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.
Thomas Quinlan III, President and CEO of RR Donnelley & Sons Company, is to participate in a fireside chat with EFI’s CEO, Guy Gecht, at the upcoming EFI Connect Users’ Conference taking place from January 20 to 23 in Las Vegas.
“It will be a privilege to hear from the chief executive of a legendary organization that has thrived over its 150-year history and continues to lead as the largest company in our industry,” said Gecht. “Connect attendees will be inspired to hear Tom’s personal and professional story and learn how both he and RR Donnelley have been able to adapt as the industry goes through significant changes.”
Appearing at number 268 on the Fortune 500 listing of the country’s largest corporations, Quinlan’s company, RR Donnelley, is often described as the world’s largest graphic communications firm, with approximately 65,000 employees, annual revenues of nearly $11.5 billion, and more than 500 locations around the world. RR Donnelley is also one of the largest users of EFI products, with hundreds of EFI MIS/ERP and Web-to-print software, EFI Fiery servers and EFI VUTEk printing systems installed across its global locations.
Quinlan, 51, joined RR Donnelley in February 2004 and in 2006 became Group President, Global Services (comprising approximately 40 percent of RR Donnelley's revenues), and Chief Financial Officer. From 2004 to 2006, he served RR Donnelley as Executive Vice President, Operations, with primary responsibility for the integration of RR Donnelley and Moore Wallace.
Previously, at Moore Wallace from 2000 to 2004, Quinlan served variously as Executive Vice President, Operations, Executive Vice President, Business Integration, Executive Vice President, Office of the Chief Executive and Treasurer. At Moore Wallace, he had primary responsibility for the integration of Moore Corporation Limited and Wallace Computer Services. He also had responsibility from time to time for all of Moore Wallace's sales and manufacturing functions, and for all corporate staff functions, including, among others, human resources, information technology, benefits, legal, treasury, tax and credit and collections.
From 1994 until 1999, at World Color Press, Inc., Quinlan served in various finance capacities, including as Senior Vice President and Treasurer. He has previous finance and treasury experience at Walter Industries, Marsh & McLennan and Kidder Peabody.
Quinlan’s EFI Connect conference general session is to take place January 21 at 8:30 am at The Wynn Las Vegas.
EFI Connect 2015 will also include more than 200 educational sessions on business management, sales, marketing and production technology for users of EFI products.
Andrew Paparozzi, Chief Economist of printing association AMSP/NAPL/NAQP is to also present a January 21 keynote address, in addition to a January 23 closing keynote fireside chat with Avi Reichental, President and CEO of 3D Systems.
The users’ conference will also have a solutions centre featuring new EFI technologies and exhibits from EFI partners, including: 3M Commercial Graphics; AccuZIP; BCC Software; Canon; Esko; ESP/SurgeX; Honle UV America; Heytex Corp.; Kodak; Konica Minolta; MBM Corp.; the Print and Graphics Scholarship Foundation; Ricoh Production Print; Xerox; and Zünd.
The C.J. Group of Companies in December held its 26th annual open house celebration to raise funds for the C.J. Skateboard Park & School special needs programs, Toronto’s Daily Bread Food Bank and the Toronto Tree Foundation.
C.J. Group also emphasized its recent new partnerships with Gilda’s Club of Toronto, Ontario Parents Advocating for Children with Cancer (OPACC) and Childhood Cancer of Canada, in addition to an expansion of its skateboard park and Kids Being Kids program. The skateboard park is a not-for-profit facility offering year-round supervised skateboarding, scooter riding, inline skating, as well as lessons, camps and classes, to all kids in the community, including those with special needs.
More than 1,000 people attended the December 5th event, which included both live and silent fundraising auctions. Thirteen items were picked up at the Live Auction, led by Jay Mandarino, President of C.J. Group, while 90 were available to bid on during the Silent Auction. In total, $21,865 was raised for the C.J. Skateboard Park & School – an increase from last year’s event. Volunteers were on hand from the Daily Bread Food Bank, who collected donations of both $1,600 and 1,700 pounds of food.
New highlights of this season's event were stations for Chinese Calligraphy, where attendees could have their name transcribed into Chinese, a Photo Booth to dress up in your favorite superhero costume, and Woody’s Burgers. Continuing stations included an oyster boat, beer and wine bars, sushi station, desert station, pulled pork station, pizza station, sandwich station, smoothies, Cheese station and more. The evening featured a live DJ and an appearance by songwriter and performer Shy.
In addition to C.J. Group, the event was sponsored by CIBC, Sony Playstation, Maple Lodge Farms, Gatorade and Pizza Pizza.
Graphics Canada released details about the previously announced G7 Summit to take place during the 3-day tradeshow, taking place at the Toronto International Centre from April 16 to 18.
IDEAlliance explains its 2015 G7 Summit Canada, scheduled to run on April 17 from 9:00 am to 12:30 pm, will provide the latest developments in the G7 methodology for print production, as well as access to process experts for both G7 novices and experienced production professionals.
The sessions at Graphics Canada include: Expanded Gamut & G7, Breakthroughs in Spot Color Process Control; M1’s Impact on Lighting, Measurement & G7; Beyond Sheetfed, G7 for Wide Format, Screen, Digital, & Flexo; Using G7 to Grow Your Business; and The Future of G7.
Planned speakers to date include Don Hutcheson of Hutchcolor, the inventor of the G7 methodology, and Ron Ellis of Ron Ellis Consulting LLC.
The sessions are free but require registration.
The Black Creek Pioneer Village in northwest Toronto gave visitors live demonstrations of a cylinder press built by R. Hoe & Co. of New York in 1860.
Holding a country drum cylinder design, the printing machine was made to produce newspapers with a moderate circulation and, at the same time, print general jobs.
Priced at $1,750 in 1867, the machine could produce 800 impressions per hour when operated by hand, and 1,000 impressions per hour by steam. Black Creek Village explains the press and others of its type, was the staple of small-town newspaper production for more than 100 years.
The restored R. Hoe printing press at Black Creek Pioneer Village was first purchased in 1862 for E.J. Barker of Kingston, Ontario, to produce his weekly newspaper, the British Whig, which still exists today as the Kingston Whig-Standard.
In 1881, the press was sold to the Whitby Chronicle, who planned to launch the new Pickering News. In 1901, the paper and the press was sold to John Murkar, whose son and grandson continued to operate the press for over 50 years.
W.B. Murkar, John's grandson, donated the press to Black Creek Pioneer Village. (Some of Murkar’s descendants were on hand for Black Creek’s printing demonstration of the restored press.) In early 2004, Ray Redmayne, who had just retired after 60 years in the printing industry, volunteered to clean the machine and explore the possibility of putting it back into working condition.
Redmayne invested over 1,350 hours of volunteer time to clean and repair the printing machine. Only a dozen of these presses are known to have survived, of which only a third are in operating order. This restoration is a example of Black Creek's mandate to preserve 19th century technology and trades.
Graphics Canada announced that its upcoming 2015 tradeshow is to include an Opportunity Zone organized by the Specialty Graphic Imaging Association (SGIA).
In addition to wide-format production, SGIA’s Specialty Graphics Opportunity Zone at Graphics Canada is to focus on industrial printing solutions and garment decoration technologies. The free Specialty Graphics Opportunity Zone area is to educate on both market opportunities and how-to topics. It supports an earlier announcement that IDEAlliance is also organizing a Graphics Canada educational program around its G7 initiative.
Graphics Canada is scheduled to take place at the Toronto International Centre from April 16 to 18, 2015.
Show organizers have announced exhibitors signed up to the 3-day event currently include Canon, Konica Minolta, Fujifilm, Ricoh, Epson, GBC, Heidelberg, Riso, Primera, Neopost, Grimco, KIP, Mutoh, Scodix, Sydney Stone and Xerox.
Graphics Canada announced Xerox and Scodix as two of the newest exhibitors to commit to its upcoming tradeshow, taking place at the Toronto International Centre from April 16 to 18.
Show Director Dan Mustata earlier announced the 3-day event would include exhibitors Canon, Konica Minolta, Fujifilm, Ricoh, Epson, GBC, Heidelberg, Riso, Primera, Neopost, Grimco, KIP, Mutoh and Sydney Stone.
Mustata also announced Graphics Canada’s educational program is to include five collocated conferences, a print executive forum, a printing sales training program, industry certification seminars, workshops and industry association meetings. IDEAlliance, reports Mustata, has confirmed it will run a G7 program at Graphics Canada.
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