Avanti Computer Systems Limited has announced that its award-winning Avanti Slingshot is the first print MIS to integrate with MarcomCentral JobDirect Plus.

MarcomCentral’s SaaS-based JobDirect Plus offers an online portal which allows customers to engage with print providers, build orders, customize features and finishing options, preview submissions and submit through almost any application.

The integration with Avanti Slingshot manages backend processes such as reporting, estimating, imposition, inventory management, scheduling, shipping, billing and more.

The combination of the JobDirect Plus and Slingshot makes workflow automation for print jobs easy, efficient and cost effective.
Eastman Kodak Company announced it plans to retain its Prosper inkjet business after initially announcing plans to sell these assets in March 2016 after engaging advisors and banks to manage to process. In late December of that year, Kodak again announced it was still in talks with potential buyers.

However, on April 7, 2017, the imaging technology giant announced plans to retain the business after what it describes as an in-depth management review of business operations and multiple discussions with prospective buyers.

“This is a pragmatic decision given the improvements in the business and the offers received,” said Jeff Clarke, Chief Executive Officer, Kodak. “Prosper performed well in 2016 with a 40 percent increase in annuity sales for the full year. We expect our Enterprise Inkjet Systems Division [EISD] to be profitable this year, including our next-generation Ultrastream investment.”

Kodak explains it continues to invest in the Ultrastream program and has entered into letters of intent with partners, which the company expects to create new applications that drive market.

Kodak will begin delivering Ultrastream evaluation kits to 17 companies, including Fuji Kikai, GOSS China, Matti, Mitsubishi Heavy Industries Printing & Packaging Machinery (MHI-PPM) and Uteco, to explore the integration of Ultrastream into their future printing solutions. Kodak expects products built on Ultrastream technology to go to market in 2019.

”The sale process for Prosper which we conducted over the past year was robust,” said David Bullwinkle, Chief Financial Officer, Kodak. “We hired Sagent Advisors, which solicited interest from global organizations. Strong interest in the business and technology existed throughout the process. While we had multiple offers, the range of consideration did not reflect the value of the business today.”
Transcontinental Inc. of Montreal has sold its publication portfolio in Nova Scotia, Prince Edward Island, Newfoundland and Labrador, and New Brunswick to SaltWire Network Inc.

Approximately 650 Transcontinental employees in Atlantic Canada are part of the sale to SaltWire, according to the Financial Post, which also reports the companies said these employees will receive an offer from new ownership.

As a result of the purchase, SaltWire Network Inc. is a newly created media group that previously owned The Chronicle Herald’s seven publications in Nova Scotia. The Canadian Press reports Saltwater’s acquisition of Transcontinental's Atlantic region publishing assets comes amidst a more than yearlong strike involving editorial staff at The Chronicle Herald.

“We are bringing together 950 talented employees to create a media network that will give national and regional brands access to 71 percent of the region’s newspaper readers,” Mark Lever, President and CEO of SaltWire. “We will also reach hundreds of thousands of digital content consumers across several media channels and offer printing services ranging from custom print jobs at Bounty Print [part of SaltWire’s preexisting assets] to mass printing services at our commercial printing plants.”

In total, the transaction includes the sale of 28 brands and Web-related properties, four printing plants operated within Transcontinental’s Media Sector, commercial printing activities in the province of Newfoundland and Labrador, as well as distribution activities in Atlantic Canada. Transcontinental remains the owner of the two plants operated within its printing division in this region, which are Transcontinental Halifax, located in Halifax, and Transcontinental Prince Edward Island, located in Borden-Carleton.

The printing assets now owned by SaltWire include facilities in the following locations: Austin Dr. in St. John's, N.L.; Columbus Dr. in St. John's, N.L.; West St. in Corner Brook, N.L.; and George St. in Cape Breton, N.S.

The TC Media newspapers included in this transaction are:

    Advertiser (The), Grand Falls-Windsor, N.L.
    Amherst News, N.S.
    Annapolis Valley Register (The), N.S.
    Aurora (The), Labrador, N.L.
    Beacon (The), Gander, N.L.
    Cape Breton Post, N.S.
    Citizen Record (The), Amherst, N.S.
    Colchester Weekly News, N.S.
    Compass (The), Carbonear, N.L.
    Guardian (The), Charlottetown, P.E.I.
    Gulf News (The), Port aux Basques, N.L.
    Journal-Pioneer (The), Summerside, P.E.I.
    Labradorian (The), Labrador, N.L.
    News (The), New Glasgow, N.S.
    Northern Pen (The), St. Anthony, N.L.
    Nor'wester (The), Springdale, N.L.
    Packet (The), Clarenville, N.L.
    Pilot (The), Lewisporte, N.L.
    Queens County Advance (The), N.S.
    Sackville Tribune Post, N.B.
    Southern Gazette (The), Marystown, N.L.
    Telegram (The), St. John's, N.L.
    Tri-County Extra (The), N.S.
    Tri-County Vanguard (The), N.S.
    Truro Daily News, N.S.
    Valley Journal Advertiser, N.S.
    Western Star (The), Corner Brook, N.L

The www.novanewsnow.com website (digital-only) is also included in the transaction.
hubergroup has acquired substantially all of the assets of Alden & Ott Printing Inks Company for an undisclosed price. Hubergroup expects to retain virtually all employees and management team of Alden & Ott in order to continue operations in the Midwest and Northeast United States without interruption.

hubergroup is one of the world’s largest manufacturers of printing inks, coatings and pressroom auxiliaries, currently comprising 40 companies and 130 sites. The family-owned company, with more than 250 years of experience in the printing inks industry, manufactures products for the packaging, commercial printing and newsprint markets. In 2016, the Group with its global workforce exceeding 3500, generated sales of approximately $885 million.

“As a key raw material supplier, we already had a great relationship with the talented Alden & Ott team… our combined capabilities in conventional, water-based, low-migration and energy-cured inks will create an enviable offering to the growing packaging market,” said Derek McFarland, President of hubergroup,USA.

Alden & Ott Printing Inks Company was founded by Joe Alden and Henry Ott in 1957. The company expanded its products from heat-set to sheetfed, UV inks, and flexo inks. Today, Alden & Ott develops custom solutions for both the offset and flexo printing markets in the Midwest and Northeast United States.

“The cultural alignment of the family-owned businesses was a key factor and we are happy that the combined team will continue to serve and grow our existing business,” said Tom Alden, President of Alden & Ott.
The Toronto Club of Printing House Craftsmen last week at the Duncan House recognized local printers for their award-winning work in the Toronto IAPHC Gallery of Superb Printing competition. The Craftsmen Club also presented secondary and post-secondary students with scholarships, including the Chai Tse Award, for their achievements in industry-related programs and the annual Toronto Craftsmen Graphic Challenge Competition. This was the 42nd year of the Craftsmen awards program.

The two primary sponsored awards for exceptional reproduction, based on the IAPHC judging process, where presented to Colour Innovations for the Heidelberg Canada’s Best of Finishing Award (COC Centre Stage Gala Invitation) and C.J. Graphics for the Taniguchi Ink Best of Press Award (Uncharted 4 Limited Edition Posters)

The Gallery of Superb Printing Awards went to C.J. Graphics (15 gold, 12 silver, 4 bronze and 1 honourable mention); Avant Imaging & Integrated Media (5 gold, 4 silver, 1 bronze and 1 honourable mention); Colour Innovations (3 gold, 3 silver and 2 bronze); Polytainers  (1 gold, 1 silver and 1 bronze); and Wellington Printworks  (1 gold and 2 silver).

Toronto Craftsmen Student Chai Tse Awards
Christopher Jessop, Centennial College The Centre for Creative Communication
Patricia Marie Gonzales, Central Technical Secondary School
Marissa Ponn, George Brown College School of Design
Samantha Martin, Georgian College Design and Visual Arts
Jodi Ho, Gordon Graydon Memorial Secondary School
Jordan Jackson, Humber College Advertising & Graphic Design
Julia Tincombe, Ryerson University School of Graphic Management
Alicia Jordan, Seneca College School of Creative Arts and Animation

Graphic Challenge Awards, Post Secondary
Julia Laude, Seneca College School of Creative Arts and Animation
Daphne Chan,    Ryerson University School of Graphic Management

Graphic Challenge Awards, Secondary    
Jose Bautista, Central Technical Secondary School
Hetta Patel, Gordon Graydon Memorial Secondary School
Printers and suppliers attended the biannual printing trade show Graphics Canada from April 6 to 8 at the Toronto International Centre. The three-day event included a range of educational sessions, including Innovations Theatre run by Print Media Centr, IDEAlliance’s G7 Summit, Label Forum, intelliPACK workshops, specialty graphics opportunity zone, and the Printing Sales Training Day. The following photo gallery provides some of the highlights from this year’s show.
Landa Group today announces its final 2017 beta customer line-up around its S10 Nanographic Printing Press. The first shipment of this press is scheduled to take place in July 2017 to Graphica Bezalel, an Israel-based folding carton, packaging and label convertor.

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.”
Koenig & Bauer AG (KBA), the German printing press manufacturers, has started construction on a new digital and flexographic press demo centre in Würzburg, Germany.

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.
Last week in Rochester, NY, at Eastman Kodak’s headquarters, Informco’s Sandy Stephens received the 2016 Sonora Plate Green Leaf Award, which was previously announced in early 2017. Informco was one of eight printers from around the globe to win the award based on a program Kodak launched in 2014 to recognize customers who have demonstrated market-leading environmental progress through a variety of initiatives and best practices.  

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 printing continues to grow in popularity, but does this process to exclude spot colours have long-term staying power for commercial printers to invest. At Ryerson University’s 2017 GCM Colloquium, called SPECTRUM+ by its student organizers, three industry leaders weigh in: Colour scientist John Seymour; Kyle McVey, Director of Client Services, Jones Packaging; and Nawar Mahfooth, Chief Science Officer, ColorXTC.

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.

Building mousetraps
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.”
Cansel has acquired the Canadian wide format printing supplies division of Midland Paper Packaging & Supplies. First incorporated in Chicago in 1907, Midland Paper had expanded to hold 20 distribution centres throughout the U.S. and Canada, totaling nearly 1.25 million square feet of storage.

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.”
This spring, Canopy will publish the annual Blueline Report, a comprehensive guide to the environmental performance of North America’s largest printers. The report, which actually ranks these printers based on environmental performance, is designed to help print consumers identify those suppliers that are being environmentally responsible.

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.
Landqart AG, a subsidiary of Vancouver, BC-based Fortress Paper Ltd., has agreed to let a new customer use their proprietary substrate, Durasafe, for the production of banknotes.

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 upcoming Graphics Canada tradeshow, running from April 6 to 8 at the Toronto International Centre, has added two new sessions to it conference program, including the Girls Who Print, Women of Influence Panel, and the Future of Print Panel 2, A Designer's Perspective.

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.
Daniel Dejan, ETC print and creative manager at Sappi Fine Paper North America, will deliver a presentation at the Digital Imaging Association Breakfast at Graphics Canada.

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.
International Centre
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.

Email This e-mail address is being protected from spambots. You need JavaScript enabled to view it to register.

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Printing United 19
October 23-25, 2019


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