Mississauga’s Mayor, Hazel McCallion, was on hand to help 4over Inc. CEO, Zarik Megerdichian, officially open his new 50,000-square-foot plant in the city, which has quietly become Canada’s sixth largest metropolis.
“We have the potential to meet any expansion plans,” Mayor McCallion joked, while welcoming 4over Inc., a California-based trade printer, to Mississauga. The city is now home to 63 Fortune 500 headquarters, while holding 80 total locations of Fortune 500 companies, along with over 55,000 businesses – and a population of around 730,000.
McCallion has been building Mississauga for 34 years as its Mayor, while 4over Inc. has been on its own rapid trajectory for the past decade, after Megerdichian and his wife, Tina Hartounian, President of 4over, founded the company in 2001. Today, 4over runs seven production plants across North America, including the new Mississauga location that began producing work in December 2011 under the leadership of printing veteran Tom Hogan.
Hogan played a key role in the printing of The Globe and Mail newspaper with outsourcing production to Interweb Ontario. He was also involved with the start-up and development of Transcontinental Metropolitain, which produces La Presse newspaper in Montreal. During the 4over Canada grand opening, McCallion spoke about closely working with Hogan, years ago, when he was involved with the Mississauga Booster community newspaper.
While Mayor McCallion was open to welcoming another 4over site in the city, Megerdichian is currently in the process of opening up a ninth facility in Seattle to boost his trade-only, hub-and-spoke business model in the Northwest region of North America. 4over claims to have served over 53,788 trade customers across its entire operation, experiencing annual triple-digit growth.
“We are very happy to be here and we will do our best to serve you,” Megerdichian told a sizable crowd of printers and suppliers gathered in 4over’s Mississauga plant. In addition to an existing 29-inch Komori, he spoke about plans to bring in a 40-inch press, as well as a press for plastic applications, while noting the close proximately of 4over plants in Ohio and New Jersey. “There is an organization that stands behind the [Mississauga location] for this plant to be successful.”
4over Inc. has a unique business model in North American printing, as a multi-facility trade-only printer, driving most of its business through a members-only online entity called trade.4over.com. The company is also a chosen printer for B2C online print retailer redtagprintsale.com.
Along with the 29-inch Komori sheetfed, which, as with all 4over plants, promises to run at 500-line screen, 4over’s Canadian plant also includes a sizable bindery area and a large-format inkjet department, which Megerdichian began to introduce into his facilities, under the name of Grand4mat, back in 2009.
C.J. Graphics, led by President Jay Mandarino, received a combined total of 71 Gold Awards in the International and Canadian Gallery of Superb Printing competitions, held annually by the IAPHC – known locally as the Craftsmen Club.
Six Toronto-area printing companies split a total of 197 awards – amid Gold, Silver, Bronze and Honourable Mention levels – within the IAPHC’s Canadian and International competitions, with C.J. Graphics taking home 153.
In the Canadian gallery competition, C.J. Graphics won the Best of Show award, sponsored by Heidelberg Canada, while Colour Innovations took home the Best Use of Ink award, sponsored by Taniguchi Ink. The remaining Gold Award winners from the Craftsmen competition included Colour Innovations, Metro Label, Polytainers, The AIIM Group, and The Lowe-Martin Group.
During the award celebrations, held last night at the Duncan House of Fine Dining, the Toronto Craftsmen chapter of the IAPHC organization also displayed its continued support of students pursuing post-secondary education in the graphic communications industry.
Student awards were handed out to seven people, including: Elina Shafigullina of Gordon Graydon Secondary, who will attend Ryerson’s Graphic Communications Management (GCM) program next year; Daria Shepelenko of George Brown College; Nasereen Ahmad of Humber College; Katherine Pires of Ryerson GCM; Christopher Barry of Phoneix Print Shop; and Olesya Milosevic of Centennial College.
Milosevic was also the runner up in the Craftsmen’s inaugural Graphic Design Challenge, in which students from across Canada submit a single print project (poster, brochure, banner, stationery, etc.) to win funding for their graphic arts studies. The competition’s top award went to Lakia Won from George Brown’s School of Design program.
The evening also featured a presentation from Ryerson GCM students Brian Bako and Mark Brejnik, who shared their experiences from the recent Technical Association of the Graphic Arts (TAGA) conference in Florida. As part of the RyeTAGA team, Bako and Brejnik described the process of creating RyeTAGA’s student journal, which included a thermochromic-ink cover and won three top awards at the TAGA conference, including: Best in Publication Design, Best in Production Quality, and Best in Overall Quality.
Bako and Brejnik took time to thank the Toronto Craftsmen Club for its continued support of the RyeTAGA initiative.
drupa Spotlight: In the third article of PrintAction’s online feature series, Barney Cox, a veteran industry consultant with InfoTrends Europe, discusses which technology trend will dominant the world’s largest printing exhibition this May.
By Barney Cox
Previous drupa's have been defined by a dominant technology trend, last time in 2008 it was the inkjet drupa and prior to that the show has been defined as the JDF drupa, the digital drupa, the CTP drupa and others further back in the mists of time. So what will the theme be for 2012? The clearest theme to emerge is that there will be multiple key trends rather than one over-riding theme in 2012.
“It will be the & drupa,” says Kodak EAMER managing director Philip Cullimore. “The media is an & world – print & apps, print & online, print & tablets, print & mobile. And, it’s not just print & other media. There’s also the combination of different print processes, where the sum equals more than the parts. It’s digital and offset.”
Transformation and transition are also emerging as themes for drupa 2012, and how vendors can help with that change through business development tools.
"At Ricoh we believe that drupa 2012 will be about transformation,” says Ricoh Europe Director of Production Printing Business Group, Graham Moore. “Technology will continue to progress but the challenge for the print service provider is bringing it all together and getting the real business development support to manage change. Examples of that transformation are from offset or digital to offset and digital, from supplying just print to supplying cross media services – and the related transition from print service provider to marketing services provider."
Maps and guides to the new business landscape
“For printers to become marketers, they need a lot of help, which is where the business development tools of the vendors become important,” says industry analyst Andy Tribute. “Historically drupa has been a technology show but it’s also about business processes and innovation,” says Canon Europe Professional Print Director David Preskett. “We will show how our clients have innovated in business processes; visitors can get a taster that may we hope will inspire them and lead to further things.”
There is recognition that for print to play its part in the cross-media world it has to prove that it is effective against, and with, other media. One of the phrases that will be everywhere at the show is ROMI – return on marketing investment.
Francois Martin, HP’s GSB Worldwide Marketing Director, believes that the perception of print by brand owners is already starting to change: “It is moving from being seen as slow moving medium in competition with online that also creates waste to one that adds value with desired documents that create positive feeling and emotion when properly used.”
Alongside the increased focus on the purpose and the business of print there will, of course, be lots of the latest technology on display, as whatever application you print and whomever you produce it for, better tools are an essential way of meeting the latest challenges.
Offset stands its ground
Digital, and inkjet in particular, may have been in the limelight at the last drupa, and will be this time, but it’s important to remember despite the inroads digital print has made just how much printing is still produced using analogue processes, and isn’t ready to go digital yet either. We’re nowhere near the turning point where digital print volumes overtake offset argues Agfa Graphics Head of Product Marketing, Ralph Hilsdon, who says, “The change is coming but you will see offset standing its ground.”
The focus in offset press development has been to improve the automation, which can reduce operating costs. Much of that focus is on reducing make-ready and changeover times to support shorter runs and quicker turnaround times. It isn’t the only benefit though. Every step towards automation helps to reduce the unit cost of the printed piece, an important factor when fighting to maintain a margin and print itself needs to prove its cost-effectiveness as a marketing medium.
“We will see improvements in sheetfed offset, to the point where you can almost eliminate the operator,” predicts Andy Tribute. He believes features such as on-press measurement, will evolve to measure and control colour faster, and to be able to read the whole sheet to identify print quality defects such as hickeys. These developments will help to continue to reduce the run length at which offset is viable to a couple of hundred sheets, firmly in the territory occupied by digital today.
Reducing makeready and changeover times through automation is crucial for getting work through the press hall quicker, but is only of limited use if the sheets then need to sit around for an age before they are dry enough to be handled for the next stage of production. Look out at drupa for several different approaches to eliminate that dead drying time. One approach is through UV-cured ink. The latest generation of lamps and associated inks are designed to run cool and long, promising low power consumption, longer lamp life, wider stock choice and no need for expensive cooling and ozone extraction. UV is just one option and may only be practical if you are investing in a new press.
Those not in the market for a new press should check out the latest development from ink suppliers, which promise rapid setting of conventional inks in some of their latest formulas. You can bet that even if they cost more than a bog standard offset ink, in comparison to toner or inkjet their price pales into insignificance. Another example of how offset suppliers are making the process more viable for shorter and shorter runs and quicker and quicker turnarounds to fight against the encroachment of digital.
The web-offset press sector will also see developments. “The focus is on reducing waste labour and ultimately the cost needed to produce a given volume of pages, whether that is through bigger presses or through automation,” says Goss International Marketing Manager, Greg Norris, who believes the next step may eliminate some changeovers and make-readies altogether.
This more agile form of web-offset may mean it can win some work that used to be the preserve of sheet fed presses too, proving that it’s not just analogue vs. digital but it’s also important to consider the type of paper transport employed and whether it makes sense to use sheetfed/cut-sheet or web-fed/continuous feed.
The inkjet drupa (again)
If 2008 was The Inkjet drupe then what will 2012’s predominant digital theme be? It will be the inkjet drupa, again. “2008 was the inkjet concept drupa, 2012 will be the inkjet delivered drupa,” predicts Fujifilm Europe Graphic Systems Marketing Communications Manager, Graham Leeson. “On show will be more inkjet machines for many more applications.” In the past four years, inkjet has made significant inroads into the digital printing market and is set to continue.
“In 2008, high-speed production inkjet printers only accounted for about 10 percent of the global digital colour print volume,” says InfoTrends Group Director Jim Hamilton. “That figure is rising rapidly and by drupa 2012 will be a quarter of the total volume and by 2014 will be more than a third.”
Developments in continuous feed inkjet have been rapid with most suppliers such as HP moving from a single machine to a range of widths, speeds and capabilities. Tribute believes that the next category of inkjet presses to emerge will be for more affordable continuous feed products with a speed of 50mpm with a price tag of $500,000, extending the range of printers who will buy the devices, the applications they are used for and the volumes of print produced using this technology. But what of the cut sheet B2 inkjet machines? Leeson explains: “Continuous feed got off to a quicker start after the last show because the quality requirements and therefore technology employed is less cutting-edge than for sheetfed.”
The question is, will Fujifilm’s and Screen’s machines be joined by other B2 sheetfed inkjet machines? At the time of writing it was too early to call, although there will be developments. The picture that is emerging is that the next generation of digital (inkjet) presses, which we may see at drupa 2012, will be aimed at the applications that are currently the mainstay of the market, and as such are produced on B2 sheetfed offset presses. However, just because that is the form factor of the leading litho technology, doesn’t mean that it necessarily follows that whatever replaces the B2 offset press as the printing industry’s workhorse needs to be the same in all respects except the imaging method.
Automation and integration
Regardless of the printing processes employed joining up – that is integrating – the ordering, managing, producing and distributing a job are crucial to meet demands for lower cost, more effective and faster to market printed products. Once those processes are integrated, it also makes it easier to automate them. “One key aspect of digital print that is often overlooked is its ability to be used in automated workflows,” says Jim Hamilton. “Reducing operator intervention and expanding the tasks that a single operator can handle holds critical importance in today’s production environments.”
But it’s not just in production where the benefits can come from automation and integration. As run lengths reduce and the number of jobs swell administration and customer service become increasingly significant costs of each job, putting the emphasis onto upstream systems and how you deal with clients. “We will continue to see further automation in the workflow, and more integration of systems, especially beyond the walls of the business to customers and between content systems and business processes,” says Agfa’s Hilsdon.
Hybrid printing, more than the sum of the parts
There is undoubtedly competition between digital and analogue print processes. The wise visitor to drupa will investigate thoroughly the latest developments – whether it is offset’s shift to shorter runs, or digital’s migration to higher volume – which may mean that they need to reconsider their own production capabilities. At the same time, it is becoming clear that it isn’t just an either or situation but as Kodak’s Cullimore said it’s the & drupa. There are benefits of using the two technologies together. That may be in hybrid printing systems that use digital to overprint variable data onto offset, or by running both analogue and digital presses and routing the work to the most appropriate for that job.
“The transformation of printed pages to digital is not a jump from analogue, it includes blending and merging,” argues Cullimore. “For some printers it’s just not possible to move their applications totally digital, hybrid systems that use digital to customise higher-volume products, can add something to litho. Goss’ Greg Norris adds: “We see an opportunity to integrate web offset with digital print in hybrid systems.” While there may still be a battle between the two processes in certain sectors, there is also agreement that they each have strengths, and the best approach is to combine them.
“We describe the job splitting between offset and digital printing as follows: printers can use their offset press for long-run jobs,” says manroland VP of Corporate Marketing and Communications, Thomas Hauser. “Consequently, when they also have a digital printing press, their offset operations are more profitable. The workflow is the central point in a mixed production environment. We want our customers to use existing workflows with a joint metadata workflow that controls the digital printing press and finishing equipment. Thus offset users can remain in their familiar environment with the digital printing press seamlessly integrated in the offset dataflow.”
manroland isn’t alone in that. While it’s partnership with Oce may have been the first to be announced between an offset and a digital vendor it was followed by Heidelberg teaming up with Ricoh, and KBA with RR Donnelley, the former to resell Ricoh digital printers to complement offset and the latter to develop new digital printing platforms that combine KBA’s prowess for building presses with RR Donnelley’s digital and hybrid printing experience and intellectual property. There may yet be more alliances where firms that were thought of as adversaries become partners.
“To benefit from a trade show, one needs to get away from the day-to-day pressures of business and take the chance to meet people and exchange ideas,” says Canon’s David Preskett. “You can see applications, you can network allowing you to share information. Big exhibitions are one of the few opportunities to get away from your business and gain a clear insight to future business ideas and innovation.”
Canon’s Preskett adds: “I think it’s difficult to call a theme. It only really becomes apparent a few days into the show when it becomes clear what it is that the visitors have come to see.“
Whether it’s automation drupa, the & drupa, the cross-media drupa, the inkjet drupa, the litho strikes back drupa, the transformation drupa, or any other drupa, the show is what you make it. To make the most of it you have to be there to experience first-hand, to form your own opinions and to take away what is relevant to your business. It’s your drupa, see you in Dusseldorf.
Frank Romano’s drupa through the ages:
1972 - The small commercial press drupa
1977 - The colour electronic prepress drupa
1982 - The phototypesetting drupa
1986 - The fully-composed-film drupa
1990 - The digital drupa
1995 - The improved productivity drupa (CTP, DI, digital colour printing)
2000 - The press and workflow automation drupa
2004 - The JDF drupa
2008 - The inkjet drupa
2012 - The inkjet on steroids and inline finishing drupa
A team of Ryerson University students acting under the RyeTAGA banner are preparing for the mid-March TAGA conference in Jacksonville, Florida, where they hope to recapture the prestigious Helmut Kipphan Cup.
RyeTAGA, comprised of students from Ryerson’s Graphic Communications Management program, has been awarded the Kipphan Cup twice over the past four years, as part of TAGA’s annual competition amongst international post-secondary printing programs to produce the best overall technical journal.
In addition to compiling and preparing some of its research, students are involved in every aspect of the journal’s production, from imposition, proofing, and plate-making to press runs, binding and finishing.
Production of this year's journal began in January, with the support of Toronto-area printing companies Flash Reproductions and RP Graphics. The journal’s sheetfed-offset cover also applies a screen-printing process with thermochromic ink for a touch-sensitive effect. "We wanted to do something far-out and unique,” says RyeTAGA member, Mary Tran. “Standing out and setting yourself apart from the competition is how to get noticed, and we always like to push the boundaries of what print can do.”
While its ultimate goal this March is to once again capture the Kipphan Cup, RyeTAGA traditionally has done very well in all of the competition’s categories. The initiative also allows the student group to become engaged with Canada’s community of printers and suppliers. “It’s a really good opportunity for you to get out there and meet people and see what’s outside the school doors. Networking is a life skill that is important to have and going to a conference like TAGA is the greatest opportunity to hone that skill,” says Brian Bako, RyeTAGA’s Marketing Director.
RyeTAGA counts on Canada’s printing community for mentoring and financial support. “Printers and suppliers are a great help to us because they are the industry support we need to boost our book internally and externally,” says Kaneesha Serjue, Fundraising Director for RyeTAGA. “We value all forms of donations be it money, supplies, or expertise. And we help them get their name out, and get them in contact with student talent. Partnering with reputable companies in the industry is good moral support for students, which is important since students are the future of tomorrow.”
Contact RyeTAGA via email to help support its run for the Kipphan Cup and future.
Visit RyeTAGA for more information on the program.
The Road to Digital Success: Being Analogue
By Enrico Barboglio
The next decade may be marked by some tough conditions. Firstly, instability as a structural condition because of the ever-deepening interconnectivity between different parts of the world and different people and the speed with which information and money can flow. Secondly, asymmetric economic and demographic growth in Europe, in the absence of important corrective measures, that will result in weak demand together with high-cost raw materials, as a consequence of demand in other parts of the world. Finally, high sovereign debt will become a driver for substantial changes in habits, behaviour and culture.
The ‘and’ paradigm
The consequences will be global changes in many sectors, because the difficulty of predicting demand will put extra strain on production flexibility and structural costs. The graphics industry will continue to see its structural model significantly challenged as it prepares to respond to ever more stringent demands in terms of time, and ever-changing, more integrated requirements with regard to production objectives.
We could say that the successful companies will be those that can address the needs of a digital nature (print/non print, long run/short run, paper/electronic) by adopting an analogue strategy, which can be summarized in what we could call the AND-paradigm: Innovation AND Tradition, Quality AND Quantity, Costs AND Revenue, Volume AND Margins, Short AND Long Term, Collaboration AND Competition.
In these six key areas, the Printing Service Provider (PSP), as an entrepreneur in graphics and communication, must therefore use its capabilities to satisfy its clients and also be prepared to respond to the new requirements that are emerging in the paper print sector.
It has been widely claimed and argued that paper print will not actually disappear, but what is certain is the market share of printed products will surely decrease. The importance of digital and mobile communication is growing by the day, as evidenced by usage statistics from sources like SMS, tweets, posts on various social media, email and Webpages in general. Integration of the communication channels is the challenge that has faced printing service providers for several years now, based on the fact that today’s user does not generally have information to consume, but a range of information to integrate, and very often also to share.
Initially, this process was more relevant to those who operated in variable data digital management systems (so-called 1:1 marketing), but today it also involves print where variable data is not the main feature or does not determine the need for a digital output.
How to respond to B2B and B2C needs
Until today, PSPs were considered a link in the communication chain only when it came to producing the final document, brochure or direct-mail piece, and had to deal mainly with the client’s purchasing department or their communications agency.
Now, marketers are challenged to segment their markets more efficiently and effectively, attract new customers with continuity campaigns that cultivate engagement, support multiple distribution channels with comprehensive materials aligned to each specific channel, identify cross-selling and up-selling opportunities, and maximize the lifetime value of the customer.
All these are issues that a PSP with business clients cannot ignore. They must begin a transformation from PSP (Printing Service Provider) to CSP (Communication Service Provider) or MSP (Marketing Service Provider).
The world of photo-books is a clear example of this. The consumer’s increasing confidence in digital imaging is making the use of digitally printed photo albums more and more popular. The initial tendency to keep photos only in their digital electronic form is changing, and this may be further encouraged through an offering that is essentially Web based, available 24/7, and offers the consumer the chance to create unique and personalized products.
The photo album can become a true photo story or personalized book; sending greetings cards or party invitations can be left completely to the final user. This has been done, for example, by Penwizard or TinyPrints recently acquired by Shutterfly. The latter was one of the first companies to enable the creation of photo-books directly inside the Facebook environment. In these and similar, cases the support of digital printer suppliers has often been critical in the planning phase.
Opening up to clients through W2P
Whether PSPs are aiming to create an offering for the business market or for consumers, they must ensure that they open up their own production areas to clients. The proposition of on-demand services will be impoverished if clients are not allowed to generate their demand at any time in the 24/7 context that they nowadays consider it their right to ask for. This is why adopting Web2Print (W2P) is no longer merely an application to be included in the user interface in order to obtain online orders. It has become an important and integral part of the company management process. At the same time, it is a tool no longer the reserve of print companies specializing in online printing, but a solution which more and more traditional print companies are turning to, so that they can respond to new ways of managing demand and orders from their clients.
B2B solutions are provided by print service providers for their corporate customers. Corporations then use these solutions to manage their supply chain and print procurement process. These types of solutions are traditionally branded with the corporate logo and colour scheme and access to the site is typically restricted to employees or business partners who can log in to the system with a username and password. Some features that most B2B solutions offer include storefronts that can be branded with a corporate identity, configurable permissions for a variety of corporate users, catalogue and template ordering, approval workflows that automatically request management approval when necessary, and support for purchase order and cost-centre billing.
B2C solutions are used for selling print products and services directly to consumers. These solutions typically require intensive marketing efforts to drive consumer traffic to the site. Consumers can order print using a B2C solution without having a pre-established relationship with the PSP. Some features that most B2C solutions offer include adhoc file submission and template-driven ordering, support for credit card payment processing, real-time shipping quotes via integration with the parcel courier, and the ability for consumers to track the status of their job online.
The ability to integrate third-party solutions within a W2P solution is another added-value feature. This is the case, for example, with Hiflex Webshop, an open system that allows the integration of third-party functionality. Alongside the already implemented PDF Online Designer, for instance, it is possible to integrate external tools that offer Webshop visitors the functions of professional DTP applications. In this way, individual print products can be created quickly and easily. Bestprint24.com is an interesting simulation of a printing Web shop
The optimization and automation of prepress is the key to being more competitive by reducing internal costs. Prisma Graphic Corporation strongly believes this. Originally a boutique print shop, it has added two successful Web-based storefronts known as Dokshop and Print Power to complement its commercial print business.
Dokshop serves corporate customers, while Print Power represents a Web-to-print solution targeting consumers. With the use of Prinergy Connect workflow and Kodak's Rules-Based Automation Software (RBA), Prisma Graphic has improved prepress processes with more automation. “We have to produce a product that costs less money today than it did five years ago,” said Steve Carlson, Operations Manager, Prisma Graphics. “The efficiencies we’ve gained with Kodak’s workflow have freed up some available time in the rest of the plant, either on the digital or offset side. We can do parts of a job ahead of time and optimize press utilization.”
“The main benefit of Kodak’s solutions are their scalability,” says Nigel Street, General Manager, Unified Workflow Solutions, EAMER. “They are also customizable and can integrate seamlessly with third-party systems, making it very easy for our customers to see immediate results.”
HP has partnered with RedTie and the combined offering creates an end-to-end solution that enables the production of personalized, effective and clever campaign materials. "Some of the world's most powerful brands are using digital print and web-to-print solutions to stand out in the marketplace with complex and creative cross-media marketing materials," said Julia Cole, HP Indigo UK & Ireland marketing manager.
Prepress is the area where the graphic firm can enhance competitiveness. The producers of software for workflow management and file management know it well. They are actually offering more advanced solutions in this field.
Global Graphics has more 20 years experience of developing printing and e-document technology. Its Harlequin and Jaws RIP products offer native PostScript and PDF processing for faster performance and more accurate file rendition. The Harlequin RIP’s rich feature set includes many prepress processes that normally run on separate applications, such as colour management, trapping and imposition. The Jaws RIP is a kernel interpreter around which application developers can wrap layers of functionality and incorporate third party tools.
Also a key market players is EFI, which since its inception in 1989 by Efi Araz (founder of Scitex) has always developed new products. It now has the richest portfolio of solutions for centralized management of printing and graphics workflows, variable data streams management and for the realization of comprehensive W2P solutions. Digital StoreFront is the tool that allows any PSP to implement a web platform that can meet the diverse printing needs of its customers, including the ordering of custom prints.
Customers can send new documents from their desktop computers from anywhere worldwide, using Digital StoreFront's automatic PDF conversion capabilities or the solution’s easy-to-use ticketing features to specify how they want their jobs produced. Site visitors can also choose pre-defined jobs from a visual catalogue, as well as variable data printing and non-print items like advertising specialties, logo merchandise and apparel, and even kits.
In July 2011, EFI also acquired Entrac Technologies, a provider of self-service and payment solutions, and this could lead to further innovations in the way of providing print services 24/7.
Being relevant to customers in the cross-media era
Once the print provider has been transformed into a CSP offering services available 24/7, their next challenge is to become relevant to their clients.
To achieve this they need to start from an important consideration: the market is ready and the time for getting into cross-media marketing communications is now. Various market trends support this recommendation: Consumers are demanding more relevant communications, marketers need help identifying the right solution for improving marketing performance, and marketers are ready to participate in cross-media. They are actively seeking technology and partners to help make their lives easier by improving the productivity and ROI of their marketing efforts. While printers can provide more and more answers as they complete the transition from a print service provider into a marketing service provider (MSP).
Providing the right information in the right context (Relevancy in Content), to the right people (Relevancy in Contact), delivering this information to the right device in the right format (Relevancy in Channel), when and as needed to meet the client’s needs (Relevancy in Time). To provide this level of relevancy, a printer must implement the infrastructure (technical, sales, and consultative skills) to develop solutions for efficient communications.
Demand and the embracing of customized communications are being fueled by technology enhancements and market awareness. Advances in the speed and quality of digital colour technology, along with rapid adoption of automation and online technologies, is driving application development. At the same time, the cost of producing digital colour pages is declining while Customized Communications adds value and market awareness is growing. Lastly, targeted and relevant cross-media marketing is now gaining traction in terms of market adoption.
Print providers who act as marketing service providers meet client needs by offering products and services that are targeted, relevant and measurable. They remain competitive by differentiating their business with higher value products and services. They generate revenue opportunities from the services associated with delivering customized communications. And customized communications can drive volume to digital press.
In this way we have an overall cycle covering both print and digital communication. Driving this cycle is the right path to take.
The first annual Canadian Printing Awards were presented last night in front of over 250 industry members at Graphics Canada.
The evening featured an appearance by Toronto Mayor Rob Ford and his brother City Councillor Doug Ford. The duo presented PrintAction, the gala organizers, with a special commendation and gave a short speech about the importance of small business. Doug Ford also encouraged visitors to consider Toronto's many industrial areas as prime locations to establish new printing ventures.
Earle O'Born of The Printing House received the first John A. Young Lifetime Achievement Award and kicked off the evening's theme of entrepreneurship, with many other award recipients acknowledging humble beginnings. Jay Mandarino, the recipient of the Community Leader of the Year Award, made it a point to highlight the importance of fostering ties with the community, and how it even led him to produce an award-winning annual report piece.
St. Joseph Communications' Tony Gagliano, upon receiving the Printing Leader of the Year Award, emphasized how Canada and Canadians were central to the growth of his father's basement printing business. Gagliano envisioned St. Joseph Corporation heading into the international stage as the company heads toward its next milestone.
The evening, presented by Dragons' Den Canada host, Dianne Buckner, was capped off with the presentation of over 60 awards for printing quality and environmental leadership. The award winning pieces and companies are as follows:
Bronze: Parker Pad & Printing, Fantasy of Flight
Silver: C.J. Graphics, Lightening our Step
Gold: The Lowe-Martin Group, Zero C Invitation
Bronze: St. Joseph Print, 2012 Fiat 500
Bronze: C.J. Graphics, Ornge brochure
Silver: Colour Innovations, Arcadian Court Booklet
Gold: Kempenfelt Group, Hostmann-Steinberg Product Selector Guide
Bronze: Kempenfelt Group, Brandora
Silver: Flash Reproductions, Scratch Design
Gold: Flash Reproductions, Bucket & Whisk
Bronze: C.J. Graphics, The White Room
Silver: Hemlock Printers, Level Ground Trading
Gold: C.J. Graphics, Sullivan Owen
Variable Data Printing
Silver: Pazazz Printing, My MNY
Gold: The Lowe-Martin Group, The Co-operators RRSP Mailer
Bronze: Colour Innovations, Fairmont Hotels President's Club
Silver: C.J. Graphics, MINI Cooper Pamphlet
Gold: St. Joseph Print, Fiat 500 Welcome Package
Bronze: Anstey Book Binding, The Anstey Portfolio
Silver: Ambrosi Printers, Handset Self Promotion
Gold: Anstey Book Binding, The Oscar Peterson Folio
Business & Annual Reports
Gold: C.J. Graphics, VF Corporation Annual Report
Magazines & Catalogues
Bronze: Rhino Print Solutions, Montecristo Magazine, Autumn 2011
Bronze: St. Joseph Print, Sharp, The Book for Men
Silver: Hemlock Printers, Finchley Paper Arts Passport
Gold: Hemlock Printers, Inventory Magazine, Issue #04
Bronze: Pazazz Printing, Samfet Corporate Showcase Book
Bronze: Hemlock Printers, Blood, Sweat & 10 Years
Silver: Specialties Graphic Finishers, Alberta College of Art & Design
Gold: C.J. Graphics, Edward Burtynsky, Pentimento
Gold: Flash Reproductions, 0 to 100 Faces
Silver: Promoflex International, Campbell’s Food Roll Banner
Gold: Promoflex International, Budweiser Pennants
Bronze: Hemlock Printers, Butchart Gardens 2012
Bronze: Colour Innovations, Canadian Army Calendar 2012
Silver: Thunderbird Press, Wall Calendar
Gold: C.J. Graphics, Toronto Parks and Trees Foundation
Bronze: Goldrich Printpak, Dunlea Farms Tidy Feeder
Silver: Netpak, Snow Box
Gold: Goldrich Printpak, Euoko Cosmetic Box
Bronze: Pazazz Printing, Beaupre Labels
Silver: Pazazz Printing, Base Can Promotion
Gold: The Lowe-Martin Group, Year of the Rabbit, Souvenir Sheet
Bronze: Anstey Book Binding, Colourful Conventions
Silver: Specialties Graphic Finishers, The Secret to Making a Difference
Gold: Anstey Book Binding, Edward Burtynsky Pentimento
Most Environmentally Progressive Printing Project
Bronze: C.J. Graphics, Toronto Tree Portraits 2012 Calendar
Bronze: MET Fine Printers, Montecristo Magazine Summer 2011
Silver: MET Fine Printers, Connected World Magazine
Gold: MET Fine Printers, TED Conference Guide
Most Environmentally Progressive Packaging Project
Silver: C.J. Graphics, Ikea 2010 Sustainability Carton
Gold: Farnell Packaging, Gorton’s Fish Portions
Most Environmentally Progressive Printing Technology
Bronze: Sun Chemical, GFI MX12 Ink Dispenser
Bronze: manroland, Cold Foil Indexing with InlineFoiler Prindor
Silver: Webcom, BookFWD
Gold: Cascades Fine Papers, Breakey Fibres Deinking
Most Environmentally Progressive Printing Company, 1 to 249 employees
Bronze: Promoflex International
Gold: Hemlock Printers
Most Environmentally Progressive Printing Company, 250+ employees
Bronze: St. Joseph Communications
Silver: Symcor ISS
Gold: The Lowe-Martin Group
Best of Show
The Lowe-Martin Group, Year of the Rabbit Souvenir Sheet
PrintAction would like to thank all the participants of the Canadian Printing Awards for making it such a huge success. For full coverage of the evening, please stay tuned to a future issue of PrintAction Magazine.
O'Born will be joined by Tony Gagliano, who will receive the Printing Leader of the Year Award, as well as Jay Mandarino, who will be receiving the Community Leader of the Year Award.
More than 60 students from Ryerson’s School of Graphic Communications Management celebrated their academic achievements, which included the presentation of 42 scholarships supported by the Canadian Printing Industries Scholarship Trust Fund.
The awards night, held in Toronto on November 2, was highlighted by the receipt of two $5,000 Warren Wilkins Prestige Scholarships to Graphic Communications Management (GCM) students Christine MacCallum of Mississauga and Jessica Klein of Hanover, Ontario. As well, fourth-year GCM student Andrew Wong received the prestigious $10,000 FFTA Rossini First Place Scholarship.
The 40 remaining scholarship winners received $1,250 each, through the long-running (1971) Canadian Printing Industries Scholarship Trust Fund (CPISTF), which is supported by printers and technology suppliers across the country. More information about the GCM awards is available on the program’s Website, www.ryerson.ca/gcm, which was just re-launched in September 2011 with a new interface design and content-management tools.
On October 4, 2011, Ryerson’s GCM program also announced the launch its new RyePAC Student Packaging Group, led by the Rossini scholarship winner, Andrew Wong. Mirroring the agenda of GCM’s very successful RyeTAGA group, RyePAC is structured to educate and create opportunities for students interested in the packaging industry. The RyePAC launch drew a crowd of more than 70 students.
RyeTAGA, the GCM student chapter of the Technical Association of the Graphic Arts, has formed its new executive team and is currently working on its 2012 Ryerson student journal for an upcoming competition associated with the March 2012 TAGA conference. ryeTAGA students will be at the Graphics Canada Show selling their 2012 desk calendar as a fundraiser. More information can be found at the dedicated RyeTAGA Website.
Graphics Canada 2011, the largest printing trade show in Canada, starts on November 10 and runs through November 12. Below is a comprehensive listing of what the exhibitors are highlighting at the show.
This listing, along with other features of the trade show, such as seminars and workshops, will be available in the Graphics Canada Show Guide published by PrintAction magazine.
3L Display #1078
All Graphic Supplies #2108
P.O. Box 468 Newton, KS 67114-0468 (800) 835-2526
Lumiere France, 78002 33 38821-0000
Cambridge, ON, N1T 2E5 (800) 311-2363
Calgary, AB, T2E 8W1 (800) 885-7100
Richmond, BC, V7A 5C8 (604) 271-1679
Earle O'Born, Chairman and CEO of The Printing House, will receive the inaugural John A. Young Lifetime Achievement Award at the Canadian Printing Awards gala, November 10, in Toronto.
The John A. Young Lifetime Achievement Award, named after the founder of Youngblood Publishing and PrintAction magazine, will be awarded annually to an individual who has made significant, pioneering contributions to the printing industry over their career. This award, determined by PrintAction magazine, is being introduced as part of the new Canadian Printing Awards program, which builds upon the past five successful years of the Environmental Printing Awards.
Mr. O’Born is being recognized for enormous industry contributions made during his 50-year entrepreneurial build of The Printing House Ltd. (TPH), as well as his incredible philanthropic efforts made through the TPH Charitable Office. He continues to be actively involved with TPH.
In 1961, O’Born founded TPH as one of the first instant-printing companies in North America. Over the past five decades, O’Born made sure TPH remained on the leading edge of printing technology and strategy, which has resulted in what is today's largest privately owned network of printing operations across Canada. From a single 1961 location, TPH now operates 70 printing locations across Canada.
The TPH Charitable Office was formed in 1983 by O’Born and his wife, Janice, to “help others, help themselves.” Through the continuing efforts of four full-time staff members, the TPH Charitable Office has raised millions of dollars for various charities across Canada. In 2005, and again in 2006, TPH received the CIBC Spirit of Leadership Community Award.
Earle and Janice O’Born are active supporters of Sick Kids Hospital and, in May 2007, were awarded the Outstanding Philanthropists Award by the Children’s Circle of Care Woodmark Group. In May 2009, the O'Borns co-chaired the Brazilian Ball, which raised over $2.9 million in net proceeds donated to Sick Kids Hospital. In 2010, Earle and Janice O'Born were recipients of the Canadian Centre for Diversity’s Human Relations Award.
Earle O’Born has also received numerous awards for his entrepreneurial achievements, including in 2004, and again in 2007, as a provincial finalist in Canada’s Entrepreneur of the Year Awards. He was recognized by Ernst & Young as a 2008 Entrepreneur of the Year for Ontario in the Business-to-Business category.
Mr. O’Born’s achievements will be recognized by leaders of Canada’s printing industry during PrintAction’s Canadian Printing Awards gala, taking place on the first evening of the Graphics Canada trade show in Toronto, November 10.
PrintAction breaks down the technology highlights from some of the larger vendors at Graph Expo, where offset made its presence felt once again and inkjet continued to advance.
A full Graph Expo report will appear in the next issue of PrintAction magazine. It will include further details about the following vendor highlights, listed alphabetically:
Agfa Graphics highlights the launch of :Apogee 7.1, which includes the :Apogee Impose and Prepress software modules. The company also highlights the North American debut of its :Azura Vi violet, described as a chemistry-free photopolymer plate. Agfa also highlights its latest inkjet systems, including the 63-inch-wide, 4-colour :Anapurna M1600, which jets G2 inks and white ink; the UV-based :JETI 3020 Titan FTR, a flatbed UV inkjet system with a flat-to-roll option; and the 80-inch, 6-colour (plus white) :Anapurna M2050.
Canon highlights its new free software application for imagePRESS C1 + users, Clear Editor Viewer, which prints with clear toner to create the look of a varnish coat on a printed piece. It allows users to simulate spot varnish coatings. The latest additions to the company’s toner-based imagePRESS line include the new C7010VP, C6010VP and C6010 presses. The imagePRESS C7010VP and C6010VP presses are equipped to handle an expanded range of media types, from 16-lb bond to 120-lb cover weight, while delivering rated print speeds of up to 70 letter-sized pages per minute and 60 pages per minute, respectively, in color and black and white, regardless of paper weight.
Duplo highlights the debut of its DBMi system, a heavy-duty, high-volume collating and saddle-stitch booklet-maker. The DBMi, operated from a Windows-based controller, configures a DBM-S booklet-maker with up to six DSC-10/60i collators. The DSC-10/60i collator has an optional bin extension kit for feeding sheets up to 14 x 24 inches, as well as an optional intelligent feed function (IMBF). Producing up to 4,500 books per hour, DBM-S automatically transitions from CD size to letter landscape and can produce a book up to 14 x 12 inches. An optional DKT-200 2-knife trimmer and gutter cutter can be added for full-bleed inline books and 2-up applications, which increases output to 9,000 books per hour. Optional 3- or 4-stitcher head kits are also available.
EFI highlights the launch of its Fiery System 10 platform, which includes a new job-based Fiery Calibrator to provide calibration status and alerts. Fiery System 10 also ships with the new Image Enhance Visual Editor (IEVE). It allows users to edit each image in a job without going back to the native design file, as well as manually adjust brightness, contrast, highlights, shadows, colour balance, and sharpness, and make red-eye corrections. EFI also highlights its Rastek H652 UV hybrid printer, which handles rigid and flexible materials – such as Fome-Cor, PVC, corrugated plastics, plywood, aluminum, and glass – up 65 inches wide and 1.8 inches thick. Rastek H652 can reach a maximum speed of 455 square feet per hour and a 1,200-dpi resolution.
EskoArtwork highlights the release of Automation Engine 10.1 software for processing production files through its ArtPro and Nexus workflow systems. Version 10.1 features a new processor module to fully automate trapping, distortion, and screening parameters, tasks that are normally carried out manually in the ArtPro editor. It also allows users to draw XML-based job data from non-JDF compliant business systems like FileMaker Pro and Excel. Automation Engine 10.1 includes Enfocus PitStop preflighting tools.
Fujifilm, the master global distributor for Inca, highlights the North American debut of the Onset S40, which handles a maximum substrate size of 3.14 x 1.6 metres and produces at 470 square metres per hour. The S40 produces various finishes, from satin to gloss, on both rigid and flexible materials with thicknesses up to 500 mm in manual mode or 10 mm in auto mode. The company also highlights the debut of its Acuity LED wide-format machine, as well as the new Acuity Advance HS (high-speed) wide-format UV flatbed printer, which hits a speed of 430 square feet per hour in production mode. The HS, jetting Sericol Uvijet inks (using Micro-V dispersion technology), reaches a new express-mode speed of more than 700 square feet per hour.
Goss highlights its new Sunday Vpak packaging presses, with variable-sleeve technology for packaging applications, which are available in web widths up to 75 inches. Goss describes Vpak as a new web-offset alternative to sheetfed, gravure and flexo presses for folding carton, film, and label applications. The company also highlights the continued expansion of finishing options that integrate with its presses, including equipment from Ferag, Akiyama, Purlux, and Yawa.
Heidelberg highlights the launch of Prinect Business Manager, its new Management Information System (MIS), which focuses on costing, equipment capacity, and material inventory, as well as a new version of Prinect Image Control and Prinect Web-to-Print tools. Along with two Speedmaster presses (SM 74 with Prinect Axis Control and SM 52 with Anicolor), Heidelberg also notes the booth presence of equipment based on recent distribution deals, including the Ricoh Pro C901 Graphic Arts Edition toner machine, which hits 90 pages per minute, and the EFI VUTEk GS3200, a UV inkjet machine for rigid and roll-to-roll printing.
HP highlights a speed increase to its 20.5-inch-wide T200 Inkjet Web Press, which can now run at 400 feet per minute (up from 200 feet per minute) in colour production. The company also highlights its flagship Indigo 7500 press, first launched in late 2010, which can print up to 120 A4 pages per minute in full colour or 240 pages per minute in either monochrome or two colours. The press, available with up to seven ink stations, is rated to produce up to 3.5 million colour pages or 6.5 million monochrome pages per month. In addition to its Indigo line, HP highlights the breadth of its imaging portfolio, which includes numerous products under the Designjet, Scitex, and Specialty Printing Systems brands. HP also highlights enhancements to its Exstream and SmartStream software portfolios.
Kodak highlights a new family of eight Versamark Printing Systems with single-engine duplex designs. The monochrome Versamark 100N/100W and 150N/150W models are designed as entry-level, while the 300N/300W and 500N/500W models produce full-colour work. Kodak also highlights the debut of its MarketMover Managed Campaign Services for market-related consulting, as well as a new chemistry system called 400 xLo for processing Electra XD thermal plates.
Komori highlights the North American debut of its Lithrone G40 press, which prints up to 16,500 sheets per hour. The press features Komori’s KHS-AI self-learning technology to aid in make-readies, as well as a fully automatic plate-changing system that employs a bender-less clamp for easier plate discharge and feeding. The Lithrone G40 also features a new Suction Tape Feeder Board designed to handle a variety of paper weights. The new 40-inch press is also compatible with Komori’s H-UV curing system.
Konica Minolta highlights its bizhub PRESS C8000, which this August received IDEAlliance Digital Press Certification. The toner-based device, with a monthly duty cycle of 500,000 pages, can print up to 80 pages per minute. It runs Konica Mintolta’s third-generation Simitri HD + toner, reaches a maximum resolution of 1,200 dpi, and carries a paper capacity of 10,700 sheets with vacuum belt feeding. The company also highlights its smaller bizhub PRESS C7000, bizhub PRESS C70hc, and the monochrome-based bizhub PRO 1200 Series, as well as advances to its Printgroove production software.
manroland highlights the Graph Expo launch of its technical performance consulting program, TOP. The program is designed to benchmark current performance levels and enhance the performance of existing presses by improving consumable quality, press settings, colour management, and workflow organization, and by reducing waste. manroland also highlights its ROLAND 700 DirectDrive press, which uses a double-clutch mechanism and alternating drive technologies to perform changeover functions simultaneously. The company also debuts the ROLAND 700 HiPrint HS press (offsite at its Chicago-based Print Technology Centre) whose maximum speed of 18,000 sheets per hour and maximum sheet size of 740 x 1050 mm makes it suitable for applications like folding cartons, labels, and books, and producing commercial products.
Muller Martini highlights the debut of its Orbit 3-knife trimmer, designed for book applications, which allows for setting changes on the fly. The Orbit’s crossover capabilities allow users to handle a range of stock weights and sizes – from offset to toner and inkjet printing. It is powered by Muller’s Book Data Center, which allows for wrench-less make-ready and the separation of the driveline. The Orbit can trim up to 80 mm at 7,200 cycles per hour. Muller also highlights the launch of SigmaTrimmer, which uses a barcode scanner to read each book individually during infeed and then automatically adjust settings. SigmaTrimmer works at a speed of up to 1,000 cycles per hour.
Xeikon highlights its flagship Xeikon 3500 label press, which has a full rotary printing architecture with variable repeat length. The company describes the 3500 as the only toner-based label press that can handle web widths from 9.8 inches to 20.3 inches. The press, with true 1,200-dpi resolution and 1,200 x 3,600-dpi imaging addressability, can be integrated with inline finishing for UV-varnishing, super-glossing, slitting, and rewinding. The Xeikon 3500 has a monthly duty cycle of 3.8 million square feet.
Xerox highlights the North American debut of its CiPress 500 system, which the company describes as the world’s only high-speed waterless inkjet device. The twin-engine machine (listed at US$3.8 million) prints at 500 feet or 2,180 full-colour pages per minute. Xerox also highlights the launch of its new 770 toner press rated for a top speed of 70 pages per minute, as well as its upgraded 700 press model, called 700i. Both presses, available in October, can handle media weights of up to 300 gsm.
At this year's Graphics Canada show this November will be the 2011 Postal Forum presented by the National Association of Major Mail Users (NAMMU).
The association will present a variety of topics over two days at the Mailing Technology Theatre on the show floor in Hall 3 of the International Centre. All topics are free of charge and include:
• POCAD: Improve your Accuracy, Improve Your Results
• VAM (Value Add Mailer) - Canada Post's Partner Program
• The Five Best Ways to Incentivize Mail Use
• Mail Works: Mail Performs in a Multimedia Campaign
• The Mail Clinic: The Mail Docs Are at Your Service
NAMMU was established in 1983 and according to the association, represents over 500,000 jobs in the country and over 85 percent of Canada Post's revenues.
Graphics Canada is November 10-12 at the Toronto International Centre. For more details about the Postal Forum, click here.
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OPIA Awards Night 2018
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DesignThinkers Vancouver Conference 2018
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PrintForum Trade Show & Conference
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SWOB Golf Tournament 2018
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