Fujifilm: Why Print?

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Why print? Why Fujifilm?

Why print? Why Fujifilm?

Why Fujifilm?

Why Fujifilm?

Why print?

This book celebrates the power of print by showcasing iconic examples that have shaped our lives, together with more recent evidence of how technology is helping to improve its effectiveness. The book also provides a background to Fujifilm’s contribution to print, providing both an historical perspective and an insight into some of the new technologies that are helping to shape print’s future.

Published by FUJIFILM UK Limited Graphic Systems Imaging Centre Unit 15, St Martin’s Business Centre St Martin’s Way Bedford MK42 0LF United Kingdom Phone 01234 245245 Fax 01234 245345 Web: www.fujifilm.eu/print YouTube: www.youtube.com/FujifilmGSEurope Twitter: @FujiPrintUK Fujifilm writing: Graham Leeson Print icon writing: Sam Upton Design: Hiscock Ransom Copyright © 2014 Fujifilm UK Limited Printed by Fujifilm on the Jet Press 720

CONTENTS INTRODUCTION 8 How this book was produced

10

WHY PRINT? INTRODUCTION TO PRINT ICONS

12

A DIVERSE RANGE OF CORE TECHNOLOGIES

14

A HISTORY OF INNOVATION

16

Print icon: BOOKS

18

VALUE FROM INNOVATION

20

PRINT WE BELIEVE IN IT

22

Print icon: magazines

24

A HISTORY IN OFFSET PRINTING

26

DELIVERING ADVANCES IN THE PRESSROOM

28

Print icon: ADVERTISING

30

ADVANCED PLATE MANUFACTURE

32

sustainable plate production

34

Print icon: newspapers

36

making the news

38

the importance of logistics

40

Print icon: CATALOGUES

42

A HISTORY IN toner based digital printing

44

Why print? Why Fujifilm?

5

6

MORE TO XEROGRAPHY THAN MEETS THE EYE

46

PRINT ICON: LP sleeves

48

A NEW GENERATION OF WORKFLOW

50

THE IMPORTANCE OF MANAGING COLOUR

52

PRINT ICON: COMICS

54

EMBRACING THE POWER Of the internet

56

A WORKFLOW BUILT FOR SPEED AND EFFICIENCY

58

print icon: T-shirts

60

A History in screen and wide format printing

62

AWARD-WINNING UV INK manufacture

64

print icon: posters

66

A PIONEER IN UV INK TECHNOLOGY

68

INK THAT IS WHITER THAN WHITE

70

print icon: point-of-sale

72

Wide FORMAT FLATBED INKJET printing

74

ADVANCED ROLL-FED INKJET PRINTING

76

print icon: billboards

78

THE COMPLEX BUT BEAUTIFUL WORLD OF LABELS

80

digital label PRINTING COMES OF AGE

82

Why print? Why Fujifilm?

print icon: labels

84

CORRUGATED MATERIAL GETS THE DIGITAL TREATMENT

86

Short run PACKAGING SET TO DRIVE GROWTH

88

print icon: packaging

90

THE DAWN OF A NEW ERA FOR COMMERCIAL PRINT

92

WEB OFFSET PRESSES COMPLEMENTED BY DIGITAL

94

PRINT ICON: direct mail

96

THE EMERGENCE OF A ‘PRINTHEAD ON A CHIP’

98

HARNESSING THE POWER OF INKJET TECHNOLOGIES

100

print icon: calendars

102

Care for the environment

104

THE BENEFITS OF A JAPANESE ETHOS

106

print icon: business cards

108

APPENDIX 110

Why print? Why Fujifilm?

7

WHY PRINT? Why Fujifilm?

On the face of it, two unrelated questions demanding very different answers. So why one book?

At the beginning of 2013 when the concept of this book started to become more than just a twinkle of an idea, two burning passions stoked the desire to produce a book. The first was to focus on print.

We were nearing the end of one of the longest recessions in living memory, the world economy was still in free fall, offset press manufacturers were suffering a momentous decline in sales, mobile computing was growing in popularity, Google was dominating everything, and world-famous newspapers were disappearing off our newsstands. Print was seemingly old fashioned and dirty, a monolithic concept from another era.

But this doom-laden view belies the impact that printed material has had and continues to have on our lives, so we decided to produce a book that celebrates print. Whether it’s on a ‘grand’ scale in terms of the part it played in spreading literacy in the Western World or the simple way in which it has transformed LP sleeves into works of art, print has engrained itself onto our lives. It’s no understatement to propose that the printing press has been one of the most important inventions in human history.

But it’s not just the historic perspective we are celebrating. Print is as valuable today as it has always been. It has an unparalleled ability to communicate simple or sophisticated messages equally as effectively, but can also deliver sensory experiences and convey trust, emotion and permanence through its reassuring physicality better than any other medium.

Despite the impact technology has undoubtedly had on the way print has been consumed, there is now a widespread resurgence of interest

8

Why print? Why Fujifilm?

in print for the values it so stubbornly upholds. So within this book, we celebrate sixteen print icons for the impact they’ve had on our lives, for the way they’ve communicated, entertained and transformed, and for the way each type of print they represent is successfully reinventing itself to meet the needs of today’s discerning consumer.

The second burning passion was less esoteric, but for us equally as important. We wanted to tell the story of Fujifilm in relation to print, and what better way than in a book? The intention here was not to convince people to buy the company’s products, more to tell the story of the part Fujifilm has played in the development of print. Many people know the company for its consumer cameras and film, but the diversity of Fujifilm’s business is often a surprise, with one of the most significant areas being print. Whether its books or billboards, catalogues or calendars, posters or packaging, Fujifilm is developing technologies that are enhancing and enriching print of all shapes and sizes. So this book tells the story of Fujifilm’s historical connection with print, but also highlights the technologies and values that are having an impact on print’s future.

Why print? Why Fujifilm? is therefore a book that celebrates the power of print – its history, evolution, impact and effectiveness – but also gives an insight into the technologies that Fujifilm is pioneering that are shaping the way that print is produced now, and helping to maximise its value for many years to come.

Why print? Why Fujifilm?

9

HOW THIS BOOK WAS PRODUCED This book was printed on the Jet Press 720, a four colour B2 format digital inkjet press. It is a new breed of press that takes the best of offset technology and adds state-of-the-art inkjet deposition to produce stunning high quality print.

Print buyers need the benefits that digital printing can bring now more than ever. Short runs, fast turnarounds and print-on-demand are all standard requirements in today’s fast moving world. But many applications are still not printed digitally. With the arrival of presses like the Jet Press 720, this is set to change.

10

Why print? Why Fujifilm Fujifilm?

Inkjet as a technology has huge potential for commercial printing, and the Jet Press 720 represents the ultimate in inkjet printing.

A combination of state-of-the-art inkjet printheads (see page 99), the latest ink formulations, and the best of conventional press design means this press delivers unsurpassed print quality and performance.

The B2 format size fulfils the dream for many who are looking to produce more work digitally. The combination of format size, productivity and quality make the Jet Press 720 unequalled, with the press representing the dawn of a new era for commercial print.

SAMBA™ inkjet heads

Output

Once the RCP has been applied, the paper is fed onto the imaging cylinder where it is held by grippers and a vacuum. Four SAMBATM print bars then deposit the CMYK inks in a single pass.

The final printed sheet emerges in the delivery area in the same way as on a traditional offset press.

Sheet scanning

Sheet drying

Once dry, every sheet is scanned by the In-Line Sensor (ILS), with the system making any necessary alterations in real time.

Drying after printing is achieved by a combination of heat and air to ensure that the sheet emerges from the press ready for finishing.

Paper feed The traditional sheet-fed paper feed mechanism ensures high registration accuracy and reliable operation.

Paper transport

Paper priming

Paper transport is achieved through traditional sheet-fed rollers and paper grippers for high accuracy and reliability.

The primer unit applies an ultrathin film Rapid Coagulation Primer (RCP) onto the paper via an anilox system. The reaction of the primer and the water-based ink produces incredibly sharp dots and vibrant images on standard B2 offset litho-grade paper.

Why print? Why Fujifilm?

11

PRINT ICONS

Why print?

If you were to invent the ideal communications medium for the modern consumer, you would have to take a number of things into consideration. It would have to be light, flexible, portable, recyclable, able to express colour in fine detail, and have a satisfying, tactile nature that felt good in the hand. Something, you might say, a little like paper.

Paper and print have been around for centuries – four to be exact.

And in that incredible amount of time, it’s lost none of its charm and appeal for its billions of users across the globe. Magazines, newspapers, books, billboards, catalogues, packaging, even direct mail retains an enviable ability to engage with its reader and hold their attention for seconds, minutes, hours.

This book is a celebration of that ability, showcasing the icons of print, the moments of unbridled creativity and inspiration that have contributed an unquantifiable amount to the world’s culture, education and knowledge. Some of these icons have bought hope and salvation to millions; some have simply done a good job in selling more. But what they all have in common is their creators’ love of print and faith in its power to effect change.

Print is still the king of communications and long may it reign.

12

Why print? Why Fujifilm?

success if you subscribe, I guarantee that you will find The Wall Street Journal consistently interesting, totally reliable, and always useful.

W O R L D F I N A N C I A L C E N T E R , 2 0 0 L I B E RT Y ST R E E T, N E W YO R K , N Y 1 0 2 8 1

Our guarantee to you Should The Wall Street Journal not measure up to your expectations, or to anything I’ve said, you may cancel your subscription at any time and receive a full refund for the undelivered portion.

If you feel that this is fair and reasonable, you’ll want to find out promptly if The Wall Street Journal can do for you what it has done for millions of readers. So, order your subscription today and we’ll start serving you immediately.

Sincerely,

Peter R. Kann, Publisher PRK:md Encs.

P.S.

About those two college classmates I mentioned at the beginning of this letter: They graduated from college together and got started in business together. So what made their success in business different? Knowledge. Useful knowledge. And its application.

Dear Reader: On a beautiful late spring afternoon, twentyfive years ago, two young men graduated from the same college.

They were very much alike, these two young men.

Both had been better than average students, both were personable and -- as young college graduates are -both were filled with ambitious dreams for the future.

Recently, these men returned to their college for their twenty-fifth reunion.

They were still very much alike. Both were happily married. Both had children. And both, it turned out, had gone to work for the same Midwestern company after graduation, and were still there.

But there was a difference. One of the men was manager of a small department of that company. The other was its president.

What made the difference Have you ever wondered, as I have, what makes this kind of a difference in people’s lives? It isn’t native intelligence or talent or dedication.

It isn’t that one person wants success and the other doesn’t.

The difference lies in what each person knows and how he or she uses that knowledge.

And that’s why I’m writing to you about The Wall Street Journal. For the whole purpose of the Journal is to give its readers knowledge -advantageous knowledge they can use in business. (over, please)

Why print? Why Fujifilm?

13

A DIVERSE RANGE OF CORE TECHNOLOGIES

Since the company was founded in 1934, Fujifilm has developed expertise in a number of core technologies, with each breaking new ground in terms of innovation and performance.

In 2006, the company opened a new 56,000m2 facility called the Advanced Research Laboratories and brought together scientists and engineers from all areas of the company to collaborate on fundamental research & development for the entire Fujifilm Group.

The facility is structured as a group of interconnected laboratories: the Frontier Core-Technology Laboratories focus on cutting-edge science; the Synthetic Organic Chemistry Laboratories concentrate on high-performance organic materials; the Advanced Marking Research Laboratories explore innovations in printing and the Life Science and Regenerative Medicine Research Laboratories are exploring new possibilities in bio-chemistry, pharmaceuticals and related life science applications.

Fujifilm’s investment in research and development has always been a major strength, with the Advanced Research Laboratories now spearheading the drive to create revolutionary new products, applications and business opportunities for the future.

14

Why print? Why Fujifilm?

Fine chemicals Software Advanced material chemistry

Fujifilm Advanced Research Laboratories

Devices

Biotechnology

Optics Electronics and mechatronics

Why print? Why Fujifilm?

15

A HISTORY OF INNOVATION 1934: Fuji Photo Film Co. established

1962: Fuji Xerox Co. established

Pursuing the local production of photographic film. Establishing a domestic sales network.

1930s

1940s 1934 Photographic film Motion picture film

Promoting business diversification. Cultivating overseas markets.

1960s

1950s

1970s

1948 Colour reversal film

1965 PS plates Tapes for computers 1958 FUJITAC (TAC film)

1948 Still cameras 1962 – JAPAN FIRST Fuji Xerox industry-first plain paper copier

1934 Printing film

1936 X-ray film 1950s – JAPAN FIRST Japan’s first domesticallymanufactured computer

1969 Micro filters (filtering film)

1959 – WORLD FIRST The world’s first recordable video tape

16

Why print? Why Fujifilm?

2001: Fuji Xerox converted to a consolidated subsidiary Expanding overseas bases. Promoting digitisation.

1980s

1975 Colour copy machine

1990s

1986 – WORLD FIRST QuickSnap one-time use recyclable camera

A second foundation.

2000s

2010s

1996 – WORLD FIRST Digital minilab

2009 – WORLD FIRST 3D digital camera

1984 Floppy discs 1988 – WORLD FIRST Digital still camera with removable media 1976 – WORLD FIRST Fujicolor 400 camera film

1996– WORLD FIRST WV film 2004 – WORLD FIRST Full digital endoscope Double balloon endoscope

1986 WORLD FIRST Digital diagnostic X-ray imaging system: FCR

1977 Prescale pressure measurement film

1975 Fuji Xerox 6500 full-colour copier

1995 – WORLD FIRST Fuji Xerox DocuColor 4040 -the world’s fastest full-colour copier

2014 – WORLD FIRST X-T1 interchangeable lens camera with the world’s fastest Real Time Viewfinder

2007 ASTALIFT skin care range

2000 – WORLD FIRST Fuji Xerox Color DocuTech 60 - the world’s fastest full-colour digital publishing system 1987 – WORLD FIRST Fuji Xerox Xero Printer 100 - the world’s first machine incorporating print and copy

1996 CTP printing plate

2008 – WORLD FIRST Jet Press 720 single pass, 4 colour B2 inkjet press

1989 Digital multi-function devices

Why print? Why Fujifilm?

17

PRINT ICON

Books Published over 400 years ago, the King James Bible not only introduced Christianity to a large part of the world, it is arguably the greatest influence on the English language, with many of its phrases still in everyday use.

The Bible was commissioned in 1604 at the request of King James, who was unhappy with the translations that existed at the time. It took 47 scholars seven years to complete the task, none of whom was paid. The Bible was first printed by the King’s Printer, Robert Barker, in 1611, and sold for 12 shillings.

The book has been called “the most influential version of the most influential book in the world in what is now its most influential language” and has contributed more phrases to the English language than any other book (257 to be precise). These range from ‘the salt of the earth’ and ‘a law unto herself’, to ‘the powers that be’ and ‘no peace for the wicked’.

But more than shaping an entire language and spreading Christianity, the King James Bible has formed the basis for literacy across the world. Families would own the Bible no matter how poor they were, and since it lay at the core of Christian worship, the book would be read and listened to every day.

Religion of a different kind can be found in the works of Ansel Adams, whose black and white images of Yosemite National Park inspired many to appreciate the beauty of nature and elevated photography to an art form.

While countless galleries have featured his work, Adams’s images are most often viewed in one of the many large-format books he published – as many as four dozen during and after his lifetime.

Whether it’s the famous Monolith, the Face of Half Dome taken in 1927, or El Capitan from 1968, Adams’s work adorns the coffee tables of millions worldwide, ready to be picked up and appreciated whenever the owner needs a vital burst of inspiration.

18

Why print? Why Fujifilm?

The book industry in numbers • Publishing is currently estimated to be worth $60bn and is the second-largest creative industry in the world after television (Publishing Perspectives, 2011) • 1.5 million books are estimated to be published every year around the world (AAP, 2012) • In 2012, British consumers bought 296 million books, spending £2.1bn (Nielsen, 2012) • US readers spent $7.1bn on books in 2012, an increase of 5.6% on 2011 (AAP, 2013) • Physical bookshops remain the leading source of discovery when it comes to browsing, with nearly twice as many book purchases found by browsing in shops than online (Nielsen, 2012) • Apart from religious texts, the best selling book of all time is A Tale Of Two Cities by Charles Dickens, which has sold in excess of 200 million copies (widely accepted estimate)

Why print? Why Fujifilm?

19

CREATING VALUE FROM INNOVATION

software

storage MEDIA

At the heart of Fujifilm’s strategy is the development of ground-breaking proprietary core technologies which are then applied in many different ways to provide an incredibly diverse range of products and services. Some of these, such as Fujifilm’s high quality digital cameras and data storage devices, are consumer-based and instantly recognisable. Many others meet business needs in markets as diverse as printing, medical systems and office solutions.

beer filtration

Optical DATA STORAGE

However, there is also a wide range of Fujifilm technologies that are less well known as they are embedded in other systems and solutions. Examples include high performance films used in LCD displays, semiconductor technologies used in printed circuit fabrication and filtration components found in canned beer.

Fujifilm’s strength is in its ability to create innovative new technologies and apply them in a multitude of different ways to a diverse range of products and solutions. Whether they’re known or unknown, they undoubtedly provide value from innovation.

Why print? Why Fujifilm?

x-ray systems

TV camera LENSES

INKJET PRINTING SYSTEMS

inkjet PRINTHEADS

20

SILKSCREEN ink

surveillance camera LENSES

cosmetics

DIGITAL MAMMOGRAPHY

office printing

MOBILE PHONE CAMERAS

binoculars

lenses for space observation

endoscopy

offset litho printing plates

camera film

UV ink

solar panels

PROFESSIONAL cameras

consumer cameras

pharmaceuticals

MOTION PICTURE FILM

Why print? Why Fujifilm?

21

Print we believe in it

Fujifilm’s business is diverse, but within this diversity is a focus on technologies that enhance many different types of print, with around one third of the company’s total global revenue connected to print production.

Whether it’s the printing of photos, newspapers or books for consumer use, document printing for office environments or posters and billboards advertising the latest brand campaigns, Fujifilm technologies are leading the way in improving the quality and efficiency of print production all over the world.

Others

Medical and life sciences

34%

Flat panel display materials

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22

Print-related

Why print? Why Fujifilm?

offset inkjet wide format TONER digital silk screen flexo Why print? Why Fujifilm?

23

PRINT ICON

Magazines One of the world’s most famous and widely read magazines began life back in 1892, when former lawyer Arthur Turnure launched a weekly “dignified, authentic journal of society, fashion and the ceremonial side of life.” Back then, Vogue was distributed to 250 subscribers; now it has a global print readership of over 11 million people in 20 countries.

What Vogue offers its loyal readers month in, month out, is the ultimate in glamour. Each of its 250-plus pages exude a peerless sense of international style, whether it’s high-fashion editorial or advertising the world’s most luxurious brands. Its huge appeal to both readers and advertisers has seen it buck the downward trend of magazine circulation and advertising revenue.

Long referred to as the Fashion Bible, Vogue’s stunning images and in-depth features are made all the more breathtaking and memorable for their existence in print. While the magazine has been available in digital form for a number of years, sales of the print edition remain strong, and with its largest ever issue published in September 2012 (a whopping 916 pages weighing in at over five pounds), it demonstrates the enduring allure of the printed page.

More recently, a new printed magazine called Delayed Gratification has been the focus for the concept of ‘slow journalism’ which measures news in months not minutes, returning to stories after the dust has settled. It offers an antidote to throwaway media and makes a virtue of being the last to break news. The publication is beautiful, collectible and designed to be treasured, again making the most of the printed medium to deliver something more than just fleeting news.

So whether it’s one of the world’s oldest and most aspirational magazines or new publications like Delayed Gratification, the ability that magazines have to inform, educate and entertain is made all the more powerful by the medium of print.

24

Why print? Why Fujifilm?

The magazine industry in numbers • There are over 200,000 different magazines published across the world (FIPP) • The global magazine industry generates over £100bn of revenue each year (IBIS World) • There are over 50,000 magazine titles currently published in Europe (PPA) • 91% of 15-24 year-olds read magazines (PPA) • 75% of all adults buy magazines (PPA) • 76% of marketers think print is as effective or more effective than the internet for marketing (PrintWeek) • On average, adults read magazines for over 43 minutes (PPA) • 88% of consumers prefer to read their favourite magazine in print rather than on a tablet (Deloitte)

Why print? Why Fujifilm?

25

A HISTORY IN OFFSET LITHOGRAPHIC PRINTING The offset lithographic print process has been the backbone of general commercial printing for over 100 years, with the introduction of the printing plate a key milestone in this history.

Fujifilm’s part in this development began in 1970 with the launch of conventional printing plates, followed in 1998 by the introduction of the world’s most popular range of plates – Brillia CTP plates – imaged directly via a laser.

Through its expertise in chemistry, surface coatings and advanced manufacturing, Fujifilm has continually improved the efficiency of plate production. Brillia processless and low chemistry plates now offer ground-breaking benefits in terms of lowering costs, reducing maintenance and minimising water and waste, while at the same time helping printers reduce their environmental impact.

Offset lithographic printing is now a highly efficient process that remains the quality benchmark against which most other print technologies are judged. These technological improvements in the humble printing plate have helped maintain its viability for a good while yet.

26

Why print? Why Fujifilm?

The origins of offset lithographic printing Commonly referred to as ‘offset’ or ‘litho’, offset lithographic printing has been widely used by most jobbing commercial printers since the first presses were introduced in the early 1900s. Although Englishman Robert Barclay devised an offset machine capable of printing onto tin in 1875, it was American, Ira Washington Rubel who is credited with creating the first offset lithographic printing press in 1904.

The printing technique is called offset because unlike gravure printing, the image is transferred to the paper from a rubber blanket and not directly from a plate. The basic technology underpinning offset printing hasn’t fundamentally changed for the last 100 years, although the advent of computer-to-plate (CTP) systems in the last 20 years has allowed users to significantly reduce make-ready times. The process is typically used for longer run work, such as the printing of magazines, books, brochures and newspapers, and is less suited to fast turnaround, short-run print.

Why print? Why Fujifilm?

27

DELIVERING ADVANCES IN THE PRESSROOM

28

Why print? Why Fujifilm?

For a significant part of its 125 year history, the offset lithographic process remained inherently unstable. The basic process relies on the repulsion of oil and water, something that was very difficult to control until the introduction of pressroom chemicals.

Stability and predictability, vital to the modern offset printing process, are made possible thanks to the science of pressroom chemistry, something that Fujifilm has specialised in for many years. Whether it’s press washes, fountain solutions, coatings, glues or emulsions, Fujifilm has used its core expertise in chemistry to develop solutions which maximise print quality and pressroom efficiencies, but have the minimum impact on the environment.

Today’s offset printing presses push the boundaries of speed, quality and efficiency to the limit. It is the unsung science of pressroom chemistry that helps make this print performance possible.

Why print? Why Fujifilm?

29

PRINT ICON

Advertising It was possibly one of the most difficult briefs ever to land on an advertising creative’s desk: sell a car known for being slow and manufactured in Nazi-built factories to a generation of postwar Americans accustomed to their car being a statement of manhood.

Oh, and you’re not allowed to change the name.

This was the challenge that faced the creatives at Doyle Dane Bernbach when they were given the brief for selling the VW Beetle in 1959, a time when American cars were big, brash and built for speed. So, knowing they couldn’t compete for power or looks, they went for honesty. They launched into a discussion about how slow Beetles are. Coupled with the revolutionary gambit of using a tiny product image on a white background, this grabbed the attention of everyone who came across it, before hitting them with the fact that the Beetle was efficient, reliable and easy to run.

This series of ads was so successful that VW continued to use the format through the 60s and well into the 70s, while industry bible Advertising Age recently voted it the Number One Campaign of the 20th Century. “In the beginning there was Volkswagen,” said US advertising legend, Jerry Della Femina. “That was the day when the new advertising agency was really born.”

These days you need just as much creativity and smart thinking to stand-out in print advertising. A recent campaign that really cut through the marketing noise was a magazine ad for Fanta.

Created by OgilvyOne in Dubai, the ad was designed to promote the new ‘more orangey’ taste of the drink, so flavoured inks were printed on edible paper allowing the reader to tear off a piece to taste the actual flavour.

The technology used to produce this edible ad may be more complex than that used in the 60s VW campaign, but both boil down to the same basic rule: you need to surprise the consumer and grab their attention, and half the job is done.

30

Why print? Why Fujifilm?

The print advertising industry in numbers • 69% of US shoppers say that newspaper and magazine advertising most influence their store and shopping decisions (ART Technology Group, 2010) • 82% of people in the UK believe that newspapers have ‘power and influence’ over their readers (YouGov, 2012) • Four out of five Germans, 83% of the British and over 80% of Swedes read a newspaper on an average day. (Print Power, 2012) • Adding magazines to a mix of TV and internet increases brand favourability by 44% and purchase intention by 15%.

(Dynamic Logic, 2009) • The combination of online and newspapers also increases effectiveness, with brand engagement 26% higher than using just print or online (FT, 2011) • In the short-term, every £1 spent on magazine advertising leads to £1.79 in sales, while over 12 months, that figure increases to £2.77 (PPA, 2012)

Why print? Why Fujifilm?

31

ADVANCED PLATE MANUFACTURE

The printing plate is a fundamental part of the offset printing process as it is the master from which all printed copies are reproduced.

It goes without saying that the ability of the plate to faithfully reproduce the intended image accurately and repeatedly is critical.

Quality and consistency are key.

Fujifilm achieves this through a highly automated manufacturing process across all four of its global manufacturing plants in Japan, the USA, China and The Netherlands.

Production is on a massive scale and quality is built into the process from the purchase of raw aluminium coils, through the micrograining and coating processes, to the packing and shipping of finished plates.

As the world’s largest supplier of printing plates, the quality and attention to detail that goes into the manufacture of each and every Fujifilm plate is second to none, with printers worldwide benefiting from the company’s powerful infrastructure.

32

Why print? Why Fujifilm?

These images highlight the different stages of the manufacturing process, from the aluminium coil store, which holds over 400 coils of premium grade aluminium at any one time, through the unwinding, brush graining, electro-graining and anodising process, to the coating, cutting, and final packing process.

Why print? Why Fujifilm?

33

Sustainable plate production

34

Why print? Why Fujifilm?

It is in everybody’s interests for the process of printing to be as sustainable as possible since it has to compete on every level with other methods of communication. Fujifilm is addressing this need wherever it is involved with print, and this is particularly evident in plate production.

A new wind farm has been constructed at our Tilburg plate manufacturing plant in The

Netherlands to supply 20% of the total power, in addition to new gas, solvent and water recycling facilities. At our Greenwood plate manufacturing operation in the USA, a new methane gas recovery system now powers 40% of the plant.

Plate manufacturing is an energy-intensive process, but with projects like these that help to significantly reduce its environmental burden, Fujifilm is taking positive steps toward the ultimate sustainability of print.

These initiatives and many others contribute to helping Fujifilm meet its global objective of reducing CO² emissions for the entire life cycle by 30% by 2020.

Why print? Why Fujifilm?

35

PRINT ICON

Newspapers With the largest circulation of all English-language newspapers in the world, The Times of India is one of the country’s most influential newspapers and is read by over 7.6 million Indians daily. This huge readership is an indication of the healthy state of the Indian newspaper industry, with the market estimated to be worth almost $5bn.

Founded in 1838, The Times of India celebrates its 175th anniversary in 2014. The newspaper was India’s first national paper, helping to improve literacy among its population to the point where almost a third of India’s 579 million literate population now reads a newspaper.

One of the reasons why circulation and advertising are rising for newspapers such as The Times of India is that, compared to the price of smartphones and tablets, they are phenomenally cheap, costing between 3.15 inr and 62.7 inr daily. Home delivery is also free, paid for by the publishers, while subscribers receive money back when they recycle their papers.

Another country that uses home delivery as a profitable distribution method is Japan, the second-largest newspaper market in the world (the first is China). Leading the way in Japan is Yomiuri Shimbun (or The Japan News), which has a combined morning and evening circulation of 13.5 million – the largest in the world.

One of the keys to the success of Japanese newspapers, in particular the local papers, is their bond with their communities.

One newspaper, the Ishinomaki Hibi Shimbun even wrote an issue by hand when its printing presses were submerged in the floods after the March 2011 earthquake and tsunami.

Whether it’s India or Japan, it’s clear that printed newspapers play a huge part in the lives of their populations – and will continue to do so for some time to come.

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Why print? Why Fujifilm?

The newspaper industry in numbers • More than half the world’s adult population read a daily newspaper – 2.5bn in print (WAN-IFRA, 2012) • The newspaper industry generates more than $200bn of revenue every year (WAN-IFRA, 2012) • 41m adults in the UK read a newspaper each month – three million more than use Google (NRS, 2013) • Retailers can expect a £5 return for every £1 they spend on newspaper advertising (Brand Science) • The majority (59%) of young adults in the US read newspaper media content in print or online in a typical week (NAA, 2013) • 82% of people believe that newspapers have power and influence over their readers (YouGov, 2012) • The average reader spends over 40 minutes reading their daily newspaper, with that figure almost doubling at the weekend (NRS, 2012)

Why print? Why Fujifilm?

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MAKING THE NEWS Today’s printers are under constant pressure to improve print quality, increase productivity, lower costs and boost environmental performance. Nowhere is this more evident than in the printing of newspapers. Subject to the highly competitive pressures of alternative news media channels, printed newspapers are having to reinvent themselves to continue to provide value to discerning consumers.

As most newspapers are still produced using conventional offset technologies, the importance of the stability and performance of the printing plate remains critical. This is why Fujifilm has developed a range of plates manufactured to the highest quality and consistency standards, and designed specifically for the rigorous demands of newspaper production.

With a portfolio including a dedicated high quality range of platesetters, workflow and pressroom solutions, Fujifilm remains committed to helping newspaper printers optimise production and maintain their position of offering high quality and highly valued printed newspapers.

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Why print? Why Fujifilm?

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“It’s what’s behind us that puts us in front.”

Petie Loyal, Customer Services Manager, Fujifilm UK

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Why print? Why Fujifilm?

The Importance of LOGISTICS Producing and distributing a daily newspaper remains one of the most time-critical types of print and the success of the logistics operation behind its appearance on the newsstand is one of the keys to its longevity. As readers, we know with absolute certainty that every day there will be a freshly printed newspaper available with a first class summary of the latest news.

The guaranteed supply of printing plates and associated equipment is a critical element in this complex logistics operation. At Fujifilm, we put just as much effort into this operation as we do into the manufacture of the plates themselves. Quite simply, if we were ever to fail to supply the high quality printing plates that we had promised, it is possible the newspaper would not be printed.

Thankfully, our impressive logistics infrastructure, the result of many years of evolution, is reliable and efficient. We look forward to supporting the printed newspaper with the same level of service for many years to come.

Why print? Why Fujifilm?

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PRINT ICON

Catalogues Known throughout the us retail industry as ‘the Consumers’ Bible’, the Sears catalogue is one of the world’s most famous publications and created the blueprint for the mail order business, not just in the US, but across the entire world.

First published in 1888, the catalogue began as a small mailer advertising watches and jewellery to rural farmers. By 1895, the catalogue had swelled to 532 pages, featuring a staggering array of products, from sewing machines and bicycles to sporting goods and cars. Annual sales from the catalogue were in excess of $750,000, and rising quickly.

But as well as serving America with a reliable and expansive mail order service, the Sears catalogue became a true icon, sitting on the coffee tables of million of American households, giving families the inspiration for a better way of living.

In 1993, the main catalogue was replaced with a series of more specialist publications such as the Christmas Wish Book, but it still occupies a place in history as a recording of America’s consumer desires for over a century.

While the original Sears catalogue may be no more, the Ikea catalogue now has one of the largest circulations of any publication in the world. With an annual print run of 211 million copies produced in 30 different languages, the publication for the Swedish furniture giant now features augmented reality to give its customers a new way of viewing its range.

After downloading an app to their tablets or smartphones, customers can see their chosen product in their own homes, visualising how it will look before they have even been to the store. Aside from providing a new dimension to choosing furniture, Ikea is heralding a new wave of catalogue innovation, where print and digital come together to give the consumer an exciting and inspirational way to shop. Richard W. Sears would be proud.

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Why print? Why Fujifilm?

The catalogue industry in numbers • Over 12bn catalogues were mailed in the US in 2012. That’s around 35 for every man, woman and child in the country (Forbes, 2012) • Print catalogues influence 82% more in-store purchases and 43% more online purchases than Facebook (Baynote, 2012) • Every year, catalogues generate £16 billion in sales in the UK (Mail Media Centre, 2011) • Over 70% of UK consumers keep catalogues in their homes for over a month (MarketReach, 2013) • 76% of advertising mail (including catalogues) is recycled (DMA, 2011) • 38% of consumers look at products in catalogues before purchasing the product online (E-Commerce in the Nordics, 2011) • 90% of consumers have more trust in catalogues than the internet (Print Power Europe, 2012)

Why print? Why Fujifilm?

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A HISTORY IN DIGITAL PRINTING The history of digital printing is short when compared to that of printing in general, with the first digital production printers emerging onto the market in the early 1990s. Fuji Xerox, consolidated in 2001 into the Fujifilm Group via a 75% equity ownership (the other 25% held by Xerox Corporation), has had a history of innovation in document scanning, copying and printing since the company’s origins back in 1962.

The company’s use of the xerographic process to develop high quality digital printing systems was a key factor in the exponential growth of this printing process. For example, the Color DocuTech 60 introduced in 2000, was at the time the world’s fastest full colour digital publishing system. This was followed in 2003 by the DocuColor 1256GA, which was the world’s first digital multifunction colour printer capable of delivering true 2400 dpi resolution digital print.

The production of print using digital technologies has evolved into being a highly flexible, high quality process. Fuji Xerox has played a key role in this evolution by developing a wide range of technologies to address the needs of on-demand digital printing.

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Why print? Why Fujifilm?

The origins of xerography Xerography was invented by Chester F. Carlson who was a patent attorney in the USA. As part of his job, it was necessary for him to make copies of drawings and specifications in order to apply for patents.

However, this involved enormous amounts of effort since transcription by hand or typewriter was the only method in those days. As a result, Carlson started researching the copying of prints and photos in his spare time by taking chemicals, flasks and slides into the kitchen of his apartment and carrying out experiments from around 1934.

He invented xerography through such research activities and filed his first patent regarding xerography in person as a patent attorney. He continued basic research and finally succeeded in a copying experiment using the xerographic method on October 22, 1938. Although Carlson established the basic principles of xerography, a great deal of research and development was required to commercialise it practically. The Haloid Company (later Xerox Corporation), which carried out the research and development, officially announced xerography technology on October 22, 1948, ten years to the day after Carlson succeeded in creating the first xerographic copy. The name “xerography” came from the Greek radicals xeros (dry) and graphos (writing), because there are no liquid chemicals involved in the process.

Why print? Why Fujifilm?

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MORE TO XEROGRAPHY THAN MEETS THE EYE

EA-Eco toner Technology that achieves energy-saving performance, colour reproduction similar to offset printing, and appropriate gloss for each type of paper Various functional fine particles (charging, heatresistance, cleaning etc)

Since the origins of the company in 1962, Fuji Xerox has been constantly refining the technologies within its printers. Today, these presses are capable of excellent quality and productivity and have been instrumental in meeting the growing demand for short-run, full colour, on-demand print.

The high performance of these presses has been achieved thanks to the integration of a wide range of Fuji Xerox technologies. Paper transport, cooling and high speed fusing processes help achieve high productivity.

Registration control technologies ensure excellent image quality. The EA-Eco toner achieves superb colour reproduction, while also allowing a clear spot varnish effect to be printed. Care for the environment is also a key development philosophy, with many technologies designed to minimise energy consumption.

Xerography has come a long way since its origins as a technology to reproduce black and white documents. Today the technology is highly advanced, producing quality comparable with offset, and being used successfully for short-run, full colour print all over the world.

Shell: normal polyester Normal polyester

Colourant

Wax Sharp-melting polyester

VCSEL-ROS laser scanning technology Proprietary laser scanning technology allowed 2400 dpi resolution to be achieved by xerography for the first time in the world.

VCSEL

Conventional technology

New technology (VCSEL)

2 beams at one time – 600dpi

8x4 beams at one time – 2,400dpi

Polygon mirror

Laser beams

Sc

an

nin

ir gd

ec

tio

n

In resolution to the size of one dot at 600dpi, 4 dots will fit into that dot at 2,400dpi to achieve 4 times the resolution

Photoreceptor

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Why print? Why Fujifilm?

Seamless intermediate transfer belt

Overcoat organic photoconductor

Long seamless belt that transfers toner onto the paper, enabling high productivity and stable colour reproduction

New charge transfer overcoat layer achieves high durability and stable charging performance

Photoreceptor

Overcoat organic photoconductor

Belt roll high speed fusing technology Incorporates two heat rollers to ensure more even heating, achieving high image quality across a wider range of paper types

Overcoat layer Inner heat roll Intermediate transfer belt

Outer heat roll Fusing belt

Fusing roll

Pressure roll

Cooling fan

Paper cooling system A large heat sink, along with upper and lower cooling belts, ensure stable paper transport Air inlet Paper exit Upper cooling belt

Paper curl correction technology Twin decurlers ensure stable, high-speed paper feeding and high versatility Fusing unit

Paper entrance Assist rolls

Lower cooling belt Heat sink

Paper

Twin decurlers Output direction Paper

Why print? Why Fujifilm?

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PRINT ICON

LP sleeves The vinyl album industry has been through its fair share of tough times. Almost wiped out during the late-80s boom of cds, then again during the digital era of the 2000s, the iconic black disc and cardboard sleeve seemed to be destined to go the way of the cassette and MiniDisc.

But in the past few years there’s been a resurgence of vinyl, with uk sales increasing from £3.4m in 2011 to £5.7m in 2012 – the fifth year in a row that sales have increased. In the USA there’s a similar trend, with 4.6m vinyl albums sold in 2012 – a 17% increase compared to the previous year.

While vinyl has always remained the format of choice for disc jockeys, it’s only recently that the public have started to drift back to it. Whether it’s the physicality of the record and its packaging – the sense of having purchased something that you can hold – or the warmth and depth of sound vinyl produces, there’s little doubt that vinyl is in demand again.

Surprisingly, it’s not the old bands and singers that are being bought. In the us, Daft Punk’s Random Access Memories is the biggest-selling vinyl album so far, selling 19,000 copies in its first week of release. Meanwhile, in the UK, a re-release of David Bowie’s classic The Rise And Fall Of Ziggy Stardust And The Spiders From Mars was beaten to second place by Coexist by young indie band The xx.

Bands and their fans agree that a major factor in the appeal of vinyl is the sleeve, both in its physicality and its ability to display artwork and record information – both essential accompaniments to the listening experience. “That tactile experience of flipping through a stack of vinyl,” says ZZ Top singer Billy Gibbons, “remains one of life’s simple pleasures.”

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Why print? Why Fujifilm?

The vinyl industry in numbers • Worldwide, revenue from the vinyl industry grew by 52% from 2011 to 2012 (IFPI, 2013) • The worldwide vinyl industry is now worth over $180m a year (IFPI, 2013) – its highest value since 1997 • Vinyl sales in the US are predicted to reach around 5.5m in 2013 (IFPI, 2013) • Sales of turntables are also rising, with US sales up by 50% between 2011 and 2012 • The Music and Video Exchange in London, one of the UK’s oldest second-hand stores, estimates it sells over a million vinyl records every year (Music and Video Exchange, 2012) • The most valuable second-hand record is the copy of John Lennon and Yoko Ono’s ‘Double Fantasy’ that Mark Chapman asked John Lennon to sign before shooting him. It was sold for $400,000 in 1999 but will be worth considerably more now

Why print? Why Fujifilm?

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A NEW GENERATION OF WORKFLOW Workflow software does what its name suggests – it gets the work flowing. But modern print production demands much more than this – greater speed, more automation and increased flexibility. So the choice of workflow system, representing the beating heart of any print business, needs to be taken with care.

In 2005, Fujifilm created a new workflow system. Most commercial print production up until this point had been based around PostScript as a technology, as were most workflow systems. Conscious of how a new technology from Adobe – the PDF Print Engine – would change the face of print production, Fujifilm built a completely new workflow around this technology.

This groundbreaking system called XMF, is still the only workflow on the market built from the ground up around Adobe’s PDF Print Engine.

Free from legacy PostScript complications, it takes full advantage of the speed and power of raw PDF processing technology. Since that initial launch, XMF has regularly been the first system on the market to support advances in Adobe technology, with immediate support for Adobe’s Mercury RIP Architecture for the PDF Print Engine, a clear example.

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Why print? Why Fujifilm?

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Why print? Why Fujifilm?

THE IMPORTANCE OF MANAGING COLOUR Ink on paper delivers a number of tangible, emotional and physical benefits that other communication methods cannot, with an important part of the power of the printed image being its colour. Recognising this, Fujifilm developed a powerful new cloudbased system called XMF ColorPath, designed to simplify the process of managing colour and maximise print’s value.

Whether it’s calibrating production equipment, ensuring consistency across different print processes or managing production to a standard, XMF ColorPath helps the process of putting ink on paper to be less of an art and more of a science. It incorporates a sophisticated colour engine that makes the process more efficient and much easier to manage, whether for a single print site or multiple global production hubs.

Print needs to consistently make an impact, whatever the process and wherever it is produced, with cloud-based colour management a key part of its future success.

Why print? Why Fujifilm?

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PRINT ICON

Comics First created in 1874, Manga comics are not only a large part of the Japanese publishing sector, but the entire world’s media industry, worth around 420bn Yen (approximately $5.5bn) in Japan alone. Translated as ‘whimsical drawings’, Manga has steadily increased in popularity since the 1950s, with characters such as Astro Boy and Sazae-san drawing more viewers than any other anime on Japanese television. Today, Japan has a number of manga cafés (or mangakissa), where people drink coffee and read manga, sometimes staying there overnight.

The Manga comic industry is fast and disposable, with artists able to produce up to 30 pages a week, resulting in huge, phonebooksized publications that readers devour in one sitting then discard.

Their large size and high-qualilty imagery delivered through the medium of print means that the reader is treated to fantastic detail, with small movements such as a tear going down a cheek extended to three pages.

Meanwhile, in the UK, iconic British comic The Beano is currently celebrating its 75th anniversary. The home of Dennis the Menace, Gnasher and Minnie The Minx, it’s still going strong with an impressive circulation of over 120,000. The Beano’s biggest and longest-serving star, Dennis, now has his own magazine and tv show, as well as a fan club that boasts 1.5m members worldwide.

Not bad for a character who, when he first appeared in 1951, prompted fears among social workers that his atrocious behaviour might be a bad influence on children.

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Why print? Why Fujifilm?

The comic industry in numbers • Comic book sales are the highest in two decades, with US sales of $715m in 2012 (Diamond, 2012) • Over 80m comics were sold in the US in 2012 (Diamond, 2012) • The print market for Manga comics is currently worth around $105m (ICv2, 2012) • The bestselling Manga comic of 2012 was ‘One Piece’, an adventure story about a boy who wants to be a pirate. It sold 13.8m copies (Viz Media, 2013) • There are thought to be around 150 comic scholars currently in the UK, made up of university lecturers, PhD students and independent researchers • The most valuable comic book in the world is ‘Action Comics 1’, which featured the original and first adventures of Superman. A pristine issue would cost $2.9m (estimate)

Why print? Why Fujifilm?

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Embracing the power of the internet

Friend 56

Why print? Why Fujifilm?

Many people see the internet as one of the biggest threats to the viability of print as a method of communication. However, while it is undoubtedly focusing minds in print companies all over the world, it also represents a huge opportunity, as the power of the internet is transforming the way print is commissioned and how the production process managed.

While it has been possible to order many types of print online for some time, more and more of the actual production process is being managed over the internet to improve the collaboration, job tracking and production of complex print jobs from remote locations. Fujifilm has two modules within XMF that tap into the power of the internet. The first, XMF

OR

Remote, is an online extension of the company’s core XMF workflow that allows print jobs to be submitted, reviewed, tracked and approved remotely, giving printers an ideal way to improve customer loyalty and engagement. The second, XMF PrintCentre, is a fully-featured, hosted web-to-print solution for the ordering and generation of many types of print, from business cards and brochures to posters and point-of-sale.

FOE The internet is both a friend and foe in terms of the future of print, demanding both respect and attention, but one thing is for sure – if used well it can enhance and transform the way print is commissioned and consumed.

Why print? Why Fujifilm?

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A WORKFLOW BUILT FOR SPEED AND EFFICIENCY In order for print to compete in the complex communications ecosystem in which it exists, it needs to adapt, but the requirement to turn jobs around quickly will only grow. While the introduction of new digital presses provides one of the answers, it is fair to say that print production for most printers is still a mixture of old processes and techniques, aligned with new technologies and working practises.

Modern workflows not only need to handle this complexity as flexibly and efficiently as possible, bringing high speed production to older processes and technologies, they also need to handle the raw speed and processing requirements of digital print production.

Fortunately, XMF’s architecture means it is more than capable of handling these potentially conflicting requirements, as it brings flexibility and automation to old and new print processes, while also easily handling the raw data processing requirements of today’s digital inkjet presses.

Speed, flexibility and automation are cornerstones of modern print production, whether old or new, and key to print’s sustained future. XMF’s architecture means it can manage these requirements with ease and deliver speed in abundance when required.

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Why print? Why Fujifilm?

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PRINT ICON

T-shirts One of the most iconic and successful pieces of textile printing is the ‘I love NY’ t-shirt. Created by American graphic designer Milton Glaser, the logo has not only adorned the chests of millions of New Yorkers, but has been credited with turning around the fortunes of the city, giving it an identity and a source of pride.

In 1977, Glaser was asked by Madison Avenue advertising agency Wells Rich Greene to design a logo to promote tourism in the city.

Sitting in the back of a taxi one evening, Glaser started to doodle on the back of an envelope with a red crayon. The result was the iconic logo that’s now one of the world’s most imitated designs.

Today, official merchandise printed with Glaser’s design generates more than $30 million a year, with the brand growing in double figures in the past five years. Glaser, however, doesn’t see a penny of this, having agreed to take no fee for the work “because it was of benefit to the state.”

Now, anyone can create their own unique clothing design using the technology of on-demand digital textile printing. A number of online companies are now offering consumers the chance to upload their own designs to be turned into t-shirts, vests and children’s clothing. And with 3d printing offering the potential to print your own clothes at home, personal textile printing is only going to get bigger.

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Why print? Why Fujifilm?

The textile printing industry in numbers • The global textile industry is worth approximately £1tr (Infotrends, 2013) • Of that, the value of digitally printed textile garments, décor items and industrial products is $10.3bn (Infotrends, 2013) • Revenues from digital textile equipment and ink sales is estimated to grow at a rate of 30% per year (Infotrends, 2013) • Fashion is predicted to be a huge growth area in textile printing, estimated to be 24% of the total digital textile print market in 2014 (Fespa, 2013) • Digital textile printers are now capable of outputting up to 5,000m2 of material per hour (Fespa, 2013)

Why print? Why Fujifilm?

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A HISTORY IN SCREEN AND WIDE FORMAT PRINTING Screen printing grew in popularity in the 1950s as a quick and cost-effective way of meeting the demand for the growing number of posters and pioneering early point-of-sale promotions.

Fujifilm’s role in this story began in 2005, with the acquisition of Sericol Limited, a company that pioneered the development of inks that have shaped the entire industry since 1951.

With a number of notable world firsts, Sericol always placed great importance on research and development, a philosophy that made it the perfect match for Fujifilm. This part of the company, now called Fujifilm Speciality Ink Systems, has built on this screen printing heritage and expertise to produce high performance UV-cured inkjet inks, such as the industry-leading Uvijet range.

In an industry where visual impact is a necessity, the unique combination of rich vibrant colours and superb application properties that has always been the company’s trademark, means that Fujifilm is now the acknowledged world leader in UVcured inkjet ink technology.

The origins of screen printing Some people date the origins of screen printing as far back as 1000AD in China, but the technique as we recognise it today was only introduced to Western Europe at the end of the 18th century, with the name itself derived from the use of a ‘screen’ made from a fine mesh material. The process works by a stencilled image being fixed onto the screen with the ink then forced through the screen – using a fill blade or squeegee – onto the substrate below.

Screen printing presses are incredibly flexible in that they are capable of laying down ink onto a wide variety of different substrates, from fabrics through to vinyl and even wood. The technique was popularised

by American pop artist Andy Warhol, who used screen printing presses to create garishly coloured images of cultural icons such as Marilyn Monroe and Elvis Presley on canvas. As well as being used by numerous other contemporary artists, such as Roy Lichtenstein, screen printing has been embraced by the music and film industries to create items such as movie posters and record album sleeves, although more recently is being replaced by wide format inkjet printing technologies.

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Why print? Why Fujifilm?

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Why print? Why Fujifilm?

AWARD-WINNING UV INK MANUFACTURE

The 1950s growth of the Sericol screen printing business saw the company spreading its manufacturing and distribution operations across various sites in West London.

With demand for the company’s products continuing to rise, Sericol moved to Broadstairs, Kent in 1962, finally moving to a single production and distribution facility in Pysons Road in 1997.

In 1998, the company invested in a manufacturing facility for its Uvijet range of UV-cured inkjet inks, and capped a series of ongoing investments by winning the ‘Best Process Plant Award’ twice at the 2011 and 2013 ‘Best Factory Awards‘ in the UK, run by the Cranfield School of Management and Works Management Magazine. To meet growing demand for the company’s popular Uvijet ink, this facility was transformed again in early 2013 thanks to a £4m investment in a completely new high volume facility.

The value of over 60 years experience in the development and manufacture of high performance ink is now proving its worth for a growing range of businesses transitioning from analogue to digital print production.

Why print? Why Fujifilm?

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PRINT ICON

Posters One of the most powerful and influential posters of the past decade is Barack Obama’s ‘Hope’ by Shepard Fairey. The US artist created the poster in a day using stencils and initially sold 350 on the street straight after printing them. By October 2008, over 300,000 posters were printed with the artwork going viral across a number of social media sites.

Having spawned many imitations around the world, the original poster now sits in the Smithsonian Institution’s National Portrait Gallery in Washington, having become the most widely recognised symbol of Obama’s successful presidential campaign.

The poster now has the instant recognition of another iconic poster, Irish artist Jim Fitzpatrick’s image of revolutionary hero Che Guevara. Created in 1968, the image was based on a photo

by Alberto Korda, titled Guerrillero Heroico (or Heroic Guerrilla Fighter) and was hand-printed and given out for free on the streets of London.

Of course, posters of a less political and more commercial kind are seen for free by millions on the streets of cities around the world, but some manage to elevate themselves above the everyday by using smartphone technology to ‘augment’ their content.

Once consumers have downloaded a specific app to their phone, they can hold it up towards an augmented poster and receive all manner of rich content.

One brand that did this to great effect was pizza brand Domino’s, which partnered with augmented reality specialists Blippar to bring one of its poster campaigns to life. Switched-on consumers could download deals for their nearest Domino’s store, get the Domino’s app, become a Facebook fan and view their local menu, all by viewing the poster through a smartphone.

The campaign was a huge success and many brands are now leaping on the augmented reality bandwagon in search of the elusive cut-through factor with outdoor marketing.

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Why print? Why Fujifilm?

The poster industry in numbers • A 1976 poster of Farrah Fawcett wearing a red swimsuit has sold over 12 million copies, making it America’s biggest-selling poster • The record price for a poster was set on November 15, 2005 when $690,000 was paid for a poster of Fritz Lang’s 1927 film Metropolis • The famous Athena poster, Tennis Girl, sold more than two million copies in the UK, making the photographer, Martin Elliot, over £250,000 in royalties.

However, the bare-bottomed model, Fiona Butler (pictured), didn’t receive anything

Why print? Why Fujifilm?

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A PIONEER IN UV INK TECHNOLOGY Rapid advances in inkjet technology continue to change the way print is produced. Inkjet is now a viable alternative to traditional processes in many wide format, packaging and industrial applications. A key factor in its growth has been the ability to print with UVcured inks – a technology that was pioneered

by Fujifilm.

When designing an ink, Fujifilm carefully combines a range of cosmetic, functional and operational properties to produce inks with a wide colour gamut, which are formulated for precise applications. This is down to a unique Fujifilm technology called ‘Micro-V’

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Why print? Why Fujifilm?

that breaks down pigment particles to enable high concentrations of colour pigment to be effectively dispersed and stabilised. This results in inks with high colour intensity that resist both agglomeration and gravitational settling, and which are stable and reliable.

Fujifilm is renowned for delivering high performance inks with a wide colour gamut, perfect for delivering rich colours that are a faithful representation of the original. After all, whatever the mechanism to deposit the ink, it is the ink itself that remains to define the ultimate saleability of the print.

Ink binder

“Our innovation made UV inkjet a reality�

Dr Carole Noutary, Digital Inks Development, Fujifilm Speciality Ink Systems

Bonding agent

Dispersion coating

Pigment

Why print? Why Fujifilm?

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INK THAT IS WHITER THAN WHITE For print applications on substrates other than paper, an ultra-opaque, high density white ink is one of the keys to success. Through its acquisition of Sericol Limited in 2005, Fujifilm has over 60 years experience in this field.

Due to the popularity of fluorescent printing inks in the post-war years, Sericol developed a range of fluorescent screen inks called ‘Fluorink’, which, even in those days, were acclaimed as containing the ‘whitest white ink ever produced’. This was followed in 1998 by the introduction of an ultra-opaque UV-cured white ink for narrow web applications, and more recently by similar high density white UV inks for use in the company’s Acuity, Onset and Uvistar wide format inkjet platforms.

A high density white ink is the key to unlocking a growing range of applications in the wide format, packaging and label markets. The ability to deliver such an ink is no accident, with Fujifilm’s ultra-opaque white inks the result of over 60 years of continual research and development.

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PRINT ICON

Point-of-sale As the world’s leading soft drinks brand, it’s no surprise that Coca-Cola has created some of the most successful point-ofsale displays. The iconic logo, distinctive red colour and designs created to perfectly complement its advertising campaigns, all work together as a powerful sales tool. No wonder over 1.6bn Cokes are sold every day around the world.

But while each in-store display over the brand’s 127-year history has played its part in selling the soft drink, perhaps the most enduring is the Santa Claus display – an image that not only sold a lot of Coca-Cola, but which has shaped the world’s perception of what Father Christmas looks like.

In 1931, artist Haddon Sundblom created a series of advertising images for Coca-Cola inspired by the poem The Night Before Christmas. While the image of Santa Claus differed from country to country, some even presenting him as a scary character.

Sundblom painted him as a kind, jolly man. Originally created for magazine advertisements, these images were so popular that they were used for all types of advertising – including in-store displays – and the image of Father Christmas was changed forever.

These days, point-of-sale is a booming industry, with more and more in-store promotions used to attract shoppers and catch their eye. In some countries, the print displays are becoming the store themselves, with virtual shopping using mobile phones becoming increasingly popular.

Instead of rows of products, printed walls can now display product images, with the customer able to scan bar codes with their chosen products delivered to their homes hours later. These virtual stores have been popping up everywhere, from bus stops in Amsterdam selling HP laptops to Scottish Whisky brand William Grant & Sons creating a 50-foot long 2d store in Boston Airport.

Virtual displays may not have the iconic look of a jolly man in a red suit, but in years to come, they may be just as popular.

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The point of sale industry in numbers • Almost one in six brand purchases are made when a display with that brand is present in store (POPAI, 2012) • Results from eye-tracking studies have shown that 66% of all observed eye fixations on an in-store display resulted in a purchase (POPAI, 2012) • 58% of shoppers are buying more on promotion since the start of 2012 (IGD/ShopperVista, 2013) • The maximum shopper impact of POS occurs on shopping missions of over an hour for women and 50-60 minutes for men (POPAI, 2012) • 44% of all retail transactions in the UK involve interaction with multiple channels such as in-store, online, mail order and catalogue (Deloitte UK, 2012) • Unplanned and impulse shopping is increasing – only around 16% of grocery shoppers now use shopping lists (Shopper Insight, 2013) • The most effective POS message is ‘new plus value saving’ (POPAI, 2012)

Why print? Why Fujifilm?

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WIDE FORMAT FLATBED INKJET PRINTING Back in September 1998, a small team from Cambridge Consultants exhibited a prototype of the first ever flatbed inkjet printer at Ipex. It immediately became clear that the point-of-sale, packaging and signage markets could benefit from this innovation, provided that suitable inks could be found. Cambridge Consultants entered into their first discussions with the world-renowned screen ink manufacturer, Sericol Limited (now Fujifilm Speciality Ink Systems) to develop these inks.

Two years later, Inca (now Inca Digital) was officially formed.

From the outset, Sericol was the perfect match for Inca.

As well as being a highly acclaimed ink manufacturer, the company also provided a well-established worldwide distribution and support network. Shortly after the creation of this partnership, the Eagle 44, the first wide format inkjet printer on the market, was launched and immediately proved successful.

Since 2005, Fujifilm has added another dimension to this relationship thanks to its own manufacturing, distribution and R&D capabilities. The partnership is now responsible for installing more high performance flatbed wide format printing systems in the market than any other manufacturer.

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Why print? Why Fujifilm?

Why print? Why Fujifilm?

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ADVANCING ROLL-FED INKJET PRINTING Wide format inkjet printing is dominated

by UV-cured inks. They produce ultrahigh quality print, are extremely durable for outdoor use, and are quick drying, enabling high production throughput.

LED UV is an extension of this technology that takes advantage of recent advances in LEDs, and has the potential to become a leading inkjet technology in the future.

LED UV curing has the advantage of producing very little heat and consumes far less energy, meaning a wider range of heat-sensitive media can be used, with the LEDs lasting up to ten times longer than conventional UV lamps.

Fujifilm has combined this technology with specially designed ink and industrial printheads in the Acuity LED 1600 rollfed printer, to deliver near photographic results at impressive print speeds. Able to print eight inks (including a varnish) in a single pass, both the Acuity LED 1600 and its super-wide 5m Uvistar counterpart, are pushing the boundaries of roll-fed wide format printing.

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Why print? Why Fujifilm?

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PRINT ICON

Billboards The 1994 ‘Hello Boys’ billboard ad for Wonderbra is one of the world’s most famous outdoor campaigns, making a star out of Eva Herzigova and a fortune for lingerie company Gossard. The ad was voted the UK’s favourite iconic advertising image in a poll by trade body the Outdoor Media Centre in 2011 and was, according to urban myth, the cause of hundreds of car accidents.

The ad was created by Trevor Beattie while at agency TBWA. Beattie is no stranger to controversy, having also created the ‘fcuk’ campaign for French Connection, which helped the clothing brand sell more than half a million t-shirts. Beattie is now a partner in his own hugely successful ad agency while Herzigova is one of the most famous models in the world.

No less eye-catching is the more recent transformation of London’s Oxford Circus tube station, which was used for a 360° advert for movie The Great Gatsby. The immersive ad covered the floor, walls and ceiling of one of the walk ways with iconic art deco patterns, giving the station’s million-plus users a unique brand experience – and something to brighten up their journey.

One of the oldest and most reliable forms of advertising, billboards are just as popular as ever, with brands across the world spending millions on the original ‘always-on’ marketing.

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Why print? Why Fujifilm?

The billboard industry in numbers • The US out-of-home industry generated revenues of $6.4bn in 2011 and includes more than 2,100 operators in 50 states (OAAA, 2011) • The UK outdoor advertising industry generated revenues of £970m in 2012 – the highest since the pre-recession year of 2007 (OMC, 2012) • The total media share of out-of-home advertising in the UK is predicted to grow to £1.15bn by 2020 (Kinetic, 2013) • Billboards provide the best recall rates among consumers, with 88% of people recalling a billboard ad they saw in the previous 30 minutes. This compares to just 10% for TV and 8% for the internet (OMC, 2012) • The UK’s most in-demand billboard site is on the A4 in London. Seen by over a million people a week, the 75 metre-long billboard has featured 3D builds, 2D cut-outs, bespoke effects and custom lighting by brands such as Nike, Samsung and Sony Pictures (Outdoor Media Centre, 2012) • The world’s largest billboard is 1.5km long. Built in Dubai, the billboard cost $3.2m to construct and is made from biodegradable and recycled materials (Adrac, 2008)

Why print? Why Fujifilm?

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The complex but beautiful world of labels Label printing invariably uses multiple print and conversion processes to create a highly engineered technical product. Inks and other materials used in the process can have a dramatic effect on the efficiency, cost and quality of the final printed label.

Fujifilm offers a comprehensive range of inks and associated products under the brand name ‘Uvivid’ that are designed to maximise throughput and simplify label production.

Whether it is simplifying the process of colour matching or reducing the cost of a more expensive production method, the right ink can have a major impact on the printing of a high quality label. And with a high density white ink within the Uvivid range, Fujifilm is well placed to add value to any label production process.

The origins of narrow web printing Although the first examples of ‘printed’ labels were created around 400 years ago, with larger scale rudimentary printed labels introduced in the 1800s, the label printing industry was revolutionised in the first half of the 20th century with the introduction of the first narrow web printing presses. These machines, which used continuous rolls of paper as well as other substrates, were capable of printing high volumes of labels for the grocery, pharmaceutical and cosmetics industries in a relatively short amount of time.

A beautiful label is a complex but highly valued piece of print, giving a product a life and personality that its packaging alone wouldn’t convey. Fujifilm is proud to help create labels with the power to transform the products they adorn.

During the formative years of automated narrow web printing, labels still needed to be physically attached to products through the use of gum, but in 1935, Stan Avery (of Avery Dennison Corporation fame) invented a machine capable of producing self-adhesive labels on a roll. Other press manufacturers soon followed suit, launching their own roll label letterpress and flexo machines, with most print production processes – including digital – today offering a narrow web option.

Why print? Why Fujifilm?

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DIGITAL LABEL PRINTING COMES OF AGE

The dynamics of the label supply chain are changing at an ever-increasing rate. Shorter lead times and run lengths are being driven by product diversification and more frequent promotions. Combined with a drive to reduce labour and inventory costs, the digital production of labels is becoming more and more attractive.

There are tremendous advantages in jetting a fluid directly onto a substrate, particularly in the case of the Graphium UV inkjet press. Firstly, the properties of Fujifilm’s Uvijet UV ink, which include superior adhesion, a dense opaque white and greater resistance to chemical and physical damage, mean that it is possible to print vibrant images with a wide colour gamut on a very wide range of substrates. Secondly because of Graphium’s simplicity (with the option of adding additional flexo stations), the press can be much more tightly integrated with other finishing processes, adding to its versatility.

Digital label printing is set to become mainstream, with both the market dynamics and technology reaching a breakthrough point at the same time. There is no doubt that inkjet has the power to be the ultimate technology winner.

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Why print? Why Fujifilm?

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PRINT ICON

Labels Mention the words Campbell’s soup and the first thing that comes to mind for most people isn’t a warming food for a winter’s evening, it’s the series of silkscreen prints Andy Warhol produced in the 1960s. The straw-haired pop artist first exhibited his images of the cans in 1962 in Los Angeles, along with images of CocaCola bottles and dollar bills.

Although it wasn’t attended by very many people, the exhibition caused controversy in the art world, with many critics and pundits astonished that Warhol could reduce the art form down to everyday objects. Only half a dozen canvases were bought in the gallery – one of them by actor Dennis Hopper – for $100 each.

Four decades later, in 2006, a single canvas from the series was sold for $11.8m.

While Warhol gave Campbell’s soup worldwide exposure and an artistic edge, it wasn’t until 2004 that the American company recognised his art when it released a limited-edition series of cans inspired by the artist – the first time the brand had altered its logo in over a century.

But while Campbell’s drew on one man’s creativity to spice up its label, some brands are taking it a step further and giving customers the opportunity to create their own labels. Heineken recently provided an online service where customers could design their own bottle label, selecting the colour, image and text, to allow them to produce their own personalised six-pack. The labels were digitally printed before being stuck on the bottles and sent to the customer.

The campaign has been phenomenally successful, with lagerlovers all over Europe designing their own labels to commemorate occasions such as Father’s Day or a wedding. So whether it’s 60s pop art or more up to date personalisation, it seems there’s something about labels that brings out the creativity in people.

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The label industry in numbers • Labels make up around 20% of the packaging printing segment worldwide (Global Insight, 2012) • Global demand is currently growing at around 4.5% a year, with production running at approximately 49 billion m2 (AWA Labels & Product Decoration Global Review, 2013) • Labels account for the bulk of digital printing market share – in 2013, their value will be $6bn, 89% of all digital packaging (Smithers Pira, 2013) • With a market share of 45%, self-adhesive is the dominant labelling technology in Europe. In 2012, demand amounted to 5.78 billion m2 (FINAT, 2013) • Globally, annual demand for self-adhesive labeling is between 40-45 billion m2 (LLC, 2013)

Why print? Why Fujifilm?

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Corrugated material gets the digital treatment Corrugated material is chosen for many point of sale and transit packaging applications due to its versatility and strength, combined with low weight and cost. But the properties that make it ideal for these applications have also made it difficult to print digitally, as the sheet material can often be bowed and distorted.

Fujifilm has developed a system to handle such material based around the Onset wide format inkjet platform. As a high-end industrial printer with a multi-zone vacuum table and high throughput speeds, the Onset is ideal for printing corrugated board. So Fujifilm has added a unique automation system to accurately place the material on the print bed even when it’s heavily distorted.

The final piece in the jigsaw was the development of a new UV ink specially formatted with a wide colour gamut and excellent flexibility and adhesion. This system is now bringing all the benefits of high quality digital printing to this specialised area of package printing.

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Short-run packaging set to drive growth The printing of packages and folding cartons is an area brand owners are increasingly using to improve consumer ‘engagement’ – the holy grail of marketing. It’s no longer enough just to print generic, branded packaging. This vital mini billboard has the potential to bring products to life.

The key to this engagement is digital printing. Fujifilm’s Jet Press 720F utilises the company’s groundbreaking SAMBA™ printheads to deliver ultra-high quality print on heavier duty folded carton stock. Capable of speeds of up to 2700 B2 sheets per hour and printing variable data at full speed, the press makes it possible to produce versioned, short-run packaging material to coincide with specific events, localities and store promotions.

With brand owners increasingly looking for ways to interact with consumers, the product’s ‘skin’ is set to become a vital channel in the ongoing battle to entertain, enlighten and engage us all.

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Why print? Why Fujifilm?

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PRINT ICON

Packaging There aren’t many more successful print packaging companies than Tetra Pak. Operating in more than 170 countries with over 23,000 employees, it’s currently the largest food packaging company in the world.

Much of this success is down to the Tetra Brik – a small, square piece of packaging first introduced to Sweden in 1963. The unique paper-based package originated from Tetra Pak founder Ruben Rausing’s hatred of the glass milk bottle, with its fragile body, slippery sides and inefficient shape making transportation extremely difficult. So he tasked his team with producing a more efficient, squarer package to carry liquids in.

That package was an icon of the 60s and 70s, and still commands a huge amount of shelf space in stores all over the world. The technology has been called “the most important food packaging innovation of the 20th Century” by the Institute of Food Technologists and “one of Sweden’s most successful inventions of all time” by the Royal Swedish Academy of Engineering Sciences.

As well as giving food and drink a safe and secure method of transport and storage, packaging is also a vital advertising medium in its own right. Digital printing means it is now possible to offer brands the opportunity to reflect real-time events on the supermarket shelf.

One brand that took advantage of the entire world’s attention focused on the 2011 Royal Wedding was sugar specialist Tate & Lyle. The company produced a limited edition piece of packaging for its royal icing. Raising awareness of its heritage and Royal Warrant status, Tate & Lyle gained a huge amount of exposure for the distinctive pack, as well as an impressive spike in sales.

With short-run printing becoming more and more cost effective, we can expect to see packaging react quicker to events and engage more with its target consumer in the future.

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The packaging industry in numbers • The global packaging market was worth $799bn in 2012, with sales projected to increase by 3% in 2013 (Smithers Pira, 2013) • Sales are predicted to reach over $1tr by 2018 (Smithers Pira, 2013) • The UK packaging industry employs over 85,000 people and has sales in excess of £11bn annually (The Packaging Federation, 2012) • Less than 20% of household waste is packaging and the amount of packaging going to landfill is less than 3% of total landfill (Salter Baxter, 2012) • 89% of consumers regularly hold packaging in their hands and study it in depth (Pointlogic, 2012) • ‘Digital natives’, those aged between 14-29 years, place the greatest value on packaging (Pointlogic, 2012) • The next big thing in packaging will be printed electronics, in which electronics are embedded into print packaging. It’s estimated that this market will be worth $1.5bn by 2023 (IDTechEx, 2013)

Why print? Why Fujifilm?

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The DAWN of a new era for commercial print

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Commercial print produced using offset litho technology has set the quality benchmark by which most other print has been measured for some time. But this market has suffered the most from the three-pronged onslaught of the internet, mobile computing and a global recession to the degree that there has been a shift in expectations as to what commercial print now needs to deliver.

The result is that the demand for ultra-high quality, short run commercial print that can be printed quickly and be personalised is now growing. Fujifilm’s B2 format Jet Press 720 is a perfect fit with its speed, quality and format size allowing printers to produce a more diverse range of jobs digitally, respond more quickly and ultimately increase their profitability. What makes this possible is a combination of industry-leading SAMBA™ single pass printheads, a high performance ink and pre-coat system, and robust offset paper handling.

Our over exposure to the explosion of online information has resulted in a resurgence of interest in the tangible and emotive simplicity and permanence of high quality print. The Jet Press 720 meets these needs perfectly, defining a new benchmark for discerning print buyers.

Why print? Why Fujifilm?

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Web offset presses complemented by digital Web offset presses have been at the heart of high quality newspaper, magazine and book production for many years.

While this isn’t set to change significantly in the short term, new inkjet web presses provide a suitable complement. With growing pressure to reduce stock levels of finished goods, produce bespoke editions and multiple versions, inkjet web presses are attracting more interest due to their effectiveness in printing shorter runs.

These inkjet web presses are a compromise of speed, paper versatility and quality, but Fujifilm’s unique technologies are setting a new benchmark. In the Jet Press 540W, Fujifilm has applied its heritage in printhead, ink and screening technologies to deliver a system capable of producing some of the highest quality print available from a digital web press. In particular, the company’s own FM-based screening technology, developed through its expertise in CTP and digital press screening, produces smooth colour tones and sharp text as well as eliminating moiré and rosette patterns.

In combination with high performance water-based inks, Fujifilm is leading the way in delivering benchmark quality and colour for inkjet web printing applications.

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ink technology

printhead technology

print quality

screening technology

Why print? Why Fujifilm?

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PRINT ICON

Direct mail Despite being around for well over a century, direct mail is still one of the most popular and effective forms of marketing. The immediacy of the message and direct delivery into the hands of a customer is a powerful combination for any brand. But there aren’t many more effective pieces of direct mail than Martin Conroy’s letter for The Wall Street Journal (wsj).

In 1974, Martin Conroy was given the task of writing a letter to encourage American executives to subscribe to the businessbased newspaper. What he wrote not only brought in millions of new subscriptions but became a legendary piece of writing that’s commonly regarded as the finest piece of direct mail ever created.

The letter was just two pages long and began with the story of two friends, each with similar backgrounds and education but just one a wsj subscriber, who ends up president of a company while his friend remains a manager. The letter goes on to clearly explain the benefits of being a wsj subscriber, using emotion and calls to action, before delivering a promise and providing three options for the reader to choose from. Experts have estimated that, over the 28 years it was sent out, it was responsible for 55% of annual subscriptions. This suggests that Martin Conroy’s letter was responsible for over $1.5bn of revenue. Not bad for 781 words.

These days, brands use more imagery and personalisation techniques to engage with their customers. Citroën recently wanted to target style-conscious individuals for the launch of their ds3 model, so mailed an exclusive piece of direct mail to the first 100 ds3 owners, which offered them the chance to personalise their car’s roof.

The mailer opened up to reveal a die-cut ‘viewfinder’, which could be peeled off and placed over any image that inspired the recipient. The design would then be copied onto the vehicle’s roof, giving the customer a truly personal buying experience – as well as a genuinely unique car.

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The direct mail industry in numbers • The US direct mail industry is currently worth over $12bn, a value that’s forecast to rise to $25bn by 2015 (IBISWorld, Paul Chapman, 2010) • Direct mail represented 56% of all postal deliveries in 2011, compared with 45% a decade earlier (Direct Marketing Association, 2012) • 84% of people tend to open all of their post (BMRB, 2011) • On average, for every £1 spent on direct mail, £14 is generated, with some campaigns delivering up to £40 (DMA, 2011) • 48% of adults have done something in the past 12 months as a result of receiving direct mail, including 14.2m that have purchased a product (TGI, 2011) • 19% of people keep an item of direct mail for future reference (Royal Mail, 2012) • The online component of campaigns pays back 62% more and the TV component pays back 37% more when there is direct mail in the marketing mix (BrandScience, 2011)

Why print? Why Fujifilm?

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The emergence of a ‘printhead on a chip’

The jetting of ink onto paper is a well established process in consumer inkjet printers, but scaling up the technology to meet the quality and productivity needs of commercial printing is challenging. Fujifilm’s answer is SAMBA™ – a ‘printhead on a chip’ at the heart of the company’s Jet Press 720 B2 inkjet press. This printhead is fabricated on silicon wafers, in much the same way large scale integrated circuits found in computers are made.

Due to its scalable design, SAMBA™ enables individual printheads to be placed close to each other to form single, tightly integrated printbars. The latest version of the technology allows individual heads within a bar to be replaced if necessary.

SAMBA™ is a quantum leap forward and is redefining how inkjet technology is designed, manufactured and applied. It is the first piezo drop-on-demand inkjet platform that truly delivers on the promise of wide-width, high resolution, single pass inkjet printing without the typical trade-offs in quality, redundancy or print width.

Able to deposit native drop sizes from five picolitres down to an industry-leading one picolitre, with even sub-one picolitres possible, SAMBA™ is driving a revolution in inkjet technology to support a new generation of printing systems.

SAMBA™ printhead. Not visible to the naked eye, 2048 nozzles are contained in the silver coloured silicon chip which measures just 44 mm wide by 18 mm deep.

There are also 2048 dots on this page.

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Harnessing the power of inkjet technologies

Jetting fluids onto a variety of substrates is a technique that is widely recognised as having huge potential for a number of industries.

From a printing perspective, the ability to design inks with properties carefully tuned to particular applications is key, something in which Fujifilm is a world leader.

The company’s ink capability is built on a long history of application expertise. Initially this was gained from the introduction of traditional screen, narrow web and industrial printing inks. More recently it has come from developing inks for inkjet printers, ranging from simple home and office printers to industrial wide format and single pass commercial printing systems. Fujifilm also has expertise in a wide range of core ink technologies (UV, solvent and aqueous) and all elements of inkjet ink development, from the design and manufacture of ink components (pigments, colourants and dyes) to the printing inks themselves.

The combination of this wide-ranging inkjet ink infrastructure with the company’s core synthetic chemical technologies and industryleading printheads is second to none. Fujifilm is proud to be at the forefront of the inkjet revolution, pioneering the development of printing systems now and into the future.

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Display

Chemical

Life science

Photovoltaic

3D mechanical

Optical

Graphics

Electronics Why print? Why Fujifilm?

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PRINT ICON

Calendars Despite the thousands of apps, programmes and devices available to digitally remind us what day it is, the humble print calendar shows no sign of losing its popularity. But while most calendars are functional, created to help organise busy lives, the Pirelli calendar remains one of the world’s most glamorous and stunning pieces of print.

This year, the calendar celebrates its 50th anniversary with the 2014 edition marking half a century of artistic images of barelydressed supermodels. Kate Moss, Naomi Campbell, Helena Christensen, Miranda Kerr, Lily Cole, Gisele Bundchen and Christy Turlington, have all adorned the pages of the limitededition calendar, shot in locations from the Bahamas to the Seychelles, Rio de Janeiro to Miami.

For its momentous milestone, the 2014 calendar breaks with tradition – the images are taken from the previously unpublished 1986 Pirelli Calendar created by Helmut Newton.

Less stylistically brilliant, but far more emotive are the millions of personalised photo-calendars created every year by people keen to choose their own images to accompany key dates. The advent of short-run digital printing and the avalanche of digital images taken by the average person has resulted in an explosion of companies offering a personalised calendar service, with printers producing millions of photo calendars every year.

Whether it’s the ease of creating the calendar online or the emotional pull of seeing your own images every day, photo calendars are one of the biggest growth areas of the print industry and one that’s forecast to grow further.

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The calendar industry in numbers • The US calendar industry is worth approximately $467m a year, with around 52m individual calendars sold annually (Calendars.com, 2010) • The biggest selling calendar in the UK in 2011 was the official Sir Cliff Richard calendar (BBC, 2012). However, Sir Cliff was pushed into second place the year after by One Direction (Amazon, 2012) • In the US, the top-selling calendar in 2012 was The Power of Now, a collection of inspirational slogans (Amazon, 2012) • 36% of European adults have bought a photo-calendar in the past 12 months (Prophoto, 2012) • The photo-merchandise market (including calendars, photocards and photobooks) was worth £86m in the UK in 2011, up 22% from 2010 (Futuresource, 2012)

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Care FOR THE ENVIRONMENT Fujifilm’s basic approach to Corporate Social Responsibility (CSR) is to contribute to the sustainable development of society by putting into practice the Group’s Corporate Philosophy: “Our overarching aim is to help enhance the quality of life of people worldwide with leading-edge, proprietary technologies, achieving this vision through sincere and fair business activities.”

As one of the specific actions taken to achieve this, Fujifilm has set an environmental target to reduce lifecycle CO2 emissions by 30% relative to 2005 by the year 2020, and has been working hard to reach this target. A range of measures have been introduced at the company’s many manufacturing facilities, including replacing fuel for in-house power generation with natural gas, introducing renewable energies,

and being proactive in the development and introduction of energy-saving technologies.

Fujifilm has also been running a ‘Design For Environment’ initiative across the entire company for a number of years.

This initiative aims to reduce the lifecycle CO2 impact of the company’s products by treating it as a key element in the design and development process.

Fujifilm has a long history of responsible and sustainable business development, acknowledged regularly through its inclusion in the Dow Jones Sustainability and FTSE4Good global indices, and is proud to publish its results in an annual Sustainability Report.

“Our overarching aim is to help enhance the quality of life of people worldwide with leading-edge, proprietary technologies, achieving this vision through sincere and fair business activities.”

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Why print? Why Fujifilm?

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The BENEFITS of A JAPANESE ETHOS Fujifilm is a Japanese company, with the cultural characteristics this implies rippling through the organisation and defining the company’s personality, values and ethos.

Firstly, there is a focus on quality in every aspect of the business. This manifests itself not only in the products the company sells, but also in the manufacturing and logistics infrastructure that supports the business.

Secondly, there is a drive to pioneer new ways of doing things through the development of new technologies. Thirdly, there is a meticulous and painstaking attention to detail, with product reliability and service excellence being the main benefactors, and finally, there is respect for sustainability and the environment that runs throughout the organisation.

The cultural characteristics that stem from Fujifilm’s location and origins are proving vital assets in the company’s goal to create value from innovation and ultimately improve the quality of life for people everywhere.

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Why print? Why Fujifilm?

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PRINT ICON

Business cards Digital may dominate the vast majority of our working lives, but despite its simplicity, one area has managed to steadfastly remain print-based: business cards. The act of swapping small pieces of card should have been one of the first casualties of the digital revolution, but the area continues to be a growth market.

Business cards were first used in China in the 15th Century as visiting cards for royalty to announce the arrival of distinguished guests. This custom continued in Europe in the 18th Century, when extravagantly engraved cards would be presented to the lady of the house upon the arrival of a visitor.

Some of the most extravagant cards were made by English artist William Hogarth, who remains a huge influence on satirical cartoonists and artists today. His cards, made for both himself and a number of London businesses, were seen as the pinnacle of engraving and set the standard for visiting cards. Curiously, images of Hogarth’s engravings are now doing a good trade as a background for modern business cards, especially ‘A Rake’s Progress’ and ‘Surrounded by Artists and Professors’ (although ‘Gin Lane’ isn’t so popular).

Of course, there’s no shortage of app developers keen to get into the modern business card business. Bu.mp, Cardcloud and TwtBizCard are all desperate to do away with the little white cards in favour of a simple smartphone swipe or keystroke. But when standing face to face with a potential partner or client, business cards have the credibility, character and reliability needed to convey the right impression.

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Why print? Why Fujifilm?

The business card industry in numbers • Over 10m business cards are printed in the USA every year (CNN, 2011) • 28m business cards are printed every day around the world (Print Is Big, 2013) • Business card printing is a $1.2bn industry in the USA (Business Strategies Etc, 2012) • Handing out 2,000 business cards will gave you an average 2.5% increase in business (Print Is Big, 2013) • Prospects will hold on to a business card printed in colour ten times longer than a standard one (Applied Designs, 2012) • Personalised business cards using new sizes are becoming more popular.

In 2007, global online print business Moo.com shipped 10m MiniCards (Moo.com, 2008)

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APPENDIX Print icon quotations

Print icon image credits

12-13 Contents Ha-Joon Chang, Korean economist and author

12-13 Contents Rolls Press/Popperfoto/Getty Images Image Broker/Rex Indranil Mukherjee/AFP/Getty Images Time Life Images/Getty Images DWD-Media/Alamy George Rose/Getty Images Mike Mergen/Bloomberg/Getty Images Andrew Drysdale/Rex Features Look and Learn/Peter Jackson Collection/The Bridgeman Art Library

18 Books Marcus Tullius Cicero, Roman philosopher 24 Magazines Felix Dennis, British magazine publisher 30 Advertising Attributed to Marshall McLuhan, Canadian philosopher of communication theory 36 Newspapers Marshall McLuhan, Canadian philosopher of communication theory 42 Catalogues Carnegie Mellon, private research university in Pittsburgh, United States 48 LP Sleeves Chad Grishow, American music and game critic 54 Comics Gabrielle Bell, British-American cartoonist 60 T-shirts Giorgio Armani, Italian fashion designer 66 Posters Barack Abama, US President 72 Point-of-sale Bo Derek, American actress 78 Billboards Mark Twain, American author and humorist 84 Labels Amir Kassaei, Iranian Chief Creative Officer DDB Worldwide 90 Packaging Jonathan Ive, English designer and Senior Vice President of Design at Apple Inc 96 Direct mail Matt Spahn, American marketing and advertising executive 102 Calendars Mother Teresa, Albanian-born, Indian Roman Catholic religious sister 108 Business cards Attributed to Will Rogers, American actor

24-25 Magazines The Advertising Archives Rolls Press/Popperfoto/Getty Images 30-31 Advertising The Advertising Archives 36-37 Newspapers Bloomberg/Getty Images Indranil Mukherjee/AFP/Getty Images Narinder Nanu/AFP/Getty Images 42-43 Catalogues Bettmann/Corbis Time Life Images/Getty Images 48-49 LP Sleeves DWD-Media /Alamy Facundo Arrizabalaga/Rex Features 54-55 Comics DC Thomson & Co. Ltd. 2013 Wendy Connett/Robert Harding/Rex Image Broker/Rex 60-61 T-shirts George Rose/Getty Images 66-67 Posters Jim Fitzpatrick Paul Grover/Rex Features Mike Mergen/Bloomberg/Getty Images 72-73 Point-of-sale KM Photogaphy 78-79 Billboards The Advertising Archives (Wonderbra) 84-85 Labels Alamy (soup) 90-91 Packaging Tate & Lyle Tetrapak 102-103 Calendars ABACA/Press Association 108-109 Business cards Look and Learn/Peter Jackson Collection/The Bridgeman Art Library Sven Hagolani/fStop Images/Getty Images Mario Anzuoni/Reuters

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