The Big Picture - November 2011 issue by ST Media Group

11.11

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Wide

F rmat Five women changing the face of large-format printing.

PLUS: 路 Appetizing Display Options 路 Graph Expo Report 路 Inks: Liquid Gold

Mimaki_JV34_F_BP1111_Layout 1 10/5/11 4:05 PM Page 1

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u UISS Mimaki’s Uninterrupted Ink Supply System ensures continuous ink supply for long runs. An optional bulk ink system (shown) is available for even longer print runs.

Stable media tension Mimaki’s Automatic Media Feeder (AMF) and front take-up rollers maintain even tension for optimum control on long running jobs and heavier media.

Super wide [103” max. print], super fast [323 sqft/hr], super affordable [under $60,000 MSRP] Mimaki’s newest wide format innovation, the JV34-260 Super Wide Format Inkjet Printer, is a versatile workhorse with the same super features as the JV33-260, but a whole lot faster.

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These powerful new printers literally blow the competition away. State-of-the-art print heads fuel blazing speeds and a print quality that is best described as simply spectacular. Vivid, realistic colors seem to explode right off the page and command attention.

The ValueJet 1624-64” easily outclasses similarly priced printers with speeds up to 313 sqft/hr leaving competitors in the dust!

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With speeds like this, it’s like getting 2.4 extra days of production time out of your printer each work week, for absolutely free. Add the optional new SPECTROVUE VM-10 with ColorVerify and manage your color like never before. But rather than simply reading about it, visit your nearest Mutoh dealer for a hands-on demonstration today.

in this issue

NOVEMBER 2011 Volume 16 Number 11

COLUMNS 4 InSight

I nternational orange.

12 Graphics on the Go

earing up for the G world of racing.

13 Inside Output

est practices: B instructing.

DEPARTMENTS 6 Wide Angle

FEATURES 14 Technology Centric: Graph Expo 2011 This year’s Graph Expo lived up to its “Embracing Technology” theme and turned McCormick Place into a smorgasbord of “business made easier.” Here are more than 30 product and technology highlights from the event.

18 Changing the Face of Wide Format Five women whose leadership has enabled their companies to build solid client lists and impressive portfolios, pushing their shops forward in difficult times to achieve uncommon results.

24 Appetizing Displays Seeking to boost add-on sales? Offering clients a choice of display options can be one way to encourage an up-sell with many different jobs. We’ve provided details on a sampling of the more intriguing display options available.

28 Inks: Liquid Gold Like oil is to industry, inks could be said to be the “liquid gold” of the printing market. It’s all too easy to neglect the costs of inks when compared to other costs of business, but it adds up. This year’s Ink Sourcelist includes nearly 80 suppliers of inks for wide-format.

ON THE COVER: Woman-run Solar Imaging (solarimaging.com) outputs graphics for Peletonia, a grassroots bicycle tour. Cover design by Laura Mohr.

THE BIG PICTURE november 2011

randing B together.

8 Up Front

ews and N noteworthy.

32 R+D

he latest T tech, products, and supplies.

40 Job Log

Bronco Epic A unveiling.

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insight by Gregory Sharpless

www.bigpicture.net Gregory Sharpless Editor/Associate Publisher gregory.sharpless@stmediagroup.com

Going International Orange Why blend in when you can stand out? If, for instance, you’ve ever been to San Francisco, you can’t help but have that precise thought in looking at the Golden Gate Bridge, which celebrates its 75th anniversary in 2012. The engineer who concepted the bridge, Joseph Strauss, was also a poet; you could argue that he used both skills in working to create the structure that spans the opening of the San Francisco Bay. Nearly 9000 feet in length and almost 700 feet above the Bay, the bridge is truly a beautiful example of modern design. But as amazing as the structure itself is, it’s the color that hits me when I see it: International orange. Although most other bridges at the time were silver or gray, consulting engineer Irving Morrow, who spec’d the color, thought that this particular shade of orange would work better in conjunction with the bridge’s surroundings, and also help the structure to better stand out in the fog. He was correct in his assumptions – as a result of his work (and many others’, including 11 men who died during construction) the bridge stands as the perfect West Coast entry to America. How do you make your operation stand out? If all your competitors are the visual equivalent of gray, do you want your business to be the same? Not that you have to pull out the paint brush, go down to the local Sears Hardware store, and get some serious paint mixing going. But what’s your company’s parallel when it comes to going International orange? How can you make your business be the “entry point” to wide-format printing for your customers and prospects? By the way, if you’re so taken with the Golden Gate Bridge’s color that you do indeed want a little of it in your shop or perhaps around your house, the PMS code is 173 (some say 180); the CMYK colors are: Cyan: 0%, Magenta: 69%, Yellow: 100%, Black: 6%.

Britney Grimmelsman Associate Editor britney.grimmelsman@stmediagroup.com Laura Mohr Art Director laura.mohr@stmediagroup.com Marty McGhie, Craig Miller, Jared Smith Columnists Linda Volz Production Supervisor linda.volz@stmediagroup.com Lou Arneberg - Midwest US Ben Stauss - Western US, Western Canada, Asia Lisa Zurick - Eastern US, Eastern Canada, Europe Business Development Managers Rick Bachelder, Kathy Boydstun, Terry Corman, Scott Crosby, Brandon Gabriel, Michael Garcia, Kirk Green, Robert Kissel, Craig Miller, Greg Root, Jared Smith, Mark Taylor Editorial Advisory Board

Tedd Swormstedt President Steve Duccilli Group Publisher Christine Baloga Audience Development Director Kari Freudenberger Director, Online Media

PS The new 2011-2012 Printer Sourcebook is now available. The latest edition provides comprehensive specifications on more than 130 rollfed printers, 70 flatbed & hybrid printers, and 40 third-party RIPs. The latest Sourcebook can be accessed for free via bigpicture.net (“resources” tab).

THE BIG PICTURE (ISSN 1082-9660) is published 12 times annually by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to non-qualified individuals in the U.S.A.: $42 USD. Annual rate for subscriptions in Canada: $70 USD (includes GST & postage); all other countries: $92 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by ST Media Group International Inc. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Cincinnati, OH and at additional mailing offices. POSTMASTER: Send address changes to: The Big Picture, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to The Big Picture, P.O. Box 1060, Skokie, IL 60076.

THE BIG PICTURE NOVEMBER 2011

Subscription Services (847) 763-4938 tbp@halldata.com bigpicture.net/subscribe bigpicture.net/renew Single Copies/Back Issues Debbie Reed debbie.reed@stmediagroup.com 11262 Cornell Park Drive Cincinnati, OH 45242 tel (513) 421-2050 fax (513) 421-5144

SOLVENT UV. WIDE SUPERWIDE. PAST FUTURE. MAKE THE MOVE TO A NEW ERA IN PROFITABLE PRINTING. Introducing the EFI VUTEk GS3250r. The print quality of wide format. The speed of superwide. The economics that only comes from EFI digital UV.

The new EFI™ VUTEk® GS3250r replaces superwide solvent printers and multiple wide-format printers with 3.2 meter UV roll-to-roll productivity and true 1000 dpi print capability for high-margin, closely viewed applications. Or choose a faster printing mode for outdoor applications. Either way, you profit from increased production speeds and lower costs on a wider range of substrates and applications. Digital economics means you get the best ROI and hourly breakeven in the industry – monthly payback can be achieved with less than one hour of run time per day. And with EFI integrated digital inkjet workflow solutions from job acquisition to production – and industry-leading inks and service – you’re always ready to print to win.

wide angle

Branding Together

To coordinate a unified branding campaign, national grocery retailer Supervalu hosted its first-ever Store Director Summit, bringing together store managers from 11 different brands to inspire a collective vision. Fame, a retail branding firm, designed myriad graphics featuring a layering effect that utilized all of the brand logos, and Minnesota-based Big Ink (inkbig.com) signed on to output and install the graphics. The work included: high-top LED-lit cocktail tables featuring graphics output using an Océ Arizona 250 UV flatbed onto ⅛-inch Komatex PVC; a background custom graphic wall comprising 3M vinyl applied to ⅛-inch PVC, output with a solvent Mimaki JV3; and a dye-sub table decoration created with an EFI Vutek GS3200 and transferred via a Practix heat press onto Celtic fabric. 6

THE BIG PICTURE NOVEMBER 2011

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upfront upfront

Burning Rubber During the course of every PGA golf tournament, the sought-after players are inundated with hundreds of invitations from hungry marketers just dying to have a well-known player grace their event. To distinguish itself from the crowd, luxurycar maker BMW relied on creativity with a dose of quirkiness to ensure that its unconventional invite not only stood out, but landed a “yes” on the RSVP. The goal: Get influential golfers into the seats of the BMW M-Series as part of a test-drive program called the Autobahn Country Club during the BMW Championship in Lemont, Illinois. BMW Golf, the company’s golf-marketing agency, teamed up with Raleigh, North Carolina’s marketing firm Baldwin& to develop a campaign sure to leave a mark. The first round of attention-grabbing marketing tactics involved a rather peculiar gift: motor-oil-scented cologne created by Joanna Freeman of Virginia’s The Shave Den. Branded as 15-W-50, the cologne embodied the essence of the racetracks and got the motor running for the test-drive invitation to come. The players received the smell-binding treat in their lockers after the Deutsche Bank Championship. The bottle’s hangtag read: “Do you know what driving 195 mph feels like? Well, this is how it smells. Get to the BMW Championship a little bit early to take one of our M cars out for a spin at the Autobahn Country Club.” Two weeks later, the players were greeted with a gear-grinding surprise – skid marks jolting out from the bathroom sinks of their hotel rooms, featuring another invitation to the event. To output the skid-mark floor graphics, Baldwin& contacted SpeedPro Imaging in Raleigh-Durham (speedprordu.com). “Knowing the install would be handled by hotel staﬀ, not a professional installation team, the challenge was finding media that was really easy to install and easy to remove,” says Jerry Parise, owner of SpeedPro Imaging RDU. “The other challenge was ensuring that the skid marks looked as realistic as possible, so we needed a clear material and wanted to make sure the

THE BIG PICTURE NOVEMBER 2011

edges of the material were not visible. Plus, because the graphics would be installed in the bathroom, the last thing we wanted was something slippery.” Finding the right supplies was a matter of trial and error, says Parise. The shop used the digital-image fi le to create several proofs on diﬀerent media. Some of the proofs even ended up in SpeedPro’s own bathroom, where the shop got to see the shock value of the graphics for themselves. Using its Roland XJ 640 and a Roland GX 500 for cutting, the shop printed the graphic in three parts: two 7.75 x 50-inch skid marks onto Avery Luster Transparent MPI2077; and a 8 x 5.5-inch text box onto 3M Scotchcal IJ40. Fellers Lamex laminate provided slip resistance. The floor invite read, “Before you hit the course, join us at the track to burn some rubber. BMW invites you to the Autobahn Country Club.”

Bradner Central Acquires conVerd LLC Bradner Central Company (bradner.com), an Elk Grove Village, Illinois-based wholesale distributor of printing and office papers, has announced the acquisition of conVerd LLC (converd.com), the paper distributor and converter of environmentally sustainable products specifically engineered for the wide-format digital printing market. All of conVerd’s current distribution deals will remain the same and it will continue with the brand name conVerd. “This exciting time for conVerd allows us the ability to grow faster in product lines and to expand our worldwide presence. This new opportunity with Bradner Central brings a maturity to our enthusiastic growth in the green sustainable substrate market,” says Sean McLaughlin, conVerd president. “We believe the high quality sustainable product offering of conVerd will give our customers, including printers, retailers, and advertisers, an eco-friendly alternative to the substrates currently used in the trade … These capabilities, along with our financial stability, will allow conVerd to better serve this rapidly growing segment of the print community,” says Richard Bull, Bradner Central chairman and CEO. Bradner Smith & Company, affiliate company of Bradner Central Company, has ownership in paper mills, converters, and sales organizations focused on the forms industry. The company serves as headquarters for six wholly owned subsidiaries that distribute printing paper and allied products to the commercial printing, retailer, advertising, magazine and catalog publisher, business forms, direct mail, and label industries.

2011-2012 Printer Sourcebook Released The new 2011-2012 Printer Sourcebook is now available. The latest edition provides comprehensive specifications on more than 130 rollfed printers, 70 flatbed and hybrid printers, and 40 third-party RIPs. The latest Sourcebook can be accessed for free via bigpicture.net (“resources” tab).

“ A key difference between those [leaders] who reach their potential and those who don’t is how they deal with … periods of confusion and uncertainty. The trick lies not in avoiding those difficult periods; it lies in knowing how to step back, diagnose, regroup, and move forward.” — Robert Steven Kaplan, professor of management practice at Harvard Business School, from his book, What to Ask the Person in the Mirror (Harvard Business Review Press, hbr.org)

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upfront

Number of people who work in the printing and graphic-communications industry in Canada, according to the Canadian Printing Industries Association, as reported in the Calgary Herald. Half of these are approaching retirement age.

IMAGE © MAGNACROM DIGITAL, PROVIDED BY ELOY PALACIOS AND DURST IMAGE TECHNOLOGY.

65,000

Printing the Pachyderm

Learn More

What’s Happening Online? More and more print shops are taking to social-media sites to show off their latest projects to potential and existing clients. Check out: Illinois’ Pyramid Printing, Inc. (pyramidprintinginc.com) and Indiana-based TKO Graphix’s recent Tweets. Snap a shot of the QR codes with your smart phone to read the discussion and blog, or type in the URLs. Also, follow @bigpicturemag for the latest wideformat news and case studies on Twitter. @PyramidPrinting: “Check out our discussion today on Working Hard or Hardly Working for ways to get your office to be more productive! http://tinyurl. com/3wonv8u.” @ TkoGraphix: “How Do You Ask Questions? http://bit.ly/qzBOoZ (NEW TKO post by @randyclarktko) #business #goodquestions #interviewquestion.”

THE BIG PICTURE NOVEMBER 2011

For Magnacrom Digital (magnacrom.com), producing a beautiful fine-art elephant image brought a particularly interesting challenge: The client requested the artwork be output onto handmade Amate bark paper. Made for hundreds of years by the Mexican Otomi Indian craftsmen, Amate bark paper begins as bark that is boiled and soaked overnight until soft enough for the fibers to separate. It’s then pounded with a rock until the pulp is evenly spread out into the shape the papermaker wants. The bark is dried in the sun, on the same boards where it has been pounded and shaped; the color and grain of the final paper depends on the bark used. “The first question which arose was how were we were going to feed the Amate sheet into our Durst Rho 320R roll-to-roll printer,” says Carlos Fernandez of Magnacrom. “This paper is very delicate and it can tear if too much tension is applied to it. Secondly, this sheet is not at all uniform – it has ridges along its surface, which are even more pronounced at the borders.” Magnacrom solved the problem in several ways, including the careful gluing of the Amate sheet to PET on both the load and unload sides. Color management was another issue, and Fernandez addressed this by asking for smaller, standard-sized Amate sheets in order to generate an ICC profi le for this substrate. Despite all the hurdles to overcome, the result for this project was spectacular. “We are moving towards being a more dynamic company and challenges like this are readily welcomed at Magnacrom Digital,” says Eloy Palacios, operations manager. “We are constantly looking for more innovative ways of attracting our customers’ interest.”

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• The latest news and trends from across the marketplace • Expanded case studies with more images • Reports on technology and product developments • Spotlights on intriguing industry developments • Improved navigation and search capabilities • Lively commenting and other social-networking tools Plus: Buyers' Guide, Printer Sourcebook, Free Classifieds, Industry Calendar, and much more!

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vmsd.com | december 2008

graphics graphicson onthe thego go

Gearing Up for The World of Racing By Jared Smith

hen bluemedia first entered the digital-printing arena about a decade ago, I dreamed of landing projects for huge brands like Microsoft or Sony, acquiring a job for a professional sports team, or even creating a masterpiece for the NFL’s Super Bowl. At the top of my bucket list, though, were racing vehicles. I wanted to join the elite group of companies whose portfolios included off-road vehicles for the Score Baja 1000, a monster truck for Monster Jam, a top fuel dragster for the National Hot Rod Association, a NASCAR ride, or even a Formula One car. With this goal in mind, I began my quest to tackle all of these fast racers. And, I’m happy to say, we’ve been able to check off everything from that list. These projects turned out to be far cooler than I could have ever imagined, but they were also more difficult to complete. The trick in taking on these challenging highspeed jobs, we’ve found, is that if you’re willing to buckle up and commit to do whatever it takes, the pay off is totally worth the effort.

Paying your dues For the most part, the materials and inks needed for racecar wraps are the same that you would need for the average van wrap for your local plumber. But, the similarities between the vehicle- and racecar-wrap processes stop right about there. Some of the diﬀerences are obvious, but others are much less apparent. For instance, you might think all vehicle-graphic projects begin with the estimating process, right? Not so fast – this game is diﬀerent. Long before you earn the opportunity to quote anything to anyone in the top of the racing

JARED SMITH is president of bluemedia (bluemedia.com), a leading provider of design and printing for use in vehicle, large-format, and environmental applications, in Tempe, Arizona.

THE BIG PICTURE NOVEMBER 2011

world, you better have a ridiculously impressive portfolio. Your past work must communicate that your print quality is amazing, your installers are top notch, and most importantly, that you have previously wrapped race vehicles. So, you ask, “How are you ever going to get a shot in the racing arena if race experience is required beforehand?” Good question. We’ve given away graphics, bailed out someone in a jam – someone nearby who races on the weekends – and began by first conquering the local race scene. At times, our only pay was in the form of putting our logo on the car. This, my friends, is called paying your dues. I have never experienced any industry as steadfast in this rule as the racing world. Racers expect you to be one of them to work with them. You are required to understand their car, their series, the diﬀerences in classes, the racing divisions, and who the current point leader is. The industry’s leaders are very serious here, and if you try to fake the knowledge, they will find out. So, study up, attend some races, sponsor a car, and be prepared to do what it takes to earn your way in.

Preparing for the challenge Okay, now let’s talk budgets. In the world of racing, there are two kinds of budgets: shoestring and Fortune 500 (perhaps a bit of an exaggeration, but you get the point). Most race vehicles are not entering NASCAR or Formula One. I would estimate that about 80 percent are up-and-comers or weekend enthusiasts. Your shoestring-budget racers pay for their own tires, save for months to buy their trailers, and get yelled at by their spouses for spending too much time on their “hobby.” And while they may not have big-time sponsors, they will at least have some sort of sponsorship, which means they need some graphics to reciprocate the support. Because of this, our shop has determined that they can’t spend a lot of money on graphics, but the graphics are still a must. Hence, this racer is not really your ideal client unless you’re still paying your dues or just wanting to help them out. On the other side of the coin are the pro teams with the Fortune 500-type budgets. These racers have big >36

inside output

Best Practices: The Art of Instructing By Craig Miller

re you the company owner? The boss? Are you part of the management team? If so, chances are that, on a regular basis, you tell employees what to do. Depending on how high up you are on the management ladder, you might be telling people to tell other people what to do, and they, in turn, are telling someone else. And, of course, in a perfect world – or, in this case, a perfect company – everyone does just what they’re told. The single biggest complaint I hear from business owners, however, is how diﬃcult it is to get everyone to do what they’re told. Adding to this frustration is that you not only want people to do what you tell them to, you want them to do it the way you want them to – aka, the correct way. In the military, telling someone what to do simply requires giving them an order: “Sweep the floor.” And, yes, in our civilian world, there are times when giving an order is the most expeditious method to get people “cracking.” Managers like having the authority to give orders because orders are quick and final. In combat, if a soldier gets an order to kick in a door and lob in a grenade, there’s no time to ask why or discuss the nuances of the task at hand. I like that: “Print it.” Or, “Wrap that van.” I just want it done.

Teachable moments In my previous life, I did a lot of quality-assurance evaluations of parents and residential treatment providers trying to make up for what kids had not learned. I came to judge their leadership eﬀectiveness based on how well they got their kids or clients to do what they wanted them to, which typically was also what they needed to do. After all, kids aren’t born knowing how to make a bed, iron a shirt, complete every homework assignment, plan a meal, shop, cook dinner, and clean up after that meal. And it doesn’t help that many of these tasks are “chores” that most people would like to avoid in the first place. The fact is, however, that young people need to know how to do all these things so that they can care for themselves once they become independent. To properly give an instruction, though, you need to become a skilled instructor. In evaluating the teaching skill of parents and thera-

pists, I categorized a person’s ability to manage others essentially into poor, good, and great, depending on a number of important variables. The first variable is how completely the person in authority – the instructor – describes the behavior they want performed. Some tasks are more complex than they seem on the surface, particularly in our business. So each task should be broken down into its components and described in detail, and in order. Be sure the listener understands each step; in some cases, demonstrations can amplify the descriptions. And remind the instructed that questions are welcomed. The second variable is how often the person in authority uses rationales for describing why the person should do this thing they’re being asked to do. I have a rule: Never ask someone to do something if you cannot provide a good reason. And, no, “Because I told you so,” doesn’t count. Tip: Personalizing rationales makes them more eﬀective. The third variable is: Did they truly instruct? They don’t call it following instructions for nothing. Did the instructor ask the proper questions to ensure that the person was fully informed on how to conduct the task? If this particular task is new to the person, did the authority figure give detailed step-by-step instructions? Did they observe or periodically monitor the person performing the task, especially the first time out? Did they give feedback, both complementary and constructive? Did they encourage the instructed to ask questions and make sure they understood everything? Did they encourage the person to suggest alternative methods? In our industry, these discussions during instruction provide the manager with an opportunity to ask some clarifying questions. “What speed and pressure do you >36

CRAIG MILLER is a principal shareholder in Las Vegas-based Pictographics, (pictographics.net) where he is also director of military and law-enforcement projects, the company’s defense-contracting division.

www.bigpicture.net

Technology-Centric:

Graph Expo 2011 In Chicago, the industry showed off its latest advancements.

Technology advances have always been an indicator of progress, a sort of promise of a better tomorrow. The ability to control fire, for instance, meant a slew of new food options and a safety net during harsh winters. The invention of the wheel enhanced our capacity to travel and establish trade routes to garner better goods. And more recent developments like the telephone and Internet have lessened physical barriers to communication, enhancing the exchange of information on a global scale. At Graph Expo 2011, technology played a similar role, stealing the show from the economic doldrums, and offering a glimpse of light at the end of a deflated-business tunnel. In addition to the print and prepress advancements that typically go hand-in-hand 14

THE BIG PICTURE november 2011

with the event, other technologies also were in high evidence: QR codes graced each exhibit booth, hundreds of attendees were tweeting #graphexpo straight from the show floor, and new iPad apps were everywhere. In short, it’s safe to say that this year’s Graph Expo lived up to its “Embracing Technology” theme and turned McCormick Place into a smorgasbord of “business made easier.” “All of our segments are using technology to be more efficient, improve quality, reduce waste, sell new services, and expand their sales to new markets,” says Chris Price, executive vice president of the Graphic Arts Show Company (GASC), which produces the event. On the pages that follow, we provide you with information on more than 30

new technologies. If you missed this year’s event, it’s not too late to begin thinking about the next edition of the show: It will return in 2012 to Chicago’s McCormick Place October 7-10.

Excelagraphix 4200 from Xanté Xanté (excelagraphix.com) previewed its Excelagraphix 4200, a 5-color (CMYKK) 42-in. printer that utilizes customized dye-based aqueous inks. The printer has been developed in partnership with printhead producer Memjet, utilizing five Memjet printheads running Memjet Waterfall Technology. Designed for short-run and variable-data color print work, the Excelagraphix printer can accommodate a wide range of media up to ³⁄₈-in. thick, including foam board and corrugated

board. It offers a top speed of 12 in./sec at 800 x 1600 dpi or 6 in/sec at 1600 x 1600 dpi (its top resolution) and can execute variable data at full speed. The printer runs Xanté’s iQueue 5.0 prepress Colorsmart workflow, which offers independent CMYK density control, spot color matching, imposition, job-cost estimating, and more.

Acuity LED 1600 from Fujifilm Fujifilm (fujifilmusa.com) previewed its Acuity LED 1600, a new printer incorporating a fast-curing LED-UV ink, a long-life and low-power-consumption LED lamp system, and a high precision and high-speed printhead. The LED 1600 prints roll media and rigid substrates up to 13mm (approximately ½-in.) in thickness and can accommodate media up to 63-in. wide. It can hit a top speed of 215 sq ft/hr at 400 x 600 dpi, and offers resolutions up to 1200 dpi. The 8-color printer (CMYKcm + W + clear) features: Intelligent Curing Control technology for precise LED light volume and alignment; VersaDrop jetting technology to ensure smooth tonal gradations; simultaneous single-pass printing of two or three layers of color, white, and clear inks; and a reusable cartridge and replaceable ink-pouch system. The LED 1600 also employs Sport Color Matching Software to simplify the process of matching spot colors. The Acuity LED 1600 is expected to launch in early 2012.

Inx NW140 Press The latest addition to the Evolve Advanced Digital Solutions brand line from Inx International Ink (inxinternational.com) is the new NW140 UV

digital narrow web press. The NW140 delivers single-pass printing at speeds up to 80 ft/min on any label stock, and adds optional Spartanics laser die-cutting capabilities so that the printed roll does not have to be removed from the machine. A proprietary pre-treatment base coat allows for printing on a wide range of substrates. It will support media up to 8-in. wide (5.5-in. print width) and 2mm in thickness. The machine features: 14 Xaar 1001 printheads, each with seven ink channels (CMYK + W + C + base coat); a Phoseon UV LED curing system; and a top resolution of 360 x 720 dpi.

ogy, the press creates matte or gloss effects applied in thicknesses up to 70 microns and in variable densities from 1 to 100%. It can handle paper formats and substrates up to 19.7 x 27.8 in., in thicknesses up to 0.5mm, and paper weights from 135 to 500 gsm (50 to 185 lbs). It offers resolutions up to 360 x 1016 dpi. The unit also allows for variable data, so that each print can be different and can personalize one-off runs. Common applications include small posters, direct mail, marketing collateral, business cards, greetings cards, book covers, and other commercial, promotional, and consumer print.

Canon DreamLabo 5000

EFI’s New Software

Canon USA (usa.canon.com) showcased its DreamLabo 5000, an inkjet printer geared for the production photo-print market and an alternative to traditional silver-halide processing technology. The DreamLabo features Canon’s FINE (Full-photolithography Inkjet Nozzle Engineering) high-density printhead technology, a dye-based 7-color aqueous inkset (CMYK + photo magenta, photocyan, and gray), a print resolution of 1200 x 2400, and a print speed of 40 4 x 6-in. prints/min. Print sizes range from 3.5 x 3.5 to 12 x 25 in.; paper selection is currently limited to four Canon papers: 165-gsm semi-gloss satin and 230-gsm semi-gloss luster for double-sided applications; and 185-gsm semi-gloss silky and 276-gsm glossy for single-sided applications.

EFI (efi.com) launched Fiery XF proServer, a high-performance production solution for its lineup of EFI Vutek printers. A scalable system designed to improve printing, production, and color capabilities, Fiery XF proServer features an expanded set of Fiery XF options, high-performance hardware platform, and integration with other EFI products including Pace and Digital StoreFront. XF proServer is bundled with an extended version of Fiery XF, EFI’s inkjet production RIP solution; the second driver option supports an additional inkjet proofer, or smaller production printer. Also included with XF proServer is the Color Verifier Option to ensure color-correct output on production and proofing devices, by verifying a standard color control strip or EFI’s Dynamic Wedge against an industry or custom standard. EFI also debuted PrintSmith Vision, a new version of its PrintSmith software. PrintSmith Vision includes estimating, quoting, order tracking, scheduling, production forms, data collection, inventory, costing, and invoicing tools. The system utilizes a browser-based interface so it can be easily accessed from anywhere. It’s available in single and multiuser configurations. And the company previewed version 5.2 of EFI Digital StoreFront; the

Scodix1200 Digital Press The Scodix1200 digital press from Israeli-based Scodix (scodix.com) made its North American debut. Designed to add value to print by creating tactile effects via its Scodix Sense clear polymer inkjet technol-

www.bigpicture.net

Graph Expo 2011 Web-to-print platform features an enhanced user interface and new online preview capabilities.

16.5 in., and materials up to 2-in. thick. The FX, however, is available with three different UV inksets: LH100 (CMYK + W and C, for substrates that do not require bending/folding); LF-200 (CMYK + W, for P-O-P, flexible packaging, etc.), and LF-140 (CMYKcm + W, more flexible than the LH-100). The printer also features an automatic primer, in which the primer is applied by the inkjet system – allowing for better adhesion to materials not usually suited for inkjet. The UJF-3042FX offers a top resolution of 1200 x 1400 dpi.

tion of the Adobe PDF Print Engine (v 2.5) to provide compatibility with new design applications and Acrobat 10; enhancement of Preflight and a Ghent PDF Workgroup 1v4 certification; the Preflight Reporter plug-in compatibility with Acrobat 10; and the integration of Enfocus PitStop Library 10. Support has also been added for a range of third-party CtP devices and inkjet proofers. The company also showcased the flat-to-roll option on its Jeti 3020 Titan FTR printer. The FTR option allows for printing on roll materials with the same quality and resolution without losing speed, Agfa reports, enabling the printing of images up to 100 ft. or longer according to media weight. The FTR option supports media up to 126in. wide and rolls up to 750 lbs.

Agfa Apogee Prepress 7.1

Epson’s New Proofing Media

Agfa Graphics (agfa.com) announced Apogee Prepress 7.1, an upgrade to its JDF-enabled prepress production hub. New features include: implementa-

Adding two new additions to its portfolio of proofing media, Epson America (epson.com) showcased Standard Proofing Paper - Produc-

New UV Media from Kodak Kodak Professional UV-Curable Display Film - Plus from Eastman Kodak (kodak.com/go/uv-c) is designed to provide the look and feel of photo-grade printing to UV-curable inkjet output. Capable of being frontlit or backlit, the new film features a brilliant white film base to produce whiter highlights and vibrant colors. The media is recyclable and is available in four widths: 40, 54, 62, and 72.5 in. Also available is UVCurable Display Paper.

UJF-3042FX Tabletop from Mimaki Mimaki USA (mimakiusa.com) introduced its UJF-3042FX, a UV LED flatbed tabletop model that allows for the use of flexible inks for added applications, including garment transfers. Like its UJF-3042 sibling, the 3042FX can print on flat substrates up to 12 x

Also on the Show Floor The following products were also introduced at Graph Expo. Some of these we’ve previously reported on, and so recap only briefly. • Graph Expo marked the US debut of the Inca Onset S40 UV flatbed, the new addition to the Onset Series that Inca Digital (incadigital.com) introduced earlier this year (see June 2011 issue, pg 32). The S40 prints at speeds up to 5059 sq ft/hr onto a variety of substrates up to 2-in. thick (including plastic, metal, and board stock). Distributed by Fujifilm. • Roland (rolanddga.com) showcased its VersaStudio BN-20, a 20-in. desktop eco-solvent printer/cutter with metallic inks, as well as its VersaUV LEF-12 “benchtop” flatbed UV printer built for three-dimensional objects (see July 2011, pg. 34). • Van Son Holland Ink Corporation (vansonink.com) announced its new line of Premium Wide Format Inkjet inks for Epson, Mimaki, Mutoh, and Roland printers. Inks include: Real Solvent inks, designed for

THE BIG PICTURE november 2011

Mimaki JV3, JV33, and JV5 printers; Eco Solvent ink; Pigment and Dye inks, created for Epson piezo head printers; Power Chrome Pigment inks; and Dye Sublimation inks. • Vivid (vivid-online.com), a UK-based manufacturer of laminating systems, introduced the Easymount range of wide-format laminators and the Matrix range of single-sided laminators to the US. Other systems featured included desktop pouch laminators, roll-fed systems, and finishing and binding equipment. • XMPie (xmpie.com) released UStore 5.0, a personalized marketing portal and Web-to-print solution, and a component of its PersonalEffect software platform for individualized communications management. • PrintLeader and PrintPoint announced a merger and creation of PrintPointLeader (printleader.com). The estimating, MIS, and Web-to-print software features the Visual Job Scheduler, integrated with Order Entry.

tion and CrystalClear Film - Adhesive. Both are designed to meet the demands of proofing houses, design shops, ad agencies, and businesses that produce color match proofs, prototypes, and mockups. CrystalClear Film works with the Epson Stylus Pro WT7900 for prototypes and mockups applied to bottles or boxes, even with irregular surfaces. The optically clear polyester film has a repositionable adhesive backing; it provides durable high-ink load adhesive and allows for post-treatment lamination. The product is available in 17- and 24-in. widths (44-in. width available at a later date). The Standard Proofing Paper is a Gracol SWOP Grade 1 media that targets the color-critical market. The proofing paper provides a base color, weight, and gloss level designed to match offset-press applications. The product is available in 17-, 24, and 44in. widths.

Mutoh’s ValueJet 1204GA Mutoh’s (mutoh.com) 48-in. ValueJet 1204GA eco-solvent printer made its debut. The 1204GA is designed to print on Mutoh’s Ready2Print pregrommeted and pre-hemmed banner material, eliminating the manual grommet and hemming stages of banner production. The printer can also print on a variety of roll media. The 1204GA, which features i2 Intelligent Interweave print technology to help eliminate banding and enhance the print image, can hit speeds up to 140 sq ft/hr and offers a maximum resolution of 1440 dpi. It can accommodate Ready2Print 24-, 36-, and

48-in. banner material up to 0.66-mm thick (1.42-mm pre-grommeted).

Pemla’s EDI Inks Pemla (pemla.com) introduced its EDI OEM-Compatible inks, water-based inks that are designed as drop-in replacement inks for standard Epson UltraChrome inks. The EDI inks feature clean, bright colors closely matching OEM inks and low dot gain on most substrates, reports Pemla; the inks are also water-resistant. Available in CMYcm plus vivid magenta, light vivid magenta, and four blacks.

Media from GPA GPA (askgpa.com) announced new InCycle Sheet Expanded PET manufactured from recycled water bottles. Naturally bright white without the addition of pigments, InCycle Sheet is lightweight and offers superior thermal-insulating properties, GPA reports. It’s compatible with UV inkjet and offset printing, and is suitable for die cutting, folding, embossing/ debossing, and more. It’s available in 28 x 40-in. sheets. Also introduced was Ultra Film High-Temp Lightbox Material, specifically designed for outdoor lightboxes. It offers a high heat deflection rating and durability, and qualifies as a #5 recyclable plastic. Compatible with UV inkjet and offset; available in 28 x 40-in. sheets. GPA’s new line of Ultra Digital Fine Art Specialty Papers are intended for HP Indigo presses. The papers include: Ultra Digital 150# Cotton Cover – Stonehenge, made from 100% cotton fibers from discarded linters of the garment industry and featuring a vellum finish; and Ultra Digital 150# Bamboo Cover, featuring a watercolorlike texture and made from bamboo and cotton fibers.

EskoArtwork Studio Toolkit for Shrink Sleeves EskoArtwork (esko.com) announced its Studio Toolkit for Shrink Sleeves, for simulating a heat-shrink sleeve

around one or more objects. A module for the company’s Studio software, it automates the design and prepress process in Adobe Illustrator, applying counter-distortions where necessary to compensate for irregular and challenging shapes. The Toolkit accommodates multipacks and works with a wide variety of substrates, taking into consideration the specific shrinking properties of each.

New PrintFactory GMG Edition GMG Color (gmgcolor.com) introduced PrintFactory GMG Edition to the US market. An automated production workflow solution designed for wide-format printing, it’s available in two versions – one for print shops primarily geared around indoor wideformat work, and one for shops that tackle very large outdoor projects as well as indoor. PrintFactory GMG offers: automation with standard and customized templates; color management; preflighting and PDF file editing; dedicated job-prep; real-time previewing; and more. The company also showcased the GMG Proof, Prototype, and Printer (P3) System, which offers unattended, sheetfed, contract, double-sided contract-quality proofing up to 8-up on the actual substrate. The system comprises GMG color managements a Roland UV LEC 330 inkjet printer, and an automatic sheet feeder by Beyond Manufacturing.

Hop Industries’ Synthetic Paper Hop Industries (hopindustries. com) introduced Hop-Syn TO, a new opaque synthetic paper designed >38 www.bigpicture.net

“I come from somewhere different than a man and

I bring a different perspective to a client’s job.” “I was certainly the only

woman signshop owner who showed up, so I kind of stood out.” “You can’t think of yourself as a woman, you have to think of yourself as a

business owner.”

“Ask questions, start working hands-on, make sure you know the complete process.”

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opened doors.”

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woman signshop owner opened doors.” who showed up, so I kind of stood out.”

By Paula L. Yoho For years, sociologists as well as talkshow hosts and comedians have debated endlessly about the diﬀerences between the female and the male mindsets. Whether the topic at hand is obtaining directions, giving instruction, commandeering the TV remote, or enduring pain, there are certain typical images everyone has in their head when it comes to the feminine versus the masculine. The same can be said when it comes to owning and running a business – particularly a company that produces wide-format printwork. The typical owner’s image that immediately comes to mind is almost always male (and older, too, but that’s another article). Move beyond the stereotype, however, and you’ll fi nd that it’s not just men you’ll encounter in the print shop’s “corner oﬃce,” as women make their presence felt more and more in the wideformat marketplace. On the pages that follow, you’ll be introduced to five women who are spearheading successful businesses in the world of wide-format digital printing. Their leadership has enabled their respective companies to build solid client lists 18

THE BIG PICTURE NOVEMBER 2011

and impressive portfolios, pushing their shops forward in diﬃcult times to achieve some uncommon results.

Manufacturing ideas: CR&A Custom Carmen Rad is the quintessential entrepreneur. Armed with a degree in fashion marketing and design, she began a successful business out of her home 18 years ago creating custom costumes, props, and various promotional items for the fi lm industry. When the laws aﬀecting duties on Chinese imports were changed, she says, an influx of cheap items introduced from overseas put the squeeze on Rad’s business, sending her in search of a diﬀerent field that would capitalize on her creative finesse, while still allowing her to market to those same clients. At the time, she was dabbling in dye-sublimation for printing on fabric, so the evolution to wide-format print was a natural one. Today, her company, CR&A Custom, Inc. (cracustom.com), is the only dually woman- and minorityowned large-format digital printing operation in the US. But don’t pigeon-hole her business as a print-shop.

-on,

“We are more of a design company that owns the equipment to print, so in that sense we’re able to take your creative idea and manufacture it,” Rad explains. “Now we’re all digital. We have the newest, greenest Carmen Rad equipment in the industry. We have a President water-based printer, and we’re getting the largest flatbed printer in the industry.” Today, CR&A Custom operates out of a 25,000-squarefoot facility in downtown Los Angeles, where its 29 employees output everything from banners and billboards to building wraps, car wraps, signage, and window and wall graphics. Part of her success, Rad says, is her diverse client base, which has expanded since the early days of focusing on the fi lm industry. “We work with clients that are clothing companies, liquor companies, and many others,” Rad explains. “We started to tap into different markets instead of just concentrating on one.” Her decision to focus on many small clients, rather than three or four large clients, is one philosophy Rad says sets her apart from her competitors. “I’ve found that men seem to like the big clients, but I love to handle lots of little accounts,” she says. “They’re constant; they bring in business every day. Sure, they do require more TLC and there’s a little more work involved, but I see it as a safe option. When you have just three major accounts that are everything and that determines your day-to-day operations, and one goes out of business, you’re done. I don’t have to worry about that as much if I have 500 small clients.” If hers is a uniquely female philosophy, then it is surely uncommon in the printing industry, which Rad has found to be male-centric. “I was at an event and someone told me once, ‘You don’t look like a printer,’” she recalls. “I said, ‘What do you mean?’ and he said, ‘Well, you’re not 50 and bald.’ He also said ‘white,’ which kind of threw me off, but it is maledominated and it is Anglo-dominated.” For Rad, being a woman in a male-dominated industry has its challenges. “Yes, I hit barriers all the time, and I think women in general do as well,” she explains. “But, to be honest with you, I think that’s my best asset. I come from somewhere different than a man, and for that reason, I bring a different perspective to a client’s job, which helps me add credibility and value to the fact that we’re not just a printer, we’re a unique company that has a lot to offer.” She is quick to clarify, however, that being a woman hasn’t hindered her ability to attract and retain clients. “We try to invite our clients to our facility and, once they see our team and the equipment, they recognize what

CR&A Custom is “a design company that owns the equipment to print,” says Carmen Rad. “We’re able to take [a client’s] creative idea and manufacture it.” For California’s BNP Paribas Open tennis tourney, CR&A designed all of the graphics using client-supplied photos, then output using its HP TurboJet and Nur Expedio (now HP Scitex) with Caldera RIP; UV inks onto Ultraflex frontlit vinyl with a 3M overlam. we are capable of,” she says. “Ultimately, it doesn’t matter if you’re a man or a woman on so many of these jobs – it depends on either the relationship or on your pricing.” The future is bright for women who choose a career in printing, Rad says, and she has seen more of them expressing an interest, especially on the graphic-design side of the business. “The printing industry itself has gone through some major transitions because of the technology, and as a result, it is a lot friendlier,” she says. “It is no longer about huge, fi lthy buckets of inks, and I think that shift will continue to attract more women to this sector.” www.bigpicture.net

changing the face

“Learn what materials are used for what applications and know alternatives – know the business and educate yourself,” advises Solar Imaging’s Sandra Burt. Above: Solar’s graphics for Peletonia, a grassroots bicycle tour, output onto Ultraflex mesh banner media and Coroplast, using its EFI Vutek QS3200 and Durst Rho600 printers with EFI Fiery RIP. Banner sewing executed by Columbus, Ohio-based Banners Extreme.

Finding a niche: Solar Imaging For most students of fashion design, a job with industry giants like Banana Republic, Gymboree, Express, and The Gap marks the pinnacle of success, and for Sandra Burt, they did just that – for a while. But, in 1994 she was looking for a new challenge when she left her stable corporate job to join forces with her husband to open a commercial photography studio in their garage. “I stumbled into the digital-printing industry as a part of re-inventing and growing our business,” Burt explains, and she has learned a lot along the way. The original photo studio has grown over the years to now include two sister companies: Solar Imaging, a Columbus, Ohio-based wide-format custom digital printing facility, and PageOne Productions, a high-end retouching and digital pre-press studio – both under the umbrella of EclipseCorp. Today, Solar Imaging (solarimaging.com) produces everything from wall murals, tradeshow graph20

THE BIG PICTURE november 2011

ics, banners, and backlit signage to point-of-purchase, window graphics, directional signage, and vehicle wraps for a wide range of corporate and retail clients. One thing that sets the company apart, says Burt, Sandra Burt is the range of production options it Co-owner offers its clients – from aqueous and solvent to UV-curable. Burt attributes her success in the industry less to being a woman and more to hard work and dedication. “I don’t think that being a woman is necessarily an asset or a hindrance in this industry, even though it is definitely a male-dominated industry,” she says. “Regardless of whether you’re male or female, you still need to know the same things to succeed.” Staying on top of technologies and industry trends is part of the education process that Burt says has helped her build a reputation for herself and her company. “This industry is constantly changing, with new materials and new products always becoming available. I think that the key to being successful is continually learning and finding a niche,” explains Burt. “Our niche is that we have three separate companies under one roof, making us a unique source of creative minds, experience, talent, and technical knowledge.” Identifying what makes your company unique from its competitors is only half the battle. To get ahead in the business, Burt also suggests women arm themselves with information and know the industry, as well as their own company’s processes, backwards and forwards. “Ask questions, start working hands-on, make sure you understand and know the complete process, from quoting a job to printing and finishing,” she says. “Learn what materials are used for what applications and know alternatives, know the business and educate yourself – don’t stop learning.” She also sees the value of building strong relationships, not only with your clients and suppliers, but with other women working in the industry, as well. “My advice to a woman just getting into this business would be to find a mentor and try to learn as much as you can from your mentor,” she says. “And, here’s my fashion advice for a woman in the industry, because I did have 10 years experience in that industry first: Wear great shoes! Men can’t do that, and it will set you apart.”

Numbers driven: Great Big Color If someone had told her 10 years ago she would be owner and president of a successful wide-format print operation, Tina McLaughlin might not have believed them. At the time, she was established in a successful high-tech sales and marketing career, selling data-warehousing services to

businesses. Then she met Sean McLaughlin, who convinced her to take a chance on his company, a digital print provider in the wide-format graphics industry. He also convinced her to become his wife. “When I met Sean, he asked me to come run sales for Great Big Color,” McLaughlin explains. “The transition to a new industry was not a problem for me, because sales and marketing were my forté, and that’s what I did here for 10 years. I didn’t focus on the production end of this business at all – my job was to drive the dollars.” She parlayed her years of sales experience into building a portfolio of Tina McLaughlin clients for Great Big Color (greatbigPresident/Owner color.com), whose out-of-home and point-of-purchase projects include billboards, wallscapes, murals, and window and stadium graphics. Then, when Sean was ready to turn his attention to a new venture, he sold his portion of the company, along with a stake owned by his parents, to Tina. Today, she is majority owner of the business and is in charge of day-today operations. “It was an attraction for us to become a woman-owned business in an industry that is male-dominated,” she says. “I’ve been running Great Big Color by myself for over a year now, and it has been an exciting challenge.” Among McLaughlin’s first agenda items was to file for certification as a woman-owned business with the Women’s Business Enterprise National Council (WBENC). She received the designation last November, and is using it to differentiate her company from competitors. “Being a woman-owned business has definitely opened doors,” McLaughlin says. “It takes a while to build momentum and it’s a process, but we try to use it to our advantage.” The women-owned business status has put her company on the map with some large prospective clients she might not otherwise be able to reach. “A lot of the big companies, such as the AT&Ts of the world, have minor-

ity and women business programs in place, but it’s really hard for me as Great Big Color to go to AT&T and say, ‘Hey I want to be your printer,’” she says. “It is easier for me to add value as a Tier II provider for a company like AT&T, who will hold their agencies to also have a quota of using minority and women vendors. So, I can go to their agency BBDO and I can say, ‘I fulfill your quota to AT&T, so let me be your printer.’” McLaughlin has made some changes to the business operations since taking the reins, but she is reluctant to attribute those changes to the fact that she is a woman. Sometimes, she says, it just boils down to personal style. “I’m really numbers-driven, and I run the business a lot differently from how we’ve run it in the past,” she says. “When it comes to manufacturing, a lot of times it just comes down to brute force to get a job done. But for me, I’ll get out a stopwatch and time a print, then I’ll get an exact time and I’ll put together a schedule down to the minute for how long a job is going to run. I tend to be a lot more analytical, and I hold the production staff to those metrics.” One of the biggest challenges she has faced in her new role is finding time to nurture the client relationships she has built over the years. She says this has less to do with being a woman and more to do with being a human being, confined by the finite number of hours in each day. Ultimately, though, her transition to leadership has been a smooth one, thanks in part to the support of her team of more than 50 employees. “I have found that, because relationships and driving the business from a sales standpoint are my forté, I have to make sure I have a savvy production staff, which I do, and it hasn’t been a problem,” McLaughlin explains. She also takes pride in hiring women in jobs that are traditionally viewed as ‘man’s work.’ “I have women on the floor in the

Says Tina McLaughlin of Great Big Color: “This is an industry where women can be powerful and can succeed.” Using the Roland SolJet Pro II SC-540 EX printer with Caldera RIP v8.01, the company output this light-rail transit wrap for Chipotle, onto 3M Controltac 180-10CV3 with 3M Scotchcal 8519 Luster Lam. Also in the mix were a wall mural, lunchtruck wrap, and window graphics. www.bigpicture.net

changing the face Iconography’s Sarah Naccarato says her company “has focused on delivering quality and building strong relationships – because that’s the easiest way to grow and retain your business.” For Three Olives Vodka and Geek Wraps, Iconography created colorful BMW Mini wraps and car toppers using its Roland SolJet Pro III XC-540 with 3M Controltac IJ180 vinyl and 3M Scotchcal gloss laminate 8518.

production area and, even though I don’t have a woman printer yet, I have women in the finishing area.” Despite her best efforts to employ women, McLaughlin admits there is a shortage of interested female candidates across the board. “I don’t know that this is an industry that women are drawn to, and therefore I think it’s a huge opportunity,” she says. “I would tell women thinking about working for a print provider, don’t think of it as ‘Oh, I’m a woman, so I belong in the art department,’ or ‘I belong in customer service.’ I don’t think that’s the case at all. It’s an industry where women can be powerful and can succeed – I know this because I haven’t found any roadblocks myself.”

Taking risks: Iconography After the birth of her youngest child, Sarah Naccarato was ready to trade in her frequent-flier miles for something a little closer to home. During her career in the executivesearch industry, she was used to racking up more than 300,000 miles of annual travel, while juggling a growing family at home in California. She and her husband researched a variety of business and franchise opportunities before settling on wide-format digital printing and, in early 2008, Iconography Studios (iconographystudios.net) was born in Los Alamitos, California. “My husband is an artist by background and had previously researched a lot of the equipment that is used in our industry as he was having prints made of his artwork,” she explains. “He’s also really into technology, so the more we looked into it, the more it made sense for both of us. We set up the business so I would do the primary sales and marketing, and all the administrative stuff to get it going, 22

THE BIG PICTURE november 2011

and he would take over the production and everything on the back-end as far as manufacturing the products and getting them out the door.” From its earliest days, Iconography focused heavily on vehicle wraps, a sector that was still relatively untapped on the West Coast at the time. Sarah Naccarato “It’s continued to grow since then, President and we’ve at least doubled the business every year since we started,” notes Naccarato. “The economy was tanking while we were trying to grow a new business, and some people thought we were just nuts. But it’s not like it was tanking by 50 percent, there was still a lot of business out there to be had, so we just took a chance and went for it.” Such a bold move is par for the course for Naccarato. She credits her grandmother for instilling in her a strong work ethic and for “pounding into [my] head, ‘Girls can do anything boys can do.’” Coaching from her grandmother has paid off for Naccarato: “Early on, being a woman had an advantage because when I would go to Chamber of Commerce meetings or other networking group meetings, I was certainly the only woman signshop owner that had ever shown up, so I kind of stood out,” she says. “Other than that, I’ve never really thought about being a woman or not. I was raised by very strong women who firmly believed – and taught me to believe – that women can do anything that men can do, so it’s just never been part of my thinking.” Of course, Naccarato realizes it takes more than bravado to grow a company, and she attributes a lot of Iconography’s

ing clients. We definitely have focused on delivering quality and building those strong relationships, because that’s the easiest way to grow and retain your business.”

Knowledge is key: Stella Color

“You need to be creative, and you have to know your substrates, know your products, know what works,” says Lynn Krinsky of Stella Color. The company assisted SeaTac Airport in a graphic transformation for the Port of Seattle, producing 7500 square feet of graphics onto 3M Controltac IJ180 vinyl with its HP Designjet L65500 latex printer and Onyx RIP. success to its emphasis on building strong relationships with its customers. “We view our customers as our partners in whatever we’re trying to achieve for them, and for that reason, we’ve enjoyed a really high percentage of repeat business,” she says. “In fact, all of our new business today comes from two places – it either comes from our website, which does a good job for us, or it comes from referrals from our exist-

When Lynn Krinsky first opened up shop 24 years ago providing LetraSet rub-down transfers for commercial clients, digital wide-format printers were not yet a blip on the radar. She’s seen a lot of changes since those early days. “About two years after I started my business, we had the opportunity to go digital,” Krinsky recalls. “At the time, there was a company called Iris out of Massachusetts, and they had a salesperson in town. I think he knocked on the wrong door, and it was my door. I ended up buying the printer, it was the first really nice digital printer, and I have been Lynn Krinsky fascinated ever since.” Owner Today, Stella Color (stellacolor. com) – her Seattle-based company – works primarily with commercial accounts, offering a wide range of digital services including aqueous, solvent, continuous tone, latex printing, direct-to-substrate UV, and even dye-sublimation fabric printing. She long ago retired the old rub-down transfers, but Krinsky says her creative approach to running her business is as keen as ever. “You can’t just put out a sign that says ‘Posters’ and take orders,” she says. “You need to be creative, and you have to know your substrates, know your products, know what works indoors or outdoors, and under certain conditions. It has become much more complicated. It used to be very simple, because the substrates available to us and the printing technology was simple; there weren’t many options.” While the technology has become more complex, it has also become more affordable, and that is a cause for concern for Krinsky. “The price points on some of the printers are so low now, that you can have people working out of their garage,” she says. “They lower the cost of the prints, they compete against you, and even though they don’t have all the other equipment necessary to finish it up, they can still wreck your day. It has become much more of a commodity than it used to be.” “I don’t know why there aren’t more women in the industry, except there aren’t enough women in business anyway. I think women tend to take on less debt, and you really have to put yourself out there and invest some money in equipment,” says Krinsky. “You also can’t think of yourself as a woman, you have to think of yourself as a business person.” Paula Yoho is a Columbus, Ohio-based freelancer. www.bigpicture.net

Appetizing Displays Choose from this hearty menu of display systems.

When’s the last time you sat down at a restaurant and were not asked, “Would you like to start off with an appetizer?” Chances are, you’ve been unable to avoid the oldest trick in the restaurant up-sell handbook, and it’s something print providers can learn from when seeking to boost add-on sales. Offering clients a choice of display options can be one low-effort way to encourage an up-sell with many different types of jobs. Simply whip out your portfolio and let the sales dialogue begin: “Have you considered how you’re 24

THE BIG PICTURE NOVEMBER 2011

going to display your graphics? They’re so nice, it would be a shame to not add to the eﬀect they can have on your message.” With this one inquiry and comment, you’ve just planted a bug in your client’s ear. Key here is to be aware of the display options that are available to you. There are, of course, hundreds of choices for various applications out in the marketplace and we’ve provided details on just a sampling of the more intriguing display options on the pages that follow. Bon appétit!

Large and In Charge Stylmark’s XXLite Large Format Backlit Graphic Display is designed for a variety of settings, including retail, airports, sports venues, and tradeshows. Intended for wall-mount applications, the XXLite boasts an anodized aluminum frame and is available in cabinet sizes from 50 x 98 to 98 x 146 inches (graphic size is 2-inches less in both dimensions), and features a 6-inch depth. Its key-based frame-locking system prevents tampering. Eight standard colors and finishes are available, and the unit can be custom-anodized from any color in the Stylmark color library. STYLMARK stylmark.com

Peeking Through the Slats Walls + Forms Inc.’s freestanding Slatgrid Displays are intended for indoor use to create a branded presence anywhere in a retail environment and light up to ignite higher visibility. The Slatgrid Displays can be mounted in a backto-back configuration to create an outpost in the middle of a room, or they can be set up as a freestanding display wall or along existing walls. The back panel holds the printed graphic to match the brand message and identity; vinyl logos can be printed on the sides for maximum branding potential. Standard units are available in a choice of either Slatgrid or Grid wire merchandising displays. Backlit headers provide optimum branding. The display measures 95-½ x 49-¼ x 23-⁷⁄₈ inches (h x w x d); units ship flat for assembly onsite. WALL + FORMS INC. wallsforms.com

Get a Grip The Banner Grip stretching frame, by Alpina Manufacturing, is a frame system that not only serves as an aesthetic border but also is engineered to tighten banners, remove wrinkles and waves, and hide edges and mounting hardware. Made of aluminum alloy and stainless steel, the Banner Grip can be used indoors or outdoors. It can accommodate various types of flexible and rigid substrates up to ¹⁄₁₆-inch thick, and can handle banners with raw edges, grommets, pole sockets, or hemmed edges, Alpina reports. The frame measures 4-inches wide x 1.25-inches thick, and is available in any size up to 100 feet (large frames are sent in 60- to 80-inch sections and connect with pre-installed joiner straps). Available in black or silver. Ideal for building wraps, P-O-P displays, fine-art, décor, and more. ALPINA MANUFACTURING bannergrip.com

Hang Tight The Hanging Fabric Banner Display from Creative Banner Assemblies oﬀers 360-degree brand or message visibility and is ideal for tradeshows, exhibition halls, and conventions. The collapsible aluminum frame is available in three diﬀerent designs: triangle, square, and round. Sizes include 6-,8-, 10-, and 12-foot-diameter round design, 8-foot square and triangle design; heights vary from 3- to 4-feet. The stretch fabric zips completely over the aluminum frame to ensure a clean finished look for exhibit graphics, using eyehooks to hold together the snap-button poles. A harness assembly is included; optional is a hanging banner rotation motor (two revolutions/minute). CREATIVE BANNER ASSEMBLIES creativebanner.com

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display trends Marrying Print and Digital

Lighting Tower of Graphics

For tradeshows, job fairs, showrooms, retail sales floors, or any other application that wants to add video and audio to the ad message, Display2Go’s LCD TV Stand with Graphic Holder can accommodate 32- and 42-inch LCD displays weighing less than 70 pounds. The extruded aluminum stand – measuring 74 x 30 x 16 inches (h x w x d) – features a satin silver metallic anodized finish, comes with locking casters, and is available with or without a tilt mount for the TV. Graphics are held by two aluminum uprights, sandwiched between two non-glare plastic lenses that slide into channels. The stand allows for printed graphics measuring 24 x 44 inches; standard paper media is recommended.

The Tower by Orbus is a double-sided, freestanding 6-foot tower display with a sturdy construction and stylish design. Featuring black thermoformed laminate top and bottom plates, and silver or black aluminum side extrusions, the Tower can also add an optional backlighting kit, commandeering even more attention. Two width sizes available: 27 and 36 inches; both widths are 17-inches deep x 73.5-inches tall. Graphic dimensions are 24 or 33 x 72 inches; graphics are held under tension in a curved “bubble” position. ORBUS orbusinc.com

DISPLAY2GO display2go.com

Cube Your Enthusiasm The Display Cube by Tex Visions is a versatile advertising tool made of thick, compact foam, light enough for stacking, but dense enough to sit on. The foam is wrapped in custom printed fabric, Tex Vision Multisol D knitted polyester that slips on like a pillowcase and secures with a hook-and-lock adhesive. Prints can be easily removed and replaced when a new message is needed. Three standard sizes: 1 x 1 x 1 foot; 1.3 x 1.3 x 1.3 foot; and 1.6 x 1.6 x 1.6 foot. Smaller sizes are ideal for making columns, while larger sizes can create room dividers or seating areas. Or, use a variety of sizes to construct a display. TEX VISIONS texvisions.com

Wide-format. :Anapurna M4f UV

:Anapurna Mv UV

:Anapurna Mw UV

:Anapurna M2 UV

:Anapurna M2050 UV

:Jeti 3312 Solvent

THEtoBIG NOVEMBER A26 system fit allPICTURE your business needs — 2011 POP, Signage, Display Graphics, Vehicle Wraps & More

:Jeti 3324 Solvent

:Jeti 5024 Solvent

:Jeti 3348 HHS

Curb-Side Advertising The inflatable Curbie, from Above All Advertising, is a quirky way to get your client’s message out. For use at tradeshows, outside retail stores, or even in a standard pick-up truck bed (turning your ride into a moving promotional billboard), the Curbie measures 11 x 4 feet with a print area of 6 x 4 feet. A banner can be attached to the unit using grommets, or a digitally printed “sock” can be pulled over the inflatable (premium polyester is recommended, but vinyl is acceptable). Available in white, blue, black, orange, and yellow. The Curbie is not recommended for harsh weather conditions. For inflation, a 110V power source is required (two- to five-minute inflation time).

Fabric on the Go Prezenta’s ExpoGo! Quik-Fabric Display is a lightweight popup in which the fabric graphic stays attached via Velcro to the tubular aluminum frame with molded hubs. Fabric graphic dimensions are 88 x 88 inches. The fabric is machine-washable stretchable warp polyester (recyclable) with an NFPA 701 fire-retardant rating. Fabric end caps and halogen lights are optional. Note: Also available as hardware and case only.

ABOVE ALL ADVERTISING abovealladvertising.net

PREZENTA prezenta.com >37

Flag Them Down The Double Sided Flag Sign by Vista System is an outdoor display with a triangular shape that offers increased visibility for passing traffic. The display utilizes Vista’s modular curved frame technology (MCFT) to provide a three-dimensional, curvedface design. The display consists of three Vista Light extrusions, two aluminum end caps (top and bottom), two polycarbonate inserts used as background for the graphic inserts, and two square supporting profi les for internal stabilization. Offered in a variety of sizes ranging up to 8-feet high x 4-feet wide. VISTA SYSTEM vistasystem.com

Wider choice. :Jeti 1224 HDC UV

:Jeti 1224 HDC FTR

:Jeti 3020 Titan UV

:Jeti 3348 Galaxy UV :Jeti 3348 Jetspeed UV

:Jeti 5048 UV

:Jeti 3324 AquaJet

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www.bigpicture.net 27 www.agfa.com/graphics | Agfa Graphics 100 Challenger Road, Ridgefield Park, NJ 07660 | 800.540.2432 x4848

Liquid Gold More than 70 suppliers of inks for wide-format.

EasyFill Pro System INX DIGITAL

Like oil is to industry, inks could be said to be the “liquid gold” of the printing market. Yes, it’s sometimes all too easy to neglect the costs of inks when compared to the costs of rigid substrates, direct labor, and so on, but pull out your records and see what you spent on ink last year – it adds up. In fact, when you consider the amount of ink that’s used per job coupled with the consumable’s rising costs, it’s a wonder that ink suppliers haven’t begun delivering this valuable commodity to print shops via armored car these days. And because very few business costs once elevated to a certain plateau ever significantly drop, it’s safe to say that print providers should be closely analyzing their ink usage and their supplier roster on a regular basis. Of course, price isn’t the only factor when choosing an ink. There are several variables to consider when selecting inks including qualitative issues like color gamut, jetability, elasticity, adhesion, abrasion-resistance, lightfastness, and warranties, to name just a few. This year’s Ink Sourcelist is a comprehensive directory of more than 70 suppliers of inks for wideformat printers. The list includes printer OEMs who are branding their own inks, ink manufacturers, and suppliers of private-labeled/branded inks. Note that we have not included companies who are only selling other companies’ branded inks (unless it is an exclusive arrangement). Agfa agfa.com Aldura solvent-based inks; Anapurna, Agorix, and Anuvia UV-curable inks; Grand Sherpa dye and solvent inks; ABISS bulk-ink system; AquaJet Pro inks (aqueous-based, disperse dye) for the Jeti AquaJet. See also: Pitman. American Ink Jet amjet.com Inks for Canon, Epson, HP, Roland; new are Eco-Jet mild-solvent inks for use in Roland printers.

THE BIG PICTURE november 2011

Americaninkjetsystems americaninkjetsystems.com Bulk ink systems for Mimaki, Roland, Mutoh; inks for fine-art/archival applications. Bordeaux Digital PrintInk c-m-y-k.com Eden water-based inks, Prime-Eco mild-solvents, Prime solvents, Clear oil-based and sublimation inks, plus Plasma UV and UV LED-compatible inks. Also: Prime Green environmentally friendly inks for Mimaki JV5 and JV5 printers. Budget Inks budget-inks.com Sam Ink solvent, mild solvent, UV, and latex inks. Canon canonusa.com Lucia aqueous pigment inks. CET cetcolor.com CET-branded UV inks include HighAdhesion, High-Pigment, and Flexicure flexible inks. Coast Graphic Supply coastgraphicsupply.com Cartridges and bulk inks; plus sublimation inks. D.Gen dgen.com D.gen textile inks. DGI dgi-net.com Solvent, light-solvent, and dye-sub inks.

DigiFab Systems digifab.com DigiDye textile inks, available in nine colors; bulk inks and cartridges.

Gerber Scientific Products gspinc.com GerberCat Cationic and Gerber UV inks.

Dilli Precision dilli.co.kr UV-curable inks.

Graphics One graphicsone.com GO EcoOne eco-solvent, PhotoProof, Xtreme dye-sub, FabInk TX fabric inks, and dMax Film Positive inks; plus, Graphics One is exclusive distributor for Sepiax water-based resin inks in the Americas.

DTG Inks dtginks.com DTG ink cartridges for Epson and AnaJet printers. DuPont Imaging Technologies dupont.com Artistri textile inks, in dye and pigment versions as well as Solar Brite for use on Invista SolarMax fabrics. Durst Image Technology durstus.com UV-curable inksets, including Rigid, Premium Rigid, Flexible, Paperboard, Roll, and others. EFI efi.com Vutek QS Series r UV inks, EFI/3M cobranded inks for 3M graphics media, UltraTex solvent dye-sub inks, more. Epson epson.com UltraChrome K3, UltraChrome HDR, and UltraChrome GS inks; Photographic Dye and Archival Pigment inks. FineInks.com fineinks.com Inks for DGI, EFI Vutek, OcĂŠ, others; also, textile inks. Flora Digital Printing floradigital.com Flora solvent, mild-solvent, and UVcurable inks.

Vutek QS Series Inks EFI

Fujifilm USA fujifilmusa.com Uvijet UV digital inks for Fujifilm, Inca, and Zund printers; plus Color+ solvent inks for various models.

UltraChrome GS Inks EPSON Hewlett-Packard hp.com HP Vivera and Vivid Photo inks; HP Scitex latex, solvent, and UV-curable inks, plus Specialty Billboard and Specialty Textile inks; also 3M HP specialty latex inks. Hilord Chemical hilord.com Dye-sub inks, as well as mild-solvent, solvent, oil-based inks, and UV-curable inks; Geo Inks (solvent, dye-sub) for Mimaki printers. (3P Inkjet Textiles has distribution rights to Hilordâ&#x20AC;&#x2122;s textile inks for selected printers.) Huntsman huntsman.com Novacron reactive inks, Lanaset acid inks; also, Vibra Terasil Brite direct dye-sub inks (distributed by Vistalogics). Image Specialists image-specialists.com Inks for Canon, Epson, Mimaki, Mutoh, Roland, others. www.bigpicture.net

inks

Uvijet UV Inks FUJIFILM USA

Independent Ink independentink.com Inks for HP Designjet models. Ink 2000 ink2000.com Wide-format bulk inks. Ink2image ink2image.com Ink2image Absolute inks for Canon, Epson, and HP; bulk-ink systems for various models; Lyson Cave Paint pigment and Fotonic XG archival dye inks (Ink2image is master distributor for Lyson photo products in North America). Inkjet Mall inkjetmall.com ConeColor inks for Epson printers; also Piezography and PiezoTone blackand-white and sepia inksets for fine-art and photo printing; Firefly Invisible inks that require UV light to be seen. InkTec America inktec-usa.com Wide-format aqueous inks, solvent, mild-solvent, and more. Its EcoSolvent Pro inks are distributed in the US by Supply55 (supply55.com). Inx Digital inxdigital.com Triangle brand True Solvent, Eco Solvent, Mild Solvent, UV-curable, and water-based inks for machines from a variety of printer manufacturers; also Mild Solvent Metallic inks and Textile inks. Triangle PDQ inks are mildsolvent pigmented inks for super30

THE BIG PICTURE NOVEMBER 2011

wide-format print systems utilizing Spectra, Xaar, and Ricoh printheads. EasyFill Pro bulk-ink system.

MIS Associates inksupply.com MIS bulk aqueous and dye-sub inks.

ITNH itnh.com ChromaZone water-based, solvent, UV-curable and dye-sub inks.

A. R. Monteith Corp. armonteith.com Monteith-brand inks for HP, Mimaki, Mutoh, Roland, Seiko, more.

Jetbest USA jetbestusa.com Jetbest eco-solvent inks; bulk-ink systems.

Mutoh mutoh.com Eco-Ultra mild-solvent and MP multipurpose eco-friendly/HAPS-free inks.

Lawson Screen & Digital Products goexpressjet.com Lawson pigmented water-based inks.

Nazdar Digital nazdar.com Lyson aqueous, dye-sub, solvent, mild-solvent, and UV-curable inks for various printers; also, photographic and fine-art inks. Nazdar’s new Lyson TX650 series is a digital water-based dye-sublimation ink for transfer applications.

LexJet lexjet.com LexJet aqueous (dye and pigmented) inks. Liquecolor liquecolor.com Liquecolor solvent and aqueous inks. LRI laserreproductions.com ColorRite dye-based inks. Marabu North America marabu-northamerica.com MaraJet solvent-based inks for various machines; UltraJet DUV-R UV-curable inks for rigid; TexaJet waterbased sublimation inks. MaraJet DI-MS and DI-JVP solvent inks for Mimaki printers have just been added to Marabu’s roster. Matan Digital Printers matanprinters.com Barak UV-curable pigmented inks. Mimaki mimakiusa.com Mimaki Solvent (including Eco-HS1, HS, ES3), Sublimation, Water-Based, and UV (flexible, hard) inks; Mimaki Bulk Ink System for solvent and dyesub; metallic silver.

Océ North America oceusa.com Inks for the company’s wide-format display graphics systems as well as its engineering printers. Pemla Ink Technologies pemla.com Aqueous inks include: Evolution (extended gamut available), Endurance (pigment, dye), EDI (pigment).

Scitex UV-Curable Inks HP Pitman pitman.com Duratex solvent inks. Prism Inks prisminks.com Aqueous, solvent, eco-solvent, UV, and textile inks.

RedGiant redgiantink.com Cartridge inks for Mimaki, Mutoh, HP, Epson, Roland, Seiko, more; bulk ink for Roland.

Sepiax Ink Technology sepiax.com Sepiax Aquares water-based resin inks. GraphicsOne is the US distributor for Sepiax.

Repeat-O-Type repeatotype.com Repeat-O-Type cartridges and bulk.

SIDSigns sidsigns.com Bulk-ink system for Mutoh and Roland.

Cave Paint Pigments INK2IMAGE Roland DGA rolanddga.com Eco-Sol Max mild-solvent inks, White and Metallic Silver Eco-Sol Max inks, Eco-UV inks, Heatwave SBL2 sublimation inks, Eco-Xtreme i and LT solvent inks, FPG aqueous pigment inks. Sawgrass Technologies sawgrassink.com SubliM dye-sub, SubliM Direct directprint dye-sub, and SubliM Direct SPS grand-format dye-sub inks. Also: M-TT water-based textile inks, MxF Digital Pigment inks for printing on nylon. Plus ArTainium UV+ sublimation inks for Epson printers, and NaturaLink direct-to-garment inks. Seiko Instruments USA seiko-i.com HAPS-free IX inks and low-solvent GX inks; mild solvent EGO-EX inks; low-odor/solvent EG-Outdoor EX inks and EG-Outdoor LX mild-solvent inks. Sensient Technologies Sensient ElvaJet, Subli, and Fluo dyesub inks. Distributed in the US by VistaLogics (vistalogics.com).

Aquares Resin Inks SEPIAX

Sign Warehouse signwarehouse.com PrismJet eco-solvent and aqueous inks.

3P Inkjet Textiles 3p-inktextiles.com Has distribution rights to Hilordâ&#x20AC;&#x2122;s textile inks for selected printers.

Solvent Cartridges solventcartridges.com Cartridges for a variety of machines; InkStream bulk-ink systems.

TW Graphics twgraphics.com Distributor of Manoukian-Argon Digistar HD1 sublimation inks.

Sun Chemical sunchemical.com Streamline water-based, oil, and solvent inks; Streamline ESL (ecosol light), Ultima, Optima, SCP, and Super Wide Format inks.

US Sublimation ussublimation.com US Sublimation LFP, ElvaJet, UV Max, and FloBrite fluorescent dye-sub inks; InkVillage DTX direct dye-sub inks.

TechInk techink.com Gold, Gold HS, and Platinum solvent inks; Gold Advantage, Platinum Advantage and Platinum SK mild solvents.

Aqueous Dye Inks LEXJET

Teckwin Teckwin-usa.com AuroraTeck UV-curable inks. 3M Commercial Graphics solutions.3m.com 3M Inkjet inks, in solvent, latex, and UV versions.

Van Son Holland vansonink.com Recently launched its new line of Premium Wide Format Inkjet inks for Epson, Mimaki, Mutoh, and Roland printers. OďŹ&#x20AC;ered in both cartridges and bulk packaging, the product line includes: Real Solvent inks; Eco Solvent inks; Pigment and Dye inks; Power Chrome Pigment inks; and Dye Sublimation inks. VistaLogics vistalogics.com Eco-solvent bulk inks; also exclusive US distributor of Sensient dye-sub and Lemantex pigment inks as well as Huntsman Vibra Brite direct dye-sub inks. Westar Systems westarsystems.com Super Light Fast, Vibrant Wide Format, Hard Surface Performance, Intense High Speed, and Fluorescent sublimation inks, plus Ultra Black WWF inks. www.bigpicture.net

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Epson Introduces Stylus Pro WT7900 Designer Edition Epson has introduced the Epson Stylus Pro WT7900 24in. Designer Edition, joining the other sizes available in the company’s Designer Edition line. The printer combines the previously introduced Epson Stylus Pro WT7900 with an EFI eXpress WT software RIP to deliver high-resolution packaging mock-ups for graphic-design firms and creative agencies. The Designer Edition features Epson UltraChrome HDR White ink technology (derived from a water-based resin particle, so it’s void of known carcinogens, Epson reports), Adobe Postscript interpreter, and an 11-cartridge inkset configured as CYOGc + Vivid Magenta, Vivid Light Magenta, photo black, White, and cleaning (2). It accommodates roll and sheet media up to 1.5-mm thick and prints both color and white ink directly onto clear or metallic media, as well as color-accurate comps, proofs, mockups, and prototypes. In addition, the printer’s software is designed to produce accurate spot colors with the included Pantone, DIC, HKS, and TOYO color libraries. Top resolution is 1400 x 1400 dpi; it can hit a speed of 27 minutes for a 20 x 24-in. proof. Price: $6995. EPSON epson.com

Avery Dennison’s Supreme Wrapping Film Avery Dennison has launched Supreme Wrapping Film, an opaque-fi lm product line that features the company’s East Apply RS technology and is designed to provide a paint-like finish. Available in a variety of finishes and textures including gloss, matte, and metallic; colors include orange, red, lime green, matte black, and eight metallic colors including gold, silver, and bright blue, among others. The fi lms are available in 60-inch widths and can be custom-color matched with a minimum order quantity. No lamination is needed, reports the company. Applications include vehicle wraps, point-of-purchase signage, and architectural installations. AVERY DENNISON averygraphics.com

THE BIG PICTURE NOVEMBER 2011

Palram Americas Offers DoubleFilm Option

Marabu MaraJet DI-JVP and DI-MS Solvent Inks

Palram Americas has announced Palight Premium foamed PVC sheets with a protective film-release liner on both sides of the product as an optional offering. The double-sided film offers added protection for both sides of the sheet to protect against surface abrasion during transit to the shop, the company reports. Available in 3- and 6-mm thicknesses as 4 x 8-ft sheets; custom sizes are also available. Palram continues to offer Palight Premium without film and with film on one side.

Marabu North America has added MaraJet DI-MS and MaraJet DI-JVP solvent inks for Mimaki JV33 and JV3 printers, respectively, to its MaraJet Digital Ink line. Similar to the companyâ&#x20AC;&#x2122;s MaraJet DI-LS products, the new solvent inks are true plug-and-print cartridges, designed to allow users to install without making any changes to their existing color profiles. In addition, the inks offer high-grade pigmentation and very wide color gamuts especially in the reds and yellows, Marabu reports. Available in CMYKcm, and in 440-mil cartridges or 1-liter bottles.

PALRAM AMERICAS

marabu-northamerica.com

MARABU NORTH AMERICA

palramamericas.com

ImageOne Debuts Clear Grommets ImageOne Impact has introduced Clear Grommets intended for use with banners, fabrics, clothes, banner stands, corrugated plastics, and foam board. Available in clear, white and black, the grommets have UV inhibitors for long-term outdoor use and can withstand harsh weather conditions. Clear Grommets are also recyclable. The Mano Grommet Hand Press comes with press, die for Clear Grommets, and 250 Clear Grommets. Dies and combo packs are available for SooperAce, Hiker , Fasnap, and Stimpson grommet presses. IMAGEONE IMPACT image1impact.com

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Xitron Proofing Solutions for Epson

Banner American Products has introduced the ValueLam 4500HC-4 Laminating/Mounting machine. The laminator features two additional pull rollers, in-line slitters, forced air cooling fans, and the capability of mounting items up to ½-in. thick and 45-in. wide. The ValueLam 4500HC-4 also oﬀers a pressure-sensitive adhesive liner rewind, 3-in. diameter silicone heated rollers, an additional rewind for the automatic roll-up of laminated prints, and a foot pedal. The laminator operates on a 120-volt 20-amp circuit (optional 220-volt electrical capability available).

Xitron has announced new color proofing solutions for Epson Stylus Pro 4900, 7890, and 9890 printers to complement the company’s Navigator Harlequin RIP and workflow. The Xitron Epson proofing solutions feature: • Direct support for Epson’s wide-format inkjet printers; • Ability to produce proofs with the same RIP that produces plates; • Extensive control over colors to produce high-quality proofs; • Gracol, SWOP, and Fogra profi les for use with Xitron X1 and Epson proofing papers; • Advanced screening specifically designed for Epson printers; • Optional RIP Once, Output Many (ROOM) Proofing; and • Seamless integration with Navigator workflow solutions and Navigator Proofing RIPs. The Epson proofing plug-in is an option for any Windows-based Navigator Harlequin RIP Workflow or Navigator Harlequin Proofing RIP version 8 and higher. North American users purchasing a Xitron Epson Proofing plug-in or RIP receive a starter roll of Xitron X1 TotalProof inkjet media.

BANNER AMERICAN PRODUCTS

XITRON

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Banner American’s ValueLam 4500HC-4

New Pro 5 and ACDSee 14 from ACDSee ACD Systems has announced two photo-editing and management products: ACDSee Pro 5 and ACDSee 14. Both products now include: customizable color labels, drawing tools, and new special effects (including Polaroid-like collages, Lomographic photo effects, and Orton softening effects). New features for ACDSee 14 include: new map view and geotagging support, a new metadata panel, and the ability to upload local files using Sync to Web folders. Price: $79.99. ACDSee Pro 5, for professional photographers, adds: Dodge and Burn, the traditional darkroom effect to digitally apply saturation and vibrancy; Split Toning, to selectively adjust the saturation of specific hues in shadows and highlights; Advanced sharpening tools, especially useful for raw-conversion workflow; and the ability to Remove Metadata, to ensure that images are “socially safe.” Price: $239.99. The company also has announced that its online photo sharing and storage site, acdseeonline.com, is now free. ACDSEE acdsee.com

THE BIG PICTURE NOVEMBER 2011

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graphics on the go <12 money from big companies and are responsible for ensuring that their sponsors receive maximum exposure. This is accomplished in two ways: the driver needs to win, and the graphics need to make that sponsor look like a million bucks. And these clients will pay you well to ensure their sponsors are shown in the best light. Delivering great work for a pro-race team, though, is easier said than done. You are guaranteed less than normal turnaround time because “the graphics guy can wait for the car testing to be done.” Let’s face it, the motor and suspension get more priority than the “stickers.” Along with the tight deadline, you also will be dealing with a sophisticated agency that has been tasked with the responsibility to make sure you don’t screw up the graphics. The agency or corporate brand manager will require perfect color samples and detailed, professional proofs. I recommend you demand hard signatures for all of the proofs from the client – these jobs are too expensive to do twice. Adding to the pressure is the task of accommodating the vehicle haulers, which also often need to be wrapped. Keep in mind that when a race team garners a new sponsor, that sponsor must appear on the hauler, the “pit box,” the chase vehicles, the support vehicles, and so on. The haulers are troublesome because they’re very tall, very long, and very low, and can be diﬃcult to fit in your shop. Another challenge: the templates. These are not as cut and dried as, say, a new Ford F150 template. They’ll require you to have specific knowledge of the racecar and, again, the hauler, pit box, show body, and even the pre-runner or support vehicles.

Aiming for perfection Have you ever noticed how a pro-race mechanic keeps his tools? They are perfect. They are clean. They are organized. And this level of perfection is exactly what your pro-race team client will be looking for in your fi nished product as well. These are beyond high-profi le vehicles. Think of these vehicles as celebrities about to host the Grammy Awards. They must look top notch. That means no banding, no color shifting between tiles, extremely high resolution, deep rich blacks, no wrinkles, and no bubbles or lifting. And they must be finished oﬀ with a beautiful high gloss. After you believe you’ve achieved perfection, don’t neglect to go back over the job again – inspecting every rivet and every seam, and removing every fingerprint and grease-pencil mark. The drivers got here by hard work – show them the respect they deserve and do whatever you can to serve their agenda. This is why we work so hard. We have taken queues from these dedicated teams and try to emulate their attention to detail in our operation. They pay well. They force you to tighten your game, and, man, do they look good in your portfolio. 36

THE BIG PICTURE NOVEMBER 2011

inside output <13 normally run this?” “What profi le do you use for this media?” “How long does it normally take?” “Have you done this with someone else or on your own?” The final variable is: Did the manager require the person to check back when the task was completed? Checking back is critical. This gives the manager an opportunity to check the work. It gives them an opportunity to give praise and or constructive feedback. It brings immediacy to the process and closure to that interaction. It can become a data point that can determine if an employee is going to be in line for additional responsibilities, promotions, and raises – or whether the company needs to find someone to fi ll that position in the future.

Authoritarian vs. authoritative In addition, I graded the instructor on whether he or she achieved compliance by demanding, telling, or asking. I believe the best leaders can get things done and done right most of the time by simply asking. It’s the diﬀerence between, “Go get the clothes out of the dryer,” and “Would you get the clothes out of the dryer?” Subtle, but significant. It’s the diﬀerence between someone who is authoritarian versus authoritative. Giving an order falls into the realm of demanding people do what they are told and telling people what to do. They must follow your orders because you are the boss or the general. But an authoritarian leader is less apt to get the best out of his or her employees – because they are more likely to do only what they have to rather than what they are capable of. Nor do orders engender loyalty and respect; just fear. An authoritative leader, however, works to earn respect and, as a result, people comply with what they are asked to do. The way the respect is earned is by demonstrating they have good reasons for everything so the requests are not arbitrary. These leaders are willing to take the time to explain, they notice what people do, and they praise when appropriate and give constructive feedback that is both fair and accurate.

An instructor’s responsibility You might think that all these steps are fine for parents with their kids or teaching interventions addressing people with problems. But, you could argue, “We’re dealing with professional adults who are paid to do what they are told.” Which is just what I thought when I switched careers. At first, I didn’t use these methods as much as I should have. Today, however, I find myself relying on them more everyday. My company has excellent employees who are gifted with many skills. But if I become cavalier about telling people what to do and assume they simply somehow know what I’m talking about, it plays to the worst and not the best of our people. After all, it’s my responsibility to provide quality instructions.

display trends

MORE DISPLAY OPTIONS Three-Dimensions in a Snap:

The Xpressions Snap! is a three-dimensional pop-up display that’s available in 12 standard frame configurations. Portable, lightweight, and designed to set up quickly, the Xpressions Snap! can be arranged as 1 x 3, 3 x 3, and 4 x 4 graphic squares, as well as 3-quad pyramid designs and more. Graphics are integrated within the frame’s squares, and can be attached as flat, twisted, “threaded,” or “diamonded,” as well as horizontal or vertical, to give the display its three-dimensional feel. XPRESSIONS SNAP xpressions-snap.com

Dancing on the Ceiling:

Marc Bric’s Flexiframe Ceiling Mounted Display can be used to create overhead displays, either in square, rectangular, or triangular shape. Side openings on the frames allow for easy graphics insertion and changes. C-hooks, chain, and grid clips provide a ready solution for attaching to drop ceilings. Available in five colors: white, red, blue, black, and gray metallic. MARK BRIC markbricdisplay.com

Atop-the-Counter Graphics:

Countertop Framegraphix by Testrite is a box frame with 3∕16-inch recessed graphic seats on two sides. The all-metal unit is available in horizontal or vertical orientation; satin silver or matte black; and sizes ranging from 11 x 14 to 24 x 26 inches (custom sizes are also available). For styrene or photo paper graphics, two-sided removable tape is recommended; for fabric, Testrite recommends Velcro Hook Loop. TESTRITE testrite.com

A Digital Display Solution:

Caldera’s Variable Display is a mini-PC appliance designed to drive any type of electronic display or projector, and it works from any type of platform (Win, Mac, Linux) as well as some mobile devices (iPhone, iPad, Android). Working in conjunction with the company’s Variable Display Manager Software or Mobile Software, the unit features electronic display management, advanced scheduling, multi-site capabilities, real-time monitoring, and more; it can read all common digital display formats, including those for images, creative media (Flash), videos, and streams. CALDERA variabledisplay.com

Taking a Stand:

The MultiMount standoff system from Pizazz International is designed to make mounting panels on walls and other vertical surfaces easier, faster, and safer. Each MultiMount is a three-part system, allowing for removal of just the front panel and graphic image when a changeout is necessary. They’re available in a range of materials – including aluminum, brass, resin, and hybrids – and in five standard sizes; in various colors.

<27 Great Wall of Graphics The Expand MediaWall provides a pop-up curved mural wall to enhance the visibility of graphics. Available in widths from 49 to 159 inches and in a 91-inch height, it features end-panel caps for a clean, finished look and can be backlit with a Duratrans-type graphic in conjunction with the company’s RoloLight Booth Integration system. Graphics can be changed out when needed; recommended thickness for the graphics is 20 to 25 mil. EXPAND MEDIA expandmedia.com

The Skinny on Framing ThinLine Frames from Rose Displays are engineered with a concealed spring that creates the illusion that the graphic blends seamlessly with the frame rail. The thin rails are just ¾-inch wide with the frame sitting ½-inch of oﬀ the wall. Custom-cut to exact specifications, ThinLines are available in sizes from 8.5 x 8.5- to 48 x 96-inches. The frame system can be purchased with pre-drilled holes for mounting directly to the wall. Stock finishes include black and clear anodized aluminum with matching corner blocks; custom colors are also available. ThinLines work best with rigid or semi-rigid substrates up to ½-inch thick. ROSE DISPLAY rosedisplays.com

PIZAZZ INTERNATIONAL pizazzmultimounts.com

Three-In-One Display:

Bowman’s Scrolling Light-Up Display shows several backlit images in one versatile display with a rightto-left scrolling motion. The light-up display features three different images in sequential rotation, allowing each message eight seconds of viewing time. The displays can be used as a counter display or wall mount with ceiling, pedestal, or pole mount options available; interior use only. Dimensions available include: 23 x 23 x 6; 63 x 23 x 19; and 38 x 14 x 19 feet. BOWMAN bowmandisplays.com

www.bigpicture.net

Statement of Ownership, Management and Circulation 1. Publication Title: The Big Picture 2. Publication Number: 1082-9660 3. Filing Date: September 23, 2011 4. Issue Frequency: Monthly. 5. Number of issues published annually: 12 6. Annual subscription price: $42.00 7. Complete mailing address of known office of publication: ST Media Group Intl., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812 8. Complete mailing address of the headquarters or general business offices of the publishers: ST Media Group Intl., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812. 9. Full names and complete addresses of publisher and editor: Steve Duccilli, Group Publisher; Gregory Sharpless, Editor/Associate Publisher; ST Media Group Intl., 11262 Cornell Park Dr., Cincinnati, OH 45242-1812 10. Owner: ST Media Group Intl., 11262 Cornell Park Dr., Cincinnati, OH 45242; Dave R. Swormstedt, Jr., Jerry R. Swormstedt, Edwin M. Ahrens, M.D., Richard E. Ahrens, Tedd R. Swormstedt, Tod Swormstedt, Wade G. Swormstedt, Cindy Swormstedt 11. Known bondholders, mortgages, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other securities: None 12. The purpose, function, and nonprofit status of this organization and the exempt status for federal income tax purposes: Has not changed during the preceding 12 months. 13. Publication title: The Big Picture 14. Issue date for circulation data below: September 2011 15. Extent and nature of circulation: Average No. No. Copies of Copies Each Single Issue Issue During Published Preceding Nearest to 12 Months Filing Date A. Total no. copies 21,948 21,719 B. Legitimate Paid and/or Requested Distribution 1. Individual Paid/Requested Mail 20,701 19,969 Subscriptions Stated on PS Form 3541 2. Copies Requested by Employers 0 0 for Distribution to Employees by Name or Position Stated on PS Form 3541 3. Sales through Dealers and Carriers, 49 31 Street Vendors, Counter Sales, and Other Paid or Requested Distribution Outside USPS. 4. Requested Copies Distributed by 0 0 Other Mail Classes Through the USPS C. Total Paid and/or 20,750 20,000 Requested Circulation D. Nonrequested Distribution (by mail and outside the mail) 1. Outside County Nonrequested 566 509 Copies Stated on PS Form 3541 2. In County Nonrequested Copies 0 0 Stated on PS Form 3541 3. Nonrequested Copies distributed 0 0 through the USPS by other classes of mail 4. Nonrequested Copies distributed 238 548 outside the mail E. Total Nonrequested Distribution 804 1,057 F. Total Distribution 21,554 21,057 G. Copies Not Distributed 394 662 H. Total 21,948 21,719 I. Percent Paid and/or Requested Circulation 96% 95% 16. Publication of statement of ownership for a Requester Publication is required and will be printed in the November 2011 issue of this publication. 17. I certify that all information furnished is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subjected to criminal sanctions (including crimes and imprisonment) and/or civil sanctions. Christine Baloga, Audience Development Director, September 23, 2011

Graph Expo 2011 <17 for applications where extreme temperature, tear resistance, and UV durability are required. Based on a mix of polypropylene and inorganic fillers, Hop-Syn TO can withstand temperatures from -60 F up to 220 F without distortion, the company reports. It features a smooth matte finish and additional whitening agents to achieve a 99% opacity. The paper is printable by: UV inkjet, offset, screen, and flexo printing; it can be sewn or grommeted. Available in 8- to 10-mil thickness and in various sizes.

ProPhoto Paper from Mohawk Mohawk (mohawkpaperstore.com) announced ProPhoto for HP Indigo presses, a semi-gloss luster finish paper intended to emulate real photographic paper. Designed for posters, photo books, calendars, brochures, yearbooks, and marketing collateral. Printable on both sides. Available in 190 and 260 gsm in 18.5 x 12.5-in. sheets.

Eizo’s ColorEdge CG275W Monitor Eizo Nanao Technologies (eizo.com) announced the ColorEdge CG275W, a 27-inch LCD monitor for prepress, digital photography, graphic design, video editing, post production, and other graphics professionals. The CG275W features an IPS (inplane switching) LCD panel with a native resolution of 2560 x 1440 (16:9 aspect ratio), and reproduces 97% of the Adobe RGB color space. Maximum brightness is 270 cd/m², and a contrast ratio of 850:1 and viewing angles are 178°.

ad index

November 2011

Agfa Graphics

26, 27

www.agfa.com Alpina Manufacturing

35 35

3, 35

Mimaki USA Inc.

IFC

www.mimakiusa.com 11

www.bigpicture.net

Mutoh America

www.mutoh.com

Bordeaux Digital Print Ink Ltd.OBC www.c-m-y-k.com EFI

LexJet www.lexjet.com

www.auroratextile.com bpic.net

www.triangleinx.com

www.bannergrip.com Aurora Specialty Textiles

Inx Digital

Seiko Instruments USA

IBC

www.seiko-i.com 5

www.efi.com

ST Book Division

www.bookstore.stmediagroup.com

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job log

Bronco Epic Unveiling “Because artists can be pretty persnickety about their work, we thought this would be the case with this job. But, because of the time constraints, there really was no time to go back and forth with changes.”

THE BIG PICTURE NOVEMBER 2011

The Client Western Michigan University The Player Revere La Noue (mascotgallery.com), Britten Banners (brittenbanners.com) Tools & Supplies HP Scitex XL1500, Ultraflex UltraMesh, Epson 1000XL scanner The Job Artist Revere La Noue has dedicated the last three years to producing fine-art prints depicting some of the nation’s most prominent collegiate mascots. In conjunction with the Grand Rapids, Michigan ArtPrize competition, Western Michigan University (WMU) invited La Noue to use its Graduate Development building as his canvas. La Noue chose to portray WMU’s mascot, the Bronco, in large-scale. Using acrylics, watercolors, charcoals, and pencils on paper, La Noue created several original works of art, then digitized these with an Epson 1000XL scanner. In Photoshop, he pulled the images together to create one cohesive artwork. With the art finalized, WMU contacted its long-time print provider, Britten Banners of Traverse City, Michigan, for output. Production The combined after-eﬀects of Hurricane Irene and an earthquake in late August prohibited anyone from scaling the WMU facility for measurement, so initial fi les were based only on estimated building dimensions. La Noue supplied Britten Banners with a 32-dpi art fi le and the shop used Photoshop to up-res the image. Britten then printed and shipped a 7 x 12-foot proof to La Noue for approval: “I hung it on my house and it was then that I realized I had to adjust my artwork so that the brushstrokes could be seen.” Three days before deadline, however, La Noue also discovered that the estimated building dimensions were actually oﬀ by 1600 square feet. But, he was able to drastically manipulate his artwork to solve the issue. Britten then took to its HP Scitex XL1500 with Onyx RIP, outputting the artwork onto Ultraflex UltraMesh. Finishing and install of the 41 x 160-foot mural involved sewing as well as Britten utilizing its own BannerBar as the infrastructure to hold the banner from top and bottom. “We also had to build out the corner of the building to create a 90-degree angle,” says Britten’s Kaitlyn Burns. Bronco Epic debuted in front of an audience of more than 200 during the ArtPrize gala.

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