March 2014

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For more stability: Saphira Consumables www.shop.heidelberg.com 1 800 363 4800 PM40065710 R10907 Return undeliverable Canadian addresses to Circulation Department: P.O. Box 530, Simcoe ON N3Y 4N5

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CONTENTS Volume 53, Number 3 Features

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Somerset Strong Jack Youngberg, founder of Somerset Graphics, one of two recipients of PrintAction’s Lifetime Achievement Award, shares 50 years of printing

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Blue Ocean Live Buzz Apostol of X-Rite visits Ryerson GCM in Toronto to discuss graphic-communications education and the growing influence of PantoneLIVE in the printing industry Jeti Titan HS UV-curable true flatbed printer.

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Tech Report Colour Control More than 20 of the newest hardware and software products pushing accurate and repeatable colour onto offset, flexography, and inkjet printing systems

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NEWS RCMP seizes a counterfeiting press in Trois-Rivières, Taizaburo Egawa becomes CEO of Canon Canada, and remembering press technician Joe Michaels

Jeti Titan S/HS makes a splash in wide format printing.

Print

The new Jeti Titan S and HS is the next generation of the industry-leading true flatbed at an unequalled price/

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Calendar April 2014 CMA’s Atlantic Marketing Conference in Halifax, Infoflex 2014 begins in Baltimore, and Hannover, Germany, hosts 100-plus functional printing firms at InPrint 2014

productivity ratio. They incorporate the latest Ricoh Gen 5 print heads.

These 6-color & white flatbed UV-inkjet printers bring high quality and speed at the sharpest price producing top quality

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AWARDS Unisource Presents Uvu Awards The inaugural Uvu program brings printers and designers together from across Canada, as they vie for Awards of Excellence in 12 categories

indoor and outdoor print work.

Jeti Titan S and HS come with the revolutionary Asanti wide format workflow. As well as reducing costs and

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time, the complexity of the pre-press operation is diminished significantly,

Abhay Sharma New Dawn for Colour Measurement A new ISO standard finally brings a clear and elegant solution for the press-to-proof match, regardless if papers are loaded with optical brightening agents

with the elimination of errors and eradication of reworked jobs. Take a dive into some quality print work with

Archive

the Jeti Titan S and HS.

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March 1989 A geomagnetic storm black-outs Hydro-Québec’s system, Exxon Valdez runs aground, and more than 450 newspapers Run for the Money in colour reproduction

www.agfagraphics.com

Resources 19 Services to the Trade

25 Marketplace

Cover photo: Jon Robinson

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Request for Proposals for Printing Services

PERSPECTIVE

Canopy Print Planet

to be posted on MERX.com The Ontario Ministry of Government Services is planning four single procurements to select a number of suppliers to enter into Vendor of Record including: • Envelopes Request for Proposals – OSS_00411841 • Forms Request for Proposals – OSS_00411972 • Forms with Security Features Request for Proposals – OSS_00412000 • Commercial Print Request for Proposals – OSS_00401964 These RFPs are only available through MERX.com, under Services categories of Communications, Photographic, Mapping, Printing and Publication Service from January 2014 to March 2014. MERX™ is the electronic tendering system used by the Province of Ontario. For further information about MERX™, call 1-800-964-MERX (6379) or visit the MERX™ website at www.MERX.com.

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wo significant pieces of news came out of Canopy last month, signifying the environmental progress of industries directly related to the printing industry.

Canopy, best known for helping J.K. Rowling steer millions of her Harry Potter books onto environmentally sound paper, works with industry and environmental groups to build policy and procedures for progressive supply chains.

Canopy’s ability to bridge this gap between the realities of business and climate change, which continues to negatively impact other major industrial sectors, should not be underestimated in helping print prepare for future economies. In fact, the environmental progress made by the printing industry over the past decade should be applauded, particularly as other sectors turn a blind eye and often point green-washing fingers print’s way.

Kimberly-Clark Corporation, the global producer of Kleenex, Huggies and many other major brands that are sold in over 175 countries, has published a comprehensive Lifecycle Analysis that Canopy describes as “a cutting-edge study of the existing and potential raw materials for their products.”

Canopy provided independent analysis to the advisory board overseeing the creation of Kimberly-Clark’s Lifecycle Analysis. The report itself was authored by the Georgia Institute of Technology. “With an eye to protecting our planet’s remaining ancient and endangered forests – and not trading off one environmental issue for another – we have reviewed countless lifecycle assessments related to traditional forest products,” stated Amanda Carr, Campaign Director with Canopy. “The key to our endorsement of Kimberly-Clark’s report is that this study includes measurements for biodiversity and carbon stored in our global forests as part of the environmental considerations.”

Founded in 1999, Canopy currently works with more than 700 companies, such as Sprint, EILEEN FISHER, TC Transcontinental, Quiksilver, Random House/Penguin, The Globe and Mail, Scholastic and The Guardian, to develop progressive supply chains. In 2004, Canopy, working with the Environmental Paper Network, launched its Ecopaper Database of environmentally progressive papers available in North America. Last month, the organization announced an update to its database that now contains more than 440 available eco-papers.

The update includes 52 new papers or paper products made with Second Harvest fibers and more than 220 Ancient Forest Friendly papers, which are stocks directly supported by Canopy as being environmentally sound in the protection of ancient forests.

The Canopy Ecopaper Database also includes 409 products with recycled content and 10:05 AM 225 papers made with 100 percent total recycled content (pre and post consumer).

The Ecopaper Database and Kimberly-Clark’s open Lifecycle Analysis reflect the results of years of hard work by Canopy and dozens of printing-industry stakeholders.

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Jon Robinson, Editor

More printers read PrintAction magazine every month than any other graphic communications publication in Canada.

USE THE SUBSCRIPTION LINK BELOW TO UPDATE YOUR INFORMATION AND ENSURE YOU DON’T MISS A SINGLE ISSUE.

Canada’s Graphic Communications Magazine. Proudly published for two generations.

Editor Jon Robinson • 905.713.4302 • jrobinson@annexweb.com Contributing Writers Zac Bolan, Peter Ebner, Chris Fraser, Victoria Gaitskell,

Dr. Martin Habekost, Nick Howard, Thad McIlroy, Nicole Rycroft,

Dr. Abhay Sharma, Trish Witkowski Publisher Sara Young • 905.726.5444 • syoung@annexweb.com Associate Publisher Stephen Longmire • 905.713.4300 • slongmire@annexweb.com Advertising Sales Sara Young • 905.726.5444 • syoung@annexweb.com Stephen Longmire • 905.713.4300 • slongmire@annexweb.com Art Director Clive Chan • 905.713.4301 • cchan@annexweb.com Circulation Nicole Cuerrier • 866.790.6070 • ncuerrier@annexweb.com PrintAction is published by Annex Publishing & Printing and is Canada’s only national monthly publication serving the graphic arts industry. ISSN 1481-9287.

Annual Subscriptions: Canada: $39.99 ($35.39 + $4.60 HST); United States: CN$69.99; Other Foreign: CN$139.99

Notice: PrintAction, Annex Publishing & Printing, 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. The contents of PrintAction is copyright ©2014 Annex Publishing & Printing Inc. and may not be reproduced in whole or part without written consent.

PrintAction is printed by Annex Printing on Supreme Gloss 80lb Text and 70lb Matte Text available from Spicers Canada.

PrintAction Magazine

www.printaction.com/renew

222 Edward Street, Aurora, ON, L4G 1W6 www.printaction.com • Tel: 905.727.0077 • Fax: 905.727.0017

Publications Mail Agreement Number 40065710 • ISSN 1481-9287 Return undeliverable Canadian addresses to Circulation Department: P.O. Box 530, Simcoe ON N3Y 4N5; Email: ncuerrier@annexweb.com We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage.

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PRINT NEWS 4611 Burgoyne St., Mississauga, ON L4W 1G3

Canada’s Camera and Video Division between 1984 and 1985. Most recently, Egawa was VP and GM of Strategy Planning & Administration for the Imaging Technologies and Communications Group at Canon U.S.A.

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Joseph Michaels, well known across Canada’s printing community for his expertise as a press technician for Manroland Canada, passed away suddenly in a tragic accident at the age of 54. On January 8, Michaels and his family were traveling from Vancouver back to their home in Edmonton and were struck by a tractor-trailer on British Columbia’s Highway 16. Michaels and two of his sons, age three and six, were killed in the accident. His wife Sharon, although se11:34 AM riously injured, survived along with the couple’s third child. Michaels was one of the first employees who helped establish Manroland Canada and had spent the past 25 years with the organization as one of its premier press mechanics for all of North America.

Chris Connor has been appointed to the newly created position of Managing Director, Graphic Communications, for Xerox Canada. He joined Xerox in 1980 and most recently served as Director of HighEnd Solutions for Xerox Canada. “Chris’ primary goal will be to focus on helping our graphic communications customers grow their business,” stated John Corley, Senior VP and GM of Xerox Canada.

“Chris’ breadth of experience, his access to and relationships with the broader Xerox Corporation and deep industry knowledge, will serve him and the market well.” Connor is a member of the Digital Imaging Association, the Canadian Marketing Association and the Canadian Packaging Association, and is a Computer Science Graduate of Humber College.

2014 See the latest in print finishing equipment and technologies Scan for more details Hamilton and to register: March 6 London April 23 Ottawa May 12/13 Richmond Hill June 10

1-800-668-6055

Taizaburo (Ted) Egawa becomes President and CEO of Canon Canada, succeeding Kazuto Ogawa, who led the organization for the past six years and now takes on an executive position with Canon China and the Canon Asia Group. Egawa, a 31-year veteran with Canon, began his career with the International Business Management department where he was responsible for office equipment sales for corporate clients. He has worked in several Canon global regions. He also spent a year with Canon

International Paper announced plans to merge the distribution businesses of xpedx and Unisource Worldwide, which is to result in the creation of a new publicly traded company. The agreements were signed by International Paper, parent company of xpedx, and

by UWW Holdings LLC, the holding company that owns Unisource and is owned by an affiliate of Bain Capital and

by Georgia-Pacific. Completion of the merger is expected by mid-2014, with about 51 percent of shares of the new public company owned by International Paper shareholders and the remaining 49 percent held by UWW Holdings. The new company will have projected annual revenue in the range of US$9 billion to US$10 billion, with 9,500 employees across more than 170 distribution centres in North America.

Tony Wiley becomes President of Esko North America succeeding Mark Quinlan, who is leaving the company. Wiley is to oversee all of Esko’s sales and support in both Canada and the United States. He joined Esko in 1999 and led its North American Customer Service organization for 10 years. For the past five years, he served as VP, U.S. Central Region Sales. Esko is also forming an autonomous organization in Latin America, driven by Esko Vice President, Latin America, Ernande Ramos. Steve Bennett replaces Wiley as Vice President, US Central Region Sales. Bennett recently held the role of Vice President, Digital Finishing Business, and had been Vice President, New Business Development.

Manroland Sheetfed GmbH recorded a profit for its 2013 year, ended December 31, based on revenues of €314 million.

The positive news comes two years after being purchased out of insolvency by British industrialist Tony Langley, Chairman of Langley Holdings plc. Based in Offenbach, Germany, Manroland Sheetfed, which is now Langley’s largest division in terms of revenue and employees, delivered just over 100 new presses or 528 printing units during 2013. Langley Holdings reported a €91.4 million profit before tax at year end, with zero debt and net cash of €278.6 million, after payment of a €25.0 million shareholder dividend.

Guy Gecht, CEO of EFI, and Benny Landa, CEO of Landa Corp., reached an agreement for EFI to develop the Digital Front End for Landa’s Nanographic printing technology. The new DFE, scheduled to enter beta testing in the fourth quarter of 2014, is to be based exclusively on EFI Fiery technology, which the companies state will provide new functions for the sheetfed and 4- to 8colour web-fed presses – aimed at commercial, folding-carton, point-ofsale, publishing, and flexible-packaging work.

Hemlock Printers of Burnaby, British Columbia, launched two new offsetting portfolios for its carbon neutral printing program, called Zero. In partnership with Offsetters Climate Solutions, Hemlock clients can direct their support, as defined and recorded within the Zero program, to climate-offset projects like the Great Bear Rainforest Carbon Project and the Mai Ndombe REDD+ project in the Democratic Republic of the Congo. Originally launched in 2009, Hemlock’s Zero program has now served 278 clients throughout North America and produced over 16-million pieces of print.

Matt Adler and John Kulak joined Goss International’s packaging division, which primarily revolves around its Sunday Vpak web offset press platform.

Adler, most recently a National Account Manager for Printpack in Atlanta, becomes Director of Sales for packaging products in the Americas. Kulak becomes Manager of the recently opened 7,000-square-foot Goss Packaging Technology Center, a demonstration, test and educational facility at Goss headquarters in Durham, New Hampshire. Among his 30 years of experience, Kulak spent time as a production coordinator for USA Today and as a senior technical associate at the Rochester Institute of Technology.

Correction: In PrintAction’s January issue, Jacki Hudmon of Komori was misidentified as Sue Baines.

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PRINT CALENDAR

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Printing Industries of America, in partnership with Flexographic Technical Association and Specialty Graphic Imaging Association, presents the 25th annual Continuous Improvement Conference, focused on the principles and implementation of lean manufacturing. $1,295*

InPrint 2014 in Hannover, Germany, presents more than 100 companies from the decorative and functional printing sector, showcasing technologies for working with metals, plastics, foils, textiles, glass, ceramics, wood and other substrates used within industrial manufacturing.

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INFO*FLEX 2014 in Baltimore, Maryland, includes conference sessions, a golf tournament and an awards banquet.

Last year’s show attracted 205 venders, including more than 30 conventional and digital press manufacturers, and some 1,700 attendees from 26 countries.

The BIA Annual Conference, co-located with the PIA’s Continuous Improvement Conference at The Fairmont Dallas, includes the option to tour ABCO, founded in 1956 as a trade bindery and manufacturer of custom decorated/printed looseleaf products.

Canadian Marketing Association presents the Atlantic Marketing Conference at the Halifax Marriott Harbourfront for a day of discussion and debate on the latest trends in marketing, focusing on leveraging the right mix of communications tools. $299*

PODi AppForum 2014 at Caesars Palace in Las Vegas is described as the “how-to event” for digital print, marketing services and packaging, with three conference tracks aimed at executives and sales managers, solution architects, and operational management.

International Sign Association (ISA), with a membership of over 2,300 members, presents its annual Sign Expo in Orlando, Florida. Organizers are expecting representation from over 500 companies and some 17,000 attendees. $40

NAB Show, described as the world’s largest electronic media show covering the development, management and delivery of content across all mediums, takes place in Las Vegas.

Organizers are expecting more than 93,000 attendees from 156 countries and 1,550 exhibitors.

Canadian Marketing Association presents its half-day Digital Creative, Advertising & Measurement Seminar at The Advocates’ Society, while also providing an online webcast for people outside of Toronto. $395*

Hannover is a major metropolitan centre in Northern Germany and is a prime location for many major commercial trade fairs, including CeBIT, the world’s largest computer expo. The Hanover fairground is claimed to be the largest exhibition centre in the world with nearly 500,000 square metres of indoor space. The city also holds the second largest Oktoberfest event each year, after the festival in Blumenau. The city’s New Town Hall (pictured) was completed in 1913 at a cost of 10 million Marks over a period of 12 years.

Pricing listed at standard rates, with * denoting the availability of member or early bird discounts.

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PRINT AWARDS

Unisource Presents UVU Awards

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lash Reproductions and C.J. Graphics Printers & Lithographers, both of Toronto, produced the top two award-winning projects in the 2013 Unisource Canada Design and Print Excellence Awards, dubbed Uvu, which were celebrated in downtown Toronto at the TIFF Lightbox with dozens of printers, designers and suppliers.

This was the inaugural Uvu program, but Unisource Canada – through past programs like the NUARs and ULAs – has a long history of recognizing the combined power of design and printing achievement. A panel of five independent judges pored over Uvu entries, divided into 12 categories, which must have been printed on paper purchased from Unisource Canada.

– Jon Robinson

More UVU Award-winning Printers

Photo by Hambly and Woolley

Above: Representatives from Flash Reproductions (left) and C.J. Graphics receive UVU Awards of Excellence. The event was held at the TIFF Bell Lightbox in Toronto.

Judge’s Choice Awards Flash Reproductions (2) Hemlock Printers Rhino Print Solutions Somerset Graphics Best of Print Andora Graphics C.J. Graphics Flash Reproductions MET Fine Printers (2) Mi5 Print & Digital Annual Reports Hemlock Printers Somerset Graphics

Awards of Excellence Flash Reproductions received its Award of Excellence for We Are Tonic, working with the creative of Blok Design.

Brand Identity Colour Time Printing Flash Reproductions Somerset Graphics

C.J. Graphics won its Award of Excellence for Marimekko, With Love, based on creative from Concrete Design.

Brochures C.J. Graphics MET Fine Printers Catalogues and Books Andora Graphics Kallen Printing Moveable Packaging Andora Graphics Flash Reproductions Self Promotion Andora Graphics DT Print Solutions Flash Reproductions Miscellaneous Andora Graphics

DIA Large-format Trends Unisource Canada’s new headquarters in Mississauga played host to the Digital Imaging Association’s seminar featuring four technology leaders describing emerging trends in wide-format printing to an audience of more than 50 people.

Joe Furman, Business Development Manager with Fujifilm Canada, noted the continued global growth in UV wideformat inkjet systems. Using the large-format market in 2011 as a base comparison, Fujifilm is expecting a global growth rate of 78 percent in the total purchase of machines, rigid and flexible media, and inks by 2015. The value of this market was just over $4 billion in 2011 and is expected to reach more than $7 billion by 2015.

Furman explained to the crowd that one of the biggest technology trends pushing the commercial printer’s adoption of wide-format to be the arrival of the high-speed platform, which now has a range of running anywhere from 40 to 155 beds per hour. As inkjet platforms have sped up significantly, Tom Walsh, Product Manager at Agfa, provided statistics on the average runs lengths of wide-format systems, which indicates that just over 52 percent of jobs produce 30 or less prints. This statistic includes around 31 percent of all jobs requiring less than 10 prints, while jobs requiring 11 to 20 prints or 21 to 30 print constitute around 10.5 percent of all wide-format production work.

DIA’s wide-format seminar lineup included: Marc Raad of Esko, Steve Fournier of Unisource Canada, Joe Furman of Fujifilm Graphics, Tom Walsh of Agfa Canada, and moderator Dr. Abhay Sharma of Ryerson’s Graphic Communications Management program.

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SunChe

ABHAY SHARMA

New Dawn for Colour Measurement

H

allelujah! – There is finally a clear and elegant solution for the ever-present problem of doing a press-to-proof match, or doing a press check and matching a proof in the viewing booth. Most printing papers today contain optical brightening agents whose fluorescence causes the printed sample to look bluer and brighter, which is good, but then the colours do not always match the proof.

Ultraviolet (UV) radiation in a light source can hit the paper causing it to fluorescence and change colour. This UV-induced colour shift has been difficult to control causing headaches in prepress, in the pressroom and with light booth and measuring instrument suppliers. But wait – the whole industry can now breathe a sigh of relief. A new standard called ISO 13655 has recently clarified UV-included and UV-excluded measurement modes for spectrophotometers, which is likely to improve inter-instrument agreement, especially when measuring press sheets containing fluorescent brightening agents.

To avail of this new standard you have to update your equipment – you need to buy the new X-Rite eXact or i1Pro2 or the Techkon SpectroDens; and you need to put new lamps in your GTI or JUST Normlicht viewing booth. The cost of updating technology is burdensome, but any such financial pain is ultimately

superseded by recent changes that allow us to now banish colour-matching woes that have plagued the industry for many, many years.

Press-to-proof matching

In the printing industry, one of the major considerations is the ability to deliver accurate and consistent colour to the customer. Colour matching is done using instrumentation via a process known as “printing to the numbers”. The numbers in this context are usually L*a*b* values that are measured and monitored via the use of a measuring instrument. One challenge with instrumentation has been that the UV component in the measuring illuminant of different instruments can be different, which causes different instruments to give different readings for the same sample. If the paper or ink exhibit fluorescent behaviour, then we have typically seen variations between measurement devices when measuring the same press sheet – and this causes much head scratching.

At the moment, the UV component in the light source of an instrument is not stipulated so that different devices can have different amounts of energy in the UV which lead to different measurement readings of the same sample.

This means that if you used the X-Rite i1Pro instrument to make an ICC co-

lour profile, but press side you used an X-Rite 530 handheld spectrophotometer, the press sheet and contract colour proof may not match despite full and correct application of a colour management process. Instruments up until now were not carefully regulated in the UV part of the spectrum – so different instrument families had different lamp characteristics and differing amounts of UV in their devices. As more and more printing papers started to include optical brightening agents to increase their brightness, we started to see problems which caused endless headaches in the field.

The UV in a measuring instrument represents the classic case of the observer causing an effect in the experiment that they are trying to observe because the light used to measure the sample is itself influencing the measurement. In the case of samples containing optical brightening agents (OBA), UV from the measuring light is absorbed and emitted in the blue part of the spectrum, so we are no longer independently measuring the sample because the light used to probe the characteristics of the sample is changing the sample’s characteristics.

When OBAs are present, the sample’s reflectance will change with the amount of UV in the measuring instrument and different instruments from different manufacturers will compute different spectral

data for the same sample.

In a simple experiment, the IDEAlliance Control Strip was printed on Epson Photo Paper and the white patch was measured using different instrument configurations. The different instruments produced varied results. The peak in the blue part of the spectrum (around 400 to 450 nm) changes depending on the amount of UV light in the measuring instrument – the more UV light in the device, the higher the peak in the blue.

This difference is most evident in the white patch, but is expected to affect all colours in the control strip to a greater or less extent. We get different readings depending on the instrument used, this understandably causes problems – which reading is correct and which reading is seen by the customer in the viewing booth during the press check?

The new standard

There is an updated ISO Standard called ISO 13655:2009 graphic technology, spectral measurement and colorimetric computation for graphic arts images.

This ISO standard specifies the illuminant (UV) characteristics when using an instrument to measure printed samples.

A number of new devices incorporating ISO 13655 have been recently released by major suppliers, as well as a number of light booth fixtures. ISO 13655 clarifies Continued on page 23

FD-7 – Epson Gloss (OBAs)

Above: The IDEAlliance Control Strip was printed on Epson Photo Paper and the white patch was measured using different instrument configurations producing different results.

Left: A new standard has been implemented in the X-Rite eXact spectrophotometer and in the lights used in the GTI Color Viewing System.

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Somerset

STRONG

By Jon Robinson

Jack Youngberg recounts 50 years of purposeful printing in Toronto

J

ack Youngberg began his career when the printing industry was just entering one of its most-fascinating periods of technological transformation. The 1950s featured the development of electronic computers and germination of the Internet, highlighted by the first computer message being sent over the ARPANET at the University of California, Los Angeles (UCLA). By the 1960s, ARPANET had lead to a range of protocols for joining multiple separate networks together and spurred on the development of text-rendering cathode ray tubes in the 1980s, the Macintosh and desktop-publishing, and, of course, the arrival of Tim Berners-Lee’s hypertext-driven World Wide Web in the 1990s.

In the Canadian printing industry, the march of analogue communications toward its digital infrastructure began in the 1960s with the arrival of glass-disk phototypesetting, when continuous casting machines were left behind. It was a time before the full effect of press overcapacity would saturate Toronto, before the arrival of trade printers and prepress houses. Most importantly, it was a time when printing made good money for many of its technology suppliers and print manufacturers alike.

This is when Jack Youngberg began to form his uncompromising approach of running a commercial printing business.

Now in his 69th year, he is preparing for a younger generation to take the helm of Somerset Graphics Ltd., a 20,000-squarefoot printing business he built side by

Chris, Jack and Jeff Youngberg (clockwise from top) with Somerset Graphics’ 29-inch Komori LSX 629, installed in 2013.

be. There are a lot more players running took a sales position with Herzig-Somerafter the same products and it is much ville Ltd., remembered as one of Toronmore challenging than it used to be.” to’s historically rich adopters of technologies during the 1970s, when hundreds of thousands of dollars could be spent on Last days of analogue Jack Youngberg was looking for a factory drum scanners and cameras to automate job in 1963 and found what was com- industrial film workflow.

“I was working under professionals monly referred to as floor-boy position with Chromo Litho, a small-sized Toron- and real craftsmen – guys who were just to printing operation where he worked fantastic people,” says Youngberg, “You his way into the bindery and eventually certainly learn a lot.” Several members onto the presses. Youngberg then took of Herzig-Somerville’s staff in the 1970s a position at York Litho, a much larger were the budding entrepreneurs and printing operation where he gained ex- technological evangelists of long-run perience on larger presses for a few years, print manufacturing in Toronto. “Everybefore returning to Chromo Litho, where body was kind of a mentor in their own way. Some of them went on to do really he stayed until 1969.

Youngberg then decided to enroll in big things. People who are some of the Ryerson’s three-year Graphic Arts Man- heroes in this industry, who never get agement program. After graduating, he talked about or written about.”

Youngberg has purposefully kept Somerset out of the glare of Toronto’s printing community, which is now one of North America’s five largest print markets and arguably its most aggressive in terms of pricing. This environment ensured Toronto would develop as one of the world’s most-advanced printing markets in terms of technology and product innovation. “I tried to keep a low profile once we opened this place,” says Youngberg, adding Beth also prefers to stay in the background. She has been a full partner in Somerset ever since it opened on June 1, 1980. “She was right John A. Young Lifetime beside me since day one.”

Achievement Award He describes Beth as a very qualified business partner, handling all the accounting and management of the

side with his wife, Beth Youngberg. Their two sons, Chris and Jeff, have been involved with the company for 18 and 14 years, respectively. During a tour of the facility, which the Youngbergs have rarely shown to outsiders, Beth asks “How many years” of a handful of Somerset’s key production technicians – 15 years of service, 32, 21, 19 – ready to drive the company forward.

“We are in our 34th year and I am pretty well at the end of my career here. I will stick around and help out wherever I can, but we are passing it to the younger people. They have a vision of what they want to do and have their thumb on the pulse of the industry,” says Jack Youngberg. “The runs are smaller and a lot of people are putting ink on paper that is pretty good – a lot better than it used to

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In mid-2013, Somerset modernized its UV printing infrastructure with a new 29-inch Komori LSX 629 press, equipped with automatic plate changers and washup systems. The 6-colour inter-deck press can be used for both conventional printing or UV, allowing Somerset to apply a range of coatings from aqueous to traditional UV inks and HUV low-energy inks.

“Using our expertise and manufacturing capabilities, Somerset is able to lay down rich crisp colours on uncoated stocks, providing both the colour and feel the design community appreciates,” says Chris.

Based on its stringent maintenance programs, Somerset’s first inter-deck UV press installed 2008 remains in strong working order on its production floor, supporting both the new Komori and the company’s unique position in the Toronto printing market.

“We have some processes that we employ here that other people don’t use, so consequently we can produce products that are unique,” says Jack, “but the market dictates that you are not always going to get the money for doing it. So it is a double-edged sword if you just throw your hat in the ring with everybody else.”

business, as well as spending time in the production area when needed. This provided Somerset with two leaders to understand the coming desktop-publishing revolution and its digital workflow. With just one other employee in the beginning, Jack handled sales and marketing for Somerset, while also stripping film and running machinery out of a leased industrial unit, expanding into neighbouring units over time. In 1989, the Youngbergs purchased Somerset’s current Mississauga facility, organized by Beth’s production layout.

“We have kept up with the technology and I think we are leading-edge with the equipment that we have,” says Jack. “The one thing that really blows my mind is today’s technology and the ability to operate with it on the Internet, writing software programs and doing all this kind of stuff to stay ahead of the curve. There is just so much to it. And I feel bad for the younger generation because it is 24/7 for them now.

“Chris and Jeff have figured out what they want to do, as it will be their responsibility,” says Jack. “Family succession aside, it is really people succession. The hardest thing for sons to do is work in a family business. I am very proud of both of my sons. They have both paid their dues.”

Current days of printing

New days of digital

Jeff Youngberg, a graduate of Ryerson University’s Graphic Communications Management program, is primarily focused on client relations, often working closely with Somerset accounts to produce unique projects. Chris is focused on sales and is also counted on to provide expertise on many other facets of the company’s operation. Together, Chris and Jeff have over 30 years of combined experience at Somerset.

“We were one of the first printers to do stochastic using film,” says Jeff, discussing some of Somerset’s key technological transformations, noting how the process of printing screens well above 175-lpi proved to be a major challenge for printers across North America. “It’s one thing to get a dot on the plate properly, but it was another thing to get your press to produce those dots right. Most thought it was just ‘add water and stir,’ but there were a whole bunch of variables that changed on press.”

Driven by its early focus on precise printing processes, such as Staccato, Somerset also developed the practice of maintaining its existing technology in a condition Jack describes as pristine.

Somerset only last year replaced its Creo Trendsetter, purchased in the late-1990s, with a new Heidelberg Suprasetter computer-to-plate system. The Creo device was one of Canada’s first installations, putting Somerset on the leading edge of digital workflow transformation.

Jack Youngberg describes one of the company’s major technological milestones as the installation of an inter-deck UV printing press in 2008. “The inter-deck allowed us to dry-trap between units, so it gives you a really true dry-trap printing process,” he explains, comparing

From top: Jack and Beth Youngberg, relaxing during a company Christmas function in 1984, founded Somerset Graphics in 1980. Somerset installed Canada’s first 4-colour Komori Lithrone 26 in the early 1980s. Jack and Jeff Youngberg on Somerset’s waterless KBA Genius 52UV press, installed in 2008.

it to traditional CMYK trapping between units. “Because you are dry-trapping, the inks do not go into each other and contaminate, microscopically of course… you get a much brighter reproduction of what you are trying to achieve, especially on uncoated papers.”

Somerset also runs a unique waterless KBA Genius 52UV press, also purchased back in 2008, with the ability to print on non-absorbing materials like plas-

tics up to 0.8-mm thick or to punch-up more traditional work. Designed for single-operator production, the press features short inking units without the need to adjust ink zones, damping units or roller inking units, which can result in a startup requiring as few as a dozen waste sheets. KBA states the Genius 52UV can complete a plate change within five minutes and reach a run speed of up to 8,000 printed sheets (360 x 520 mm) per hour.

“We have always had an account management team and we have done very little work with brokers,” says Jack. “We think having well-trained people in certain areas serves us better than just going out and knocking on doors looking for a print order.” Somerset does take in common marketing collateral, often to satisfy existing clients, which Jeff Youngberg describes as a common misnomer about the quiet award-winning company.

“We do run commodity work,” he says, “but at the end of the day I am not going to a pizza franchise and asking for their flyer business. There are plenty of printers out there who can run their presses into the ground producing it.”

Somerset sits in one of Mississauga’s most densely populated business areas, with at least five other printing companies on the same street, including a couple of trade printers set up for pure production speed. Toronto is well known for its abundance of large-scale trade printers, which began to appear in this marketplace in the late-1970s. “They are going to run to standard densities all of the time… they are going to run to these curves, these densities, and ship what comes out,” says Jeff.

Over the past decade, common marketing collateral has become the fuel of template-driven print manufacturing systems, spurred on by plug-and-play Web-browser storefronts and, in no little part, by the success of Vistaprint. With a primary production plant in Windsor, Ontario, Vistaprint introduced a manufacturing model to alter print much in the same way that Toyota’s on-demand structure shook up manufacturing in the automotive sector.

Unlike the automotive industry (and most every other manufacturing sector), however, the Canadian printing industry is populated by thousands of Continued on page 22

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Blue

Ocean Live

Buzz Apostol in front of the X-Rite Intellitrax instrument at Ryerson University’s School of Graphic Communications Management in downtown Toronto.

By Jon Robinson

In March 2012, X-Rite Inc. announced plans to launch PantoneLIVE as an ecosystem – comprised of hardware, software, licenses and services – to access brand colour standards on The Cloud. Before the technology was to be launched on June 15, Danaher Corporation of Washington D.C. entered into a definitive agreement to purchase X-Rite for approximately $625 million.

Danaher describes itself as a science and technology company that designs, manufactures, and markets products and services to professional, medical, industrial and commercial customers. It focuses on test and measurement, environmental, dental, life sciences and diagnostics and industrial technologies. In 2013, the conglomerate held $34.7 billion in assets, employed more than 66,000 people in more than 125 countries, and generated revenues of $19.1 billion.

Danaher has acquired more than 400 companies since 1984, including other global measurement and instrument companies like Tektronix, a communications and aerospace instrument supplier, for $2.8 billion in 2007. Companies acquired by Danaher are traditionally adapted to its Danaher Business Systems (DBS) program, which began to take form in the mid1980s. DBS is an internally developed continuous-improvement methodology, akin to the lean-manufacturing principles made famous by Toyota. Danaher’s program is based on a set of management processes – People, Plans, Processes and Performance – to guide, measure and execute how a business operates in its market.

The DBS philosophy was applied to X-Rite, which itself had undergone great transformation over the previous decade. In June 2006, X-Rite purchased Amazys, owners of colour-management instrument developer Gretag-Macbeth, for around $280 million. X-Rite then purchased PANTONE Inc. in October 2007 for $180 million. This position is further supported by Esko, a provider of software and hardware for packaging printing, which Danaher purchased as EskoArtwork in 2011 for approximately $470 million. (Much earlier, in 2002, Danaher purchased Marconi Data Systems for $400 million and renamed it Videojet.)

With the instrument and measurement intellectual property of X-Rite, Gretag-Macbeth and PANTONE in the fold, Danaher oversees a unique core competency in colour control, primarily applied in the printing industry. William “Buzz” Apostol has witnessed much of this transformation in colour control, after he joined PANTONE as Vice President of Sales in 2004. He previously spent 24 years with Agfa, helping the Belgian imaging giant transition from selling film workflow to selling digital workflow. He now leverages three decades of sales experience to help lead the adoption of PantoneLIVE in one of the world’s most-important regions for the application of commercial imaging science.

Carlstadt and Toronto In late-January 2014, Apostol spent six hours touring Ryerson University’s Heidelberg Centre, home to the School of Graphic Communications Management (GCM) and Canada’s only degree-granting program focused on printing and commercial imaging. Joining Apostol on the tour was X-Rite’s Dave Benner, a sales manager for X-Rite’s imaging and media territories in

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Canada and the Midwest United States.

In November 2012, Esko North America made what Ryerson University described as a major technology donation to GCM, located in the heart of downtown Toronto. The donation resulted in Ryerson naming an area within GCM’s dedicated three-story Heidelberg building as the Esko Premedia Wing.

“They have a very unique program with roughly 600 students,” says Apostol.

Walking between appointments on his tour, he was introduced to a handful of students, who spoke of applying colour science to projects with what Apostol later described as building out processes in a differentiated approach. “That is leading edge and [Canadian] print companies could use these students [to] build competitive advantage.”

After spending the morning touring one of Canada’s largest packaging companies headquartered in the Greater Toronto Area, which is recognized as North America’s fifth largest printing market, Apostol and Benner began their afternoon at Ryerson with a quick lunch and an hour long chin-wag about the application of colour science. After discussing a commercial-imaging project with one of the Toronto area’s leading colour specialists, the two X-Rite executives received an overview from Dr. Abhay Sharma and GCM student Elaine Leung about their new research paper on ISO 13655 (see page 10, New Dawn for Colour Measurement).

Apostol then sat down with GCM Instructor Diana Brown, who is also the program’s Internship Coordinator.

A third-year Ryerson GCM student is currently on placement at PANTONE headquarters in Carlstadt, New Jersey, where Apostol is based. In addition to his responsibilities at X-Rite, Apostol is also a member of New York University’s advisory board for a graduate program called Graphic Communications Management and Technology (GCMT). He received a Master of Business Administration degree from NYU, as well as a Bachelor of Science degree from California State University, and previously served for 10 years as a board member of the Cal Poly San Luis Obispo Graphic Communications School.

At 3:00 pm, Apostle began a 45-minute presentation to Dr. Richard Adams’ third-year GRA 633 colour management class of around 100 students by awarding a set of PANTONE swatches to the GCM student who knew PANTONE’s Color of the Year 2014: Radiant Orchid 18-3224. After class, Apostol spent close to an hour discussing graphic communications education with Ian Baitz, Chair of Ryerson University’s School of Graphic Communications Management.

“Buzz and I discussed opportunities for Ryerson GCM graduates in his M.A. degree program, including scholarships, and also opportunities for future collaboration between Ryerson GCM and NYU GCMT,” wrote Baitz, in an email to PrintAction. “With both Ryerson and NYU being large-city, urban universities,

there are certainly some strong similarities between our two institutions.” With 570 students in the full-time program, across all four years, Baitz explains Ryerson GCM is currently the largest undergraduate program in graphic communications in North America.

“The school [has a] strategic plan to be relevant in this world of transformation,” says Apostol. “It says [a lot about] Ian Baitz and the other professors there… they clearly have something going on there that we can learn from – I was seriously impressed.”

Master and Dependent The adoption of PantoneLIVE – accessed by printing suppliers through The Cloud via a subscription model – received a boost in May 2013 when Procter and Gamble announced it would use the technology for brand colours.

X-Rite and PANTONE secured one of the world’s largest brand owners, which generated $83.7 billion in sales over fiscal 2012, serving 4.8-billion consumers daily across 180 countries.

Apostol explains teams from PantoneLIVE and Esko are working hard to Apostol discusses the power of PantoneLIVE with around 100 third-year Ryerson GCM students.

Dave Benner, manager of X-Rite’s imaging and media territories in Canada and the Midwest United States.

Apostol himself teaches a sales class in NYU’s GCMT program and is clearly at ease describing PantoneLIVE’s colour hierarchy to the GRA 633 class. “You have Master Standards, colour that ideally represents a brand element. We will just say this green is Starbucks Green,” explains Apostol, holding up his coffee cup and noting it is only an example because Starbucks is not currently using PantoneLIVE. “When I put that green on this cup that becomes a Dependent Standard for the carton on this cup.

Then I also have Starbucks Green on the signage, on the vinyl banner, on the sign on the window, on the letterhead I send out. Those are all Dependent Standards built for the substrate that they are on – to look like this Starbucks Green.”

educate both the supply chain and brand owners, respectively, around the world.

“We believe now with teaming up with Esko that the ramp up rate will be much quicker, because most of these brand companies use Esko software when they are designing and rendering packaging, which is a digital design tool.”

The 22 currently available Dependent Color Standards of PantoneLIVE primarily focus on packaging applications like flexible, folding-carton, label and tag and card. As Apostol described to the Ryerson class, a Dependent Standard is based on colours that closely represent the Master Standard, which itself is comprised of precise spectral data of brand and PANTONE colours stored in The Cloud.

The PantoneLIVE ecosystem was largely developed through ink data supplied

by Sun Chemical. “In today’s world, you can build solutions and systems together with even friendly competitors, or clearly large customers, and share technology to help other people,” explains Apostol.

While Sun Chemical and Esko were early PantoneLIVE partners, over the past 18 months additional partners like W&H, GMG, MeasureColor and Flint have signed on.

Printing companies do not attempt to reproduce the Master Standard, but instead use the target of a Dependent Standard to achieve the best possible match to the Master Standard based on their printing process, ink and substrate used.

This methodology sets expectations and is meant to reduce variation in repro-

duction. For example, trying to hit the Master Color Standard might result in a production variation greater than 5 Delta-E (DE), whereas trying to hit the Dependent Color Standard for that brand colour could result in a variation of less than 1 DE. A Dependent Standard library, for example, is available for the application of flexography, using a flexo solvent as the printing process on a reverse clear film substrate or perhaps a white film. Another Dependent Standard is available for a label application using an offset UV printing process on coated paper. The key initial target clients of PantoneLIVE, therefore, are major brand owners like P&G who pack their products in multiple substrates, sometimes even within layered substrates, and printed with multiple processes.

Printers of packaging products will be more inclined to be among the first subscribers to PantoneLIVE, before traditional commercial offset printers, but the service is likely to migrate across the entire printing industry as the business world places even greater value on brand colours.

X-Rite, however, has a long history of integrating its colour measurement technologies with offset press manufacturers like Komori and Heidelberg, in addition to more recent developments with flexographic press maker W&H. As a result, X-Rite has an established infrastructure within commercial-printing pressrooms for positioning online colour measurement into a digital workflow. The company 18 months ago also released a new generation of handheld X-Rite eXact spectrophotometers designed to work with The Cloud, as well as the ISO 13655 colour standards, defined under M0, M1, M2 and M3, which account for optical brightening agents used in many substrates.

When looking at X-Rite’s handheld instrumentation sales around the world, Apostol explains the majority of colour measurement has gravitated toward spectral data, as opposed to the former dependence on density-based measurement just five years ago. “Press manufacturers and even the inkjet manufacturers, whether it is HP, Canon, Epson, they have inline spectros from X-Rite, so everyone is reading density and/or [colour data] in spectro,” says Apostol. “It is just a matter of putting it to the best use [in] these workflows and bringing it to the brands.”

PantoneLIVE, explains Apostol, holds the potential to change how printers and packaging converters work with the brand owners, without greatly disrupting the market. “Before there was The Cloud, it was more of a manual process [because] you couldn’t do total digital workflow,” he says. “PANTONE in The Cloud [is] Blue Ocean Technology and it is not just a Red Ocean, which is pure replacement. It is a new way to do business in the whole cross media, cross platform, cross delivery of colour [for] brands around the world – no question.”

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Technology report

Featured Companies

Colour Control As printing companies move deeper into spectral-data measurement, while also continuing to rely on their tried and true density control, colour management remains as one of the industry’s most dynamic and innovative technology sectors.

• • • • • • • • •

Alwan CMYK Optimizer 4 Caldera Print Standard Verifier CGS ORIS Lynx Color-Logic Dimensional-FX DALIM DIALOGUE Engine EFI Fiery Command WorkStation 5 Esko Color Engine GMG OpenColor GTI Vertical Wall Viewing System

• • • • • • • • •

Heidelberg Prinect Color Toolbox KBA QualiTronic Matchmycolor Colibri Mitsubishi Diamond Eye-S QuadTech TouchRegister Sun Chemical eXact Support Teckhon SpectroDens Tucanna PrintControl X-Rite eXact

GMG OpenColor KBA QualiTronic KBA’s approach to pressroom colour management is based on seven key technologies, including ErgoTronic Color Control, DensiTronic Professional, DensiTronic PDF Reader, QualiTronic ColorControl, QualiTronic Inspection, QualiTronic ICR and Instrument Flight.

Looking specifically at the QualiTronic products, the inline closed-loop QualiTronic ColorControl can read every sheet and make colour corrections every 10 sheets. A camera system is integrated directly into the press with LED illumination and permits automatic ink density measurements in control strips, which can be positioned either at the front or in the centre of the sheet. As soon as printing starts, the control strips are scanned directly in the press and the measured solid densities are used as a basis for dynamic inline colour correction.

The QualiTronic Inspection system looks for debris in the image area, dampener dry up, image registration, and colour variation throughout the sheet. The QualiTronic Professional system is a combination of QualiTronic ColorControl’s inline colour measurement and inline image inspection. The camera system for colour measurement is integrated directly into the press with LED illumination and provides for automatic comparison of the printed sheet with a stored reference. As soon as printing starts, the printer starts the teaching-in of a defined number of good sheets, from which the system automatically creates a reference. From this moment on, all subsequent sheets are compared with this reference, allowing for the detection and flagging of any differences or defects.

GMG integrated its OpenColor and ColorProof software with PantoneLIVE (November 2013), providing users with access to PantoneLIVE’s Cloud-based ecosystem and colour libraries service, to create proofs. GMG OpenColor predicts spot-to-process overprint, thereby reducing the number of press fingerprints or press trials required. The system eliminates the need for printing combinations of overprints, spot and process through the use of colour control strips and software that takes into account substrate properties. GMG ColorProof software – containing calibrations and colour profiles – is designed to create colour-accurate contract proofs. The printing result is simulated on the basis of GMG’s DeviceLink technology. By connecting several GMG ColorProof systems, the same spectral colour data can be used for profiling and production at different locations.

QuadTech TouchRegister

QuadTech released a new TouchRegister module (January 2014) as an optional feature for its Web Viewing System, designed for register setting on CI flexo presses. TouchRegister adds functionality by automatically bringing up to 12 colours into register. QuadTech explains this 12-colour register, done manually, would take around 15 minutes with hundreds of metres of substrate wasted. The Web Viewing System can capture a predetermined register mark (or other suitable image) for each colour and display them on the monitor while the press is stopped. The operator then adjusts the positions of the dots on the monitor. When the press is restarted, explains QuadTech, TouchRegister automatically brings the press into register within a tolerance of 50 microns. Once in register, CI presses tend not to drift out of register, and the Web Viewing System can detect print faults before they can be seen by the human eye – up to an optical magnification of 16 times.

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EFI Fiery Command WorkStation 5

EFI’s Fiery Command WorkStation 5, a centralizing job-management interface for Fiery servers, is available with several optional tools to suit production requirements. This includes the optional Fiery Color Profiler Suite 4 to generate, edit, compare and inspect profiles without leaving the Command WorkStation user interface. The optional Fiery Image Enhance Visual Editor 1.2 allows users to optimize image appearance and create custom corrections for brightness, contrast, highlights, shadows, colour balance, sharpness or red eye. Fiery Command WorkStation 5 employs drag-and-drop functions and allows users to move a job between workflows, directly from the job list.

GTI Vertical Wall Viewing System

GTI of New York, which develops D50 and D65 viewing systems to help make accurate visual judgments involving colour appearance and reproduction, released its new Vertical Wall Viewing System in October 2013. It is an ISO 3664:2009 D50 compliant system based on a combination of overhead luminaires, viewing lamps, and accessories (wall panels, neutral gray paint, mounting options). GTI’s Graphiclite luminaires feature a parabolic lens design that provides strong light uniformity over a large vertical area. The system includes mounting brackets and Munsell Neutral 8 gray wall steel panels. GTI also recently introduced its SOFV-1xiQ system as a desktop viewing station with an iQ wireless light sensor, which automates the luminance match between a colour monitor and the viewing station.

Caldera Print Standard Verifier

Caldera released its Print Standard Verifier (PSV) tool for standards conformity across printing processes. Caldera recently added PSV support for IDEAlliance’s G7 colour measurement methodology. G7, using neutral print density curves, describes the appearance of grayscale as a methodology for fingerprinting process-colour presses. It is currently available for users of GrandRIP+, GrandTEX+, VisualRIP+ and VisualTEX+. PSV, which also handles ISO and Fogra standards and can be applied in the RIP suite to handle conformity calculations.

Operators select a print configuration in PSV and confirm the standards being applied to produce the print.

The Caldera engine then measures print colours against the required chart to verify if the print settings will enable meeting the colour standard requirements. In August 2013, Alwan and QuadTech demonstrated how QuadTech’s SpectralCam and Alwan’s PRINT Standardizer HiFI can calibrate and control multi-colour and spot-printing processes.

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Mitsubishi Lithographic Presses’ Diamond Eye-S system – combining on-press colour and inspection control in one unit – is designed for quality control on sheetfed presses. First unveiled in May at drupa, Diamond Eye-S has a printing defect check function and a function to adjust colour based on density measurements. The company also provides the Diamond Color Navigator that allows operators, using a touch-screen wheel, to correct ink-key openings according to their visual sense of colour. Mitsubishi’s IPC III press control system includes new features like eco-mode (reducing the minimum speed of the press), inkconsumption tracking and daily platechange counting.

X-Rite eXact

The X-Rite eXact measurement system (unveiled at drupa 2012) aims to solve the challenges of matching colours on papers treated with Optical Brightening Agents. According to X-Rite, this is the first spectrophotometer in the industry to support all the M Standards inclusive of the complete M1, which allows users to account for true daylight conditions. eXact is also designed to directly connect supply chains to the new PantoneLIVE ecosystem. The platform features embedded X-Rite Graphic Arts Standard (XRGA) to simplify data agreement with other instruments and the CxF messaging protocol. eXact can be configured as a densitometer, a spectrophotometer with process controls, or an advanced spectrophotometer.

Sun Chemical eXact Support

Sun Chemical in mid-2013 announced its support of packaging printers migrating to the use of the X-Rite eXact series of spectrophotometers, which is compliant with ISO 13655:2009 measurement standards that printers use to match proof to press across many substrates. The eXact instrument is the first spectrophotometer in the industry to offer customers a way to measure true daylight conditions by supporting all the M Standards inclusive of the complete M1. The eXact instrument generates data that integrates seamlessly with the PantoneLIVE cloud-based colour service. Sun Chemical’s database of ink values is a key part of the PantoneLIVE ecosystem.

Alwan CMYK Optimizer 4

Alwan Color Expertise provides three versions of its CMYK Optimizer 4 software, including Prepress, Press and ECO. While the CMYK Optimizer Press version includes more functionality than the Prepress version, the Eco version also provides users with the ability to knock out the black channel for ink savings, as well as calculate ink consumption statistics. Alwan is regular-

ly working with third-parties to integrate its technology within specific printing processes, including its May 2013 partnership with Compose Systems’ LinkProfiler plug-in to provide DeviceLink for Harlequin RIP users, who can apply colour management, TAC reduction, and ink savings on their RIP.

Esko Color Engine

Esko’s Color Engine, updated in the May 2013 release of Suite 12, uses spectral data to define ink profiles. Based on an ink’s spectral definition, Color Engine predicts the behaviour of the ink and simulates the printed result on an inkjet proof. Color Engine calculates what a spot ink will look like when printed on top of another one, or printed on certain paper or board stock, or viewed under different lighting conditions without having to fingerprint all possible combinations. The technology can also be applied in extended gamut printing as opposed to using spot colours. Esko Equinox, an Adobe

Esko Color Engine

Photoshop plug-in technology for extended gamut printing, manages and applies multi-ink profiles built through Color Engine. With Equinox, prepress operators automate the process of re-separating their jobs to the destination multi-ink profile. Color Engine 12 is also integrated with PantoneLIVE.

Heidelberg Prinect Color Toolbox

Heidelberg’s Prinect Color Toolbox is comprised of three software programs, including Quality Monitor, Calibration Tool and Profile Tool. The Quality Monitor provides analysis for quality control, including long-term periods with documentation to comply with process standards. It allows users to compare two sets of measured data. The Calibration Tool provides centralized management of calibration data, while supporting the linearization of platesetters and the calibration of the full printing process. Calibration Tool offers full curve editing and smoothing capabilities as well as complete support for spot and specialty colors. The Profile Tool creates ICC profiles based on general printing standards or individual requirements. It is focused on colour separations, while users can adjust black builds with UCR or GCR for printing and proofing profiles. The Profile Tool leverages Heidelberg’s Mini Spots technology for adjustment of colour profiles.

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Teckhon’s new SpectroDens instrument is designed to work with the Substrate Corrected Colorimetric Aims (SCCA) formula, designed to account for variances in paper colour, developed within the IDEAlliance Print Properties & Colorimetric Committee. SpectroDens allows users to measure the paper and, based on those measurements and using the SCCA formula, calculates new aim points on the instrument. This helps colour matches with substrates containing optical brightening agents. SpectroDens can scan a colour bar containing up to 54 patches, define the colour bar by uploading a colour library to the SpectroDens or by scanning a colour bar with the instrument. It employs pattern recognition algorithms to detect that the colour bar being scanned is correct, has the correct number of patches and the colours are in the right sequence. It displays an error message if the incorrect number of patches are scanned or if the scanning speed is too fast or too slow. It includes SpectroConnect software for porting data to third-party software.

i ce

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The DIALOGUE Engine is designed to integrate content communication between parties and soft-proofing tasks. As a Software Development Kit, DIALOGUE Engine is applied within third-party DAM or custom-designed Web pages, which allows users to add soft-proofing capabilities to their existing system. Based on permissions, any document, from first artwork draft to final imposed form located on the server, is available for review in a standard Web browser – without the need of a plug-in. Comments and requests for corrections are stored on a centralized server, where users can also check measured densities or available layers and single separations within a positive or negative view. The DIALOGUE Engine allows has a near limitless zoom and the ability to rotate a document for reviewing content – useful features for imposed or nested forms. In order to simulate a specific printing process or ink characteristics, opacity and order of separations can be altered.

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Tucanna PrintControl

Tucanna of Carlsbad, California, develops software for pre-production collaboration among the printing supply chain, including PrintControl, RapidCheck and tFlow. Companies can use PrintControl and RapidCheck in conjunction with X-Rite measurement devices as well as X-Rite’s Color Exchange Format (CxF) colour libraries. PrintControl and RapidCheck support G7, SWOP and ISO or other user-defined in-house standards for use with offset, flexo, toner and wide-format inkjet processes. Tucanna’s tFlow software is designed as an online – local- or cloud-based – collaboration system for submitting, annotating, preflighting and tracking jobs.

CGS ORIS Lynx

ORIS Lynx is a Cloud-based application, based in large part on CGS’s ORIS Color Tuner and ORIS Press Matcher, required the development of a new product architecture to apply colour-matching algorithms to a cloud service. As a result, ORIS Lynx provides what CGS describes as true, iterative colour management, generating device link and/or ICC profiles for consistent colour output from single or multiple devices.

Matchmycolor Colibri matchmycolor LLC’s Colibri software is Competing Cloud-based systems traditiondesigned to manage colour standards, ally only generate ICC profiles. ORIS Lynx formulate colours and monitor final neutralizes gray balance, whereby overall production. It allows clients to preview colour quality is improved. In July 2013, the colour in the final designs and to CGS released version 2.0.3 of ORIS Color check the quality of prints. It gives ink Tuner // Web with support of printers from suppliers the option of remote formula- Canon, Epson, and Roland DG. tion, correction and control of colour on press. matchmycolor recently extended Color-Logic Dimensional-FX Colibri software with its Color Plugin Color-Logic of Ohio upgraded its Design system for Adobe Illustrator design soft- Suite with a Dimensional-FX feature, a ware, which allows GMG OpenColor us- plug-in to make an artwork area appear ers to select colours for the production to change both colour (lighter or darkof globally consistent designs. To accom- er hue) and dimension to create mesmodate the Color Plugin, matchmycolor sages and areas that stand out. Printers created a software platform with Col- are licensed to employ the Color-Logic orSpec, ColorMatch, ColorQuality and Design Suite. To address printing with ColorTint modules, designed for Cloud metallic inks or conventional inks on and large enterprise environments as metallic substrates, Color-Logic’s Prowell as single-client installations. GMG cess Metallic Color System considers elOpenColor directly accesses the Colibri ements like substrate, inks, coatings, and central, single-source database, allowing press conditions to create colour ink files for the transfer of standards, catalogues or white-ink masks. This helps predict and substrates, as well as spot-colour metallic results with offset, flexo, toner, simulation. inkjet, screen and gravure processes.

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Continued from page 14

entrepreneurial companies running multiple unique jobs on their machines by the day or week. Many modern printers now reach into the market through online ordering systems and often gangrun multiple jobs up on a single sheet.

The volume of quotes pushed through estimating, however, does not drive Somerset’s pressroom. “We do not get it in our heads out there that we are just printing it. We always handle each project as an individual project,” says Jack.

In fact, Somerset’s pressroom operators rarely even see a quote.

“We take each project and produce it to the very best of our ability, whether it is business cards, a kit folder or an annual report. We do it right or it does not go out,” says Jeff. “There is no complacency: If someone gives me a kit folder 4/4 and then a week later I get another kit folder 4/4, and it is the same die line, the mentality is that those are two separate projects.”

In addition to one sales veteran, the company’s print work is generated through a 6-member team of young professionals, representing both Generation X and Generation Y, the latter of which adds an inherent understanding of today’s communications market – crowded with countless delivery platforms – and how special printing can fit. “Our mentality here is not to give a reason to go anywhere else,” says Jeff. “As a representative of Somerset, you have to manage client

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expectations and know the difference between something that is going to be a commoditized product and something that is going to have something special done to it.”

Somerset’s account management team also includes experts in a narrow set of sectors, such as pharmaceutical, entertainment, automotive and real-estate development. “We have morphed our team into more than just ink on paper,” says Jeff. “Our account managers become involved with the production process in conjunction with our production department.”

Working together, the production and account management teams concentrate on problem solving and providing predictable results for clients. “There is never a greater feeling than getting an overwhelming response from both a designer and their end client when a project is finished,” says Chris. “This is the single most motivating factor in taking on the challenges that we embrace.”

Future days of Somerset

If Somerset Graphics is founded on Jack Youngberg’s strong will to stay out of the limelight and run a hard-working operation focused on sales and the bottom line, it is now guided by a team of Generation X professionals, who, having grown up during the shift from analogue to digital, truly understand the realities of

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Jack Youngberg and Kosh Miyao, President of Komori America, celebrate Somerset’s Komori LSX 629 installation in Mississauga, which features a dual UV curing system developed by Benford UV out of the United Kingdom.

what today’s communications technologies can do. This group of long-serving managers is well equipped to support Somerset’s Generation Y sales team (often referred to as Millennials), who grew up immersed in digital communications and, therefore, can better communicate with today’s media buyers.

Helping to lead Somerset’s sales efforts, Jeff has seen a turnaround in a few traditional print products. While work like annual reports has fallen to online versions, he points to other returning applications like magazines. He describes how clients have returned to print after years of directing their content efforts into an online property, which, when positioned alone without print, can suffer from significant drops in readership and ineffective click-through rates. “They say, ‘We have to go back to print. We have to get these in people’s hands.’”

One of the most vibrant types of print changing hands, literally, continues to be business cards, as Jeff outlines a report he recently read describing the North American business-card market continuing to generate over $4 billion in sales. “Business cards are making a comeback and we see that in here with the type of cards that we do,” he says, providing another example of the company’s attention to every project it produces.

Instead of holding skids of house paper on the pressroom floor, Somerset, for example, continues to help its clients choose the right substrate to fit the job’s budget or to properly account for the bindery process – even though Somerset outsources some of its finishing work.

“Let’s say there is $100 million of print

in the GTA,” says Jeff. “We look at it like it’s a big, giant pie and we know the size of the slice that we need to run a viable business. There is no big pipe dream. A quote we have used around here for years is that one percent of a million is the same as 10 percent of 100,000.”

The Youngbergs share a handful of not-to-be-named projects tucked away in office filing cabinets to visually describe unique marketing projects that are led by Somerset’s printing results. “It doesn’t surprise me anymore how many times a client has come full circle with Somerset, where they have left based on budget and then six months later they call you back and say, ‘What a disaster.’”

Somerset methodically built its client portfolio largely based on the fact that Jack Youngberg has been perfectly content to operate a medium-sized printing operation in the Greater Toronto Area, which has seen tremendous technological and strategic change over the past few decades. He and Beth have clearly instilled family business priorities into Chris, Jeff and some of the Toronto printing community’s longest-serving employees. The 30 employees of Somerset, including Jack and Beth, account for more than 470 years of printing experience.

“Print [manufacturing] is intangible.

You are selling promises all of the time and you are only as good as your last job,” says Jack. “Use all of the clichés you want, but the one thing that I have always said in this company is that our successes, everything we have ever done, is because of the people, not in spite of them. That is always the way we have run our company.”

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Sharma

Continued from page 10

the different UV included and UV excluded measurement options. There are now four clear and well-defined measurement modes defined as M0, M1, M2, and M3.

M0 is known as a “legacy” mode and is a standard that represents the majority of measuring instruments currently in the field today. It is directed to instruments that use an unfiltered gas-filled tungsten lamp to illuminate the sample being measured. Prior to LED-based devices, the tungsten bulb based device was the primary type of device on the market. The light contained within the instrument may approximate Illuminant A. It should be noted that in this mode the light is neither UV filtered nor polarized, and also the UV component can

agents… the spectral power distribution of the measurement source… shall only contain substantial radiation power in the wavelength range above 400 nm.” How is this mode used in practice?

There will be times when a customer will request a print to be measured using M2 because the lighting used to display the job is expected to be free of UV content. A museum is an example of one of the major places that uses UV-free lighting. In colour management circles OBA induced colour shifts were often dealt with by removing UV light from both the measuring system and the viewing conditions. Now with the new standard we have a specific definition for “UVcut” and the wavelength at which it happens. Note that the rest of the illuminant

There are four new measurement modes in ISO 13655 : M0 (legacy), M1 (UV included), M2 (UV excluded), M3 (polarized).

be very weak. In general, the M0 mode is a catch-all mode so that legacy devices can be characterized within the new ISO standard. An M0 instrument can safely be used for process control applications as it can make very reliable, repeatable measurements, but it cannot be used in situations where it is necessary to exchange information or seek correlation with other measurement scenarios because an M0 instrument may not read the same as another instrument that is measuring the same sample.

M1 is known as the “D50 mode” or “UV included” mode. A major difference (and improvement) over earlier specifications is that the amount of energy in the UV and visible wavelengths is now specified. The light source in the instrument must match CIE Standard Illuminant D50. It is useful to remember that D50 is simply a spectral curve and there may be different ways to elicit a D50 response. Generally speaking, there are two methods to achieve conformance to condition M1 – we describe these as physical (using a tailored, customized source and or imaging apparatus, as employed in the X-Rite eXact) and mathematical (using a mathematical function to approximate the required spectral power distribution, as used in the Konica-Minolta FD-7).

M2 is defined as a “UV-cut” mode. ISO 13655 states, “To exclude variations in measurement results between instruments due to fluorescence of optical brightening

spectral power distribution for M2 is not specified – it does not have to be, as in this spectral range we are in a situation where the instrument illuminant does not interact with the specimen or change the emission characteristics, so it is not necessary to define the spectral power distribution of the source from 400 to 700 nm and a measuring instrument can simply compute the spectrum of the sample in this range.

M3 is a polarizing mode and consists of UV-cut up until 400 nm and then a polarizing filter is applied to the remaining wavelengths. As above, the illuminant spectral power distribution from 400 to 700 nm for M3 is not specified – it does not have to be, as in this spectral range we are in a situation again where the instrument illuminant does not interact with the specimen. The main use of M3 is to limit or completely remove surface reflections. In the offset printing industry, the customer pays for the final dry product. One of the main concerns is that the press sheets come off the press wet and as they dry the density of the ink drops. The M3 mode can aid printers in cutting the surface gloss from wet inks, and if drying is primarily represented by a change in surface gloss then by removing the gloss we may have a better prediction of the final expected dry density. Because of the polarizing filter the measured density values using M3, may be different to the density achieved from

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Sharma

Continued from page 23

the other modes. In fact, in any measurement we see that each mode (M0-M3) can produce a very different spectral response and thus any computed metrics (CIELAB, CIEYxy, density) can be different for each measurement mode.

Measuring and viewing

The instrument manufacturers have responded to ISO 13655 with the introduction of a suite of devices that all meet the M0 - M3 measurement modes.

Konica-Minolta Sensing has entered the prepress market with the FD-7 spectrophotometer and a paired automatic chart reading table called the ColorScout A+. The device also measures ambient lighting – a feature not found in other similar devices. Techkon released the SpectroDens, which can be used in spot

ShelfTalker_PA_Jan.indd 1

ing a closer simulation of Illuminant D50 thus clarifying the amount of UV illumination in the viewing booth too.

The new viewing booth standard refers to issues such as excluding stray light and that the walls of the booth should be a type of neutral gray, but in the current context, ISO 3664 has called for tighter tolerances on the quality of the light source to ensure that it closely matches the D50 (M1) curve especially in the UV spectrum.

In terms of light booths, two major manufacturers in GTI and JUST Normlicht have had new light fixtures available for a couple of years now. All users should check with their representative or on the supplier Website to ensure they have ISO 13655/3664 compliant lighting.

We are at a truly exciting juncture in

2013-12-11 9:19 AM

Techkon also has a clever iPhone app called ColorCatcher that can measure the L*a*b* of a sample so you can use your iPhone as a measuring instrument.

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mode but also uniquely has four wheels allowing the user to roll it over control patches. Techkon also has two clever iPhone apps: iRegister Pro can be used to measure the register on a press sheet and the ColorCatcher app can measure the L*a*b* of a sample. You can use your iPhone as a measuring instrument! Note that both the iPhone apps require a small kit costing around $100.

We note that market leader X-Rite of Grand Rapids, Michigan, offers us the eXact for the pressroom and a new version of the i1Pro called the i1Pro2 for colour management users. It is important to note that neither the chart reader iSis device or the press-side IntelliTrax scanning system is compliant with the new standard and neither can be retrofitted to comply with the new standard. Users can, however, adapt their i1iO table to accommodate the new i1Pro2. When buying an instrument or upgrading your system, make sure you are using an instrument from the above list that is ISO 13655 compliant.

The clarification for illuminant in measuring instruments (ISO 13655) is accompanied by a similar clarification in the standard for viewing booths called ISO 3664. Via the updated viewing booth standard, emphasis has turned to requir-

colour management systems – finally we have a clear specification for the UV component in both the viewing booth and the measuring instrument. Together, these systems are able to deal with the challenges of OBA-induced colour changes that have plagued our industry for a long time. If a viewing booth is fitted with the new light sources and we use a new measuring instrument in M1 mode, then visual appraisal of press sheets and contract colour proofs will always be in agreement.

Measuring instruments are supposed to provide a reliable and robust method for colour measurement. Unfortunately, in the case of UV and OBAs there has been considerable confusion and lack of inter-instrument agreement. The new ISO 13655 standard for instruments and ISO 3664 standard for viewing booths will greatly reduce the colour matching problems currently faced in the field.

Dr. Abhay Sharma is a professor at Ryerson University’s School of Graphic Communications Management.

Dr. Sharma is active in print media research and recently coordinated the IDEAlliance Wide/Grand Format Inkjet RoundUP study. He can be reached at sharma@ryerson.ca.

24 • PRINTACTION • MARCH 2014 HouseofFoil_PA_March.indd 1 PrintActionMarch2014.indd 24

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March 1989 A geomagnetic storm (solar wind from a coronal mass ejection) causes a blackout across Hydro-Québec’s electricity transmission system; the Exxon Valdez runs aground, spilling nearly 11 million gallons of crude oil across 1,300 miles of Alaskan coastline; and Boris Yeltsin wins the first free elections in USSR.

Run for the Money

Newspapers around the world will once more attempt to capture the title of world’s best in the 12th annual “Run for the Money” colour reproduction contest sponsored by Eastman Kodak Company. The Toronto Sun took the honours from among some 450 newspapers in last year’s contest.

“The contest will simulate what would happen if a newspaper was given a national colour ad to run,” says Bob Kirk, Manager of Kodak Canada’s Graphics Imaging Systems. “The goal is for the papers to take an original colour print, separate it, then reproduce it matching a press proof as closely as possible.”

Contest winners in each category will receive $1,000. The daily or weekly paper judged “world’s best” will receive an additional $2,000. Entries will be divided into six categories: Small offset (up to 24,999 circulation), medium offset (25,000 to 75,000 circulation), large offset (more than 75,000 circulation), direct letterpress (photopolymer or metal plates), DiLitho press, and flexography.

Newspapers will be provided with an 8 x 10-inch photograph of a brightly coloured sailboat (below) together with the press proof.

Hundreds Attend Typography Awards

Users of Facsimiles Target of Bill Fraud

Let the faxer beware. Boiler-room operations in Europe are sending Canadian companies what appear to be invoices demanding payment for listings in international fax directories.

The documents look just like a typical invoice, complete with reference numbers and in some cases discounts for paying within 21 days. Lori Jeffrey, VP of Fax Directory Inc. of Toronto, which publishes the Official Fax Directory, said she has had about 50 complaints from customers in the past year. One large accounting firm received what appeared to be a bill from List of Telefax Subscribers of Canada for $725, which appears to have originated in West Germany. Jeffrey had other documents from companies such as the Telefax Directory of Canadian Subscribers, in Zurich, and the World Telefax Edition, in London.

The 20th annual Typographers International Association awards show drew one of the largest crowds since the opening of the Berthold Type Centre. Around 400 guests attended the show opening called Precious Medals, which was sponsored by Techni Process Ltd., a Toronto-based typesetting firm. The show included posters, advertising, stationery programs, corporate brochures and annual reports, representing the creative work of 18 Toronto design studios and advertising agencies.

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