October 2012 by PrintAction

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CONTENTS Volume 51, Number 10 Features

Looking Back, Looking Forward With the arrival of his final column, PrintAction speaks with Andrew Tribute about the revolutions he has seen, his most inspiring and controversial articles, and what the future holds

Technology Report: Print Innovation in Chicago After detailing the 27 Must See ‘Em products last month, printing technology suppliers provide their 2012 Graph Expo highlights

AGFA GRAPHICS

:Anapurna

M2540 FB

checks all the boxes

NEWS Springett returns to manroland Canada, Catalyst Paper emerges from CCCA, and Edge Imaging installs North America’s first MGI Meteor DP8700

CALENDAR November 2012 BCPIA hosts its festive dinner, PACKEX holds its first show in Montreal, and printers prepare for the Canadian Printing Awards gala

INSERTS Building a Handheld Billboard Transcontinental’s Saint-Hyacinthe plant goes big with a web-offset product it calls Panoramax

LABELS Souped-up Print Target stocks 1.2 million Warhol-inspired labels to commemorate the Golden Anniversary of 32 Campbell’s Soup Cans

Columns

VICTORIA GAITSKELL Creative Cats Laurie Carr and Julie Mavis, co-owners of Cats Media, restructure a small family printing business and become NAQP role models

NICK HOWARD Press Manufacturers Don’t Make Submarines A look at how the world’s largest press makers have adjusted strategies because of seismic structural shifts in the global economy

Archive

October 1977 Atari releases its historic 2600 system, the World Health Organization marks the eradication of smallpox, and Videojet addresses 300 magazines per minute

Resources 21 Services to the Trade

SEE US AT: GRAPH EXPO BOOTH #627 SGIA BOOTH #2059

29 Marketplace

Cover photo: The Tributster on vay-cay in the Scilly Isles after tossing the bodies into the water

OCTOBER 2012 • PRINTACTION • 3

PERSPECTIVE

Talent Priority ince its founding in 1971, the Canadian Printing Industries Scholarship Trust Fund (CPISTF) now supplied over $1 million in scholarships to post-secondary students pursuing careers Sinhas Canada’s printing industry. In the past three years alone, through a difficult economic climate

SFI Certification for Healthy Forests and Strong Rural Communities For more information: http://www.sfiprogram.org

November 1, 2012 Fujifilm Canada, 600 Suffolk Court, Mississauga Attend this fast paced seminar and Peter Ebner will show you how to grow your print sales in today’s competitive marketplace. You’ll also receive a free copy of Peter’s book Breaking the Print Sales Barrier – the most comprehensive guide to handling objections ever published. A must for anyone who wants to excel in print sales. (Value of $49.95, hardcover, 217 pages)

for printers, CPISTF has provided more than $230,000 to printing students. The CPISTF program continues to be one of the most-positive initiatives for printing in Canada, as industry members take a proactive approach to develop talent for an aging industry. Funding for the program is primarily generated through $1,250 donations from printing companies, both large and small. The success of CPISTF should not be taken for granted, however, as it is a critical program reaching across the country and requiring equally widespread support. As the 2012 school year began, $75,000 in scholarship funding was provided to 57 students. A total of $28,750 was awarded to 20 new students enrolled in the first year of an approved course of study. The remaining amount of $46,250 was provided to 37 students who are already enrolled in the CPISTF program. “Every year the Board of Trustees is challenged to select the best and brightest as recipients of our scholarships and this year was no exception. We are pleased to be able to support 57 students in their pursuit of a career in the graphic communications industry,” said Don Gain, who runs Harmony Printing and has been Chairman of CPISTF for the past several years. Tracy Laranjo of Oakville, Ontario, received this year’s Warren Wilkins Prestige Scholarship, initiated three years ago to award $5,000 to students of exceptionally high standing. Laranjo is enrolled in Ryerson University’s School of Graphic Communications Management (GCM) in Toronto. A majority of the funding naturally goes to Ryerson GCM students, attending Canada’s only degree-level program focused on printed communications. However, the Canadian Printing Industries Association, which administers the program, provides – on its Website – a list of nine approved schools in seven provinces. A $1,250 donation can impact the development of regional printing talent for most printers in Canada, as best explained by CPISTF’s mission statement, “We are committed to the premise that it makes good business sense to help the brightest and best students achieve their scholastic goals.” More information about how to help maintain the positive pace of CPISTF can be found through the CPIA’s Website or by speaking with one of the engaged members on the trust fund’s Board of Trustees, including: Don Gain (Chairman) Harmony Printing Toronto, ON

Jeff Taylor Hemlock Printers Burnaby BC

Bob Cockerill Schawk Canada Mississauga, ON

Warren Wilkins (Past Chairman) Richmond Hill, ON

Michael Hill Mississauga, ON

Tom Blockberger Vancouver, BC

Wayne Burroughs (Treasurer) Burlington, ON

Mary Black Mary Black Recruiting Toronto, ON

Sean Murray Advocate Printing and Publishing Pictou, NS

Bruce Bond Toronto, ON

Willy Wilkins Richmond Hill, ON

Richard Armstrong Heidelberg Canada Mississauga, ON

Jon Robinson, Editor

For more details email sara@printaction.com or call 416-665-7333 x31 Fujifilm is providing a tour of their demonstration after the seminar. All attendees are welcome. Thank you to Fujifilm Canada for extending the use of their facilities for this event.

Canada’s Graphic Communications Magazine. Proudly published for two generations. Editor Jon Robinson • 416.665.7333 ext. 30 • jon@printaction.com Associate Editor Clive Chan • 416.665.7333 ext. 25 • clive@printaction.com Contributing Writers Zac Bolan, Clint Bolte, Peter Ebner, Chris Fraser, Victoria Gaitskell, Dr. Martin Habekost, Nick Howard, Thad McIlroy, Gordon Pritchard, Josh Ramsbottom, Nicole Rycroft, Andrew Tribute, Trish Witkowski Publisher Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Associate Publisher Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Production Manager Anders Kohler • 416.665.7333 ext. 37 • anders@printaction.com Intern Tiffany Kay Garcia • 416.665.7333 ext. 34 • tiffany@printaction.com Advertising Sales Sara Young • 416.665.7333 ext. 31 • sara@printaction.com Stephen Longmire • 416.665.7333 ext. 26 • stephen@printaction.com Circulation ADPIC Subscription Services • 800.363.3261 • subscriptions@printaction.com PrintAction is published by Youngblood Publishing Limited and is Canada’s only national monthly publication serving the graphic arts industry. ISSN 1481-9287. Annual Subscriptions: Canada: $31.15 ($27.57 + $3.58 HST) United States: CN$69.99; Other Foreign: CN$139.99

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

PrintAction is printed by Sina Printing on Starbrite Plus 70lb Velvet Text and 80lb Gloss Text available from Unisource Canada, Inc. Youngblood Publishing Ltd. 610 Alden Rd., Suite 100, Markham, ON L3R 9Z1 Tel: 416.665.7333 • Fax: 905.752.1441 www.printaction.com Publications Mail Agreement Number 40010868 • ISSN 1481-9287 Return undeliverable Canadian addresses to subscriptions@printaction.com We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage. 4 • PRINTACTION • OCTOBER 2012

DIAMONDS are a Printer’s Best Friend We all know that diamonds are one of nature’s hardest materials. The heart of the printing press is the gripper and the gripper pad. Unlike its competitors, KOMORI decided that gripper pads need to last. And last they do. Most competitors use hardened steel, sintered alloys, carbide or even a urethane derivative. However, these all have a limited lifespan. Diamond-coated pads don’t. KOMORI presses do not require expensive pad replacements that other well-known brands do. Generally, after 75 million impressions, it’s time for an expensive revitalization that can cost over $100,000! Along with the utilization of much larger cam followers, torsion bars instead of springs, KOMORI builds longevity and low cost of ownership that keeps on giving. Sure, diamonds are nice in a ring or a bracelet, EXW LQ WKH SUHVVURRPV RI &DQDGD GLDPRQGV TXLFNO\ DGG XS WR D SUR¿WDEOH HGJH WKDW LV XQLTXH WR KOMORI.

PRINT NEWS REBECCA RODGERS and Wendy MacMillan, two EDP document specialists based in Canada, have met the requirements of Xplor International for instructors within the organization’s acadami program. Both Rodgers and MacMillan will begin conducting Transaction Document Specialist School classes in Canada. Graduates of these schools meet the Education Credit requirements for the Electronic Document Associate (EDA) level in the Xplor Electronic Document Professional MIKE WATKINSON of Edge Imaging and (EDP) program. To date, close to 200 inKarl Belafi Jr. of KBR Graphics oversaw dustry specialists have earned their EDA the installation of a MGI Meteor DP8700 certification through Xplor InternaS – recorded as the first such press to be tional’s acadami program. placed into a North American operation. The new Meteor, purchased through KBR, complements Edge Imaging’s existing Meteor DP60 Pro, which primarily produces print for schools. Based in Burlington, Ontario, Edge Imaging also previously installed MGI’s UVarnish offline coater and two PunchCard Pro credit card (CR-80) format die cutters. The company reports that it produces over 1-million studentidentification cards, one of its key applications, every year between the months of August and December. MEG WHITMAN, President and CEO of HP, introduced her plan to turn around the technology giant by the end of fiscal 2014. As part of the plan, HP’s Printing and Personal Systems (PPS) division will aim to reduce the number of SKUs in its printing business by 30 percent and the number of platforms in its PC business by 25 percent by the end of 2014. This PPS restructuring will also involve shrinking from six sales teams to three, while reducing functional support organizations from 12 to seven. By HEIDELBERG and its wholly owned sub- 2016, Whitman expects the company’s revsidiary Hi-Tech Coatings International cut enues to be growing in line with United the ribbon on a new coatings plant in Tay- States’ Gross Domestic Product. In other lor, Michigan, as celebrated by (left to news, HP’s Latex Ink technology and its right), Ken Freek Stefan Gohr, Thomas A50 Inkjet Web Press inks became the first Topp, Martin Skillen, Jean-Francois Col- water-based inkjet inks to achieve the Suspron, and Kurt Wiggins. From this new tainable Product Certification from UL En32,000-square-foot installation, the com- vironment, a business unit of Underwriters pany will produce Heidelberg Saphira Laboratories (UL). aqueous coatings for the North American market. The new plant follows Heidelberg’s acquisitions of two European plants in the UK and Netherlands in 2008. Hi-Tech Coatings was founded in 1983. CATALYST PAPER of Richmond, British Columbia, announced it successfully completed its reorganization under the Companies’ Creditors Arrangement Act. The news comes nearly a month after Catalyst entered into a commitment letter with a Canadian chartered bank for a $175 million syndicated asset-based loan (ABL) facility. As a result of the reorganization and related transactions, Catalyst reports to have reduced its debt by $390 million, eliminated $80 million of accrued interest and reduced annual interest expense and other cash costs by approximately $70 million. The company’s new board of directors as of September 13, 2012, is comprised of John Brecker, Giorgio Caputo, John Charles, Kevin Clarke, Todd Dillabough, Walter Jones and Leslie Lederer. 6 • PRINTACTION • OCTOBER 2012

BRIAN REID, President of Transcontinental Printing, announced an extension of two contracts with Rogers Communications, which will generate up to $250 million in the printing of Rogers’ marketing products and magazines. The extension of these contracts will be until 2019 and covers the printing of the entire Rogers’ portfolio of publications for consumers, the business community and professions, the printing of Rogers’ marketing products as well as the direct-mail delivery of Rogers marketing products.

OPTIMA IMAGING GROUP, a Quebec company specializing in large-format production, recently installed new HP Scitex LX850 and HP Scitex FB700 printers. In business for 27 years, Optima Imaging works with a range of customers like the National Bank of Canada, museums, the Gatineau hot air balloon festival and Swimming Canada. “We were the pioneers of large-format printing, and we want to continue to lead the way, this time with the environmental benefits of Latex,” said Marc-Étienne Chartrand, Manager, Optima Imaging.

JOHN TORREY, President and CEO of Houston-based Ferrostaal Equipment Solutions North America, announced Montreal-based KBR Graphics as its newest dealer in Canada. Ferrostaal is the master distributor for Ryobi machinery in North America, while KBR Graphics has operations in Toronto, Montreal, Ottawa and Quebec City. “KBR is a widely respected and well-run business,” said Torrey. “They are also an important addition to our local network.” Canadian Printing Equipment was previously announced as the distributor of Ryobi equipment for Western Canada. CHANTAL MAHEUX-WEBSTER, Operations Manager, and Mike Pilotte, Press Operator, with Minuteman Press in Dartmouth, Nova Scotia, oversaw the installation of a Ryobi 34DI press. Mike Maheux, President of Dartmouth Minuteman Press, who has owned the print shop for 16 years, also recently purchased the Minuteman Press Halifax location, with plans to continue operating both locations. The Ryobi 34DI press was purchased through Canadian Printing Equipment Ltd. SEAN SPRINGETT becomes Canadian Sales Manager for manroland Canada Inc, rejoining the press maker after a four-year hiatus in which he founded and operated a carbon-fibre business. “Albeit Sean has been away from manroland for a few years, he has maintained many solid relationships throughout the Canadian printing industry,” stated Gina Gigliozzi, manroland Canada’s Manager of Sales Administration. “In our view, Sean is uniquely qualified to engage the Canadian market in a consultative sales approach.” manroland sheetfed GmbH was established by British industrialist Tony Langley in February 2012 after acquiring the sheetfed division of manroland AG.

FASTSIGNS’ Racine Ramlallawan, Designer, and Craig Gibbs, owner, celebrate the installation of an HP Designjet L26500 inkjet printer into their Scarborough, Ontario, franchise location. Gibbs opened his FASTSIGNS location in 2007 and was previously working with an HP MANROLAND WEB SYSTEMS entered into a Designjet 8000. The print shop has expartnership agreement with Tensor Inter- panded its large-format production into national covering Canada and the United textiles, vinyl, film and uncoated materiStates printing markets. Under the agree- als, as well as higher-grade backlit prints. ment, manroland web will act as a sales arm for Tensor, which manufactures sin- PRINTING INDUSTRIES OF AMERICA and the gle-width presses and auxiliary equip- National Association for Printing Leadership ment. The sales partnership rounds out announced it has ceased unification discusmanroland web’s portfolio of newspaper sions, which began back in February 2012. and commercial web presses, as the Tensor The task force overseeing the talks concluded line of presses is aimed at semi-commer- it was not possible to formulate a combined cial, insert and newspaper markets. Tensor entity with regard to issues like legal, finanInternational was formed in early 2012 by cial, governance, membership structure, and combining Tensor Group with automa- programs. The PIA and NAPL announced tion supplier DCOS. The company has a plans to continue collaborating on programs large U.S. install base, consisting primarily and ongoing partnerships in the Graphic of T1400 and T400BE printing towers, as Arts Show Company, as well as conferences well as H50 folders. like the Vision 3 Summit.

KONICA MINOLTA HOLDINGS for the first time has been named to the Dow Jones Sustainability World Index. Launched in 1999, the Dow Jones Sustainability Indexes were the first global sustainability indexes tracking the financial performance of companies in conjunction with environmental and social performance. In addition, this is the fourth consecutive year that Konica Minolta has been named to the Dow Jones Sustainability Asia Pacific Index (DJSI Asia Pacific). Besides ANTONIO PEREZ, Chairman and CEO of the DJSI World and DJSI Asia Pacific, Eastman Kodak Company, announced a Konica Minolta has been included in the series of organizational changes, follow- FTSE4Good Global Index of the ing the departure of Chief Financial Of- UK-based FTSE Group and the Japanficer Antoinette McCorvey and Chief based Morningstar Socially Responsible Operating Officer Philip Faraci. Rebecca Investment Index. Roof, a managing director of AlixPartners (Kodak’s restructuring advisory firm) becomes Interim CFO of Eastman Kodak to assist in the pursuit of emerging from Chapter 11 before the end of 2013. Kodak also announced plans to lay off an additional 1,000 employees by the end of 2012. The company has reduced its workforce by approximately 2,700 employees worldwide since the beginning of 2012. Kodak also announced plans to end its consumer-inkjet-printer business.

MICHAEL BARKER has been elected to the role of Chairman for PaperlinX Limited of Australia. The move came less than a week after the resignations of former Chairman Harry Boon and non-executive directors Lyndsey Cattermole and Anthony Clarke. “Major efforts are being devoted to our European operations to bring their results in line with the better performing operations in Australia, New Zealand, Asia and Canada,” stated Barker. In late August, PaperlinX Limited reMARTIN ANDERSON and Bert Naitram, In- ported its year-end results, which indigo operators with Cober Evolving Solu- cluded a statutory loss of $266.7 million tions of Kitchener, oversaw the installation (after tax) for its most recent year, comof a new HP Indigo 7500 press. Founded pared to a loss of $108 million for the 96 years ago, Cober Evolving Solutions is prior year. a fourth-generation operation, which recently completed an expansion into an EFI purchased Online Print Solutions 80,000-square-foot facility. Cober became (OPS), which develops software for Webone of North America’s first firms to offer to-print, publishing and cross-media proprietary Web-to-fulfillment solutions, marketing. OPS software is to become while also offering traditional lithography, part of EFI’s Productivity Software portlarge-format printing, mailing, fulfillment folio. EFI states it will continue offering its and bindery services. Digital StoreFront software along with the newly acquired OPS products, with future XPLOR CANADA welcomed eight new Elec- plans to integrate OPS features into Digitronic Document Associates into its mix, tal StoreFront. Ultimately, this will result following their graduation from the orga- in a single new platform as the two prodnization’s acadami Transaction Document uct groups are combined over the coming Specialist School. The new document spe- years. OPS, consisting of a privately held JOHN SPEAR, President of Jigsaw Imaging; cialists include: Douglas Betts, Larry Australian company called DataCreation Paula Arruda, Production Manager; Branston, Katherine Hajer, Jennifer Pty Ltd. and an Irish company called OnKaren Austin, Administration; and Dar- Karkaria, Scott McDonald, Beena Pinheiro, line Print Marketing Ltd., has offices in ren Spear, Sales and Marketing celebrate Jack Vanderhorst and Cynthia Verghese. Dublin, Boston, and Sydney. the installation of a 64-inch HP Scitex FB500 system. Formerly known as Rainbow Digital Imaging, Jigsaw has been producing large-format graphics for more than 25 years. According to John Spear, the new Scitex FB500 expands the company’s ability to print on corrugated and translucent materials

HAROLD MEIGHAN (centre) presented the team of Jay Fleming, Chris Petis, Scott Nicholl (all three of Advanced Office Solutions), and Lou Gagnon (Xerox Canada) with their prizes for winning the seventh annual Mackenzie Newspaper and Printery Museum golf tournament. From the more than 50 people participating in the best-ball tournament at Whirlpool Golf Course, the winning foursome recorded a score of eleven under par. The Mackenzie Newspaper and Printery Museum is a volunteer-run, non-profit organization aimed at passing along print’s history in CANADA POST, led by Deepak Chopra, is Canada to a new generation. launching a new generation of epost services in Kitchener Waterloo before GENERATION PRINTING of Vancouver has in- rolling the program out across the rest of stalled Avanti Computer Systems’ Print the country in 2013. New epost services, MIS and Web-to-Print systems, which was according to Canada Post, offer better derecently announced as part of Avanti’s fiscal sign and navigation, enhanced tools to year-end progress. Other new Avanti cus- manage bills and a new authentication tomers include U.S.-based companies such process to link digital identity with a as Advantage Direct of Fort Wayne, IN, physical address. epost is described as the Pressworx of Carrollton, TX, Wingpress of largest bill consolidation solution in Framingham, MA, Shelter Mutual Insur- Canada, with the registration of over 7.7 ance of Columbia, MO, and Copy.com of million people and 100 businesses across Houston, TX. Avanti reports this past fiscal just 17 municipalities. In related news, year marked the tripling of its size since the the United States Postal Service, for the three operating partners took over in 2004. second time in two months, was unable Avanti is releasing version 12.4 of its soft- to make its mandated US$5.6-billion ware at Graph Expo, which the Toronto payment to prefund retiree health benefirm describes as its most significant update fits. USPS defaulted on a similar US$5.5 billion payment in the previous month. in the past 10 years. OCTOBER 2012 • PRINTACTION • 7

PRINT CALENDAR

NOVEMBER 1

Printing-industry sales guru and PrintAction columnist Peter Ebner presents a workshop, called Breaking the Print Sales Barrier, at Fujifilm Canada’s headquarters in Mississauga.

Canadian Marketing Association hosts a 1-day B2B conference, under the theme of Close the Loop on B2B Marketing, at the Allstream Centre in Toronto. Learn best practices, skill requirements, sales tactics, and ROI measures. $649*

10 17

Label Printing Industries of America, beginning with a golf tournament and reception on Day 1, hosts its annual Innovation Conference at the Loews Coronado Bay Resort, near San Diego. The closing banquet takes place at the Balboa Park Auto Museum. $1,095*

Colour management specialists flock to the Sheraton Los Angeles Downtown Hotel for ICC DevCon 2012, emphasizing four tracks: Best practices and use cases, cross media transformations, Web colour management and iccLabs.

PrintAction magazine hosts the 7th annual Canadian Printing Awards (formerly Environmental Printing Awards) at the Palais Royale in Toronto. The event is to be hosted by Dianne Buckner, award-winning journalist for the CBC and host of Dragon’s Den. $150*

PAC, The Packaging Association, begins course three of its Packaging Certificate Program, in Mississauga. Course three covers metal cans and aerosols, glass packaging, paperboard and folding cartons. $1,235*

The Canadian Marketing Association holds its annul CMA Awards gala, celebrating a range of communications innovation, at the Westin Harbour Castle in Toronto. $420 or table for $4,200*

Indian Wells, California is regarded as a luxurious area close to Palm Springs. The town rose to prominence in the 1950s in parallel with the rise of Hollywood after World War II. The area is famous for its golf courses as well as its annual tennis tournaments which swell the population of the town from just under 5,000 to over 20,000 people. Pricing listed at standard rates, with * denoting the availability of member of early bird discounts.

8 • PRINTACTION • OCTOBER 2012

The inaugural edition of PACKEX Montreal begins, focusing on new technologies for packaging, processing, material handling and logistics. Hosted by UBM Canon, the event includes an Innovation Briefs Theater.

The British Columbia Printing Industries Association (BCPIA) hosts its annual Festive Dinner at the Vancouver Lawn Tennis and Badminton Club.

NPES hosts its annual conference, under the theme of “Driving Growth through Innovation,” at Miramonte Resort in Indian Wells, California. Keynote speaker Robert Tucker is founder of The Innovation Resource and author of “Innovation is Everybody’s Business.” $650*

Print World 2012 begins at the Direct Energy Centre in Toronto. The bi-annual printing exhibition’s conference program is to be opened by Warren Werbitt, President of Pazazz Printing in Montreal.

PRINT INSERT

The team at Transcontinental Saint-Hyacinthe with a Panoramax sized sheet as captured from their YouTube video titled “PANORAMAX TC Transcontinental”

Building a Handheld Billboard T ranscontinental’s printing division unveiled a big announcement recently with the launch of a print offering called Panoramax. Using web offset technology, Transcontinental’s Saint-Hyacinthe plant can now produce a double-gatefold piece which spans over 63 inches long. Colloquially known as a handheld billboard, the company claims it is the largest format size available in Canada coming off of a web offset process. The Panoramax project is part of the company’s initiative to cultivate innovation from within. Teams of Transcontinental employees representing different aspects of the company, from the sales team to production staff, sat down to dream up new ideas. Panoramax was ultimately chosen by management for the go-ahead into production. “Several

teams came up with ideas, for adding new products or innovations to existing products, and they get to present to the higher management,” explains Gabriella Kovacs, Director of Marketing at Transcontinental. “So it does get pretty competitive but it’s a great way to get employee participation and develop an innovative culture in the company.” The press staff had to overcome many problems in order to produce such a large piece, most important of all was web tension and stability on the plant’s KBA Compacta 618 press, which was installed in the spring of 2007. The previous maximum size produced at Saint-Hyacinthe was 39 inches long. According to Transcontinental, Panoramax is a project which tested the patience, imagination

hes. e of 63.5 by 21 inc format with a siz old tef ga leub do Panoramax is a 10 • PRINTACTION • OCTOBER 2012

and the limits of the SaintHyacinthe production crew. It took nearly 18 months, but the first project running in the Panoramax format, a flyer for Quebec retail pharmacy Uniprix, made its debut in late September to celebrate the company’s 35th anniversary. Kovacs says the Panoramax format is not only for flyers, but can be used to make a big impact, whether it is for a product launch or even direct mailers. The whole production of Panoramax projects are all completed inline, with what Kovacs describes as a minimal addition of time and effort over traditional formats. Transcontinental even created a YouTube video to promote Panoramax

and the people behind the innovation. “When I talk to marketers, they feel inspired by the possibilities that it provides and many feel that it’s an unique print vehicle,” says Kovacs. “Just by my conversations with several clients prior to the launch, there was a lot of interest so I think it’s going to be a success.” – Clive Chan

PRINT LABELS

Souped-up Labels ”I used to drink it, I used to have the same lunch every day, for 20 years,” said Andy Warhol, replying to art critic G.R. Swenson’s 1963 question of why he painted soup cans. The art world has put forward a myriad of reasons why Warhol used such a simple muse for 32 Campbell’s Soup Cans, produced with a semi-mechanized screen printing process he learned from Floriano Vecchi, owner of the Tiber Press. In October, to mark the 50-year anniversary of the first showing of 32 Campbell’s Soup Cans in New York, The Campbell Soup Company stocked the aisles of Target stores with 1.2 million cans featuring Warhol-inspired labels – costing just 75 cents each. Several reports cite the set of four cans being flipped on eBay for more than $25. “Thanks to Andy Warhol’s inspired paintings, Campbell’s soup will always be linked to the Pop Art movement,” said Ed Carolan, VP & GM of Campbell North America. According to The Campbell Soup Company, the then-company President William Beverly Murphy, had some initial concerns with Warhol’s art, but decided to adopt a wait-and-see approach. Eventually, the company became a supporter of Warhol’s work and helped the artist establish the Andy Warhol Scholarship Fund with the New York Art Academy. Campbell’s Tomato Soup, with its famous red and white can, was first introduced to the public in 1897 and continues to sell over 25 million cans each week. – Jon Robinson On the back of each 50th anniversary can is a notable quote by Warhol, as well as a brief history of his iconic work of art. Warhol’s signature also adorns each can.

OCTOBER 2012 • PRINTACTION • 11

VICTORIA GAITSKELL

Creative Cats or the past couple of decades, printing prophets have forecasted doom for printers who do not extend their services beyond traditional reproduction. At the same time, there has been a frustrating scarcity of information about role models and action plans to help small printers expand into new services to improve their odds of long-term survival. This column will introduce you to Laurie Carr and Julie Mavis, co-owners of Cats Media, a small Ontario company, who have recently emerged as role models intent on helping other small independent operations convert to new business models and revenue streams. In 1986, Carr’s mother, Nan Carr, and stepfather, Gary Fishlock, started the business as a quick-printing franchise in the Don Mills district of Toronto. (They can’t name the franchise company as a condition of their termination agreement.) For 20 years, they maintained the franchise, with Fishlock driving outside sales as Nan managed in-house operations. When their franchise contract expired, rather than renewing, they decided to continue in the same location (where they still operate today) as an independent business. During the last dozen or so years of the franchise, Laurie Carr entered the family business, after she had already built a 20-year career of her own as a comptroller in the automotive sector. “Initially, I came in just to help them out part time, because they were struggling a bit. It was the early ’90s, and they were just starting to take on things like floppy-disk work, which they didn’t understand. They only understood hard-copy kind of work,” recounts Carr. But because market demand for computer-generated production escalated, Carr ended up staying with the family business. Independently, Julie Mavis had built her own career with the Hudson’s Bay Company, where her progression from store manager to senior executive gave her ample opportunities to hone her skills in marketing and business strategy. After 17 years with HBC, she felt it was time for a change, so she left, ran for political office, and in 2000 was elected municipal councillor in Port Hope, the municipality where she and Carr both live (an hour’s drive east of Toronto, population 16,500).

12 • PRINTACTION • OCTOBER 2012

Carr and Mavis join forces

While on council, Mavis was responsible for the Economic Development and Tourism portfolio and had the opportunity to work with Carr on a mutual project. Their collaboration proved so successful that Carr invited Mavis to join her family’s business in 2001. Fishlock, who was intent on retiring at the end of his 20-year franchise contract, stepped back and let Carr and Mavis co-manage the operation for a couple of years, until eventually he and Nan sold their stake in 2006. Now, as co-owners, Mavis looks after the strategic vision and creative side of the business, while Carr oversees the numbers. Although Fishlock has since retired, Nan still works in the business two days a week, focusing on administration and print-related specialty jobs. “She doesn’t have any understanding of the new services but is a great resource on the traditional print side,” says Carr. Steps toward change

When Carr first arrived, the prepress side of the business was completely manual. “The company had a couple of major clients at the time: A communications company and a financial-services company. Once we started doing their artwork on a PC, both were so delighted with the opportunities and the quality of our product that our business with them expanded exponentially,” she recalls. For instance, one new job they acquired involved archiving all the data for one large

company’s training manuals, plus printing and shipping the manuals all across the country. Next, Carr and Mavis expanded into mailing, fulfillment, and IT services, such as database management, all of which they felt were a natural extension of their existing post-print operations. “Our existing clients understood these services, they needed them, and were happy to let us take care of them,” Carr continues. “The new services didn’t bring in a lot of new clients. Rather, it was usually people who were print clients first who moved into purchasing them. We grew through print contracting for our existing client base.” At present, the mailing and fulfillment part of the business mainly serves two major clients: One that purchases legal printing for the condo industry and the other an international hotel chain. In total, Cats Media’s current Toronto operation consists of seven staff (plus Carr and Mavis), two Risos (one inkjet and one duplicator), one colour and four monochrome toner-based machines (mostly Ricoh), plus bindery and mailing equipment.

Continued on page 24

Top photo (L to R): Tracy Kerr, Designer; Julie Mavis, Owner; Aaron Sawyer, Marketing; Laurie Carr, Owner; Jay Robinson, Creative Director; Jeff Shadwick, Designer; and Rick “Big Data” McMurray, Web/IT (along with Jay’s dog, Bandit, Studio Greeter). Inset: Cats Media’s Port Hope studio sits under the CP Rail viaduct, overlooking the Ganaraska River.

Join us for a Celebration of Print at the 7th annual Canadian Printing Awards November 29, 2012 Palais Royale • Toronto

Discounts on corporate tables available to celebrate with your team and clients. Enjoy a gourmet dinner by Chef Steﬀan Howard and the business insight of host Dianne Buckner from the CBC’s hit show, Dragons’ Den.

Purchase tickets at www.printaction.com/CPA or call 416-665-7333 ext 31

PrintAction magazine would like to extend a special thank you to the 2012 Canadian Printing Award sponsors.

NICK HOWARD

The Nautilus SSN-571, the world’s first nuclear submarine, enters New York harbour in August 1958. The sub was built by Oregon’s Electric Boat Company, which tried to expand its business by manufacturing the Willard printing press. Photo: US Navy

Press Manufacturers Don’t Make Submarines he year is 2018 and two engineers are sitting at a bar in the world’s largest shipyard, South Korea’s Ulsan Industrial District. The South Korean engineer turns to the German and asks, “So, how did your company get into the propeller business?” The German pauses for a moment; thinking about his company’s long history and the changes he has seen over the past few years: “We were actually builders of printing machines for over 100 years. Back in 2013, our management called us to a meeting and announced we had just purchased a smaller company that designs and builds ship propellers – just like the ones I’m installing here in Ulsan. “The printing business was feeling the effects of downsizing and it rippled all the way to our company, with a great deal of uncertainty about the future. We still build printing machines – just not as many as before. The printing machine part is now just a segment of what we do. Print has settled down now, as a lot of consolidation and attrition reduced the size of the industry. Our managing director was right on when he said we had the resources and skills to branch out and I’m really glad he did.” After finishing his drink, the German walked through the shipyard to watch the magical dance of dozens of cranes swirling hundreds of containers through the air. He liked to guess at what was in each container based on the ship’s country of origin. Where and how capital equipment is made today is vastly different from even 10 years ago. His company was at the forefront of this change in 2013, when most printing-press builders diligently diversified their businesses in line with

14 • PRINTACTION • OCTOBER 2012

the new economy that emerged after the 2008 mortgage crisis. It was not the first time that enormous structural changes in the world’s economy altered the manufacturing of printing machinery. Old era of diversification

Seismic shifts took place in most every industrial sector over the five decades of two world wars, as machine manufacturers reacted to the disparate needs of their homeland. This was particularly true in the sphere of printing machines, whose builders employed highly skilled and innovative technicians. These skills were often found in smaller companies marrying invention with machinery. After the end of WWII, as countries across the globe planned for a more civil future, machine builders of all types and shapes resettled into specific areas of expertise, betting on which sectors would grow most in the coming peace. Printing machinery, at the time, was seen as one of the world’s most modern and innovative industrial sectors, surely well suited to rise with the tide of globalized communications. Seeing the printing possibilities of post WWII, the Electric Boat Company (EBC) of Groton, Connecticut, purchased the rights to the Willard – a little known printing press – in 1947. The Willard was a 34-inch, single-colour press designed in New York State by the father-and-son team of William and Harold Gegenheimer. The name Harold W. Gegenheimer is still recognized today in relation to the invention of the convertible offset perfecting press, but it is often forgotten that, in 1927, William Gegenheimer, also invented the world’s first press washer. He decided to name his

company after the small city where it was founded in 1918, Baldwin. EBC itself traces its roots back to 1899 as the first company to manufacture electric motors for ships and submarines. During WWII, EBC also built the Subchaser, a 110-foot-long ship used extensively against German U-Boats. The Electric Boat Company went on to build the world’s first nuclear-powered submarine, the Nautilus, and, after purchasing Canada’s Canadair, remains alive and well as a business unit of General Dynamics. Despite its trumpeted boat-building success during WWII, EBC still saw a need – or the opportunity – to diversify because of global economic structural change. Troops were coming home and about to create the Baby Boom generation. The fact that EBC diversified into printing speaks to the perceived potential of the sector at the time. The Willard was ripe for the picking, as the Gegenheimers had done very little with the machine since its 1935 introduction. Success in volume never came for EBC’s printing arm, because the company’s radar picked up new subversive rivalries, ultimately labeled as the Cold War, fueled by the United States and Soviet Union. Governments ultimately provide for better accounts receivable than printers, and the marriage of EBC and the Willard lasted for only five years, as rights to the technology were sold off to Miller Printing Machinery Co. of Pittsburgh. New era of diversification

With a mature and robust World Wide Web and the economic rationalization of 2008, print, for the first time since Gutenberg, is no longer a reflection of industry

and commerce. At best, one can say print is an allied business, not an indispensible one. Anyone who has ever visited a printing press production site, however, will certainly appreciate the sheer magnificence and sophistication of such operations. Today, Komori, Heidelberg and KBA, in what facilities they have, make up the three largest press builders. Now is the time for top-level management of all printing press makers to think really hard about what else they can do with their firepower. The largest press manufacturers are likely to either buy into contradistinctive technology or internally develop print processes new to their business. Surprisingly, given the lingering effects of massive structural change over the past two years, no real eureka announcements have been made by the largest offset press makers. The largest three press players have done little poking outside their graphic arts window, beyond gobbling up various ancillary firms also supplying technology to a receding print industry. Several builders have certainly teamed up with competing press makers from the digital (inkjet and toner) space, but there have been no major acquisitions or internal developments. This tends to suggest a staid future outlook on the business of printing, but Heidelberg, Komori and KBA continue to control massive manufacturing capabilities. Coupled with highly skilled technicians, these facilities can make just about any machinery requiring precision and girth. Mitsubishi, while not a dominant press maker worldwide, is one of the largest corporations on earth and immersed in a mindboggling array of industries. Continued on page 28

mid a 50-year career, Andrew Tribute has spent at least the past two decades as one of the world’s leading analysts of printing technology. He is granted access to pioneering developments few journalists ever see. As a result, he is often seen as both the industry’s most informed and most controversial technology writer. Marking the occasion of his final article, PrintAction spoke with Tribute at his home in Cornwall, England, about the revolutions he has seen, his most inspiring and contentious articles, and what the future holds for printing.

OCTOBER 2012 • PRINTACTION • 15

By Andrew Tribute

THIS ARTICLE IS A SIGNIFICANT ONE FOR ME. MORE THAN TWENTY YEARS AGO I DECIDED TO Prior to that I had been working very much at the cutting IT PUBLISHED BY THE LEADING PRINT MAGAZINES edge of implementing printing and publishAROUND THE WORLD. ing technologies for both printing and preI was already writing very regularly as the press companies, as well as computer suppliers International Editor for Seybold Publications. since I started my career in the industry in 1961. For readers who do not know of Seybold, In all, that is 51 years in the industry, in which I the Seybold Report was the bible of the have spent 44 years working with computer techindustry for prepress and pre-media technologies to digitize the printing and publishing nology and markets. industries. I stopped writing for Seybold in 2000 Looking back on that time, there is a consistent but have continued with the monthly thread to everything I have seen in companies articles. This article is my last one, as on being successful in these industries. This is to reaching the age of 70 I have decided identify trends, or windows of opportunity, and that’s enough and I should be putting having the vision and courage to implement these my energies into other things. I have trends for the future of an organization. not counted how many articles I have Many people and companies may see the written but I believe it is over 300 trends, but lack the courage or expertise to utilize monthly articles. In addition to that I them for the future of the business. This is often have written a weekly column in the through concern about the impact on their curUnited States for the past 10 years. rent mode of business. In the supplier side of this With those articles and all the Seybold two classic examples are Kodak and Heidelberg. articles I believe I have written more Kodak identified the trend of digital photography than 1,000 pieces covering technolobefore any other organization and, in fact, gies and markets for the printing and invented much of the technology behind it. Poor publishing industries. That is in admanagement, however, let the opportunity slip dition to all the work I have done as through concern over the impact on its film business. a consultant since 1985 when I Heidelberg saw the opportunity for digital started my own company. printing at an early stage, but its then arrogant

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Q&A PrintAction: What do you consider as the greatest technological revolutions in printing over your career? Andrew Tribute: I would put forward three. The first one is the rise of highend digital colour, introduced by Scitex, Hell & Crosfield, which basically changed the entire structure of the colour industry. This came home to me in 1979, when I first went into the printing industry and worked for a UK company that won the award for Best Printer of the Year, based on a job with a picture on the cover that had all sorts of different banknotes. Legally, you’re not allowed to print a banknote in the UK with a signature on it, so we had to take the signature off and it took about 100 hours of manual dot etching and retouching, et cetera, for a skilled operator. Later, I went to the GEC print exhibition in Milan in ’79 and, in the middle, there was a big tent with a new company nobody had ever heard, called Scitex. For the first time, I saw Efi Arazi demonstrating an almost identical sort of job [to the banknote cover]. He used a picture of a Rolex watch and changed

16 • PRINTACTION • OCTOBER 2012

the date on the watch, which took him about three or four minutes. I thought this is going to fundamentally change the whole world of colour. How did high-end colour effect the direction of printing? It changed the whole balance of printing, killing letterpress and making offset and gravure the fundamental technologies. The first change of letterpress to offset was brought on by phototypesetting, because before that you had a conversion process of taking hot metal type, proofing it, putting it on a camera, making some film, and then you could start your offset plate. Phototypesetting took chunks out of that process, but the death of letterpress was the fact that it became so easy to do high-quality colour in offset. You could suddenly find these specialist prepress service companies with those sort of systems. The art director of an ad agency would actually come down to the prepress studio and sit with the operator to make changes in real time on their systems. That was a huge change.

What was your second major printing revolution? The next really big change that took over from [high-end colour] was desktop publishing. In 1984/1985, you could suddenly do very clever stuff on a Macintosh that you just couldn’t do on high-end Scitex workstations. Magazines and newspapers could start doing page makeup and start doing their own typesetting with the creative person, rather than having a dedicated typesetting operator. In the late-1980s, you started to see Macs doing the same colour stuff as the million-dollar workstations. Eventually, I became the leading consultant in Europe, pretty much worldwide, in that sort of area and I was telling people how this would change the face of printing and kill big colour systems. People told me it was completely rubbish, but it did. High-end colour had about a 12-year run before being killed by the Macintosh. What was your third printing revolution? The third one was digital printing. I’ve tracked digital printing since the early 1980s with monochrome, when Xerox

brought out the Xerox 9700 printer. Then the DocuTech came out and I thought, ‘This is great, but it’s still black and white.’ Then in ‘93, Indigo and Xeikon introduced digital colour and the next fundamental change. It’s taken a long time to take off. As I said in my [final] article, printers didn’t believe in it, but the prepress companies did because they suddenly found the Mac was killing their business – the ones who had Scitex systems and such. They put Macs in and these were also the companies that put in the Indigos and Xeikons. They changed the business again. How did you begin working with Benny Landa? In December 1992, I got a phone call and the person on the other end, said, “My name is Benny Landa. I’d like you to join us for a consulting session in New York next week.” I knew nothing about him. I got to New York and I found in the same room was Frank Romano, Charlie Pesko from Cap Ventures, and one or two others. We came up with a strategy for them of

approach led the organization to believe it could build a better digital press than the existing suppliers like Xerox. The result was an excellent press, heavily over engineered, far too expensive and without an ability to link with digital finishing equipment. Heidelberg’s sales force also failed to understand the potential of digital printing and almost always pushed for an offset press sale instead of selling digital. A key message arising from these two prominent examples, which applies to all businesses, is that your future business should replace your current business before someone else replaces it. Again one can look at many organisations that have either failed to identify trends or failed to move fast enough and aggressively enough to stop newer and more agile businesses from taking their business away. The newspapers sector provides several examples of this. I have been lucky in my career to find myself at the leading edge of many technologies, either with the companies where I was on the full-time payroll or through my consulting and writing career of identifying and helping to implement these trends. In the early 1970s, I worked on ultra-high-speed phototypesetting where we did 100 percent, full-page make-up of data from company databases for products like airline timetables and tariffs, technical documentation for the motor industry, book catalogues, among others. This was some 20 years before the digital printing of data from databases would start. In the early 1980s, desktop publishing (DTP) started and this fundamentally changed both printing and publishing. I had just started consulting and saw the

how to go to market, how to name it, and the consultants came up with this term Digital Offset Colour. How did you find your way to Seybold Report? I first met John and Jonathan Seybold in about 1980. I was then Director of Marketing for Monotype, making the first high-speed laser image setters. Any time you went to a trade show you’d either have John or Jonathan, or both, coming around to do their review of products. When I decided to go on my own, I wrote to Jonathan and, said, “Look, you need better coverage outside of the States.” And that started my first article in 1985 and I carried on writing for them and became what they called the International Editor, until I gave that up in 2000. I would write some pugnacious articles at times, saying this is rubbish or this is really good, etcetera. It did put me on the map: You could basically create a company or kill one overnight. We had a tremendous amount of power and we had to be very careful with it.

real potential of this as a disruptive technology. Indeed, its impact was massive and brought about huge change in newspapers, colour printing and publishing, and all forms of prepress. The companies that did not pick this up and run with it often went out of business. I was the major advisor to a number of newspaper groups. With one client alone, the changes brought about by computerisation and DTP ended up in making around Tribute’s influence reaches all corners of the print world. Here he is pictured 6,000 staff redundant, as its with Joan Grace, former Chief Executive of PrintNZ, and Frank Romano of newspaper production became RIT in New Zealand vastly more efficient. today most leaders in digital printing were not printing An area I have been heavily involved with since the companies before implementing the technology. early 1980s has been digital printing. I was one of the This brings me to today, when the industry is in a small consultancy team that helped Benny Landa major state of change driven by technological trends launch Indigo into the market. I also helped Xerox over in other markets. This is predominantly the impact of a long period of time in entering and succeeding in the the Internet, and the trends shown by cross-media or graphic arts market. In this, I coined a phrase I used in multiple-media marketing. For printers, this is a much many of the public presentations I did around the more of difficult change than other changes like DTP world when speaking to printers: “Go digital or die.” or digital printing. Those earlier changes were techIt surprised me how long it was from the time when nologies that moved the industry forward and it was Indigo and Xeikon launched digital colour printing berelatively easy to see their impact and how to implefore most printers started to implement the technolment them. It was lack of vision or concern over imogy. The early adopters, who were predominantly pacting an existing business approach that stopped prepress service companies, or database or direct marprinters from being early adopters in these cases. keting specialists, got a major start in this area and

Why did Seybold Report wield so much power? It was the bible. People would not buy equipment in the prepress area, monochrome or colour, whatever, unless Seybold had evaluated it. And the Seybold Seminars were incredible in terms of everyone going there to network and to see what was happening with the launch of new products. There was never anything like it before or since, and it was because there was so much fundamental change happening in the industry. It all revolved through Seybold. Is there another technological revolution for printing on the horizon? Inkjet is obviously going to take over large amounts of the work. I don’t think it’s going to kill offset, which will move deeper into long-run quality. The quality [of inkjet] is going to get better. It’s going to be interesting to see how Landa does with his technology, along with some other things in that space. I don’t really see anything coming beyond that, but there’s probably someone in a lab somewhere working with electron-

beam technology or with some improved way of holding data. I think printing as a process is far along the development curve: Offset is not going to get any better, but will continue specifically in packaging where static data is more critical. Gravure is finished beyond those people who make money with it. If you look at digital [printing] it is doing two things: One, it is cutting out the set-up process to a great degree and, second, it is allowing you to print every single copy differently. It still marks the paper the same way and it’s still fighting, in some cases, to reach the best quality of analogue processes. Digital is an evolutionary printing process. What do you consider to be your most-impactful article? I can’t remember the date of it, but I wrote about a company called P.Ink [Press Publishing] that was making a Macintosh-based newspaper editorial system for journalists. Basically, it was the first one to actually use a proper SQL database. I went over to see the first big system running in East Europe,

at Leipzig, and I said this is going to change the way we build newspaper systems. It had a big impact and within two to three years, every single newspaper vendor was building databases for these systems. No one had even thought about this until my article came out about this little company of about five very, very bright German developers. P.Ink was later sold to Scitex. Andreas Poliza, who set up P.Ink, then started a Web development company, building a Web browser called GoLive, which was then sold to Adobe. What do you consider to be your most-controversial article? The article I wrote saying that the only future for Heidelberg was to get out of digital and to get out of web offset, because they had made such a mess of both of them; and if they carried on they would go bust. [Peers] wrote that I got it all wrong and that I didn’t understand Heidelberg. Then nine months later, Heidelberg dropped out of it. At the time, I did consult for Heidelberg and they knew nothing about this article.

OCTOBER 2012 • PRINTACTION • 17

Today’s changes are very different. Printers have already implemented the Internet to increase the efficiencies in their businesses with technologies like Web to print. Many printers have also implemented many added value services like logistics and creative design. This helps them to work with their customers to be a provider of some cross-media services. It is, however,

The past 50 years of printing has been one of constant change. We moved from letterpress to litho in the 1960s and ‘70s. The driving force for this was the move from hot metal to phototypesetting. In the 1980s, digital prepress colour from companies like Crosfield, Hell and Scitex made colour printing easier and cheaper, and this drove offset and gravure printing forward.

One has to pick up trends early and then have the courage, expertise and luck to change your business to leverage these trends. a major step change for printers to become full marketing services companies with extensive cross-media capabilities. To predict the future for the printing and publishing industries is very difficult. There are a few very successful printers who have made that major step change in their business and are succeeding in this new crossmedia market. I honestly feel for most printers this will be too big of a step for them to make by themselves; and once again I feel the future for these printers is to find partners where they can participate as a media contributor.

I didn’t have to defend my position because I did a thorough analysis of the financial figures of Heidelberg and also I’ve been telling them for a long time that they made a total cockup of the way they built the NexPress. Now they had built a super product, but every single NexPress sold they lost money on, because it was vastly overengineered. It was built like an offset press rather than a digital press. Where does coverage of Vancouverbased Creo rank on your list of contentious articles? I used to have a major battle with Creo. The other article I suppose which really caused lots of discussion was on SQUAREspot, because I said they oversold it to a great degree. I basically re-christened it Viagra-spot, because it’s the most erect spot in the industry. I was the first person outside of the financial industry to actually write something about the financial problems of Creo and how there was going to be a major shareholder backlash. I used to get a lot of calls from financial analysts who wanted my opinion and we shared information back and forth. In the end, I

18 • PRINTACTION • OCTOBER 2012

In the 1990s, DTP killed high-end colour systems and made publishing easier and much faster in getting publications on the press. In the 2000s, digital printing ushered in shorter print runs and showed that printing with variable data capabilities could be an integral part of the marketing communications process. We are now in the 2010s, and we see high-speed inkjet printing potentially changing the publishing process, allowing for shorter runs, personalization and different ways of doing business allied to Internet and cloud-based workflows. The big question, however, is just how does the average printer fit into this scenario?

thought it was about time that the industry ought to know about this. They had phenomenal technology but had no control. They would let people do their own little projects and so they were spending huge amounts of money on development and were not really getting returns on it. What company impressed you most in terms of its evolution over your career? What is now X-Rite, and was GretagMacbeth. It’s a company that has reacted to change, maintained its position in a range of markets, and built a dominant position. It’s going to be the company that the people watch in the future because they will own the colour databases of the world. Unlike most other companies in the industry, [X-Rite] is not dependent on printing and publishing. They’re in the paint industry, they’re in the fashion industry, all sorts of industries, and now they’re in the cloud-based colour industry. They took on a huge amount of debt and had to do major financial restructuring, because of the acquisition of Pantone, but they will become the holding company of all key brand data-

As I retire from the industry, where I have made many friends around the world, I have to admit to being very lucky to have found myself on the leading edge of most of the driving technologies that have changed the industry. I have been privileged to be able to work with many of the key people and companies who have changed the industry. These include Apple, Adobe, Associated Newspapers, Crosfield, Efi Arazi, Hell, HP, IPC, Kodak, Derek Kyte, Benny Landa, Jonathan Seybold, Xerox, X-Rite and many others. I have also had my writing career as a mouthpiece for my opinions, and these have sometimes been quite controversial. A good example was in May 2003 when, after reading Heidelberg’s annual report, I stated the only solution for the company to succeed was the get out of both digital printing and web offset. I was heavily criticized for this across the printing world, with people publically stating I was wrong and did not understand the business. But in December 2003 Heidelberg announced it would sell off both operations. It is all very well to look back on past successes, but I feel we can learn a lot from such changes. I think it is still the case that one has to pick up trends early and then have the courage, expertise and luck to change your business to leverage these trends. Also, remember if you don’t replace your existing business with your new business, someone else is most likely to do so. I have had a great 50-plus years in the industry and it has been very good to me. I have now stopped writing but may still do a few presentations if asked while I still understand what is going on. I would like to thank all of those I have been associated with, many of whom are friends or customers, and I wish the industry well as it moves into another period of major change.

base colour. If you want to be sure that you’re going to use the right colour anywhere in the world for a brand, you will have to go through X-Rite or PantoneLIVE. What is the future for newspapers? What may happen, and it is not yet happening anywhere in the world, is the use of high-speed inkjet for newspapers to strictly target advertising zones – almost to the individual subscriber level. This change may happen soon when others start looking at Investors Business Daily, owned by O’Neil. They are now heavily involved with digital printing, using HP. Investors Business Daily is actually produced at [multiple] sites in the U.S. where they buy time on USA Today’s presses at Gannett. [O’Neil] prints small numbers on those presses for different areas. Once they have a reasonable amount of HP presses in print service providers all around the States, they will start thinking in terms of converting that newspaper into one that as 100 percent digital. They know every single subscriber to the paper and can produce a fully customized newspaper taking into account each investor’s particular inter-

ests. I think this is going to happen within the next two years at Investors Business Daily. Are you finding it hard to walk away from your printing career? No, because I have to get my golf handicap up... I’m finding it more and more difficult to write articles these days. I really do not want to become the world’s expert in cross-media publishing and marketing. The printing side has stabilized. There will be ongoing developments and I would love to watch more of liquid-toner battle against the rise of inkjet. What is one piece of advice you would give to printing companies about future technological investment? You have to work out what your future business is and kill your current business before someone else does it for you. If you want to succeed, you have to partner with your customers. They have to see you as an integral part of their process. I think it was Guy Getch [CEO of EFI] who once told me the role of the CEO is changing in printing; basically that you have to work on your company, not in your company.

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TECHNOLOGY REPORT

Companies Featured

Print Innovation in Chicago Following last month’s Technology Report covering Graph Expo’s 2012 Must See ‘Em awards, the following additional technologies were highlighted by some of the over 500 exhibitors leading into the show.

Agfa Graphics Agfa highlights the North American debuts of Apogee Suite 8.0, Arkitex Eversify, and StoreFront, as well as progress with its :Anapurna M2540 FB and :Jeti 3020 Titan large-format inkjet systems. Arkitex Eversify is a new HTML5-driven SaaS platform for automating the delivery of publications to mobile devices. Apogee 8.0 features a new cloud-based StoreFront Web-to-print application, as well as an update to Impose (rule-based imposition software) to support web-offset production. Agfa’s UV-based Jeti 3020 Titan system can be configured with 16- to 48 inkjet printing heads, while the :Anapurna M2540 FB is an entry-level, flatbed UV system with white-ink capabilities.

Must see ‘Ems Please see PrintAction’s September issue for a complete report on the 2012 Must See ‘Em products at Graph Expo, including:

Must See Graph Expo North American printers attending Graph Expo 2012, running from October 7 to 10, will get their first look at several new technologies introduced six months ago in Germany, during drupa. The close proximity of theses two large printing exhibitions provides for a robust list of Must See ‘Em products, named annually by Graph Expo’s show organizers, based on a judging panel of consultants and analysts.

HP Designjet L26500 Wide-format: The Designjet L26500 is a thermal inkjet system that employs HP’s environmentally progressive latex inks. It is suitable for printing on a range of materials like vinyl, textiles, paper and film. The L26500 speed range includes: 22.8 m²/hr (4-pass bidirectional), 16.5 m²/hr (6-pass bidirectional), 10.6 m²/hr (8-pass bidirectional), 9 m²/hr (10-pass bidirectional), 7.6 m²/hr (12-pass bidirectional), and 6.3 m²/hr (16-pass bidirectional). The 60-inch-wide machine is based on a 6-colour ink system.

EFI Layout Option for Fiery

Prepress and premedia: ES 3 is Web-based, customerfacing software for project planning with prepress tasks, milestones and approval processes. Users can add prepress tasks to ES 3’s project planning workflow with DALIM’s TWIST software. The ES FTP server can upload files, and production parameters can be passed at file delivery through the Web interface. ES softproof, annotation and approval features are available in an Apple App. The Digital Virtual Library within ES is a page-turning application for publications. It can simulate paper grades, while a new Enrichment option allows users to boost static, print-ready PDF files with interactive links, movies and slide shows on the iPad. DVL also offers a browserbased edition based on HTML5 rather than Flash.

Prepress and premedia • DALIM ES 3 • EFI Fiery SeeQuence JobMaster • Esko Studio 12 • Ricoh Clickable Paper Analogue presses • Heidelberg Prinect Image Control Digital presses • Kodak NexPress Gold Dry Ink • HP Indigo 10000 • HP Indigo WS6600 Wide-format • Epson SureColor S50670 • HP Designjet L26500 • Xanté Excelagraphix 4200 Small-format postpress • MGI JETvarnish 3D • Xerox IntegratedPLUS

Imprinting, mailing, shipping and fulfillment • Avanti Systems Advanced Fulfillment V12.4 • Böwe Systec Fusion Cross • Pitney Bowes Mailstream Wrapper

Avanti Systems Advanced Fulfillment V12.4

DALIM ES 3

Sales and order entry • EFI DSFdesign Studio • EFI M500 • XMPie uStore Facebook Connect

Wide-format postpress • EFI Layout Option for Fiery • Esko Kongsberg XN

Wide-format postpress: Layout Option for Fiery provides users with tools to create and clean up cutting contours based on the image shape or pixel data, including JPEG, TIFF, PDF and Image-EPS file formats (grey and CMYK). It can clone pixels if there is no image data available, while also allowing for automatic bleed generation. Layout Option tools can optimize sheet usage, by creating nestings that are set up either for minimum waste (aimed at substrate usage) or minimum layout, which tries to reduce the number of cutting paths.

Imprinting, mailing, shipping and fulfillment: Avanti is to release version 12.4 of its Graphic Arts Management System, which includes the company’s new Advanced Fulfillment module. Advanced Fulfillment includes a contract management system, where print providers can manage and track their customers‘ finished goods, as well as manage the billing of those goods. This streamlining also provides printers with visibility into their fulfillment business. Version 12.4 also includes JDF integration with technology from GMC Software aimed at transactional, trans-promotional and directmail production.

20 • PRINTACTION • SEPTEMBER 2012

20 • PRINTACTION • OCTOBER 2012

Agfa Graphics Avanti Bell and Howell C.P. Bourg Duplo Durst EFI Epson Esko Fujifilm

• • • • • • • • • •

GMG Americas Goss Heidelberg HP KBA Kodak Komori Konica Minolta manroland web MGI

• Mitsubishi • Morgana • Presstek • Ricoh • Scodix • Xanté • Xeikon • Xerox • Zünd

Agfa Apogee8

manroland web

manroland web highlighted its new press console, first previewed in May at drupa, which no longer utilizes a series of buttons, but rather works with a ControlPad displaying an overview of all press functions through multi-touch operations, and a wireless Mobilmanroland Control Center Pad to be used in any area around the press. manroland web also highlighted the technology behind its ROTOMAN DirectDrive system, 16-page market, in which each printing couple Agfa :Jeti 3020 Titan is equipped with two motors to adjust the cylinders, as well as the technology behind its 32-page LITHOMAN press and the COLORMAN e:line newspaper press. manroland web also highlighted its new pressupdate initiative to keep presses running at their peak through • Avanti Advanced Fulfillment v12.4 refurbishment, retrofitting, reconfiguration, or upgrades. • Böwe Systec Fusion Cross In post-press, specifically for Océ roll-fed presses, manroland web systems introduced variable cut-off VPF • DALIM ES 3 and VFF folders and VBC collators, which can also work • EFI DSFdesign Studio offline on various roll-to-roll platforms.

Featured technologies

TECHNOLOGY REPORT

• • • • • • • • • •

Management systems • EFI PrintFlow, Employee & Tool Constraints • Kodak INSITE Version 6.5 • XMPie Circle Future print • Kodak Flexcel Direct System • PadPublisher and PadCloud • Pageflex Dynamic Media

MGI JETvarnish 3D Small-format postpress: JETvarnish 3D is an inkjet system for applying flat, spot UV coating. It reaches a maximum speed of 3,500 B2+ sheets per hour. JETvarnish 3D also includes the ability to produce 3D raised effects on toner or offset print work (no lamination or coating required). The system works with variable-data processing.

• • • • • • • • • • • • • • • • • • • • • • •

EFI Fiery SeeQuence JobMaster EFI Layout Option for Fiery EFI M500 EFI PrintFlow Epson SureColor S50670 Esko Kongsberg XN Esko Studio 12 Heidelberg Prinect Image Control HP Designjet L26500 HP Indigo 10000 HP Indigo WS6600 Kodak Flexcel Direct System Kodak INSITE Version 6.5 Kodak NexPress Gold Dry Ink MGI JETvarnish 3D PadPublisher and PadCloud Pageflex Dynamic Media Pitney Bowes Mailstream Wrapper Ricoh Clickable Paper Xanté Excelagraphix 4200 Xerox IntegratedPLUS XMPie Circle XMPie uStore Facebook Connect

Heidelberg Heidelberg highlighted the North American debut of the Linoprint Pro C901 Graphic Arts Edition press (90 pages per minute), shown with an enhanced version of Prinect Digital Print Manager, an inline bookletmaker and cover interposer. The company also highlighted its newest generation of Prinect Heidelberg POLAR 56 Image Control (spectrophotometric) using G7 methods and ISO standards through grey-balance levels. Heidelberg highlighted its cloud-based Prinect Performance Benchmarking service. In the post-press arena, Heidelberg highlighted the North American debuts of its small-format POLAR 56 (NET version) integrated with P-NET and Compucut, as well as the Stahlfolder TH 56. Heidelberg also highlighted its Speedmaster SM 52 Anicolor press linked – through MIS and colour management tools like Prinect Color Toolbox – to the Linoprint Pro C901 system and EFI’s Rastek H652 UV flatbed inkjet printer.

GMG Americas

Bell and Howell

GMG highlighted its ProductionSuite workflow for wide-format printing, as well as OpenColor, a spot colour tool for labels and packaging, and CoZone, a series of modular cloud-based applications for colour management, tracking and approval. OpenColor creates colour profiles, without use of proprietary chart based press fingerprinting, by analyzing each ink colour and substrate and applying them to a specific printing process (flexo, offset, toner, inkjet, gravure). Then process-specific information is added, such as ink rotation and trapping, and the final press condition is simulated. GMG ProductionSuite is comprised of four modules, including: ProductionSuite Editor, RIP, SmartProfiler and PrintStation. GMG also highlighted updates to its FlexoProof, ColorProof, ColorServer and InkOptimizer software.

Bell and Howell highlighted its updated Ascender 16 inserting system with an increased throughput of up to 16,000 insertions per hour. Ascender, according to the company, changes over from flats to letters in minutes and supports multiple applications. As with other Bell and Howell inserting systems, Ascender 16 features the Navigator controller and Harmonix management software, which provide for production reporting, third-party peripheral control, and connectivity to an ADF environment such as Bell and Howell’s IQ software suite.

Konica Minolta Konica Minolta previewed its KM-1 technology, first shown at drupa as a B2 cutsheet, UV inkjet press. The company also highlighted its bizhub PRESS C8000 and C7000 systems, as well as the bizhub PRESS C70hc, bizhub PRO 951, and the new bizhub PRESS 1250/1052 Series for monochrome production. For software, Konica highlighted version 2.2 of its Color Care Suite with an enhanced GUI and new features like a statistics mode to plot and track colour differences and an optional CurveCore module for G7 tonal characteristics. The company also highlighted Printgroove for light production and a preview of the latest version of Fiery Central.

Duplo Duplo highlighted its recently released DBMi saddle system, which the company claims to be the first machine in its class to deliver letter landscape booklets, while operating at a rate of up to 4,500 books per hour. Duplo also debuted its 350 Digital Booklet System with the new DSF-2200 Sheet Feeder and the optional DSS-350 Square Spine module. Feeding up to 200 sheets per minute, the DSF-2200 sheet feeder works with paper sizes up to 14 x 20 inches or 9.05 x 24 inches via an extension tray kit. Duplo also highlighted new capabilities of its DC-745, a slitter/cutter/creaser now available with strike-perforating and embossing modules. The system can produce 10 slits, 25 cuts, and 20 creases in one pass. Duplo also made the North American debut of its single-clamp FKS PrintBind KB-4000 PUR perfect binder with a top cycling speed of 200 books per hour. The company also debuted its new Ultra 100A UV Coater, based on the Ultra 200A model, which can coat both sides of the sheet (13inch paper widths) at up to 33 feet per minute.

Ricoh In addition to its Clickable Paper technology (see PrintAction September), Ricoh highlighted its InfoPrint 5000, Pro L4000, Pro C901, and Pro C651/C751 systems. In the software arena, Ricoh showed its InfoPrint Process Director Express workflow tools tailored for mid-level customers using Adobe PDF data streams. Ricoh also highlighted TotalFlow MakeReady and TotalFlow Print Manager.

USED EQUIPMENT

Mitsubishi Mitsubishi Lithographic Presses highlighted its DIAMOND EYE-S system – combining on-press colour and inspection control in one unit – for sheetfed presses. First unveiled in May at drupa, DIAMOND EYE-S has a printing defect check function and tools to adjust colour based on density measurements. The company highlighted its Diamond Color Navigator that allows operators, using a touch-screen wheel, to correct ink-key openings according to their visual sense of colour. MLP also highlighted its IPC III press control system with new features like eco-mode (reducing the minimum speed of the press), ink-consumption tracking and daily plate-change counting. MLP also highlighted its ecoUV drying system consisting of a single 120-watt lamp.

Fujifilm Fujifilm, in addition to its J Press 720 (see PrintAction September), highlighted the Inca Onset S40i introduced at drupa. Relative to the preexisting Onset S40 mode, the S40i features reduced bed masking requirements for substrates thinner than 3 mm, based on a new 15-zone vacuum table, as well as an enhanced substrate height detector and a new UV sensor system that monitors machine condition and informs an operator when automatic cleaning is required. Fujfilm also highlighted the recently released Acuity LED 1600, as well as Acuity HS and XMF workflow software, including XMF ColorPath.

Presstek Presstek highlighted the North American debut of its PearlDry Blue plates, described as a non-ablative, chemistry-free product that can be imaged on a range of 830nm thermal CTP systems, while providing daylight handling and operation for up to eight hours. Rated for run lengths up to 100,000 impressions, PearlDry Blue outputs resolution of 1% to 99% dots at 200 lpi (80 l/cm), along with stochastic (FM) screening. Presstek also highlighted the North American debut of Virtuoso, an inline colour management and sheet inspection system for the Presstek 75DI press. The Presstek 52DI press prints up to 10,000 full-size sheets per hour or 333 letter-sized pages per minute on offset stocks up to 0.020-inches (0.5-mm) thick. The press is available with an optional inline aqueous coater. Presstek also highlighted its new PhD 830 negative working pre-heat thermal plate and Aeon, a high resolution no preheat thermal CTP plate. OCTOBER 2012 • PRINTACTION • 21

LETTERPRESS & FINISHING

KBA

KBA, using a video review, highlighted new technologies introduced at drupa, including its new inkjet web press, KBA RotaJET 76, targeted at books, brochures, direct mail and magazines. KBA highlighted the technology behind its 57-inch Rapida 145 sheetfed press (17,000 sph in straight printing and 15,000 sph in perfecting mode), as well as the Rapida 106 41-inch press (20,000 sph) and the recently introduced 29-inch Rapida 76 (18,000 sph) with dedicated plate-cylinder drives. KBA also highlighted its Service Select Program with tools to perform press or plant audits, training for press operators, and press upgrades, among others.

DIGITAL EQUIPMENT

HP, in addition to its Indigo 10000, Indigo WS6600 and Designjet L26500 printing systems (see PrintAction September), highlighted its Indigo 7600 and Indigo 5600 presses, introduced at drupa. The HP Indigo 7600 press – with a 13 x 19 inch format – is available as an upgrade for Indigo 7500 users. Available as a 4-, 6- or 7colour system, it has a top speed of 160 pages per minute in HP’s recently introduced Enhanced Productivity Mode, as well as a new automated detection tool, called Enhanced Vision System. The HP Indigo 5600 – with a 13 x 19 inch format – is available as an upgrade for Indigo 5500 users. It features a top speed of 90 pages per minute in Enhanced Productivity Mode and a monochrome speed of 272 Durst ppm. The 5600, with up to seven ink staDurst highlighted its 98-inch Rho P10 250 tions, features a one-shot mode for printprinter, a 10-picoliter system that pro- ing on synthetic substrates. duces a 1,000-dpi resolution. The Rho P10 series also includes the 2-metre (80-inch) Rho P10 200 flatbed/hybrid machine and Morgana the 3.2-metre (126-inch) Rho P10 320R Morgana Systems highlighted the Digiroll-to-roll machine. The Rho P10 250 Book 150 as part of its continuing developPresto version prints at speeds of up to ment of robust, entry-level PUR binders. 2,100 f 2/h. The Rho P10 Series printers The DigiBook 150 is capable of 150 cycles feature Durst’s new Quadro Array 10 print per hour, and can bind publications with heads, with silicon-based MEMS technol- spine thicknesses from 1/16 of an inch ogy, and have the ability to print light cyan through to two inches, in book sizes up to 15 x 12.5 inches. According to Morgana, a and light magenta. key feature of the 150, and across the DigiBook range, is its patented glue application MGI system, in which spine and side glue is apMGI, in addition to its JETvarnish 3D (see plied using an adjustable slot applicator. All PrintAction September), highlighted the the machines have a hermetically sealed North American debut of the Meteor glue and cleaning system. The DigiBook DP8700. The toner press reaches speeds of 300 can bind up to 300 books per hour, up to 4,260 A4 (letter-size) sheets per with a binding length from four inches to hour, while producing resolutions of up to 17.7 inches. Morgana also highlighted the 3,600 dpi – along with 25-line screen op- DocuFold Pro and its debut of the tions (stochastic). The Meteor DP8700 DocuMaster MFC booklet-making system. XL, relying on an extension kit, works with sheet sizes up to 40-inches and a range of substrates (paper, plastics and envelopes). C.P. Bourg C.P. Bourg highlighted its BB3102 off-line binding system, based on the preexisting Xanté Bourg BB3002 Perfect Binder and the new Xanté, in addition to its Excelagraphix Bourg BBL Book Loader (introduced at 4200 (see PrintAction September), high- drupa). According to the company, the lighted enhancements to its iQueue 7 BB3102 allows an operator to insert up to Ultimate software, which integrates with 120 book blocks, load corresponding covthe company’s Memjet-powered Excela- ers into the cover feeder, set job paramegraphix 4200. iQueue 7 Ultimate is ters, and then leave the system unattended designed as a multi-user workflow, allow- for up to 30 minutes of non-stop producing for independent CMYK/density tion while they focus on other tasks. C.P. adjustments, matching spot colours, and Bourg also highlighted its Bourg BSF line selecting the desired feed, media type, as a 15,000-sheet-per-hour system taking resolution, line-screen, and dot shape. collated output from multiple offline Users can also track press consumables, toner presses. multiple run counts, and job costs from multiple workstations.

Zünd

Komori Komori highlighted the North American debut of its Impremia IS 29 inkjet-based press, using a video feed from its Japanese technology centre, including both cutsheet and web-fed designs. The company also displayed the Komori Bizhub toner press for the first time in North America, while also shuttling attendees to a demonstration centre to see the 40-inch, 8-colour Komori GL 8 press, equipped with Komori I-plate changers and the recently introduced H-UV drying system. Komori also highlighted its KHS-AI software for press make-ready and its newly expanded KomoriKare program, K-Supply. 22 • PRINTACTION • OCTOBER 2012

Zünd highlighted its new S3 line of cutters, first introduced at drupa with six different-size models, from 133 x 800 mm (52 x 31 inches) to 1,800 x 1,600 mm (70 x 63 inches). Built with a unique directdrive system, S3 cutters use modular tooling for processing a range of materials, such as textiles, vinyls, films, thinner plastics, and cardboard, up to a maximum thickness of 25 mm (1 inch). The S3 line features what the company refers to as “ultra-fast” Z- and T-axis control, as well as the Zünd Cut Center software and the new Zünd Board Handling system. The S3 cutters use modular tooling to allow for processing materials up to a maximum thickness of 25 mm (1 inch).

Xeikon

Scodix

Xeikon highlighted its new 8000 Series for the document-printing market – featuring models 8500, 8600 and 8800 – and the 3030Plus press for label production. The current, entry-level Xeikon 5000, for lower volume direct mail and short-run commercial work, will be superseded by the 8500. Users of the Xeikon 6000 have an upgrade path to the new Xeikon 8600 platform, while Xeikon 8000 is to be replaced by the company’s new 8800 model. All 8000 Series models come equipped with Xeikon’s new Toner Optimization Mode (TOM), which, depending on the application, can reduce toner usage up to 50 percent. All 8000 Series models also feature the same LED-array imaging technology used in the current Xeikon 8000 press, which provide 1,200 dpi resolution and 4-bit per spot colour.

Scodix highlighted the recently released 20- and 29-inch format size presses within its S-series. The Scodix S52 and S74 also include four new features: Digital Glitter, VDP, Braille Printing, and Inline Barcoding. Digital Glittering is applied through the inkjet-based Scodix Rainbow Station for applications like photo-album covers, marketing communication materials, cosmetics and premium packaging, business cards and wedding invitations. The Scodix inkjet Braille technology can reproduce scientific elements, shapes such as triangles and circles, and animal forms. Scodix is offering VDP production using clear polymer.

Xerox Xerox, in addition to its IntegratedPLUS Finishing Solution, XMPie Circle and uStore (see PrintAction September), highlighted its worldwide debut of two new Nuvera black-and-white systems, the Nuvera 157EA and the Nuvera 314EA. The new machines will feature production speeds of 157 (single engine) and 314 (dual engine) sheets per minute, respectively. The machines – handling a maximum sheet size of 12.6 x 19.3-inches – also feature a revamped production stacker, which unloads printed material even as a job continues to be run and can handle more pages without manual intervention. The company also highlighted enhancements to its FreeFlow Digital Workflow Collection, including: Web Services 9.0, Fleet Navigator, and Variable Information (VI) Suite to support a PDF workflow. Both VI Design Express and VI Design Pro can now create PDF files at a workstation.

Avanti

Kodak Kodak, in addition to its NexPress Gold Dry Ink and Flexcel Direct System (see PrintAction September), highlighted its Prosper S-Series Imprinting System for hybrid applications, which now includes the S5, S5 with CMYK, S10, S10 CMYK, S20, and S30. In software, Kodak highlighted its Prinergy workflow along with version 6.5 of the Insite Prepress Portal System, which includes an application for Apple iPad tablets based on Kodak’s Smart Review System. The company also highlighted its Sonora XP plates, described as a process-free product, and the NexPress SX, which features a new option to run a 36-inch (914-mm) long sheet.

Goss Goss highlighted recently introduced technology behind its Goss Sunday Vpak presses, designed as an alternative to flexo, gravure and sheetfed offset presses for packaging. Sunday Vpak presses feature quick-change blankets and printing cylinder sleeves to ease production with variable repeat lengths. Sunday Vpak 3000 and Sunday Vpak 500 presses are available in web widths of up to 75 inches (1,905mm) and 41 inches (1,041mm), respectively. According to Goss, the first Vpak 500 press system will be installed in the United States later this year.

Avanti, in addition to its Advanced Fulfillment module (see PrintAction September), highlighted the version 12.4 release of its Graphic Arts Management System, which the Toronto company describes as its most-significant upgrade of the past 10 years. Version 12.4 includes new bi-directional integration with Neopost’s GMC Epson Inspire software for transactional, trans- Epson, in addition to its SureColor promotional and direct-mail production. S50670 (see PrintAction September), highlighted a new line of SureColor T3000, T5000 and T7000 large-format printers Esko Esko, in addition to Studio 12 and the for engineering and scientific professionKongsberg XN (see PrintAction Septem- als. The T-Series employ Epson’s new Ulber), highlighted i-cut Suite software for traChrome XD pigment ink – available in large-format printers and/or finishing 110 mL, 350 mL, 700 mL sizes. Each systems. i-cut Preflight for PDF preflight- printer produces plots with a minimum ing automatically reports problems, line thickness of 0.018 mm. allowing users to change text, file dimensions, substitute high-resolution images for others, and convert RGB to CMYK. The suite also includes i-cut Layout, i-cut Vision Pro and i-cut Automate. Esko also highlighted version 11 of its Enfocus Switch and PitStop software. Switch 11, which includes the latest version of the PitStop Server configurator, allows for the use of SQL databases, XML and JDF job tickets, embedded XMP values, and private data variables created with the scripting API.

EFI EFI, in addition to its DSFdesign Studio, M500, Layout Option for Fiery, Printflow enhancements (see PrintAction September), highlighted its growing range of MIS solutions with Monarch, Pace, PrintSmith and Radius, as well as enhancements to its DFE staple Fiery. The company also highlighted its Jetrion (label) and VUTEk (large-format) inkjet systems. OCTOBER 2012 • PRINTACTION • 23

TRADE PRINTING

Gaitskell Continued from page 12

Cats Media’s design team works within an open studio.

New-media service

Their next big leap was into consultative marketing services, including business branding, logos, graphic design, digital photography, videography, and Web development, design, and hosting. “The move required us to hire new people with new skills, and required big changes in the mind set and culture of the company – but it has also been a lot of fun!” recounts Mavis. The milestone occurred in 2008, when Carr and Mavis opened a second location in Port Hope, equipped with desktop Macs, laptops, an arsenal of software, and six creative staff to produce all creative work inhouse. In addition to bindery equipment, the Port Hope studio also houses a colour copier for proofs and odd quick-print jobs that clients need right away; but “the main investment is people and intellectual property, not hardware,” says Carr. “The reason we have two locations is that a creative brain doesn’t do very well in a busy, noisy manufacturing environment,” explains Mavis. “If you go to all the expense of hiring creative experts, you also need to provide them with a creative environment. So we built them a cool space with a funky interior design and a variety of work areas where they can create individually or collaborate by spreading themselves out and bouncing ideas off each other and the clients. “Formerly, we tried and tried to bring the creative department into our Toronto production facility, but it didn’t work out. It took a totally different environment to make it work. The two facilities are both

awesome, but they’re too different to work in one space.” Mavis, who currently serves on the board of directors for the Port Hope Chamber of Commerce, says she finds it easier to recruit qualified staff in Port Hope because, unlike Toronto, other local employers pose less competition. She says another advantage of operating there is that their staff ’s community involvement has made the company well known in the smaller municipality, whereas in Toronto, where the population is so much larger (5.5 million in the Greater Toronto Area), interactions with people are less frequent and more impersonal. Their Port Hope clientele include non-profits in the health-care field, small retail, major industry (especially the nuclear sector), and government at all levels. “Since we can’t just rely on print sales any more, we must also sell creative services, and for this process we’ve gone from doing individual sales to team sales,” she explains. “The people with the right skills go out and talk to the client. One person can’t sell the whole thing.” Both she and Carr make sales calls along with other staff (“As owners, we never stop selling”), but most of their sales calls are done by customer service reps in each location who each have their own accounts. Sometimes, because in some quarters businesses still remain somewhat patriarchal, they deliberately send male staff to visit certain clients because they’re the gender the person on the other side wants to see. Continued on page 26

(L to R): Maggie Peacock, Manager; Laurie Carr; Julie Mavis; Katy Caines, Print Production; Issac Williams, Production Supervisor; and Tim Yu, Admin Systems (not pictured, Nan Carr and Gary Cormier). 24 • PRINTACTION • OCTOBER 2012

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BUSINESS FORMS

Gaitskell Continued from page 24

Staying informed

TRADE PRINTING

To stay current, Carr and Mavis try to attend a lot of conferences, especially the National Association of Quick Printers (NAQP) Owners Conference in Chicago, held this year in October immediately before the Graph Expo trade show. NAQP provides programs, studies, discussion forums, and products specifically focused on the interest and concerns of small commercial and quick printers. Since 2005, it has been part of the National Association for Printing Leadership (NAPL), based in New Jersey. This year Carr and Mavis also attended the June InHOWse Managers Conference in Boston, a multi-part conference for creative freelancers, designers, and managers of creative environments, because they wanted to get a handle on how to manage a creative team. The previous year they sent their Creative Director to the same conference to learn about design trends. “Historically, the U.S. market has been a bit ahead of the Canadian market,” says Carr. “We used to be able to look at them and see what services are taking hold there that would subsequently move into the Canadian market. I don’t think their market is as prominent as it once was, but it’s still very important for us to keep an eye on what’s happening south of the border, especially the creative side. Nowhere in Canada can hold a candle to California or Texas where a lot of creative information is coming from.” Mavis continues: “Our staff are self-motivated and passionate about technology and design, so they often use the Internet to make sure they’re ahead of [the sector’s standard] skill level. Because the industry changes so quickly, the challenge is staying on top of it. At the InHOWse conference they told us that when people are being trained, what they learn when they first start out is obsolete by the time they’ve finished school!” Keeping watch over your stats

“Once we did that, because we became more profitable, we were able to start transitioning and able to take the risk of adding new services.” Carr says NAQP also provides information on how to move into marketing services, but one of the biggest problems is a printer’s own resistance to making those changes. “The Association takes away some of the fear by providing support and advice on how to do it. They are treading slowly on the transitioning, because I think a lot of members are still afraid of changing from being a print or commodity producer into a service provider, but they’re definitely going in the right direction – .” “– Although, we’d like to see them do a whole lot more,” interjects Mavis. Constant learning

Mavis laments that one of their challenges on the creative side is that they haven’t found a source of statistics comparable to NAQP for benchmarking yet. She says one thing they learned when launching new services was the importance of costing everything out in advance. “For instance, we had no idea how much more expensive our insurance would be once we started doing Web development,” she recalls. “You also have to learn how to bill appropriately for work on the creative side when all you have to offer is time and a ton of skills. You have to get used to thinking along the lines of: ‘It will take my Project Manager this many hours to understand your requirements and pass them along to the Web Developer, who will take this long to custom-build your Website.’ It helps if you hire designers with experience, because they know what other companies are billing, so you can learn from them.” Evangelists for change

Two years ago, the fact that no organization in Canada provided statistics and services comparable to NAQP’s prompted Carr to join NAQP’s Advisory Board as its sole international representative. She and the Board plan to launch an initiative to bring the association’s products and services from the U.S. into Canada in the near future. With Mavis, she is emerging as a leading advocate in both countries for the need to support other small independent printers as they transition to new business models. The Kwik Kopy Printing Canada Corporation franchise (Richmond Hill, Ontario), with 62 locations across Canada, has invited Carr and Mavis to present a session called “Transitioning from Traditional Print to Multimedia” at its October conference for franchisees in Guelph, Ontario. At the same conference, Carr and Mavis are also scheduled to speak at a roundtable discussion on industry trends. As for their own company, Carr says: “Since we’ve just added mobile Websites to our offerings, the number of services we offer is where we want to be – for now. At present we have enough irons in the fire or balls in the air or however you want to put it. We’re happy to continue developing those and our staff.” She predicts: “But 10 years from now, there are going to be things we have to offer that we don’t even know about yet. And if that’s the way the business is changing, then that’s the way we have to change.”

Carr says one of their biggest challenges was learning how to be profitable. “Over the last few years we’ve worked especially hard to keep paying the bills and monitor where our profit is going. Although, as a whole, the industry is reducing in size, our company has continued to do about the same year over year.” She attributes their financial stability to knowledge obtained from annual statistical reports published by NAQP, including the Financial Benchmarking Study, Quick Printing Wage & Benefits Study, and Hourly Cost Studies-Print Operations for Up to 20 Employees. She and Mavis encountered NAQP around the same time they were buying the business. They hadn’t seen anything like those reports before and concluded that they needed to obtain more information in order to initiate change in an informed way. “The statistical reports we received from NAQP in the first year were invaluable to us because they gave us the ability to compare our numbers against other businesses of similar size. It’s great information that allowed us to streamline our original business and make it more cost-effective, much Victoria Gaitskell is keen to exchange ideas leaner and more profitable,” explains Carr. with readers at victoria@printaction.com 26 • PRINTACTION • OCTOBER 2012

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OCTOBER 2012 • PRINTACTION • 27

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itary avionics firm that supplied Heidelberg electronic control equipment. During both Great Wars, virtually every manroland suffered through bankruptcy major graphic arts supplier built some sort protection and split into separate web of machinery for the war effort, because and sheetfed offset entities, but the buyer they were obliged to. This was a rather easy of manroland sheetfed, Langley Hold- transition for defense departments beings, is heavily involved in a myriad of cause of the interleaving disciplines insectors requiring large, precise machin- volved in precise machine construction. ery. Are all of these press makers content to sell souped-up photocopiers made by Into to the future someone else? If there ever was a time to look at new opPrint-machine building requires massive portunities outside print, this is it. Underamounts of R&D, casting, machining and standing exactly how and when to execute most importantly, fitting. All of these attrib- such plans, however, is a challenge for utes lend themselves to the highest levels of large machinery makers, and the solutions engineering. Skilled people who can assem- often come from smaller players who ble parts at close tolerances are not freely identify a niche – an environment very available. This is why countries like Ger- similar to printers. Peter Marsh, writer for the Financial many and Japan dominate the world in manufacturing highly specialized equip- Times, recently wrote about the success of ment that must work properly. Of late, we entrepreneur Maurice Critchley, who have other countries, particularly from Asia, heads up Severn Glocon. A medium-size, mirroring Japanese and German designs. specialized manufacturer based in the Some have found limited success, but they United Kingdom, Severn identified the suffer dearly when it comes to design-to- need to produce safety-critical valves for build. However, we are seeing the largest tra- the oil and gas industry. Does anyone ditional press builders exporting more and doubt the likes of Heidelberg, Komori or more know-how into lower-cost countries. KBA could manufacture such valves? I Japanese business media now likes to don’t. Oil & gas, mining, construction, aluse the expression “Made by Japan” even ternative energy, transportation and, of if a product was not “Made in Japan.” This course print, are all viable machine-driven is the reaction to the fact that Japan Inc. is sectors with promise for the future. rapidly spreading its wings into other Rheinisch-Westfälisches ElektrizAsian countries. We have seen Heidelberg itätswerk Aktiengesellschaft (RWE) is one plowing resources into China at the ex- of Europe’s largest oil, power and gas compense of its own German workforce. It is panies. RWE was the former owner of Heiof no surprise that Komori has chosen Tai- delberg from 1940 to 2004. One could wan as the first showcase exhibition for its suggest Heidelberg does not have far to go recently announced PEPIO offset gravure in learning the oil and gas delivery system developments in Taiwan. and what products are needed – and potenThe PEPIO line is designed to produce tially very profitable. Piller Group GmbH, both rigid and flexible touch panels for in- long a provider of Heidelberg’s Drystar IR corporation into other non-graphic arts dryer, was part of RWE until recently when machines. Entry into the printed electron- it was acquired by Langley Holdings – yes, ics marketplace – through PEPIO’s touch- the new owner of manroland sheetfed. panel production – reinforces Komori’s Companies like Piller are great examples of plan to expand into new markets. In fact, divergent industry players. most of the big press makers in 2012 anFor that matter, the giant MAN AG, nounced plans to leverage their press- which had long owned manroland, rebuilding foundation within new industrial mains very profitable in a variety of indussectors. tries, from trucks and diesel engines to In our world of the graphic arts, there turbines. Presumably, manroland became are many examples of technology suppli- somewhat lost under MAN AG’s huge ers diversifying through their manufactur- umbrella at a difficult economic time ing assets. Wohlenberg was a machine tool when the vision of print’s future was not builder making the famous VDF lathe clear. Certainly, MAN AG held the chance (Heidenreich & Harbeck) until Krause-Bi- to enter a new segment if connected to agosch came knocking on its door in 1949. manroland, but was also strapped into Baker-Perkins was prodigious in the bak- union issues and roadblocks of change to ing machinery industry well before it set a point where the public company decided out making web presses. Color Metal AG to stop funding its press entity. allegedly produced the multi-colour ballThe argument against being an outlier point pen before building Perles, Juwels – a third-party supplier – is control. Right and Champions. now, all three of the world’s largest press KBA manufactured the Multimat cen- makers control their Intellectual Property. tre-less grinding machines until selling the They have factories and fully control the division off in 1994. Japan’s giant Sumit- supply chain between builder and user. All omo Corp. built (under license) Miller the benefits of such a structure creates a presses. Werner Rietschle provided pat- force field against change. Punching terns and casting to Müller Martini. Albert through this internal resistance is hard for Frankenthal also built Miller Johannisberg some and can be evidenced by recent analTP-36 machines. Fritz Werner, the govern- ogous alliances. Just as a husband refuses ment-owned armament company in Ger- to stop and ask directions, as his wife bemany, purchased Miller from Western rates him for being lost, many companies Gear. Heinz Binder (MBO) originally cannot conceptualize diversity before matmade parts for the aerospace industry. The ters become worse. massive combine of Rockwell InternaThe strategy of press makers leveraging tional took control of Miehle, Goss, Baker- distribution channels to sell anything Perkins, Hantscho and Creusot-Loire print-related to printers is a possible anprior to extricating themselves, but not be- swer to economic woes. However, this may fore purchasing Germany’s Teldix, the mil- be more of a Band-Aid approach because

Howard

Continued from page 12

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28 • PRINTACTION • OCTOBER 2012

Trad EW e EnveloPrices pes

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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

Nick Howard has been involved in the printing industry since 1976. He manages Howard Graphic Equipment Ltd., which has been involved in the supply, sale, rebuilding and appraisal business since 1967. Nick can be reached at: nhoward@bellnet.ca.

SOFTWARE

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the distribution of third-party consumables â&#x20AC;&#x201C; even if OEMed under a private label-brand â&#x20AC;&#x201C; does not keep massive factories busy. Besides owning the IP, building needful things is what made press makers into giants in the first place. One just has to look at a company like Kodak. Long domineering in film and prepress materials that are now obsolete, Kodak is struggling to right itself before itâ&#x20AC;&#x2122;s too late. Had Kodak invested sooner and bailed out of legacy products quicker, the story might be different. In contrast, companies like 3M, DuPont, Fujifilm and Agfa implemented much more proactive strategies to transition away from their legacy film products â&#x20AC;&#x201C; remaining innovative while unafraid to acknowledge filmâ&#x20AC;&#x2122;s demise. All of these companies continue to hold large graphic arts divisions, and in fact leveraged these assets to become multi-disciplined producers for various industries. General Electric is another great example of a powerhouse multi-disciplined company. Itâ&#x20AC;&#x2122;s not just appliances, finance and plastics anymore. Try aircraft engines and medical technologies. GE is in businesses that are highly specialized and extremely difficult to enter, requiring massive amounts of investment with relatively low immediate return â&#x20AC;&#x201C; just like print. Can anyone imagine what General Electric would look like if it stuck to incandescent light bulbs? Does anyone doubt the big press builders have enough smarts to build jet engines, locomotives or electrophotography? Print appears to be riding a huge destructive wave at the moment, being tossed about and getting terribly seasick. It is understandable why people believe printing equipment manufacturers have no future, but they are wrong. Presses still need to be made as we continue the journey from litho toward more inkjet and toner processes. And this journey can be made smoother by diversifying into new sectors. In a 1940s issue of American Printer magazine, several advertisements appeared by the company Royal Electrotype. One double spread, entitled â&#x20AC;&#x153;Capable of Great Power but Unused,â&#x20AC;? railed against the influx of the frightening new threat of cheap litho duplicators â&#x20AC;&#x201C; replacing letterpress. Royal Electrotypeâ&#x20AC;&#x2122;s business was letterpress. The company lost because technological change cannot be argued into submission. Recently, IBISWorld reported U.S. print revenue had declined 6.2 percent in the five years leading to 2012 with a two percent yearly potential decrease going forward, leveling out in 2017. If true, there is no possible way press builders can spit out machines like they are running a modern version of Henry Fordâ&#x20AC;&#x2122;s model T assembly line. There will need to be reductions. This is why the vast majority of know-how and tools are still in place. The time is right for some good old-fashioned entrepreneurial spirit to take hold. I love the printing industry. It has been my life since I was a child. But I also know that I cannot change destiny, whatever it may hold, even if it means solar generators or centrifuges or submarines . . .

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

WEBCOM OPPORTUNITIES Enthused about joining a print industry leader making major investments? Webcom is seeking applicants who have a drive for change for the following: Plant Manager, Pressroom and Coatings Manager, Industrial Engineer. Please submit your resume to human.resources@webcomlink.com SOUTHERN ALBERTA PRINTING or contact Elizabeth Ford, BUSINESSES FOR SALE HR Coordinator at 416-496-1000 x426 Two printing business for sale. 1) Fam- for confidential inquiries ily business established in 1973. Ap- ____________________________________ proximately 600K annually. All DIECUTTER & LARGE FORMAT equipment and inventory. 2) Family PRODUCTION COORDINATOR WANTED business since 1972. Approximately Eterna 40â&#x20AC;? Diecutter wanted. Large-for850K annually. Room to grow! Both mat Production Coordinator wanted. located in Southern Alberta. Join the The two positions must have wellmigration! rounded experience. Markham area. Email deloresm@shaw.ca ____________________________________ Easy access 404 and Hwy 7. Contact Paul Kett: (905) 944-9444 x323 SR. PRODUCTION MANAGER or Email paulk@mi5print.com SEEKING JOB OPPORTUNITIES ____________________________________ Enthusiastic about joining an established agency or client. I have expertise in traditional, digital, and largeformat printing, as well as direct-mail, exhibit displays, online banner ads, Web pages and digital apps. I am capable of the production and scheduling of complex jobs and great at FREE OFFICE SPACE! Excellent multi-tasking, while bridging the gap opportunity to grow your print clientele between client service, creative studio, at a centrally located print shop. Great support team of design, print production proof reading and production. and admin. Restrictions apply. Contact Dolph Loeb: (905) 767-1487 Email: loeb@sympatico.ca or Email for more information: ca.linkedin.com/in/dolphl sales@canadianprintingresources.com ____________________________________

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Leslie Electric Ltd. Servicing the printing industry since 1914 â&#x20AC;˘ SHEET FED PRESSES â&#x20AC;˘ WEB PRESSES â&#x20AC;˘ BINDERY EQUIPMENT â&#x20AC;˘ SPRAYER SYSTEMS â&#x20AC;˘ ELECTRONICS â&#x20AC;˘ ELECTRIC MOTOR REPAIR

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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 OCTOBER 2012 â&#x20AC;˘ PRINTACTION â&#x20AC;˘ 29