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.
Messe Düsseldorf released its 4th drupa Global Trends report tracking key economic and market developments across the global printing industry.

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.
Tip Top Bindery Ltd., a wholly owned company of The AdMill Group located in Scarborough, Ontario, has made a share purchase of B.C.W. Bindery Services Ltd. Located in Markham, Ontario, since 1992, B.C.W. Bindery provides perfect binding, mechanical binding, gluing and specialty folding (including mini and map) services.

“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.

Featured Exhibitors
Acco Brands Canada, GBC     
Amazing Print Tech
AXYZ International
Bard Business Solutions
C.P. Bourg
Cambridge Label
Canon Canada
Daly Digital Group
Delphax Technologies
Dolphies Promo     
Epson Canada
GTI Graphic Technology
Hans Shinohara
Hiker Enterprises
Konica Minolta Business Solutions
MPI Group
Multiple Pakfold Business Forms
National Research Council
Primera Technology
Ricoh Canada
Roland DGA
RS International
Sign Association of Canada
Southwest Bindings
Sydney Stone
Value-Rite Business Products

Complete Exhibitor List (as provided by Graphics Canada, February 28)
3 L Display
A + A Graphics Canada
Aberdeen Fabrics
ACCO Brands Canada
Advertising Specialty Institute
Air & Water Systems
All Graphic Supplies
Amazing Print Tech
Announcement Converters
APD Printing
ATS – Tanner Banding Systems
AXYZ International
B & R Moll
Banner Ups/E. L. Hatton Sales
Bard Business Solutions
Beaumont & Co Exhibits and Displays
Cambridge Label
Canon Canada
Color - Dec North America
Comhan Canada
C.P. Bourg
CP Office Solution
Customized Mats
Daly Digital Group
Delphax Technologies Canada
Dolphies Promo Group Canada
Duroflex Specialty Papers
EOS Trading
Epilog Laser
Epson Canada
Ernest Green & Son
Exhibition Printing Solutions
EZ Trade Signs
Factor Forms & Labels
Flagship Courier Solutions
Forte Labels and Shrink Sleeves
GMG Color
Gonderflex International
Grand Valley-Direct
Graphic Arts Magazine
Greenflow Environmental Services
GTI Graphic Technology
Hans Shinohara Canada
Hiker Enterprises
HP Inc.
ILLU Display
Intertek Testing Services
J & J Manufacturing
Jelly Labels
KBR Graphics
KIP America
Konica Minolta Business Solutions (Canada)
LasX Industries
Masterwork USA
Matchking Printing
Maxmedia Graphic Supplies
Mimaki USA
MPI Print
Multi Color Tech
Multiple Pakfold Business Forms
Mutoh America
National Research Council (NRC)
New Magway
Okidata Americas
OMET Americas
Outdoor Media Zone
PressWise by SmartSoft
Prime Lightboxes
Primera Technology
Prime UV-IR Systems Systems
Printer Gateway
Printer's Parts & Equipment
Pritchard Paper Products
PSI Engineering
Ricoh Canada
Roland DGA
RS International Canada
Rubenstein RB Digital
Simple Signman
Sign Association of Canada
Sign Media Canada
Sinclair Computer Forms
Skyline Toronto
Southwest Bindings
Specialties Graphic Finishers
Spicers Canada
Stahls' Canada
Stuebing Automatic Machine
Sydney Stone
Teckmark Label
TG Graphics
The Drafting Clinic Canada
TMAX Images
Treck Hall Wide Format
Trotec Laser Canada
Ultima Displays Canada
Value-Rite Business Products
Verso Solutions
Web to Print Shop
World of Tape
Xerox Canada
Yantai Hongquing Packing Material
YUL Technologies
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.

Cambridge Label provides a preview of the following Graphics Canada 2017 booth highlights.

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.
Canon Canada provides a preview of the following three Graphics Canada 2017 booth highlights.

Return to list of Graphics Canada featured exhibitors

The Océ Arizona 2200 Series includes flatbed-based UV-curable printing systems designed for producing both rigid and flexible work. Building from an existing Arizona platform, the newest Océ Arizona series, according to Canon, are designed as versatile and high-quality imaging systems  for mid-volume print producers.
The imagePRESS C10000VP Series is designed for high-volume digital printing, running a range of media types, with what Canon rates as a monthly duty cycle of up to 1.5 million letter-size images. The imagePRESS C10000VP Series reaches print speeds of up to 100 letter images per minute with the C10000VP model and 80 letter images per minute with the C8000VP model, with both systems supporting media weights of up to 350 gsm. The imagePRESS C10000VP Series produces a resolution of up to 2,400 x 2,400 dpi with automatic colour control and adjustment.

The Canon imagePROGRAF 60-inch PRO-6000S and 44-inch PRO-4000S large-format printers using an 8-colour LUCIA PRO ink system designed for applications like production signage, commercial photography and proofing. The LUCIA PRO ink set adopts newly formulated, micro-encapsulated pigment inks for what the company describes as strong colour reproduction, image clarity and fine lines. Canon explains these reproduction characteristics are well suited for creating posters and advertising displays.

Amazing Print Tech provided PrintAction with a preview of the following Graphics Canada 2017 booth highlights.

Return to list of Graphics Canada featured exhibitors

Web-to-Print provider Amazing Print Tech is showcasing a range of online storefront technologies for areas the company describes as business-to-consumer, retail, business-to-business, corporate, websites, estimators and content management system plug-in technologies.
In addition to create new Websites, Amazing Print Tech states it offers the largest library of premade templates, which can be embedded into existing Websites.

Veritiv, a leader in the business-to-business distribution of print, publishing, packaging, facility and logistics solutions, provided PrintAction with a preview of the following three Graphics Canada 2017 booth highlights.

Return to list of Graphics Canada featured exhibitors

AlumiGraphics is an aluminum-based foil decal print media, exclusive to Veritiv Canada, available in two finishes, including: GRIP for asphalt, brick and cement walkways and Smooth for exterior brick, stucco and concrete walls, among a range of possible applications. AlumiGraphics, which create images that look like they are painted directly to the surface they are applied to, can be cut with scissors, die-cutters or plotter-cutters. AlumiGraphics is designed for simple peel and stick installation, based on a sweep and press on, with typically no residue remaining on the surface with peel-off removal.

AlumiGraphics GRIP holds a reflective quality on any area left unprinted. The reflected light is especially noticeable when placed under bright lights or when lights shine against decals in unlit areas. The unique aluminum substrate holds an anti-slip stability based on its high friction surface. In combination with a specially formulated adhesive, the material can stand up to harsh weather conditions and, when installed as directed, can last for several months outdoors.For large graphics, Alumigraphics SMOOTH can be overlapped or butted up against each other.

AlumiGraphics GRIP holds 53 inches of usable space for edge-to-edge printing capability, again with direct print to an anti-slip surface, without a need for over-laminates. The material can be used with a range of large format printing processes, such as UV curable, latex and solvent and screen printing.

General Formulations CONCEPT 790AE Light Etch Air-Egress is a 3.0 mil decorative polymeric flexible vinyl film coated with a solvent-based permanent acrylic pressure sensitive adhesive with a 90# air egress (AE) liner. This film can either be applied printed or unprinted for visual affect or as a privacy film. The 90# AE liner offers dry application properties for large format graphics. Concept 790AE accepts a variety of solvent-based, eco-solvent, latex and UV curable inks common to wide format digital printing systems.

Concept 790AE is recommended for use where a high quality glass etch vinyl film is desired to simulate etched glass. This film can be used for commercial and residential applications to glass. Typical dry applications include doors and windows made of glass. It is not designed for cut lettering or to be repositioned (permanent adhesive). Application or transfer tape is recommended for easier application.

Ultraflex Systems UltraMesh Blockout is a 12.5 oz. double-sided mesh material – based on a polyester support material. The blockout mesh material is well suited for applications where complete opacity is required. UltraMesh Blockout is printable on both sides and may be used for billboards, exhibits and event signs. The material is flame resistant and compatible for use with solvent, eco-solvent and UV printing. It is available in widths of 126 inches.

Return to list of Graphics Canada featured exhibitors

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