More than 200 students in Mohawk’s three-year Advanced Diploma Graphic Design program train at Mohawk lab where they learn how to turn digital designs into finished products and packaging, including business cards, saddle stitched and perfect bound books, pads, posters, banners, clothing and a wide variety of other specialized print and packaging design products.
The newly named Hugh Cameron Digital Print Learning Centre includes a Kongsberg XL22 cutting table, a Roland 64-inch large format inkjet system, a Xerox 800 press, UV coater and die cutter. Mohawk’s Digital Print Learning Centre officially opened in February 2012 with support from Xerox Canada, Bell Howell, Esko Graphics and the International Corrugated Packaging Foundation of Canada.
“Mohawk College is proud to recognize Hugh Cameron for his generous and continuing support of students in our Graphic Design program,” said Ron McKerlie, President of Mohawk College. “Hugh has been instrumental in securing the most advanced digital print and finishing equipment available at any college in Canada.”
Cameron is the Chairman of Retail Ready Packages Inc. and President of the International Corrugated Packaging Foundation of Canada. He has secured more than $750,000 worth of equipment and funding for student scholarships and bursaries.
Cameron began his career in the packaging industry in 1951, working for companies including Belkin Packaging, Ace Containers Limited, Crown Zellerbach and Bathurst Containers before launching his own business in 1968.
The new Anapurna M2540i won in the UV Flatbed ($100-200k) category, while the Canadian-built Jeti Mira won in the UV Flatbed ($200-500k) category and Jeti Tauro won top honours in the UV Hybrid/Flatbed High Volume Production Class category.
“This recognition means a great deal to the entire global Agfa Graphics team,” said Deborah Hutcheson, Director of Marketing, Agfa Graphics, North America. “The competition validates the hard work and precision behind these inkjet systems.”
The Jeti Tauro is a UV hybrid system positioned for the higher end of the sign and display market with print speeds up to 2960 f2/hour (275 m2/hr). The system is designed to withstand heavy workloads (24/7, multiple shifts) and prints up to 2.5 metre wide on rigid or roll media with six colour plus white or primer options.
The Jeti Mira is also built for heavy industrial workloads. Its print-and-prepare mode on the double bed model allows non-stop printing, allowing PSPs to load the front while the back is printing for added productivity. The Mira has six colour plus white with optional varnish and primer and is available in two bed sizes (8.8 x 5.24 feet or 8.8 x 10.5 feet)
The Anapurna M2540i FB is a six-colour plus white, 100-inch (2.54 metre) UV-curable flatbed inkjet printer which prints at speeds up to 1000 f2/hour (93 m2/hr). It is designed for step-and-repeat work and for printing multiple jobs on different sized media.
Ryerson University’s Graphic Communications Management program handed out dozens of awards to the school’ top students last Thursday night in downtown Toronto, recognizing excellence in a range of educational disciplines from packaging and printing to business development and school participation.
The 2015 GCM Awards Night once again showcased the close relationship between the printing program and industry with several awards bearing the name of printing companies, associations, suppliers, and individual printing leaders. With more than 180 new students entering the GCM program this year, Ryerson continues to serve as one of North America's brightest conduits for the printing and imaging fields.
PrintAction last week announced its 2015 Industry Achievement recipients, including: Hemlock’s Dick Kouwenhoven, who is to receive the Lifetime Achievement Award; C.J. Graphics’ Jay Mandarino, Printing Leader of the Year; ampersand’s Damian McDonald, Emerging Leader of the Year; and MET Fine Printers’ Scott Gray, Community Leader of the Year
Vying for Gold, Silver and Bronze Awards, the finalists in this year’s Quality and Environmental Printing categories, who will be recognized at Toronto’s November 12 gala at The Grand Luxe with host Steve Paikin, include:
ASL Print FX
Glenmore Custom Print + Packaging
Honeycomb Mailing Services
MET Fine Printers
Pacific Bindery Services
PDI Integrated Print Solutions
RP Graphics Group
St. Joseph Communications
The Lowe-Martin Group
“Esko invited students outside of the Artevelde University this year. Ryerson University was the only participant from North America and represented five of the 20 students who participated,” explained Ian Baitz, Chair of Ryerson’s Graphic Communications Management (GCM) program. “They received university credits, participated in plant tours, and were taught by Esko engineers and instructors who are experts in their solutions.
“Students were able to focus for two full weeks on the content of the course, and nothing else,” continued Baitz. “There were 80 hours of classroom time which, in terms of Ryerson, represented two full semester courses.”
The five third-year students from Ryerson GCM received both a theoretical and practical education that included real-life situations, explained Esko, allowing them to experience the complete packaging development process from design concept to ready-to-print flexo plates. The students also visited flexible packaging printer Segers & Belcaen, folding carton packaging printer Du Caju, and flexo service provider Athena Graphics.
“We know that all of the students who attended our program have a very good educational and technical foundation due to the high quality of the classes,” said Jan De Roeck, Director of Solutions Management at Esko. “We are very excited to add our industry expertise to this high quality education program.”
Baitz explains the participating GCM students received significant course work assignments months before the two-week course in Belgium. A post-course assignment was also required.
“The nice thing about this Honours Class was that it combined all of the information we had already received from school, and we gained a more in-depth understanding of Esko’s products and software,” said GCM student Amy Nhan. “I thought there was very good communication between the students and Esko. It opened doors, developed cooperation with other schools and students, and offered new contacts."
"This year, the committee was given the mandate to carry forward the Gala across Quebec, and I am pleased that several companies have answered the call. The contest pushes the boundaries of each, and responding to the challenges raised by the talent and creativity of companies, communication agencies and print buyers of Quebec, regardless of company size,” said André Goyette, CEO, Imprimerie Contact Netpak-Division and Chairman of Gutenberg 2015 Committee.
Goyette continues to point to the growth in display graphics and packaging submissions and this year’s introduction of flexography as a category. “Interest in the contest and the gala continues to grow, and we are very pleased,” he said. Fifteen awards were presented at the Gutenberg Gala, including:
(More photos from the gala are available at Galagutenberg.ca)
GUTENBERG INNOVATION CATEGORIES
Project: Display Berlingot Natrel
Printer: TC Transcontinental Quebec
Category: Customer Marketing Innovation Challenge Category
Project: Perrywinkle's ring
Printer: Au Point Reprotech
Category: Marketing, Self-promotion
Project: Still Spining thesis After All years
Printer: TC Transcontinental Direct Acme-Ross Ellis
Category: Edition (publishing)
Project: Cirque du Soleil TOTEM Souvenir Programme
Project: EPICA Retrospect 10th anniversary
Printer: TC Transcontinental Direct Acme-Ross Ellis
Project: Le Grand Soir 2014
Printer: Stylex 3D
GUTENBERG TECHNICAL CATEGORIES
Project: Wall Austin Abia
Printer: Photogram Technologies Inc.
Category: Marketing, Self-promotion
Project: Hot, Cool and Sexy
Category: Marketing Client
Project: Zeni Spa
Printer: Imprimerie FL Chicoine
Category: Edition, Newspapers
Project: First Edition-The City of Salaberry-de-Valleyfield
Category: Edition, Book
Project: Empowering Global citizenship
Category: Edition, Magazine
Project: Cirque du Soleil, The Beatles Love
Printer: PDI Integrated Printing Solutions
Project: Foil FX selector (2nd edition)
Printer: Gravure Choquet
Project: Aux Champs d'Elise
Printer: Imprimerie Ste-Julie
Project: Box BA, Midnight Romance, L'Oréal
Printer: PDI Integrated Printing Solutions
Over the past two semesters the student group spent many hours planning the journal. This includes selecting the student research papers that will make up the content of the journal. The creative director of the group, Harleen Singh, spent countless hours in coming up with the design, typesetting, recreation of graphs and designing the metallic chapter divider pages.
The group also held several fundraising events during the semesters, so that the group can attend the conference. Various university funding opportunities were explored and the group was successful in securing funds from P-FACS, the RCDS (Ryerson Creative and Design Society), and the student project grant from the Dean's office of the Faculty of Communication and Design. Industry partners like Colour Innovations, the Crafstsmen Club, MI5, Spicers, PrintAction and others supported the groups with money or materials or use of equipment.
At the conference student groups from 6 other universities displayed their journals and answered questions from conference attendees with regard to the production of the journal. The TAGA board of directors judged the journals, while the conference attendees could vote also for their journal of choice. The results of all the competition taking place for the RyeTAGA student group were very impressive. This year, the RyeTAGA won the following awards:
- Harvey Levenson award for the best undergraduate research paper. The paper was written by Alex Chheun and Amy Nguyen and evaluated the colour stability of the Xerox 700 for short and longer runs;
- Attendees Choice Award for the best student journals; and
- Helmut Kipphan Cup for the best student journal.
Winning the cup two years in a row has never been done before by the RyeTAGA student group! Again the students would like to thank everyone that supported them in producing this journal and making the travel to the conference possible. More information about the student group can be found at www.ryetaga.com.
William Li, Kodak’s Colour Technology Manager, began the morning with a keynote about the globalization of colour and the growing importance of standardization. Li described the growing momentum behind the new M-measurement protocols for measuring and viewing print according to various light conditions. He also touched on the growth in extended gamut printing.
Li spent time describing several of the more prominent technical growth areas in colour management, including the ongoing development of GRACoL Plus for reaching wider gamut and the new iccMAX initiative from the International Colour Consortium. After addressing the conflicting growth of G7 in North America and FOGRA in Europe, Li also discussed the critical need for Canada to become active in the TW130 program to have input in the direction of global standards relating to colour management.
In Session 2, Angus Pady of Toronto-based ColourManagement.ca, described some of the more important tools printers should embrace for colour management. He emphasized how printers should be doing what they can to take advantage of – and gather – all of the available data for colour management.
Pady ran through a range of useful software programs printers can use for analyzing the data, with an emphasis on recording colour curves. He stressed the importance of adopting colour servers for effective colour management.
Abhay Sharma, a world-leading expert in colour management with Ryerson University’s Graphic Communications Management program, then teamed up with David Brenner of X-Rite to delve deeper into the new M measurement modes for printing. They focused on how the new M1 mode now accounts for the use of UV light, which has been traditionally cut out of calculations because it could not be properly measured.
While the UV-cut measurement is accounted for in M2, the M1 standard is able to account for the growing use of Optical Brightening Agents in papers. Brenner described how the M standards are be accounted for in new measurement systems like X-Rite’s eXact system, which can flip between UV and non-UV readings.
Session 4 of the day sparked a lot of discussion among attendees as speaker Peter Hedgecock, Business Improvement Consultant with Leapover Consulting Inc., described some of the potential pitfalls of G7, based on his own experiences during a recent implementation of G7 Certification. Leveraging his experience in continuous improvement and as Canada’s first liaison for the SWOP working group, Hedgecock focused on why achieving grey balance is far from a proper definition of quality printing in offset printing, primarily relating to the adjustment of CTP curves.
Peter Aston of Heidelberg Canada wrapped up the daylong Colour of Printing event with an interesting session called Profit and Success with Colour Management. Aston provided attendees with hard data points to describe the importance and capability to optimize a range of processes between prepress and press to realize effective colour management.
Aston, again using data from dozens of tracked printing company, related how such optimization can lead to enormous reductions in waste and increases in productivity. Aston also used a handful of case studies to describe how specific printing companies achieved enormous spikes in productivity.
The RyeTAGA student group from Ryerson University’s Graphics Communications Management program received funding of $1,000 for its annual production and presentation of a TAGA research journal.
C.J. Graphics of Toronto took home the most awards with 9 Gold, 8 Silver, 10 Bronze and 2 Honourable Mention Awards. The remaining award winners include: Colour Innovations (6 Gold, 2 Silver), Polytainers (2 Gold, 2 Silver, 1 Bronze), RP Graphics Group (1 Gold, 1 Bronze), The AIIM Group (3 Gold, 1 Silver, 1 Bronze), and Wellington Printworks (1 Gold, 3 Silver, 1 Bronze).
Major Gallery of Excellence Awards
Heidelberg Canada Best of the Show 2014
Project: Until The Last Child
Printer: C.J. Graphics
Production: This 50-piece run, primarily printed on a Heidelberg GTO, involved a box with black linen on the outside and charcoal grey linen on the inside, while the prints were on 80-lb, colophon on 100-lb, letter on 100-lb, book on 100-lb and translucent sheet on 36-lb stock. The Colophon and letter were printed at 10- and 20 micron, using Van Son’s Sona Dry inks, without any coatings.
Taniguchi Ink Canada Best Use of Ink 2014
Project: LARGE POSTER FLIP CHART
Printer: The AIIM Group
Best Use of Bindery 2014
Project: CPC Empress OF Ireland 100the Anniversary Collection
Printer: Colour Innovations
Toronto Craftsmen Student Chai Tse Awards
Christophe Blythe Centennial College, Centre for Creative Communication
Kerin Bethel-John Central Technical Secondary School
Angelo Roldan George Brown College School of Design
Marilyn Gregory Georgian College Design and Visual Arts
Khalid Ahsan Humber College Advertising & Graphic Design
Melissa Binsted Ryerson University School of Graphic Management
Aeshin Yeo Seneca College School of Creative Arts and Animation
Graphic Challenge Awards
Waqas Mohammed Khan Seneca College, School of Creative Arts and Animation
Chow A. I. Khalid Ahsan Humber College, Advertising & Graphic Design
Helen Zhou Central Technical Secondary School
Ben DePaul Central Technical Secondary School
In 1984, Bailen joined CPS, the in-house ink division of Sullivan Graphics in Dunkirk, New York and began work as an Electrical Supervisor in the Maintenance Department. Sakata INX acquired CPS from Sullivan in 1990, and it later became part of the INX International family. INX International, owned by Sakata INX, is the third largest producer of inks in North America with over 15 facilities in the U.S. and Canada.
In 2004, Bailen oversaw completion of the new modern metal decorating facility in Charlotte, North Carolina, that produces ink for customers around the world. Four years later, he did the same for the new liquid ink plant in Homewood, Illinois, that produces water-based technologies. New media mill grinding equipment was introduced at these facilities, which INX describes as a pivotal outcome led by Bailen.
“Jim has pioneered many developments over the years and truly deserves recognition for his contributions to the industry,” said Rick Clendenning, INX President and CEO. “Without him in this role, we would not be where we are today as a company with our world-class manufacturing facilities.”
Bailen is credited with pioneering the development of intrinsic production safety devices for ink production equipment, introducing the Nip Guard Safety Interlock System that assures no 3-roll mill at INX can be run in cleaning mode.
Since 2004, Bailen has served on the NAPIM/ANSI B65 Equipment Safety Committees that has developed several safety standards, including the 3-roll mills, to help guide equipment manufacturers to construct safer machines. He also established the development of the INX TPM elements for planned maintenance and early equipment planning within the company, which included the training of maintenance personnel at all facilities.
Bailen has actively supported NAPIM for many years. In 2002, he presented at the NAPIM Manufacturing Symposium a paper on “Equipment automation and data collection system designs”. The same year, he began serving on the pilot committee for the Manufacturing Symposium and did so through 2004. He also served for two years on the NAPIM Equipment Safety committee and presented a paper on the “Failure Mode Effect and Criticality Analysis”, at the NPIRI Technical Conference in 2006.
In mid-February Messe Düsseldorf announced it would move from its longstanding 4-year show cycle to hold the event, widely recognized as printing's largest trade show, every three years. The new cycle begins after drupa 2016, taking place from May 31 to June 10.
“The drupa innovation park is a fantastic way for young companies and start-ups, as well as global players with forward looking solutions and applications, to present themselves,” said Sabine Geldermann, Director of drupa. dip was introduced at drupa 2004. “[dip] will give visitors a chance to get insights into the technologies of the future. We believe that this opportunity will give our industry an indispensable tool to support strategic business decisions.”
dip 2016 Theme Parks
1. Multichannel Publishing & Marketing Solutions
This area will cover topics such as management of cross-media content/assets, web and app publishing, as well as database publishing and marketing and brand management solutions. Potential applications and trends like augmented reality, NFC applications and customized mass production will also be addressed.
2. Web-to-Media & E-Commerce
This area will focus on solutions for Web-to-publish and Web-to-print, E-commerce and shop platforms, cloud publishing and Web editors for design/print and HTML 5.
3. Process Optimization & Automation
This park will include topical solutions and innovation, including: Management information systems, enterprise resource planning, print automation with JDF/JMF, workflow management from pre-press to finishing, process and quality control systems, industrial robots and automation technologies.
4. Added Value in Print
The focus will be on finishing, further development and the advanced added-value of print products, including innovative substrates, new finishing methods, packaging, label printing and displays, green printing and secure printing.
5. Innovations in Printing Technologies
Modern printing and process technologies will be presented like functional printing, printed electronics, 3D printing, prototyping, visualization and workflow.
6. Business Models
New business concepts and models, strategic cooperation and marketing platforms, as well as finance concepts and franchising and license models will be the subject of this thme park.
Following the trade-show turmoil created by drupa’s announcement that it will switch to a three-year frequency cycle, Peter Hall, managing director of Ipex owner Informa Exhibitions has countered reports emanating from drupa’s global media conference that ‘Ipex is dead’ and is ‘unlikely to take place again.’
Informa Exhibitions, who purchased Ipex from owners Picon (formerly the British Federation of Printing Machinery Manufacturers), in 2006 having organized the two previous successful Ipex exhibitions, is part of Informa plc, a London stock exchange-listed company specializing in B2B knowledge, business intelligence and transfer using publications, conferences, events, training, websites and trade shows. Its financial year 2014 gross revenues were equivalent in Australian dollars to $2.24 billion. Within this, Informa’s stellar performing division was its Global Exhibitions division, which recorded a 25 percent increase in revenue under the leadership of Peter Hall.
A company of such substance and success, whose current share price is on a 45-degree upward trajectory, is unlikely to be fazed by one mediocre showing, which Ipex 2014 undoubtedly was. Rather, it is likely to apply all of its considerable resources to go back to the drawing board and come up with creative, innovative and new ways of delivering an event that the printing and graphic arts world wants and needs. Added to this is the recruitment of Patrick Martell, former CEO of one of the UK’s largest printers, the St Ives group, in a business intelligence role.
Ipex 2014 suffered from several major exhibitor withdrawals including the employer of the then Ipex President, Canon. Still reeling from post-GFC effects, slashed budgets and industry consolidation, first Heidelberg, then HP followed by Canon, Kodak, Xerox and others pulled out of the show. Of the major digital suppliers, only Konica Minolta kept the faith and by all accounts had a very successful show. Companies such as Dainippon Screen, Fujifilm and EFI also stayed in and reported positive results.
Perhaps Ipex 2014 also suffered from the change principle. It was the first time in 34 years that the show had been held in London, having been domiciled at the National Exhibition Centre, near Birmingham since 1980. Even that move was initially described as ‘disastrous’ as the dominant paradigm was that all big shows had to be in London. However, Ipex at the NEC grew to cultivate a loyal constituency, endeared to the semi-rural surrounds where friendly pubs abound and Bed-and-Breakfast accommodation could be enjoyed cheaply in places like Stratford, Warwick, Leamington Spa and smaller villages of Warwickshire while more elaborate hotels were also plentiful in Birmingham, Coventry and Solihull.
Ipex is of course renowned for premiering digital printing to the world, with both Indigo and Xeikon choosing Ipex 1993 as their respective launching pads. While always more compact than drupa, it has consistently delivered an excellent programme of innovation, relevance and convenience, with English as the language for communication. Its traditional equilibrium, balanced at two-yearly intervals between drupas, has worked very well despite the 2014 hiccups. Until last year, visitors would always see drupa promoting at Ipex and Ipex promoting at drupa, by mutual consent.
Now it seems that genteel understandings between trade show organizers have been subjugated by ‘Cry havoc and let the dogs loose.’ Drupa’s position regarding its triennial move, is that there may be some ‘irritation’ amongst trade show organizers in other countries who have always respected the Düsseldorf cycle. I think it is more than irritation; it’s anger at not being consulted.
That drupa is an important and influential event on the printing and graphic arts calendar can not be disputed; it works superbly but it has ignored, or has just been blind to, the market stimuli that have allowed LabelExpo to become a global force in narrow-web packaging exhibitions, and FESPA to become a multi-edition and highly successful series of events for the burgeoning digital signage and display sector. Labels and wide format are the two highest growth rate sectors in the graphic arts.
Drupa 2016 is already sandwiched between LabelExpo Europe in September 2015 and LabelExpo Americas in September 2016. It is also girt by FESPA Digital in Amsterdam in March 2016, just two months before drupa. It is likely that these two market events will impact on labelling and wide format presence at drupa.
Back to Ipex; its smaller footprint and digital focus has always been an advantage. Because of the dearth of British print machinery manufacturing (Timson’s the last British press maker has just gone into receivership), the lobbying has tended to be more international. German and Swiss print manufacturing powerhouses such as Heidelberg, KBA, manroland, Kolbus, Goebel and Muller Martini have traditionally called the shots at drupa but the reality today is that Germany has almost no digital press manufacturing of its own origination and this vital growth sector is dominated by US, Japanese, Belgian, Israeli and even UK companies.
Since its inception, drupa has had Presidents that have been associated with Heidelberg, Goebel or KBA.
With a declining manufacturing base to support, this leaves drupa with the dominant function as a trade show organiser; much in the same way that Photokina has remained a popular photographic biennial event in Cologne despite once great brands such as Zeiss, Rollei, Leica, Voigtlander, Braun and Linhof having been steamrollered by the Japanese Nikon, Canon, Olympus, Panasonic and Sony.
This means that the task for Ipex is one of developing a compelling new format that, as Peter Hall says, ensures both relevance and success. It is quite apparent that the resolve at Informa is to do just this and sources indicate that the company is already working closely again with Picon.
This completely debunks the scuttlebutt that the show is dead and will not take place again. Informa is a major player in global exhibitions and growing fast. It has the resources to correct any aberrations that the 2014 event may have suffered from.
Andy McCourt is freelance consultant editor to Print21, the official journal of the Printing Industries Association of Australia.
drupa, the world's largest exhibition focused on the printing industry, plans to switch to a 3-year cycle after the 2016 show taking place from May 31 to June 10. Traditionally, the event based in Düsseldorf, Germany, has run every four years.
“The entire print process chain has changed radically because of the Internet and digital technologies. New applications and solutions are developing and opening up new fields of business. At the same time, there is more focus on innovative technologies, such as 3D printing, printed electronics and functional printing,” stated Claus Bolza-Schünemann, Chairman of the drupa Advisory Board and President of Koenig & Bauer Group. “It’s more important than ever before that our customers have an overview of the latest technology and are also inspired to use new business models and solutions. drupa is the only specialist trade fair in the world to offer this – and will do so every three years in the future.”
Show organizers point to a positive side-effect of moving to a 3-year cycle in that drupa will no longer take place in 2020, the same year as interpack, one of the world’s largest trade fairs for the packaging industry. “For the drupa exhibitors who specialize in packaging printing, 2020 would have been an incredibly stressful year so the change will clearly benefit customers,” said Werner Matthias Dornscheidt, President & CEO of Messe Düsseldorf.
The exact dates have not yet been finalized, but future drupa exhbitions will take place in the traditional drupa month of May in 2019, 2022 and 2025 in Düsseldorf, Germany.
The SGIA, an association focused on the production of signage and display graphics, has revealed its free sessions to take place over three days at Graphics Canada, running from April 16 to 18 at the International Centre.
The program, referred to as SGIA’s Specialty Graphics Opportunity Zone, is comprised of 13 sessions, five of which are to be lead by SGIA staff members, including: Introduction to Wide-Format Digital Printing on both Thursday and Saturday of the Graphics Canada show; Current Trends & Opportunities in Wide-Format Digital; Understanding Changes to WHMIS and New Ontario Safety Requirements; and Understanding Changes to WHMIS and New Ontario Safety Requirements.
The remaining session are to be primarily presented by technology suppliers, including Mutoh, Mimaki, Fujifilm, Esko and 3M. Printers Scott Crosby of Holland & Crosby and Sheldon Rier of Mitographics are involved in sessions focusing on the business of wide-format printing, while consultant Mike Ruff presents a session called Best Practices of the Most Profitable Digital Printing Companies.
More details about the SGIA sessions can be found at Graphicscanada.com.
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January 23-26, 2018
Graphics of the Americas
February 22-24, 2018
PrintForum Trade Show & Conference
June 6, 2018