Industry Events

Frank Romano, Professor Emeritus at the Rochester Institute of Technology and well-known printing pundit based on more than 40 years of industry analysis, on December 2 provided a keynote speech at the Digital Imaging Association’s annual holiday luncheon, held on Toronto’s waterfront at The Boulevard Club. The title of Romano’s DIA keynote, Digital Printing, From Good Enough to Nanography, describes one of the most-pressing issues facing printers as they prepare to make investment decisions around the commercial-printing possibilities of inkjet technologies.

Romano spent an hour providing the crowd of some 100 people with his insights on the evolution of printing technologies, beginning with his take on the industry’s historical transitions into offset, toner and wide-format inkjet. The last 20 minutes of his speech then focused on both the opportunities and challenges facing further adoption of digital printing, with an emphasis on production-strength inkjet printing, ending with his perspective on Landa Digital’s Nanography-branded presses.

Discussing the challenges facing further adoption of digital-printing technologies, particularly inkjet, Romano points to three primary issues. First, he explains, is the continuing, misguided marketing of technology developers that promote digital-printing growth via page volume. “The way they measure the output from these machines is page impressions. If you reduce everything to just a page, you have denigrated it – you have insulted it – because a page has no value,” says Romano. “When the page is in a brochure it has value. When a page is in a book it has value… They are not pages, they are parts of a product and that product has value. And if we keep making that a page, we reduce the value in the product and that is an issue.”

The second primary obstacle to digital-printing growth, according to Romano, is the absurd number of sheet sizes needed to accommodate unique imaging formats on most every single digital press – both historic installations and new systems coming to market. “Let’s get rid of all of these stupid sizes. We cannot deal with every different sheet size you can imagine,” says Romano. “I’m sorry, the paper companies are not going to support you – they can’t anymore. They do not have the resources. They do not even have the warehouse space.”

Romano then walked the crowd through a third significant challenge facing the further adoption of digital and inkjet presses: “The problem is that the majority of these machines are CMYK and yet we all know that we have to handle brand colours – Pantone colours… That is one of the reasons why Indigo sells so well. HP has done a very good job because of the fact that you can match almost every Pantone colour, every brand colour. That is why they are so dominant in the label market.”

Romano continues to explain flexography remains so vital in the packaging world because of the ability to invest in 6, 8, 10-unit presses on which just about any brand colour can be dropped into the machine. He notes, however, that inkjet presses today can print on just about any polymer or plastic. “It is just a matter of time, but the problem is without the brand colours they are not going to get into the packaging market… And, by the way, telling me you can do 80 percent of the Pantone colours with CMYK does not hit it. Sorry, but that is not an argument.”

After visiting drupa 2016, Romano notes the incredible range of production inkjet systems entering the market and their ability to print on most any substrate. He uses the growth in wide-format inkjet as an example of this ever-expanding application range, primarily leveraging mature UV technologies. "The next generation is going to print on new kinds of substrates. It is going to go way beyond paper... The home decor market, make the pattern of your sofa match your wall paper, if you so desire. Make your windows look like Tiffany glass. You can do that now very easily with wide-format inkjet."

Romano envisions a strong future in the use of UV inking on production-strength systems, particularly with water-based UV inkjet technologies as opposed to oil-based UV. “I think the next big movement has to be water-based UV,” he says. “UV is really a key system because it can print on almost anything. It is impervious to the weather. That is going to be a key technology.”

The use of water-based inking systems ties directly into the potential of Landa Digital’s Nanography-branded printing systems, which Romano does not view as standard inkjet presses, despite their use of print heads, because they jet liquid toner. Landa’s unique consumable is water based and evaporates in the imaging process to provide vibrant colours with a very low ink coating relative to existing inkjet systems.

“A lot is going to change when Landa actually starts shipping… When that machine comes out there are several things about it that are unique,” says Romano. “You look at what [Benny Landa] is doing with that ink, it is going to change the world. The question is, will he make the machine affordable.”

Without singling out Landa Digital, Romano continues to point to the challenge printers face given the high costs of production inkjet systems in the market today. “The thing that bothers me more than anything else is that we are a capital-intensive business and these machines are not cheap anymore,” he says. “[Technology suppliers] figure we all have money and yet that is one of my issues – we don’t. If you could get the machine at a reasonable price, we could then build a business and buy more machines, and buy more consumables… But right now I think they have priced them a little bit too high.”

Printers and technology suppliers from across Canada gathered in Toronto on November 10, at the Palais Royale, to celebrate their industry at the 11th Canadian Printing Awards Gala, hosted by PrintAction magazine. A total of 87 awards were presented to leaders of Canadian printing in front of more than 200 attendees.

The following sponsors were critical in the success of the 2016 Canadian Printing Awards, including: Platinum sponsor, Veritiv; Gold sponsors, Canon, HP, Huber Group, KBA, Kodak, Manroland Sheetfed and Sun Chemical; and Silver sponsors Domtar, Fujifilm, Heidelberg and Spicers.

The 2016 awards program will be detailed in the January 2016 issue of PrintAction. Follow this link for more information about the gala held last week and a complete list of award winners. Photos by Paul Hillier, www.paulhillier.com.
More than 200 industry leaders, students and family members on November 9 attended the annual awards night to celebrate the achievement of dozens of students in Ryerson University’s School of Graphic Communications Management. The ceremony, which highlighted the program’s close ties to the Canadian printing industry, was held in the Sears Atrium of the George Vari Engineering Building.

Ryerson Graphic Communications Management (GCM) students Jim Poopalapillai and Melissa Williams hosted the evening, which began with an address from the Chair of the school, Ian Baitz, who noted the program’s growth – with around 180 new students enrolled this year – and its important relationship with industry.

In addition to several awards donated by a range companies, GCM students were acknowledged for their achievements through the Canada Printing Industry Scholarship Trust Fund, which provided $59,000 to students across Canada this year – a majority of which are studying at Ryerson. (Photos provided by Ryerson student Andrew Ouzounis.)
The foursome from Hanna Paper Fibres won the recent Toronto Craftsmen’s annual golf tournament at the Royal Woodbine Golf Club. The main objective of the golf tournament, along with other Toronto Craftsmen events, is to generate funds for the organization’s annual scholarship awards.

In April of this year, a group of secondary and post-secondary students were honoured with scholarships for their achievements in industry-related programs and the annual Toronto Craftsmen Graphic Challenge Competition.

Bill Kidd, President of the Toronto Craftsmen, explains 54 submissions from eight educational programs were entered into this year’s Graphic Challenge, which has grown since its inception six years ago when 15 students submitted work from four institutions. The Craftsmen scholarship program has been running for 41 years and is now called the Tai Chi Awards in honour of a promising student who passed away shortly after graduating from Ryerson University’s Graphic Communications Management program.
From September 23 to 25, sign and printing industry professionals gathered at The International Centre in Mississauga, Ontario, to attend the 2016 version of Sign Expo Canada. The annual trade show is produced by Sign Association of Canada and allows printing companies to see some of the newest large format technologies available in the market, along with a range of substrates and key trends like car wrapping. The trade show also provides a range of digital-only signage applications, along with workflow and a range of related trade services.

The 10 top non-tech highlights of drupa 2016, which has always been much more than a product exhibition

drupa, the world’s biggest and most important trade show for print and media, has operated in Düsseldorf , Germany, since 1951. Results from its latest installment, held over 10 days from 31 May to 10 June 2016, confirm the show’s continued commercial viability: Out of 260,000 visitors from 188 countries, 54 percent came with concrete plans to invest, 29 percent placed orders at the show, 30 percent plan to place orders afterwards, and fully 60 percent found new suppliers from among the show’s 1,837 exhibitors from 64 countries. Aside from the trade show’s commercial success, in its 65 years of existence, drupa has also evolved a distinctive culture and traditions which are highlighted in this article, along with some uncommon events at this year’s show.

#1 Small d
drupa’s predecessor, another German exhibition called BUGRA, was held in Leipzig from 1914 until 1949, when Germany was partitioned, Leipzig became part of East Germany, and Düsseldorf  was chosen to host a new show called Internationale Messe Druck und Papier. This title was shortened first to Druck und Papier, then to DRUPA. The show premiered in 1951, when letterpress still dominated the industry. Later, in 1997, the format of the name was changed to drupa in keeping with the contemporary trend of using lowercase letters for brand names. To this day drupa still begins with a small letter d.

#2 drupacity
Because Düsseldorf is famous for its lively modern art and cultural scene, drupa organizers Messe Düsseldorf work in partnership with Destination Düsseldorf, the local tourist authority, to organize an array of drupa-themed educational, cultural, and recreational attractions in which not only international visitors but also Düsseldorf  residents can participate during drupa. This year’s offerings included:

• Welcoming teams of “drupauls” and “drupaulas”, multilingual guides dressed all in red, stationed at strategic locations,
• “Wolfgang”: a Berlin-style double-decker bus converted by the GoetheLab at the nearby Technical University of Aachen into a mobile, hands-on, 8-station 3D-printing laboratory,
• 3D-printing demonstrations in shopping malls and department stores, plus a drawing contest in which winners receives the subject of their drawing as a 3D object,
• Another contest to win one of 100 3D-printed portraits,
• Mr. Lo’s Papershow, a revival of an old-time variety act involving paper tearing,
• A fashion collection made entirely of paper by students of the Mediadesign Hochschule, and
• Other printing-themed art and photography exhibitions and lectures

#3 Safety first
The international media gave drupa 2016 unexpected attention because of two potential security threats that were both efficiently averted by local authorities. The first occurred on June 2nd, when German police arrested three Syrian nationals suspected of planning a mass-casualty attack on a busy downtown area of Düsseldorf on behalf of the terrorist organization ISIS. The men had arrived in Germany with the largely unregulated flood of migrants who have entered the country over the past two years.

The arrest was prompted by information obtained from a fourth Syrian man who was arrested in Paris after giving himself up to authorities in February and confessing to the plot. It took German investigators four more months to accumulate enough evidence against the other three men to arrest them.  No evidence suggests that the suspects had begun implementing their attack plans which allegedly involved aiming suicide bombings, guns, and explosives at crowds frequenting Heinrich-Heine-Allee, a main street with major public transport links and numerous bars and cafés that are popular with residents and partying tourists.

A second potential security threat occurred shortly after noon on June 7th, when a large fire broke out on the grounds of Düsseldorf ’s Exhibition Centre in hall 18, a former exhibition space recently used to house migrants. While officially the building housed 160 people, fire crews reportedly evacuated more than 250, who were subsequently moved to other accommodations. It took more than 70 firefighters to control the blaze that completely destroyed hall 18 and alarmed many nearby drupa attendees with its kilometre-high cloud of black smoke. However, drupa was unharmed by the blaze. Local news outlets reported that two migrants were arrested and up to six questioned in connection with the fire.

#4 Historical printing
Among drupa’s wonders of modern technology, the Leipzig Museum of the Printing Arts showcased some of its extensive collection of historical printing equipment and products. Its show exhibits included a letterpress machine by Koenig & Bauer (1984), a linotype machine (1965), and a toggle press (1872).

Begun as a private collection, the museum now houses about 100 working machines representing the three most important historical printing techniques-letterpress, intaglio, and planographic printing – as well as a working type foundry, 4,000 different lead and wooden typefaces, a fully equipped handcrafted book bindery, a wood engraver’s workshop (ca. 1900), music printing techniques, and a reference library of 3,500 specialist books.

#5 Celebrity legends and model presses
Another way in which drupa culture exhibits a reverence for history is in recurring celebrations by and for people with a longstanding presence at the show. One case in point is Indigo and Landa Digital Printing founder Benny Landa, who celebrated his 70th birthday with a party for over 500 guests on the night of Day 3. For the occasion, Landa chartered two planes to fly in all his employees from Israel who were not already working at drupa. Celebration highlights included viewing a “this is your life” video by Landa’s staff, outlining his childhood in Canada and his achievements of launching Indigo, Landa, and the nanographic technology his company builds today. Among Landa’s family, Landa’s wife Patsy, and the senior industry executives who paid Landa tribute was his former colleague from Indigo, Alon Bar Shany, now the general manager of HP’s Indigo division. While presenting Landa with a working tabletop model of the original Indigo E-Print digital press, PrintWeek quotes Bar Shany as saying: “Without Benny there would be no digital printing industry and no drupa because it would have died a long time ago if it had just been about offset.”

Another drupa party celebrated the 90th birthday of Russian print engineer and media designer Vladimir Alexandrovitch Tiefenbach, hailed by drupa as a living legend for having visited every single one of the 16 drupas held since 1951. The birthday cake drupa presented to him was topped with a model antique press.

A third example of a drupa industry legend is Rochester Institute of Technology professor emeritus and printing industry expert Frank Romano who described his own status:  “I am now a veteran journalist. There are five of us, from US, UK, India, Italy, Germany, who have covered nine drupas or more. Number 1 had 14 drupas, I had 11, and the others had 9.”

#6 Social media smarts
In recognition of the growing prominence of social media as communication tools, drupa erected a social media booth at the north entrance of the fairgrounds, with seating and screens showing updated Twitter feeds and live video of interviews and demonstrations. Also at the booth, in exchange for a tweet including the hashtag #drupa2016, visitors and exhibitors were awarded an apple decorated with an edible impression of the same hashtag. Additionally, during the show drupa posted news updates to its own blog, as well as Twitter, Facebook, LinkedIn, and Xing accounts.

#7 Klaus
In an e-mail James Matthews-Paul of Output Magazine (U.K.) describes another of drupa 2016’s initiatives to encourage mentions on social media: “Each day, the @drupa social media and PR team determined the ‘best contributor’ on Twitter via some combination of volume, relevance, and effort and awarded them a trophy. The first winner was [American] Deborah Corn of Print Media Centr, who collaborated with HP on #PWPPartners for PageWide. As the inaugural recipient (and mad as a box of frogs), she anthropomorphised the trophy by giving it the name Klaus.

“Klaus was awarded at 4.30 pm every day. Companies then enjoyed the pleasure of ‘his’ company during the next day. I won on Day 7 and carried Klaus for |day 8. I took him on a trip to every one of drupa’s 19 gigantic halls! (It was generally agreed that nobody would be able to top that.)”

Corn comments by e-mail: “#Klaus became a celebrity at drupa and had many adventures with everyone who won him. The @drupa social media and PR team were instrumental in helping create and generate #Klaus buzz. By the end of drupa, #Klaus was the third most used hashtag included with #drupa2016 (according to stats from hashtracking.com).”

Corn says until the next drupa Klaus will reside in the office of Sabine Geldermann, director of drupa, who took time out of her day to come to the #Klaus winners gathering and farewell to #Klaus on June 9th. Corn writes: “This all may seem a bit silly, but ultimately #Klaus brought together all the exhibitors in a way I have never seem before at any other event. #Klaus was the catalyst for common ground and common experience and fun because it wasn’t linked to any products and services. He really helped us to form a global social community around #drupa2016 whether people were present physically or not.”

#8 drupa theme song
Since 1986, each drupa has had its own theme song, which is played throughout the exhibition halls every morning at opening time. Historically, the songs have varied in styles ranging from country to power ballad to techno dance. The latest 2016 version, called “drupa is in town again”, is composed and played by Düsseldorf  songwriter/pianist/music professor Dieter Falk and performed by South African soul singer Bonita Niessen. At least the last two drupa songs are available for playback on drupa’s Website. Fujifilm’s Mark Stephenson has also created a Facebook page, The Cult of drupa Songs (www.facebook.com/drupasongs) in recognition of the show’s musical tradition.

#9 drupa food
Besides the #drupa2016 apples mentioned above and the fine cuisine of Düsseldorf  and Germany in general, drupa offered attendees a selection of special show-themed foods.  This year’s delicacies included druPRINTen, cookies modeled on the traditional imprinted spice biscuits called printen which originated in Aachen. The updated version of this gingerbread-like sweet, created for drupa by the local baker’s guild, featured place logos for decoration and was handed out gratis at a venues including the airport, hotels, and 100 bakeries. Other gastronomic attractions included “drupabases” serving daily tastings, welcome cocktails, or such free snacks as Altbier ice cream, made from Düsseldorf ’s own unique variety of beer, as well as restaurant vouchers and discounts for drupa attendees.

#10 Four-year cycle
In February 2015, drupa announced its organizing committee’s decision to hold the trade show every three years after 2016 (instead of every four years) in order to update visitors on new technology more frequently. Visitors said they preferred the shorter cycle. The change also offered the extra advantage of reducing stress on drupa’s exhibitors who specialize in package printing, since it meant that drupa would not run in 2020, the year scheduled for the leading packaging and process-industry trade show interpack.  

Historically, in 2012 the committee vetoed a similar proposal to change drupa to a three-year cycle after receiving significant objections from drupa’s major exhibitors. And as it turned out this year, once again, in response to the demands of exhibitors at drupa 2016, the committee opted to stick with its four-year cycle in the interest of drupa’s customers and international markets. The next drupa has been scheduled from June 23 to July 3, 2020.


Insource Corp. yesterday hosted two seminars in downtown Toronto focused on the new RISO ComColor FW5230 inkjet printing system, introduced six weeks ago at drupa 2016. The seminars were led by Andre D'Urbano, RISO’s National Sales Manager for Canada, who described the unique positions of the FW5230 and RISO’s existing ComColor X1 Series.

The FW5230 – a fifth genertaion inkjet system from RISO – is aimed at corporate offices where some departments incur heavy print volumes, but it is also suitable for traditional printing facilities like in-plant graphics departments based on its 120-pages per minute printing speed in full colour. The highest-end X1 system hits speeds of up to 150 ppm in full colour. The ComColor FW series, running oil-based pigments in a line-type inkjet system, has a Standard Print resolution of 300 x 300 dpi and a Fine Print mode of 600 x 600 dpi. RISO explains key features of the FW5230 include a new LCD panel (with colour, tilt, and customization), small footprint, embedded RIP, and low-cost printing.

In addition to installations where ComColor devices serve as primary production systems, D'Urbano explains several printers with larger web-bed inkjet machines (costing more than $1 million) are purchasing the ComColor to print short-run or reprint work. Larger web-fed inkjet devices typically require a few hundred feet of paper waste before reaching sellable print quality. D'Urbano noted, even as most toner-equipment manufacturers are now deeply invested in developing inkjet technologies, RISO remains as one of the only large vendors to supply a low-investment cutsheet inkjet engine. At drupa 2016, he explains only a few vendors showcased cutsheet inkjet systems costing just under  $1 million, whereas the RISO systems are priced well under $100,000, typically between $30,000 and $90,000 depending on configuration.

D'Urbano then discussed the advantages of cutsheet inkjet over toner systems, primarily focusing on the lower-cost per page of inkjet (two to three cents, compared to five to six cents for toner), which immediately provides inkjet with a strong Return on Investment position. The RISO systems, as opposed to the traditional click-charge toner model, are also purchased based on a 1/2-cent service contract with equipment users responsbile for buying inks.

During the seminar, D'Urbano also highlighted the no-heat advantages of inkjet printing relative to toner, which traditionally needs to fuse its toner images to paper at around 350 degrees Fahrenheit. The no-heat process of inkjet, D'Urbano explains, provides not only significant uptime benefits, but also an ability to work with a greater range of applications from envelopes to Tyvek materials, because there is no curling of materials from added heat. The FW series, for example, can print 100 fully variable colour Tyvek wristbands, which is growing application for school and promotional events, for a cost of around 15 cents each.

D'Urbano also referenced a range of Energy Star statics indicating, for example, toner-based photocopiers account for 10 percent of all office equipment electricity demand. Again, without a need for heat for the fundamental printing process, the RISO FW inkjet systems run on a regular 110 volt system drawing just 15 amps of power.

D'Urbano also referenced a range of InfoTrend studies about the growth of inkjet printing, including findings that colour inkjet devices accounted for more than one third of all digital colour pages in 2014. According to InfoTrend’s 2013-108 Global Production Printing & Copying Market Forecast, U.S. and Western European digital production colour volumes totaled around 265-billion impressions in 2013 and will surpass 500-billion by 2018.

In addition to its RISO distribution agreement, Insource is a Canadian sales and service agent for Kirk Rudy, Winkler-Dunnebier, KAS Paper Systems, Petratto, SCS Automaberg, Astro, Therm-O-Type and Profold technologies.

More than 100 people attended PrintAction’s PrintForum conference held on Wednesday at the Mississauga Convention Centre, featuring four sessions and exhibitors Canon Canada (event sponsor), Delphax, Domtar, Grand Valley Direct, IMAC, Insource, PDS, Sydney Stone and Veritiv.

Following a session by PrintAction Editor Jon Robinson, Martin Habekost, Associate Chair of Ryerson’s Graphic Communications Management program, spent an hour discussing both digital- and conventional-printing trends at drupa. Habekost began his session, called Is It All Digital Now?, describing the highly positive atmosphere at drupa, which featured 1,837 exhibitors from 54 countries, 260,000 visitors from 188 countries (slightly down from 2012), and 1,900 journalists from 74 countries.

Gleaning statistics from drupa organizer, Messe Dusseldorf, Habekost noted some interesting post-drupa numbers from surveyed visitors, including: 29 percent placed orders during drupa, 30 percent are planning to place their orders after drupa, and 60 percent found new suppliers at drupa.

Habekost began his digital trends highlights by noting how inkjet print speeds are increasing and starting to reach offset speeds. Based on the amount of print applications highlighted at this year’s show, he also noted how inkjet inks can print on almost anything and more special inks are being developed for inkjet work. Habekost spent several minutes taking the crowd through key digital and offset developments, including an emphasis on the progress of Landa Digital, which expects to begin shipping its presses in 2017.

Habekost concluded his session by explaining how print is alive and coming back strong, as digital printing is making strong inroads into the offset print market, again with increased print speeds and high-quality output.

Nick Howard, President of Howard Graphic Equipment, presented the third session at PrintForum discussing how technological change is not new to the printing industry and shared his thoughts on how inkjet will impact the commercial printing industry. He also discussed the market for offset technologies (new and used) and what printers should consider when making investments. Howard explained LED curing, or similar hybrid variations, is a definite advance that all offset-perfecting printers should consider, as well as companies running straight configurations.

The final conference session featured seven industry leaders discussing the state of production inkjet technologies, both web and cutsheet. The panelists included: Alec Couckuyt, Senior Director, Canon Canada, Professional Printing Solutions Group; Brad King, VP, Graphics Communications, Xerox Canada; Brent Moncrief, VP, Brand Management, Fujifilm North America Corporation, Graphic Systems Division; Edward Robeznieks, VP and GM, Production Printing, Ricoh Canada; Ray Fagan, Sheetfed Product Manager, Heidelberg Canada; Brian Forrester, Senior Sales Executive, Enterprise Inkjet Systems Division, Eastman Kodak; and Grant Robinson Business Development Manager at Delphax Technologies.

While all of the panelists have a natural interest in promoting the adoption of inkjet technologies, the group provided several examples for why in fact production inkjet technology has arrived in the printing industry. The group explained that the issue of inkjet speed relative to sheeted offset has largely been overcome, particularly when focusing an inkjet system toward suitable applications. The inkjet panel also described how inkjet quality has reached a level to meet most customer expectations, even as advances are still needed in inks and supporting substrates. The panel also opened up to dicuss the potential business models and investment rationale for investing in inkjet technologies.
A pictorial report on some of the new systems on display in Germany at drupa 2016, running under the moniker of Touch the Future, which continues in Dusseldorf until June 10 (all photos by PrintAction).

The Ontario Printing and Imaging Association last night at St. Georges Golf and Country Club in Greater Toronto celebrated the achievements of printing companies within its 2016 Excellence In Print Awards program.



Following the dinner and awards presentation, Brad Thompson, President and CEO of Inland Press in Detroit, Michigan, who is also Chairman of the Printing Industries of America, made a presentation to share his insight with guests. Sponsors of OPIA’s 2016 awards program included Heidelberg, Flint Group, Domtar, Sun Chemical and Spicers.

Excellene in Print Awards, signfying Best of Category winners, were recieved by C. J.  Graphics (14), Colour Innovations (7), Metroland Media/Hamilton Web Printing (1), Mi5 Print & Digital Communications (2), Prime Data (1), Ryerson University GCM (2), St. Joseph Communications (3), TC Transcontinental Brampton (1), TC Transcontinental Vaughan (1), and Welch & Quest (2).

Top honours in the 2016 OPIA Excellence in Print Awards program, for Best of Division work, were presented to the following companies:

2016 Award of Excellence Winners

C.J. Graphics, Digital Division
C.J. Graphics, Specialty Division
St. Joseph Communications, Sheetfed Division
TC Transcontinental Vaughan, Web Division

More than 310 people came to the Centre des sciences de Montréal on the evening of May 12 to celebrate printing-industry achievement at the 34th annual Gala Gutenberg. Divided into two distinct sections for Innovation Printing and Technical Printing, 19 trophies – adorned with a metallic g – were awarded to Quebec printing companies, who were often joined on stage by their equally proud designers and production partners.

“The participants were welcomed in a spectacular way. A flight of paper butterflies was created for this event. We wanted to showcase all the areas of the industry: Large scale, ennoblement, cutting, lamination, display, labels, packaging, fine paper, cardboard, etcetera,” said Hélène Pageau of the Printability and Graphic Communications Institute (ICI), member of the organizing committee. “I want to take the time to thank once more the 22 companies that participated in making the products that embellished this night.”

Supremex won the award program’s inaugural Gutenberg Coup de Coeur – for its project Osez l’effet lifting for Yves Rocher – as voted on by attendees at the gala, where the submitted print projects were on full display. “The votes were counted by the students of the future, which are the graduates in graphic communications at Ahuntsic College who were at the Gala," said Robert Legal, teacher of printing techniques at Ahuntsic College and head of the judging panel.

Louise Kralka, Vice President of PDI, served as Présidente du Gutenberg 2016, which, in addition to Pageau and Legal, also included committee members: André Goyette, Imprimerie Contact; Bruno Laplante, Agfa; Chantal Vallée, Spicers; Frédéric Perrier, Les Encres Ultra; Lucie Benoit, Dieco Finition; Mala Dupont, ATFFEQ; Marilène Fournier, Imprimerie Ste-Julie; Martin Gagnon, Multi-Flex; Michel Beaulieu, Heidelberg; and Zara-Emmanuelle Villani, Enveloppe Concept.

“The Gutenberg [awards program] pushes everyone’s limits and meets the challenges presented by the talent and creativity of companies, communication agencies and print buyers in Quebec, no matter the size of the companies,” said Kralka. “This year our industry has once more shown that this event is important.”

2016 Gala Gutenberg Innovation Awards:

Category: Display Graphics
Winner: PDI Integrated Printing Solutions

Category: Marketing, Customer
Winner: L’Empreinte

Category: Marketing, Self-promotion
Winner: Graphiscan Montreal

Category: Publishing
Winner: TC Transcontinental Transmag

Category: Labels
Winner: Imprimerie Ste-Julie

Category: Packaging
Winner: TC Transcontinental Ross Ellis

Category: Flexible Packaging
Winner: Propals Industry

Category: Finishing
Winner: Stylex 3D

2016 Gala Gutenberg Technical Awards:

Category: Technique Challenge Display
Winner: MP Repro

Category: Marketing Self-promotion
Winner: Paragraph

Category: Marketing Client
Winner: L’Empreinte

Category: Newspapers
Winner: TC Transcontinental Transmag

Category: Books
Winner: PDI Integrated Printing Solutions

Category: Magazines
Winner: Marquis Imprimeur

Category: Finishing
Winner: Gravure Choquet

Category: Labels
Winner: MCC Collotype Montreal

Category: Packaging
Winner: WestRock

Category: Flexible Packaging
Winner: Imprimerie Ste-Julie

More pictures from the 2016 Gala Gutenberg and information can be found at Galagutenberg.ca.


Holland & Crosby Limited, one of Canada’s leading manufacturers of display graphics, held an open house over the past two days in its new 71,000-square-foot facility in Mississauga, Ont. The company, which specializes in Point of Purchase retail-based signage programs (for some 80 years), began to operate out of its purposely-designed facility in January 2016 shortly after completing its purchase of Colormark Limited.

The company’s facility is highlighted by the installation of two new Inca inkjet flatbed presses purchased through global distributor Fujifilm, including the all-new Onset X3, which runs at speeds of up to 9,688 square feet per hour (180 beds), and an Onset X1. Holland & Crosby also installed two massive Esko Kongsberg cutting systems to accommodate the size and throughput of its new inkjet engines.

Bill Baxter, the UK-based engineering pioneer who established Inca Digital in 2000, attended the open house to help celebrate Holland & Crosby’s powerful printing platform. “As equipment makers in this field, where the pace of development is very quick, we are always coming out with the latest, greatest, most-advanced [systems]," says Baxter. "Holland & Crosby have regularly taken the very first of our machines shipped to North America and that is very important for people like us, because they really do provide a reference for our latest machines.

“I know that we have sold a lot of machines simply because Holland & Crosby have been making them work and sending the results out to clients,” continues Baxter. “We love them because of that, but we also love them because they are descent, sensible people. It has always been a real pleasure working with them.”

After establishing its digital department in 2004 with an Inca Columbia system, Holland & Crosby in 2008 became the first company in North America to install the Onset S70. In 2009, the company installed the Onset S20 and in 2010 became a digital-only shop based on its Inca horsepower.

The new Onset X3 features 3 x CMYK ink channels plus the choice of White or Orange, and 14-picolitre print heads. Running at 9,688 square feet per hour, the Onset X3 is is one of the world most-productive, high-resolution inkjet systems, while the – scaleable – Onset X1 runs at up to 6,027 square feet per hour (112 beds). Holland & Crosby provides a full range of display graphics services from creative and structural design to storage and distribution.

More than 100 printers from the Greater Toronto Area yesterday attended PDS’ technology open house at OKI Data Canada’s new headquarters in Mississauga, Ont. The heavy traffic over the daylong event also allowed printers to network, as they learned about new print and finishing technologies aimed at short- to mid-sized digital print runs.

In addition to a range of OKI Data systems, the PDS team also highlighted newer technologies from Mutoh and Duplo, joined by reps from all three companies to help demonstrate the products. “We have been working with PDS for quite some time and they add an additional layer of expertise to help their customers get more out of the products,” says Mark Price, Regional Sales Manager, OKI Data.

A few of the key OKI Data products at the open house included the C900 series of digital printing systems, uniquely based on LED imaging for strong colour reproduction. In addition to the traditional four-colour C900 model, PDS also showcased the recently introduced C942, which prints at up 50 pages per minute, and holds a fifth colour channel for printing white. The C900 series also now includes the C941e and C931e models to print CMYK plus white and clear toner. The systems handle a range of media types, including polyester, magnets and banners, and stocks weighing up to 360 gsm.

PDS also featured OKI’s proColor C711DW with optional die-cutting and lamination, which turns the continuous-feed, entry-level machine into a complete label printing system. The proColor C711DW prints roll labels at up to 25 feet (7.6 metres per minute) and full–colour cut sheets at up to 34 pages per minute.

Mutoh’s Matt Bartlett, Regional Sales Manager for Canada, discussed the company’s new Valuejet 426UF inkjet system aimed at promotional applications like printing on pens, phone cases, golf balls and awards. The 19 x 13-inch tabletop, UV-LED printer – with vacuum table – can accommodate 3D objects of up to 2.75 inches thick.

PDS also featured Duplo’s DC-616, among other Duplo systems, with slitting, cutting, creasing and perforating tools for short-run toner work. The DC-616 is designed to eliminate white borders and prevent toner cracking on colour documents. It can finish a range of full-bleed digital applications like greeting cards, invitations, brochures, book covers, photos, and 24-up business cards without the need for additional modules. The DC-616 can process up to six slits, 25 cuts, and 20 creases in a single pass.

The PDS event also featured several Toronto sports door prizes provided by OKI with Chuck Gilder from ID Technology winning Toronto Raptors playoff tickets; Bruno Carrer from OPTIPrint Services receiving Blue Jay Tickets; and Mary Seenath from Offset Reproductions winning Maple Leafs tickets.
The Toronto Club of Printing House Craftsmen last night at the Duncan House recognized local printers for their award-winning work in the Toronto IAPHC Gallery of Superb Printing competition. A handful of secondary and post-secondary students were also honoured with scholarships for their achievements in industry-related programs and the annual Toronto Craftsmen Graphic Challenge Competition.

The evening was highlighted by a presentation from executive members of Ryerson’s RyeTAGA student chapter, which recently returned from Memphis, Tennessee, with the Helmut Kipphan Cup. RyeTAGA has now won the Kipphan Cup, awarded to the best student produced and written journal presented at the research-focused TAGA conference, for three straight years.

In the Gallery of Superb Printing competition, C.J. Graphics won both the Best of Show Award and Best Use of Ink Award, sponsored by Heidelberg Canada and Taniguchi Ink, respectively. Colour Innovations won the Best Use of Bindery Award.

C.J. Graphics also won the most Gallery of Superb Printing Awards with 14 Gold, 10 Silver and 12 Bronze. The remaining award winners include Colour Innovations (2 Gold, 1 Silver, 1 Bronze), Polytainers (2 Gold, 1 Silver, 1 Bronze), The AIIM Group (1 Gold, 3 Silver, 4 Bronze), Wellington Printworks (1 Gold, 1 Silver, 1 Bronze), and Webcom (1 Silver).

Bill Kidd, President of the Toronto Craftsmen, explains 54 submissions from eight educational programs were entered into this year’s Graphic Challenge, which has grown since its inception six years ago when 15 students submitted work from four institutions. The Craftsmen scholarship program has been running for 41 years and is now called the Tai Chi Awards in honour of a promising student who passed away shortly after graduating from Ryerson University’s Graphic Communications Management program.

The Chai Tse Awards winners include Olga Filimonova of Centennial College, The Centre for Creative Communication; Minh Le of Central Technical Secondary; Zelie Berube of George Brown College School of Design; Paige Einboden of Georgian College Design and Visual Arts; Jamie Bursey of Gordon Graydon Secondary; Will Cuthbert of Humber College Advertising & Graphic Design; Diondra Filicetti of Ryerson's School of Graphic Management; and Emily Ha of Seneca College School of Creative Arts and Animation.

Post-secondary Graphic Challenge Awards went to Olga Filimonova of Centennial and runner-up Will Cuthbert of Humber. Raize Kira of Central Tech and runner-up Hossam Ibrahim of Gordon Graydon received Graphic Challenge Awards among secondary school entrants.
Page 1 of 13

Subscription Centre

 
New Subscription
 
Already a Subscriber
 
Customer Service
 
View Digital Magazine Renew

Most Popular

Latest Events

Dscoop Phoenix
Wed Mar 01, 2017
Ryerson GCM Job Fair
Thu Mar 23, 2017 @ 4:00pm -
Graphics Canada 2017
Thu Apr 06, 2017
Inkjet Summit
Mon Apr 24, 2017
FTA 2017 INFO*FLEX
Sun Apr 30, 2017
Grafik’ Art
Fri May 12, 2017