence over key business decisions at their workplace. For that reason LinkedIn Ads, while more expensive than many other forms of social media advertising, allow users to narrowly target virtually any LinkedIn member or demographic. Aside from its pricy (albeit highly effective) targeted advertising business, LinkedIn has three other principal revenue streams – hiring solutions/human resources; marketing solutions/ad sales; and premium subscriptions. Membership includes executives from all Fortune 500 companies with LinkedIn’s corporate hiring services used by 85 percent of Fortune 100 companies. In addition to the big players, more than two million companies of every size have LinkedIn Company Pages. On a user level, LinkedIn offers an opportunity to Endorse or be Endorsed by your connections for anything at all. Although long lists of Endorsements may look impressive on your profile, their value may be suspect if given by connections that couldn’t possible have had first hand experience with your expertise. However, some level of puffery can be expected in any social media platform and LinkedIn is certainly not immune. The real heartbeat of the platform can be found in LinkedIn Groups where like-minded professionals meet and interact within their interest area. LinkedIn Groups constitute a forum where members can engage in everything from networking and prospecting to job hunting. Within Group discussions, users can also build social capital as subject-matter experts. With a basic LinkedIn search, printers will find more than 2,000 special interest groups focusing on the graphic arts. For example, I’m a member of the Digital Print Group; Beyond Web To Print; Freelance Writers; Ipex World; Print Industry Networking Group in addition to many others. So, think of LinkedIn as the Chamber of Commerce of Social Media City. Continued on page 26 MAY 2013 • PRINTACTION • 25

TAGS & LABELS

Bolan Continued from page 25

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YouTube, The Cable Company YouTube started life as a simple repository for video. If urban legend stands true, PayPal employees Chad Hurley and Steve Chen developed the site early in 2005 after becoming frustrated by the difficulty of sharing videos they’d shot at a dinner party they both attended. From humble beginnings in a small office above a San Mateo, California pizzeria, YouTube has grown into the third most visited site on the Internet behind Facebook and Google. Alongside the ubiquitous cat videos posted by legions of deranged feline fanciers, business began to utilize this free resource for everything from training videos to corporate promotions. If a company is lucky, its promo video could go viral and gain a huge number of views. An example of this phenomenon is the Old Spice campaign ‘The Man Your Man Could Smell Like’ featuring former NFL star Isaiah Mustafa as ‘The Old Spice Man’. The first of these hilarious spots was posted on YouTube early 2010 and went viral immediately, spurning a host of imitators and sequels. To date the original video has garnered an astounding 45 million views without Old Spice paying for a minute of network television time. And while YouTube is giving away access to all this content for free, make no mistake, they are making money exactly the same way their parent company Google does, one Ad click at a time. While some may argue that YouTube is not a social network in the true sense of the term as there is little direct interaction between users, few question its value as a source of content. In fact many pundits speculate the site’s on-demand model for high definition video delivery constitutes the future of television and predict the imminent demise of the cable television era. Regardless, YouTube is gaining in importance to social media marketers as an invaluable source of content. If the gurus are correct YouTube as the cable company of the future won’t just be an analogy, it will really happen!

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Your Website, The Open House A Website as a social media asset? When you think about it, your homepage is the only online asset you actually own. Regardless of how you feel about the sanctity of your Facebook or LinkedIn profile, the bottom line is that once you post to these sites, you no longer own or effectively control your personal information and content. For that reason, most social media experts strongly recommend that businesses focus on building a comprehensive online presence through their company Website and utilize social media to drive traffic to this critical asset.

By the look of their Websites, some printers must think of their home page as an online brochure – just as static as something coming off the end of the press. To overlook the potential to interact and engage with clients or new visitors using timely and informative content would be a huge mistake–one that a surprising number of businesses make. Most printers post basic business information such as location, hours, management profiles, equipment list, company culture, etc. Also many include some form of technical information for designers wanting to submit work, FTP upload information and perhaps a portal to a Web-to-print system. But for a shocking percentage of printing companies, this is where the engagement ends. Incorporating a blog into a business Website is a great way to share information and demonstrate expertise to existing and potential clients. Besides showing what you know, blogs have the added benefit of attracting search engine interest that can increase rankings and ultimately drive more traffic to your site without paying for Google Adwords. Additionally, properly researched and informative blog postings can turn into evergreen content, delivering a steady flow of page views on your site for years to come. Sadly, many businesses start posting to their blogs or news feeds only to stagnate a few months down the road. To someone visiting your site for the first time, this may actually have a more detrimental effect, and be worse than not having a blog at all. Instead, printers should be thinking of their Website as digital open house – an opportunity to meet new people, show off your wares and demonstrate the expertise that adds value to your products.

Putting social media in perspective There is no one-size-fits-all approach to undertaking a social media campaign. What works for one company or product type won’t necessarily work for others. At first glance, Facebook looks like a great place for self-promotion – but with more than a billion users and businesses, it’s easy to get lost in the crowd. And Twitter? More than 17 million of Bieber’s Followers are fake, inactive accounts… you can buy Followers on eBay! Is anybody actually reading all those Tweets? Knowing the lay of the land is a good starting point for navigating the congested thoroughfares and serpentine alleyways of Social Media City. But to really learn your way around this teeming online metropolis you need the advice of a knowledgeable local – a social media expert! Zac Bolan’s blog: blog.softcircus.com

Chan

PRINTING EQUIPMENT

ENVELOPES

Continued from page 19

what they’re doing for automatic registration and automatic setup are just outstanding. Finally we’re taking the operator magic out of the press a little bit.

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McElroy: The growth of inkjet is seen far more in narrow web than wide-web flexo. Digital printing definitely has an important place and it’s a market that Williamson also sells into and supports. However at present it cannot compete on speed, variety of substrates or on cost effectiveness for long runs. Our experience is the contrary, that flexo is in fact growing due to its unique advantages. What new developments on the horizon excite you? Roberts: I'm going to refer back to the quick change options. Not only are we able to change the print decks at a significant speed, we also have the ability to change your die-cutting stations. Even if you can change your printing head very quickly, you don’t want to be bogged down by other things. OEMs are looking to expanding the capabilities on the press so that it is all quick change. For the flexible packaging market, this means taking impression and registration settings off-press by using auxiliary pieces of equipment to measure what is required to happen on press. Removing these steps from the press allows the customer not to use the press as a proofer but as a tool to print. In an organization that is completely set up, meaning that on many different levels they’d have to be prepared, in scheduling, the making of the photopolymer plates, using the right stickyback and mounting tools, I would say that in an eight-hour shift, a flexible packaging house can go between 12 and 14 different job runs. Szoke: As much as we like to think mounting has improved, it really hasn’t: we’re still putting the plates down on tape manually. What I see in the mounting world is exciting, where plates are being automatically mounted by a mechanical device with dead register on press. That can be a flat plate or in the round, they both have niches. Mounting has become a lot better than I’ve ever seen it before. If I’m running 175 lpi, I have less than 1/1000th of an inch tolerance on where that plate needs to be otherwise my dots are all in a row and that will look like hell. The higher fidelity we’re getting on the presses, the higher fidelity we also need on the prepress side. Everything will evolve and flexography will evolve substantially. I was in a plant in the U.S. putting in a new KBA litho press and I was knocked over – nobody touches the plates. The plates get made and they press loads its own plates and flexography will be going down the same road one day. With the cost of plates going down and down – and per square inch, they’re less than they were 10 years ago – and it’s going to get lower and better. We’ve got to control the variabilities and at some point I think we’re going see plates being generated on a press. I would like to see some of the major flexo press manufacturers look me square in the eye and tell me they’re not working on it.EarthColor.

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DIGITAL PRINTING

POS COMPONENTS

Murtha Continued from page 12

PRINTING & EMBOSSING

Canada’s Largest Trade Finishers Specializing in: • FOIL STAMPING UP TO 50” • HOLOGRAM STAMPING • EMBOSSING • DIE CUTTING • FOLDING AND GLUING • UV COATING • SPOT UV COATING • FILM LAMINATING • HEAT SEAL LAMINATING All the above services are done in our 50,000 square foot building

5 Bodrington Court, Markham, ON L6G 1A6

Tel: 905-940-4900 • Fax 905-940-2066 1-800-334-5150

TRADE PRINTING CANADIAN ANADIAN PRINTING RINTING RESOURCES INC.. ESOURCESINC See our ad on page 27

Tel: 416.740.3388 Toll-Free: 1.888.388.5538 sales@canadianprintingresources.com

28 • PRINTACTION • MAY 2013

ramping up our efforts to secure permanent protection of the pristine Boreal Forest in Quebec’s threatened Broadback Valley. This gem of boreal biodiversity has been formally proposed for protection by the Cree Nations in whose territory the valley stands. There is broad based support for the Cree proposal from environmental groups, and several companies in the logging sector. A number of North America’s largest printers and publishers are actively supporting Canopy’s efforts to have the Quebec government adopt the Cree’s proposal and designate a 13,000 km2 protected area in the Broadback valley. In doing so, the government would meet its own Ministry of Environment’s recommendations for additional large protected areas in the Boreal region. We’re finding customers are increasingly attuned to the importance of the world’s last stands of intact forest as well as the growth of green business opportunities. Protecting places like the Broadback Valley and beyond is fortified by a surge in progressive purchasing principles and policies by major players in the North American print sector. In April, Torstar Corporation, parent company for Harlequin Books, Metroland and over 125 newspapers across Canada, launched corporate-wide Environmental Purchasing Principles. Torstar will encourage its suppliers to eliminate the use of fibre from ancient and endangered forests, give business units the option of choosing post-consumer recycled fibre and support the Forest Stewardship Council (FSC) as the target standard for forest certification. Other printers who have recently finalized environmental policies include: JapsOlson, MPH Graphics, Plan it Green and Sandy Alexander. Their commitments mean that 34 North American printing companies now have policies with Canopy and we will be profiling many of them in our upcoming Green Print Leadership Report. Canopy looks forward to productive relationships with forestry companies that are interested in building a sustainable business model and differentiating themselves in the greening marketplace. Exiting the CBFA means that we can work with and give market recognition to those suppliers who are interested in delivering results. As printers continue to work with Canopy to develop eco-policies and put them into action, Canopy will help translate these good deeds into the protection of the world’s last intact forests and the sustainable supply of eco-papers. Canopy is a not-for-profit environmental organization dedicated to protecting forests, species and climate. Canopy collaborates with more than 700 companies to help ensure their supply chains are sustainable and believes that businesses can be powerful partners in implementing innovative solutions. Canopy’s partners include Sprint, TC Transcontinental, Random House, The Globe and Mail, Scholastic and EarthColor. For more information about Canopy’s initiatives in the printing industry, please contact Printer Campaigners Neva Murtha (neva@canopyplanet.org) or Marcus Ginder (marcus@canopyplanet.org), who also contributed to this article.

LETTERPRESS & FINISHING

Email: classifieds@printaction.com • Tel: 416.665.7333 x37 • Fax: 905.752.1441 ____________________________________

____________________________________

CSR / PRODUCTION PERSON / ESTIMATOR WANTED Experience in customer service/estimating/print production for sheetfed and web printing. Computer skills and excellent communication skills. Print management degree an asset. Email resume: hrdept@west-star.com or Fax (416) 201-8885 ____________________________________

PREPRESS OPERATOR WANTED Prepress operator required with AGFA Apogee, colour, page layout and imposition experience. Downtown Toronto. Please send resume in confidence to: dimas@andoragraphics.com ____________________________________

OFFSET PRESS OPERATOR WANTED Effset press operator for Heidelberg SM 52, 4 – 6 colours + coater + perfecting. Minimum 5 - 6 years experience required. Fax resume to (416) 766-8519 _____________________________________ MULLER MARTINI 5 PONY PERFECT BINDER FOR SALE Used only once since fine tuned during the past year by Muller Martini Canada technician for seamless operation. Operates at 1,000 books/hour. See Kijiji ad ID 452663298 (Peterborough) for photos and info. Looking for $18,000 negotiable. Email vital7@shaw.ca _____________________________________ RETIREMENT SALE Xerox Docucolor 250 with bookmaker, CTP plate maker, 19" power cutter, floor model numbering machine, 2 colour Multi offset press, Pitney Bowes folder, (Package Deal $19,500). 28 Years in business. Company name and accounts can be discussed. Contact Ray at (416) 747-8504 ____________________________________

BUSINESS FORMS

SUPERVISOR PRINT PRODUCTION / GRAPHIC ARTIST WANTED We are seeking an individual with a minimum of 4 years industry related experience in: Print Production workflow and Graphic Design. An excellent opportunity for the right candidate If interested please contact us at: chris@productiontable.com ____________________________________ FOR SALE AB DICK 360+T51, Challenge 3 hole drill, good condition. Call (416) 291-0374 _____________________________________

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

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. PRINTING & EMBOSSING

STEEL RULE DIES

QUALITY & PROMPT SERVICE to the trade for over 30 years Foil Stamping / Embossing / Die Cutting Printing / Numbering / Finishing / Etc. STATIONERY, POCKET FOLDERS, BOOK COVERS & MORE...

• Sheet Sizes from: 2”x3” to 28”x42” • Specializing in Short to Medium Runs • Most stocks from light to heavy weight

A-Z Printers Ltd. 61-556 Edward Avenue Tel: (905) 780-8680 Richmond Hill, Ontario L4C 9Y5 Fax: (905) 780-8682 E-mail: I N F O @ A Z P R I N T E R S . C O M

6 & 7-1440 Graham’s Lane Burlington, ON L7S 1W3 Phone: (800) 547-8848 Fax: (800) 705-9881

Superior Service Progressive Technology FREE Daily pick up & delivery in the Western G.T.A. Visit www.petersdies.com to learn more!

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 MAY 2013 • PRINTACTION • 29

ARCHIVE

May 1988 The Edmonton Oilers sweep the Boston Bruins in the Stanley Cup Final, the Soviet Army begins withdrawing from Afghanistan after eight years of fighting, and Peter Mansbridge replaces Knowlton Nash in anchoring The National on CBC.

State of the Art Equipment Aids Firm in Pre-press Integration If there’s a word that describes the direction of Montreal-based typographer composition Contact Inc., it’s integration. One of the largest commercial and publication typesetters in Quebec, it’s also one of the companies (together with TPS and Contact Couleur) that form a triumvirate of integrated graphic arts firms operating under the umbrella of GTC Transcontinental Group Ltd. Today the pre-press group has 300 employees in Montreal who are specialists in colour, typography, photography, creation and design, all working under one roof. The operation not only services GTC group companies, but a growing range of commercial clients as well. The thrust to integrate text, graphics, and colour separation first led Composition Contact to buy BertholdWorkStations and complementary equipment, which can interface with many systems on the market and can also be used for design. Roger Bélair is President of Compo Contact and the man who guided it from a small department of a single printing plant to the largest typographer in Quebec. He started the company from scratch in 1979 to service the growing typographic needs of the GTC group’s Quebec printing operations. “We looked a long way down the road when we purchased our Berthold equipment,” said Bélair. “We know it’s compatible with what we have now and with some of the major systems on the market. Three years from now we’ll have more printing plants, not just in Canada, but in the U.S. as well. We might need to print simultaneously in two or three different places on major jobs, and we want to be able to handle that work.”

Webcom Buys Second Normbinder

Denis Rolland (left), General Director, and Roger Bélair, President, with Compo Contact’s BertholdLaserStation at their company’s Montreal typesetting plant. Integration capability was their prime concern in choosing equipment.

30 • PRINTACTION • MAY 2013

Webcom Limited of Toronto, a manufacturer of books, catalogues, and directories, has just completed negotiations with Muller Martini Canada for the purchase of a second Normbinder. Webcom President Warren Wilkins sees a great Signing the order for a second Normbinder – which will allow his firm to offer Otabind perfect binding – opportunity for expansion is Webcom President Warren Wilkins. Looking on are in the American marketDan Gage (centre) of Muller Martini and Webcom Manufacturing Manager Geoffrey Davey. place, especially in light of the upcoming free trade agreement. The company has a 95,000-square-foot plant and a staff of 150. Six crews are staggered over 24 hours, five days a week, to meet the demands of the industry.

Be Seen

Submit your work for UVU, the new award for visionary, eye-catching graphic design and print created on Unisource papers. Find out how you can distinguish yourself and your work: unisourcedesign.ca/uvu DEADLINE IS JUNE 18, 2013

Fit for o Packaging ag g

Muller Marrtini t VSOP Va ariable Sleeve Offffset Printing For every demand the right application The technology of VSOP web offset press provides the capability to take advantage of many market trends in packaging: flexible packaging, labels (shrink-sleeve, self-adhesive labels, wet glue labels, IML, wrap-around), folding carton and liquid packaging. Muller Martini VSOP runs up to 365m/ min (120 0fftt/min) and produce the complete size ranges (381-762mm/15-30� by using lightweight print sleeves. With its hybrid applications, along with offset printing technology, Muller Martini VSOP offers a range of other printing processes, including: flexo, screen, gravure and digital printing as well as finishing processes such as laminating. Muller Martini VSOP web offset press is available with electron beam, UV and hot air drying technologies which provide an optimum flexibility in the printing process.

Digital Solutions Saddle Stitc Stitching hing Book T Technologies e echnologies Mailroom Mailroom Systems Systems Web Web Presses Presses

Muller Martini Norrth t America 20 Caldari Rd. Concord, ON L4K 4N8 Tel e 905-660-9595 905-660 mullermartinicanada.com tinicanada.com

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