In November 2017, Landa plans to ship North America’s first Landa S10 press to U.S.-based Imagine!, which focuses on point-of-purchase printing and services with more than 1,600 employees in various U.S.-based facilities.
In December 2017, Germany’s Edelmann, which produces board and paper packaging, is scheduled to become the first European beta customer for the Landa S10 Nanographic Printing Press.
Built as an offset operation, Graphica Bezalel is installying the Landa S10 as its first digital printing technology. “Nanography is the first technology to tempt us into the world of digital print,” said Eyal Harpak, Director of Graphica Bezalel.” Until we saw what the Landa S10 could produce, we couldn’t believe that any digital press could match offset print quality at the high-speeds required to open-up the medium-run folding carton market
Harpak continued to explain that Graphica Bezalel provides work for major brands like Calvin Klein, Carlsberg, Nestlé, Coca-Cola and SodaStream, pointing to what he describes as the S10’s advantages in colour gamut and production flexibility, such as versioning for customized packaging and special promotions. Landa and Graphica Bezalel will hold a worldwide customer event during the week of September 12, 2017, to demonstrate the Landa S10 in a customer production environment.
As announced at Drupa 2016, Imagine!, which produces point-of-sale displays and instore signage, is scheduled to become the first beta site for the Landa S10 in North America. “We bought this press because of Benny Landa’s track record in developing innovative, industry-changing technology,” says Bob Lothenbach, Founder at Imagine!. “We don’t usually chase technology trends, however we believe in Nanography and want to be instrumental in the digital-for-mainstream revolution.”
Specializing in packaging solutions for health care, beauty care and consumer brands, Edelmann has production plants in nine countries with sales exceeding 300 million euros. The company produces more than 5.5 billion packages and leaflets per year. “Our business is all about customer service. Staying in tune with the market and delivering what it needs, but also anticipating, innovating and then proactively offering what it didn’t know it needed,” said Dierk Schröder, Chairman, Edelmann. “We’re excited to be working with Landa; this is a value-based partnership that will drive long-lasting end customer relationships.”
Headed by Indigo founder, Benny Landa, the Landa Group is comprised of four units: Landa Digital Printing, which oversees Nanographic Printing presses; Landa Labs, which explores nanotechnology for use in alternative energy, industrial coatings, cosmetics, packaging, drug delivery and other fields; Landa Ventures, which invests in early stage companies; and the Landa Fund, which helps underprivileged youth pursue higher education.
“I am thrilled that after many years of development, we are now reaching the milestone of delivering our first Landa Nanographic Printing Presses to customers. We are very proud that these industry leaders, and others who share their vision, have chosen to become our beta partners in this program,” said Benny Landa. “As promised, Landa press stability, print quality and speed are now consistently high. It’s exciting to think that in only a matter of months we will see Nanographic print in the market, representing a paradigm shift in print economics and empowering brands like never before.”
On March 14, Chairman Claus-Bolza-Schünemann, CEO of KBA and Christoph Müller of KBA-Flexotecnica, who will rent the demo space from its parent company, laid the foundation stone of the new building.
The demo centre has a usable area of around 2.100 square metres, modernised premises of 21,164 square metres and was an investment of 6 million euros (about C$8.66 million). It will feature a RotaJET digital printing press for commercial, publication and decor printing, a flexo rotary press for flexible packaging and a sheetfed flexo press for direct printing on corrugated cardboard.
The location of the demo centre was chosen for its easy access to Frankfurt International Airport for international customers. It is the latest in a series of new buildings in Würzburg, following a logistics centre and design building in 2001, two production halls in 2003 and 2008 and a new foundry in 2012.
The demo centre is due to be ready for occupancy in autumn 2017.
All of the printers are users of Kodak Sonora process-free plates, which hold a range of environmental benefits. The winning printers are also judged on practices like monitoring of energy and water usage, participation in community sustainability programs, and the use of eco-conscious materials and supplies. Sonora plates remove the need for a plate processor, which requires chemicals, water and energy while generating waste. Kodak predicts that 30 percent of its plate volume will be process-free by 2019.
Beyond its use of Sonora plates, Kodak explained, “Informco has long exemplified what it means to be a servant of the environment.” The Scarborough, Ontario, printing operation has been an ISO 14001 certified company for 18 years. “Their Environmental Management System enables them to set and achieve environmental policy objectives,” stated Kodak, about Informco. “Progress is monitored throughout the year and used to set goals for the following year. The company monitors energy and water consumption and VOC emissions and has made significant reductions in all areas.”
Kodak continued to explain that Informco recycles materials like packaging, chemicals, ink, paper, electronic components, plates, web cores and scrap metal, while also using vegetable-based inks, alcohol-free solvents, and FSC paper. Informco was the first printer in Canada to win the CCME (Canadian Council of the Ministers of the Environment) Pollution Prevention Award in 2002.
The seven remaining 2016 Sonora Plate Green Leaf Award include: Reynolds and Reynolds (United States), Groupe Estimprim (France), Royalpack (Poland), UVO communication (South Africa), Ohshaika Printing (Japan), Kava Printing (China), and NPE Print Communications (Singapore).
Expanded gamut is an idea tracing back to 1960 when the printing process was first applied to the production of Hallmark Cards, many of which used pastel pinks and blues found on the extreme edges of the CMYK gamut. The card company developed a scheme where it added a light blue and a light pink, as well as some fluorescents to some of the inks, and created its trademarked BigBox Color system. Today, 57 years later, the money-saving potential of expanded gamut printing is on the minds of thousands of printers around the world.
Applied mathematician and colour scientist John Seymour, speaking at Ryerson University’s Graphic Communications Management 2017 Colloquium, called SPECTRUM+ by its student organizers, describes the Hallmark Card scenario as the first-known example of expanded gamut work. Seymour began his career in advanced product development in 1992 for QuadTech, working with instruments for improving the measurement and control of colour in print manufacturing.
He is one of three speakers to discuss the opportunities of expanded gamut at the February SPECTRUM+ event, in addition to Kyle McVey, Director of Client Services, Jones Packaging, and Nawar Mahfooth, Chief Science Officer, ColorXTC. McVey described three days of recently completed expanded gamut trails undertaken by Jones, one of North America’s most-prominent packaging printers, and Mahfooth focused on ColorXTC’s Dynamic Press Profiling (DPP) technology, a remote offset press profiling service to provide press characterization data without the expense of dedicated runs. Instead of running more than 1,600 patches in testing, DPP applies proprietary algorithms to a smaller profiling target (150 patches) gathered in an regular production run.
Seymour’s presentation, entitled When an Idea’s Time Has Come, focused on the maturation of expanded gamut and the opportunities it provides for printing companies. He contends the new awakening of expanded gamut (EG) revolves almost exclusively around saving money – not building a better mousetrap, but rather a cheaper mousetrap.
It took eight years after Hallmark Cards’ 1960 BigBox Color system, Seymour explains, for an expanded gamut patent to be filed in 1968 by Dainippon Screen, whose patent abstract explains, “[printing plates] are produced for reproducing colour images with inks other than the standard inks.” The year 1985 brought the next major EG patent filed by Harald Kueppers, whose work, Seymour explains, did not go far because it was manually intensive to go beyond four process colours, making separations.
Kueppers’ work, however, is recognized as a foundation of EG development, as described by his patent abstract: “Whereby the elemental surfaces which form the chromatic component are printed with a maximum of two of six chromatic printing inks, yellow, magenta-red, violet-blue, cyan blue, green and black.” A range of base ink colours, of course, can be added to traditional CMYK to expand a gamut for a reoccurring printing process, but the prevailing model is most likely to be determined by the sector’s colour power of the day. “In expanded gamut printing, we move from four-colour printing to seven-colour printing and our base set of process colourants is now seven colour, which can be different for different systems,” writes Dr. Abhay Sharma, one of the world’s foremost colour experts and professor with Ryerson University. “For example, the new Pantone+ Extended Gamut swatch book is printed using CMYK plus Orange, Green and Violet (OGV)... The swatch book is available as a traditional swatch book as well as in software – Pantone Color Manager – and shows how spot colours would be reproduced in seven colours, CMYK + OGV.”
Seymour explains Pantone filed a significant EG patent in November 1994, part of a one-year period the colour scientist refers to as the heyday of expanded gamut printing patents. Invented by Richard Herbert, son of Pantone’s founder, this work became known as Hexachrome based on the use of six extra-pure inks (CMYK + OG), some containing fluorescent components. Hexachrome books were around for 20 years before fading away.
From March 1994 to March 1995, ink and imaging scientists with Pantone, Du Pont, Kodak, Barco Graphics, Opaltone and Linotype-Hell developed a range of EG innovations. Du Pont’s work was led by Don Hutcheson, well known for the G7 calibration process and GRACoL, who is now a driver behind Idealliance’s newly minted XCMYK methodology for EG printing. XCMYK remains a four-colour CMYK process but uses inks that are blended to be much purer than regular inks. Promoting the idea that more ink means more colour, leveraging FM screening, the XCMYK dataset and profiles can reproduce a larger gamut than that of GRACoL. Idealliance emphasizes XCMYK is not a replacement for GRACoL but rather an alternative colour space.
“FM screening actually gives you a bigger profile, a bigger gamut, not because the solids are pushed up,” says Seymour. “Obviously, FM screening doesn’t make the solids any richer, but it bows your profile up so you pick up more of the pastels.”
Opaltone, also patented during the mid-90s EG heyday, is still being used today primarily in toner-based printing. None of these heyday patents attempted to encapsulate the entire concept of EG, but rather coincided with a significant printing evolution. “Patents are almost always for incremental processes, small improvements on what is already there,” says Seymour, who himself has 22 patents. “So we have five patents and they may overlap a little bit, but they are all distinctly different.”
Seymour explains the EG heyday patents arrived during the widespread adoption of digital prepress technologies, bolstered by a matured desktop publishing sector. “Innovation happens when you have a need that also needs technology,” he says. “You finally have the digital technologies to allow you do to the [EG] separations – that is when innovation becomes possible.”
In reference to the need itself, Seymour points to the desire for the printing industry at large to create better quality pictures within an expanded gamut process. “You do get more colour. You can get more gamut out of it when you have those additional inks,” he says. This colour-punch need reverberates with designers and consumers. On the pressroom floor, however, the potential benefits of EG are measured in time and resources – dollars – saved.
Seymour relates the awakening of EG directly to the printing industry’s need to increase margins in a market of overcapacity and technological innovation. “The market for a better mousetrap is pretty small because if [the current trap] already catches most of your mice, are you going to spend a lot of money getting a new one, a better one – I don’t think so,” he says. “How about getting a cheaper mousetrap – yeah, there is a market for that. This is a large market.”
There are enormous cost savings available to a printer who can regularly run an EG gamut – without the need to wash-up after each run – on press to reproduce or closely simulate a range of brand colours, which have traditionally been printed with special spot colours poured into the fifth-plus press unit, which needs to be cleaned up when the run is done. The ability to simulate brand colours without press wash-up is the main draw of EG printing. It relates to decreasing the need to buy spot colour inks and hold inventory. Running an EG process with a consistent larger gamut also holds the potential to gang-run more high-value work up on a sheet, instead of low-margin CMYK jobs – often holding less than four process colours.
“The driving force of expanded gamut is not so much the ability to make pretty pictures. It is about saving money, that is the whole reason why we are trying to get into it,” says Seymour. “That is why you are spending so much money for those three days on press, pulling out your hair, trying to figure out how to make this happen… trying to save money.”
Expanded gamut trials
McVey began working at Jones Packaging of London, Ontario, in 2003 as a graphic designer, after graduating from Fanshawe College, and showed an affinity for learning about the printing process, working in prepress design and structural packaging. In addition to printing, Jones’ two other divisions include contract packaging services (bulk handling of pharmaceuticals) and a health-care division working directly with hospitals and pharmacies across North America and into Spain and the United Kingdom. Taking on a managerial position, McVey then began working in Jones’ plate room and consulted with the pressroom on technical issues – a liaison between sales and production, running both litho and flexo presses.
A year and a half ago, McVey began working with Jones’ pressroom supervisor on a three-day trial of expanded gamut printing. A prospective client, described as very large with product across North America, approached Jones and other existing print suppliers, with a desire to run EG for packaging. EG is primarily applied in commercial print today, but beginning to find its way into the packaging sector where brand owners relish the pop of colour available in an expanded gamut, for example, to make flowers vibrant or people look less washed out – often accomplished today with expensive ink modifications or second hits of the same colour.
Moving to EG printing, however, would mean forgoing the power of brand-specific inks, which is the CMYK-plus-spot environment in which McVey developed his career, witnessing firsthand the pressure it puts on the prepress world. The prospective EG client ask involved CMYK + OG, not the full Orange, Green, Violet Pantone EG spectrum.
Jones would trial the work on its six-colour Heidelberg Speedmaster press, with coater. The client wanted the print suppliers to produce 10 of its leading brand packages using six-colour process expanded gamut print. Each package was identified and measured using two brand colour patches, which were Pantone EG matches of their brand colours. “L*a*b* values, ink densities, and tonal value increases were supplied to us through a Kodak proof… and for each brand defined target patch there was a request that it did not exceed 2.5 delta E,” says McVey, “which I think is being pushed as a kind of industry standard. This is where printers are going to have a problem with expanded gamut.”
Jones’ EG testing applied conventional CMYK + OG water-based inks and coatings across all products, running on coated recycled board, as opposed to preferred SPS board, the latter of which accounts for more than 90 percent of Jones’ substrate usage. The artwork separation was done by a prepress house using Esko software to create a Euclidean dot. McVey explains the ink sequence on press was Green KCMY and Orange, based on the fact that Jones currently runs the Heidelberg’s centre four units as KCMY – acknowledging an ongoing debate in packaging, where a majority of shops run a more traditional CMYK sequence. “We chose to put green at the front of the press because it had the least impact on all of the brands that we were printing,” says McVey, “so the dot gain would be minimized on that specific colour and we put orange at the end.”
McVey explains Jones ran 12 press tests, purposely changing conditions, to adjust their plate curves and create a solid linear set for approximately 20 brands colours on the press form, aiming to get as many of those brand colours under 2.5 delta E as possible. L*a*b* values built from the perfect the dots and laydown of the Kodak proof presented an immediate challenge. “There may be some colours that were already at a 2 delta E just on the Kodak alone, so we basically had a 0.5 delta E to work with printing on a press, with all of the variables.”
Among common press issues like registration, ink density and ink trapping ink, the latter variable would prove to be most challenging in the EG tests. Jones produced the full range of 20 brand colours at under 2.5 delta E using EG, but not without some fixes. “At about 75 percent of a colour with certain blends, specifically cyan and magenta, we were seeing a lot of ink-trapping issues,” says McVey, noting how conventional water-based inks have a tendency to blend on a litho press. “Printing cyan and magenta [at] 100-100 laydown is not predictable and due to that, due to the ink trap of those two values, this was our hardest colour to try and match, to keep under 2.5.”
Jones’ production team was able to average 2.3 delta E in its cyan-magenta tests, but they had to actually reduce the magenta ink. “This is not what you want to do in expanded gamut. It is not consistent throughout the jobs… now you have a different ink and you might as well [put] a spot colour in there,” says McVey, noting this information was passed on to the client. Understanding the importance of setting expanded gamut expectations, Jones provided the client with a long list of recommendations, such as the challenges of working with perfect Kodak proofs, the importance of ink sequence and tight press controls, and ultimately the consulting of print expertise in addition to a prepress house.
“Expanded gamut printing is just one tool in the printing industry’s massive tool box,” says McVey. “Really take it upon yourself when you are in a discussion about expanded gamut to actually learn about what is necessary to make it successful for that application.”
With this acquisition, Cansel will transfer inventory and assets from Midland's warehouses in Toronto and Calgary. “Having worked closely with Midland in the past, we're excited to bring their expertise in the graphics marketplace to Cansel,” said Stephen Fletcher, Vice President, Cansel. “The addition of Midland's wide format printing supplies division provides us with the opportunity to present a broader product portfolio and depth of expertise to our clients and we are happy to have them on board.”
Canopy will be assessing and ranking major printers on a set of 28 criteria, including fibre preference, sourcing policies, certified and recycled paper availability, transparency and CSR reporting.
In 2016, Canopy’s report found that seven of North America’s largest printers had entered the top 10 in the sustainability ranking.
“With customer demand for environmental print continuing to strengthen, we look forward to reporting on significant progress by North America’s leading printers,” Nicole Rycroft, Canopy founder and Executive Director, says.
Printers aiming to improve their ranking must post their sustainability progress on their Websites by April 30.
Fortress Paper expects that Landqart will start shipping Durasafe orders to the new customer in late 2017.
Durasafe is a composite substrate developed by Landqart and the Swiss Federal Institute of Technology Zürich. It is composed of two cotton paper outer layers and a strong, transparent polymer core. In addition to traditional security features such as an easily recognizable texture, the substrate’s unique properties also allow for windows, watermarks and security fibres on the banknote.
This new order will result in the fourth country to produce a banknote on Landqart’s substrate, following Morocco, Kazakhstan and Switzerland.
The Girls Who Print Panel features some of the most influential leaders in Canada’s graphics communications industry, including: Deanne Sinclair, President, Cambridge Label Inc.; Marg Macleod, Association Manager, Digital Imaging Association; Audrey Jamieson, President, Marketing Kitchen Inc.; April Burke, VP Operations & Technology, LM Group; Romy Hahn, Director, Sales & Marketing, Annan & Sons; and Joanne Hisey, Account Manager, Kwik Signs.
To be moderated by Deborah Corn from Print Media Centr, the Girls Who Print Panel will take place on Thursday, April 6, at 4:00 pm in Hall 5, Innovations Theatre, show floor. It is free for attendees.
The Future of Print Panel 2, A Designer's Perspective, features some of Canada’s top creative directors and design agencies principals, including: Dominic Ayre, Creative Director, Hambly & Woolley; Yen Chu, Creative Director of Design, J. Walter Thompson Toronto; Fidel Peña, Co-Founder, Creative Director, Underline Studio; Tony Ponzo, Creative Director, Haft2 Inc.; and Stussy Tschudin, Principal, Forge Media.
To be moderated by Xerox’ Beth Ann Kilberg-Walsh, VP, Marketing Commercial Excellence, the Future of Print Panel 2, takes place on Thursday, April 6, at 2:00 pm on the show floor. It is free for attendees.
Dejan’s presentation, “Print & (everything else) with: Daniel Dejan”, will examine the falsity that “print is dead” and discuss such subjects as demographic preferences, shopping behaviour, niche marketing and how to make print more interactive and tactile.
For more inforamtion about Graphics Canada workshops visit http://www.graphicscanada.com/education/
DIA Event Details
Friday, April 7, 2017
8:00 – 8:30 a.m.
8:30 – 10:00 a.m.
6900 Airport Rd.
Aviation Room C
The event is free of charge, but space is limited. No admittance without registration. Admission to the Graphics Canada show is included with registration to the DIA Breakfast.
The report is based on the circulation of two separate surveys for printers and suppliers, sharing some common questions, but also asking more specific questions relevant to each group.
A total of 839 printers participated, including 525 from Europe and 314 from the rest of the world. Europe, which accounted for 220 of the 331 respondents, also dominated the supplier survey, but all the other regions were had material representation with 111 respondents.
From the printer respondents, 42 percent described their business as being in “good” economic state in 2016, while only 11 percent reported it as “‘poor”. According to the report, 56 percent of suppliers said their companies were in good economic condition.
The full version (in English) can be purchased for Euro 249 online (around C$355) at drupa.de/2131.
“I couldn’t be more excited to have our team at Tip Top Bindery welcoming B.C.W. Bindery Services to our organization,” said Arthur Winiarczyk, Vice President of AdMill Group. “This step will help to increase scale and capability of the combined organizations' services.”
B.C.W. Bindery co-owners Blair Wilson and Irv Brown are joining the Tip Top management team. All employees of B.C.W. have been offered positions with Tip Top, which Wilson and Brown describe as a key point when negotiating the sale of their business.
“Our customers, suppliers – and especially our employees – have helped build our reputation in the bindery industry," said Wilson. "Known for our quality, the share purchase of B.C.W. by Tip Top enables us to expand services to our customers to include mailing and die cutting."
Established in 1986, Tip Top Bindery operates out of a 65,000-square-foot production and warehousing facility, providing a range of specialized bindery services including flyer insertion, saddle stitching, folding, polybagging and mailing. There is minimal customer crossover between the two companies.
Exhibitors of Graphics Canada, running from April 6 to 8 at the Toronto International Centre, were asked for up to three of their booth highlights for attendees to focus. A complete list of exhibitors is located at the bottom of this page, following Featured Exhibitors that provided their booth highlights.
Acco Brands Canada, GBC
Amazing Print Tech
Bard Business Solutions
Daly Digital Group
GTI Graphic Technology
Konica Minolta Business Solutions
Multiple Pakfold Business Forms
National Research Council
Sign Association of Canada
Value-Rite Business Products
Complete Exhibitor List (as provided by Graphics Canada, February 28)
3 L Display
A + A Graphics Canada
ACCO Brands Canada
Advertising Specialty Institute
Air & Water Systems
All Graphic Supplies
Amazing Print Tech
ATS – Tanner Banding Systems
B & R Moll
Banner Ups/E. L. Hatton Sales
Bard Business Solutions
Beaumont & Co Exhibits and Displays
Color - Dec North America
CP Office Solution
Daly Digital Group
Delphax Technologies Canada
Dolphies Promo Group Canada
Duroflex Specialty Papers
Ernest Green & Son
Exhibition Printing Solutions
EZ Trade Signs
Factor Forms & Labels
Flagship Courier Solutions
Forte Labels and Shrink Sleeves
Graphic Arts Magazine
Greenflow Environmental Services
GTI Graphic Technology
Hans Shinohara Canada
Intertek Testing Services
J & J Manufacturing
Konica Minolta Business Solutions (Canada)
Maxmedia Graphic Supplies
Multi Color Tech
Multiple Pakfold Business Forms
National Research Council (NRC)
Outdoor Media Zone
PressWise by SmartSoft
Prime UV-IR Systems Systems
Printer's Parts & Equipment
Pritchard Paper Products
RS International Canada
Rubenstein RB Digital
Sign Association of Canada
Sign Media Canada
Sinclair Computer Forms
Specialties Graphic Finishers
Stuebing Automatic Machine
The Drafting Clinic Canada
Treck Hall Wide Format
Trotec Laser Canada
Ultima Displays Canada
Value-Rite Business Products
Web to Print Shop
World of Tape
Yantai Hongquing Packing Material
Yupo Corporation America
Acco Brands Canada, GBC, provides a preview of the following Graphics Canada 2017 booth highlights.
Return to list of Graphics Canada featured exhibitors
The Seal 65 Pro MD is described as a high production, versatile wide-format laminator that can run both hot and cold applications. Reaching at speeds of more than 15 feet per minute, GBC explains the 65 Pro MD is capable of running thermal film at two to three times the speed of other laminators on the market. It also carries ETL certification in the United States and Canada.
GBC describes the Magnapunch Pro Punching Machine as a newly robust stainless steel system for document finishing. The company explains the punching system features uncomplicated set-ups, in addition to the strength of its flywheel technology.
The GBC Catena 65 roll laminator is described as an easy-to-use and efficient system targeted at small print shop, office or institution environments. This updated laminator encapsulates and mounts jobs up to 27 inches wide. Its increased ¼-inch mounting gap, explains GBC, helps in mounting to foamcore. New features of the Catena 65 include an open design, pivoting table, AutoSpeed and programmable presets.
At Graphics Canada, GBC will also highlight the 44-inch Spire 44T thermal wide format laminator, Ultima 65 thermal roll laminator, Procut 17P paper cutter, Digicoil Automatic Color coil inserter, and Pro Trim 63 trimmer.
Return to list of Graphics Canada featured exhibitors
At Graphics Canada, Cambridge Label, one of the country’s largest trade printers specializing in labels, is focusing on its new Instant Online Quoting system. The quoting allows customers to now quote digitally printed CMYK labels online. As a printer exclusively for the trade, customers can login using their distributor login (set-up via Cambridge Label) to access the online program.
With a distributor login, trade customers can also take advantage of the following features: View order history, place re-orders, view order status, and place estimate requests for labels other than digitally printed full colour labels.
Specializing in print for a number of markets, Cambridge Label manufactures custom printed labels in quantities as few as 100 and up to several million. The company provides a range of stocks and adhesives available and over 2,500 label sizes and styles.
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DIA Meeting - 3D printing
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DIA Christmas Luncheon and AGM 2018
December 5, 2018
Graphics Canada 2019
April 11-13, 2019
AICC Canada Trade Show and Conference 2019
April 24-25, 2019
Gala Gutenberg 2019
May 30, 2019
October 3-5, 2019