may 2011 - the packaging issue

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GRAPHIC ARTS MAGAZINE would like to thank our contributing writers:Diana Brown • Tony Curcio• Natalia Gilewicz • Kristen ReadStefanie Stroh • Cindy Thai • Ruth Tupe

2011 EDITORIAL BOARD Javad Ahmadi, AliveProStudios.comErnie BardoczDanny Ionescu, HPEvan Cambray, SpicersSteve Klaric, Heidelberg CanadaJana Lucatch, Magnum Fine Commercial PrintingGeorge Mazzaferro, RP Graphics GroupBrian O’Leary, Kwik KopyAngus Pady, Digital SolutionsPaul Tasker, Spicers

GRAPHIC ARTS MAGAZINEis published ten times per year by B.K.L.K Inc. 72 Main St.Mount Albert, ON L0G 1M0Phone: 905-473-9111 Fax: 905-830-9345Outside Toronto: 1-877-513-3999e-mail: [email protected]

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When making submissions, please forward to the following email addresses:

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17 The daily challenges of consumer packaging . . . . . . . Stefanie Stroh

Beyond the basics – opportunities in packaging development,

ethics and more

22 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Curcio

This month: Richard Armstrong, president of Heidelberg Canada

24 Graphic Design 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown

To hire a designer, or to do-it-yourself?

28 For your print information . . . . . . . . . . . . . . . . . . Ruth Tupe and Cindy Thai

Folding and paper strength

30 Grafik’Art Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Curcio

Highlights from the show

42 Product Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown

This month’s topic: Inks

50 UV coating vs lamination . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Curcio

Have you considered the pros and cons of both?

8 Installations & Investments

14 People and events

46 List of advertisers

47 Classified

48 .comments

Publisher: Joe Mulcahy Associate Editors: Natalia Gilewicz Kristen Read Copy Editor: Mandy Bayrami Senior writer: Tony Curcio Columnist: Diana Brown Production Manager: Barb Vowles Account Managers: Maureen O’Sullivan Sandy Lee Tim Mulcahy Classified Manager: Bruce MacLean Creative Director: Javad Ahmadi AliveProStudios.com Layout: George Dedopoulos CTP supplied by: Sina Printing Paper: SNZ Trading Inc. Printing: Sina Printing

May 2011

The evolution of packaging

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I am proud to announce that this month we’re launching our first-ever industry event. We’re thinking of naming it, appropriately, “Survivor Printers, 2011: Valuable Strategies for Printers from Those who Continue to Prosper.” The title says it all. However, before we begin planning and production, we want to know what YOU want. It will likely be in September in Toronto. So please, tell us what YOU think and what types of events YOU feel the indus-try needs that can truly help ALL OF US move forward. The content and structure of this event will reflect your much-appreci-ated feedback. Go to graphicartsmag.com/eventsurvey and tell us what the industry needs right now and how these kinds of events can actually help us move forward. For more information, see our People and Events feature on page 14.

Speaking of events, it may have been cold, rainy and miserable outside, but that didn’t seem to stifle the enthusiasm and upbeat mood that I witnessed last month at the 2011 Grafik’Art Show in Montreal. As I talked to exhibitors, there seemed to be a renewed sense that the market was rebounding, albeit in a small way. For more information and photos see page 30.

Congratulations to the Xerox Research Centre of Canada, locat-ed in Mississauga, for earning its 1,500th patent (U.S.). Most of its patents cover specialty media, toners, inks and other products. Congratulations also to Chang Wang, Sharon Mai, Li-Anne Chang and Elina Shafigullina of Gordon Graydon High School. Again this year, students from the school won the Phoenix Challenge Inter-national Flexographic Skills Competition held in North Carolina.

Good news for printers and designers. Adobe has announced a significant upgrade to its Creative Suite (version 5.5) featuring major changes designed to simplify the integration of steps in the digital publishing workflow, allowing publishers to create and produce content while also providing subscription and fulfillment.

Many times, key organizations in our industry have ongoing pro-grams and initiatives that don’t get the publicity they deserve. Well, I’d like to mention one in particular. The Canadian Printing Industries Association (CPIA) Scholarship Trust Fund began as far back as 1971 and since then, hundreds of thousands of dollars have been donated from generous firms and individuals. The objective is to attract the most talented young people available to the printing industry by providing financial assistance for their education. It’s these same young people who will ensure the future growth and prosperity of our industry here in Canada.

Finally, as I noted earlier, things seem to be gradually improving in our industry. So, there’s another good reason to stay positive and stay focused.

Joe Mulcahy

Joe Mulcahy

Publisher, Graphic Arts Magazine

[email protected]

September 11-14, 2011McCormick Place South | Chicago, IL USA

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Consumables & Substrates | Package Printing | Mailing Systems

New Technology Introductions Live Demonstrations Education Opportunities Networking


Purpose and innovation go hand in handA magazine like ours has the opportunity to contribute to the industry in a variety of interesting ways by serving multiple pur-poses. The most intuitive of them is that we make sure you know what is happening in the industry. Our readers play an important part in this process. You let us know when something important to you is going to happen, and we happily share it with a broader net of your friends and colleagues. Another objective is to educate. I hope that as you’ve been reading the new columns in GAM, you have been picking up little fun snip-pets of information. This month, for example, you can discover (or re-discover) the folding strength of paper. We also provide you with resources to continue to learn. Every month columnist Diana Brown, offers up a great list of reads on the topic at hand—this month’s topic being design. My most favourite of all the purposes of our magazine, however, is the opportunity to share with you what is new and exciting.

Innovation in the printing industry is one of the most positive and uplifting topics there is. I have done a lot of thinking about innovation during my Masters studies, and there is nothing scientifically (or unscientifically) easy about coming up with new ideas. To understand why I have innovation on the brain you can begin by reading Diana’s article about elec-tronic ink. The concept of a printer reproducing electronics that I can put in my pocket and throw away when I’m done

with them is incredible. Generally, what we have seen in our industry is an improvement in the purpose of print. Like many media, print is meant to inform, but it no longer does this in static and predictable ways. We can print electronics, trans-port people into augmented realities, and much more.

In my opinion, no other sector of our industry has repurposed print with as much vigor as the packaging industry—the topic of our lead story this month. Stephanie Stroh, a past visiting professor at Ryerson University, discusses everything from the basic purpose of packaging to what is new and exciting. You do not have to be a packaging expert to appreciate the intricacies of this growing sector. After all, as consumers we interact with packaging daily.

So this month’s issue has me thinking that innovation is often hiding in a change of purpose. Brainstorming the future pur-pose of the magazine as we speak! I’d love to hear your thoughts.

Natalia Gilewicz

Natalia Gilewicz is a full-time Assistant Professor in the

School of Graphic Communications Management at

Ryerson University. Her teaching concentration is in

areas of prepress, typography, and layout. In her

research, she studies e-print and its applications.

Contact her at [email protected]

DIGITPRESSScarborough, Ontario-based Digitpress Inc. has recent-

ly installed a floor model folder and a 36-inch hydraulic

paper cutter from Hans Gronhi Technology Canada.

Hans Gronhi, a Chinese manufacturer of offset presses,

CTP devices and bindery equipment, opened a Can-

adian distribution facility in Mississauga in late 2009.

Chris Speller, Hans Gronhi’s national sales manager, and Digitpress

owner Rudolf Chiu.

WEBCOMToronto-based Webcom, an offset and digital book

printer, has recently installed a new Standard Horizon

StitchLiner 6000 digital saddlestitcher. Purchased

through KBR Graphics, the new equipment is part of a

recent production program at Webcom called

BookFWD. Company president Mike Collinge says the

StitchLiner was chosen for its ability to provide small

short-run quantities of customized products while

reducing cycle time and providing fast throughput.


Installations & Investments

TRUE COLOURSTrue Colours Graphic Reproduction, located in North

Vancouver, has recently invested in a new Acuity

Advance UV flatbed press from Fujifilm. The company’s

president, Carl May, says he purchased the Acuity for

its high image quality and its ability to provide direct to

substrate print output. True Colours has been in busi-

ness for 20 years.

REPROART Toronto-based ReproArt Imaging has recently invested

in an HP Scitex LX600 printer. In business for 25 years,

the company is a full-service in-house digital imaging,

mounting and lamination company that specializes in

large-format printing and a variety of outdoor signage.

Before installing the HP Scitex LX600 printer, ReproArt

president Zohrab Tatikian said his company was

capable of producing only a fraction of what they are

producing now.

ReproArt Imaging’s Jerry Homem and Hrair Izmirian, in front of the new

HP Scitex LX600 printer.

Bryan Hall, display graphics sales specialist, Fujifilm Canada; and

Carl May, president of True Colours Graphic Reproduction.

Your perfect connection to the printing and graphic arts industry

The U.S. Post Office’s “monumental” mix-upThe U.S. Post Office recently launched a stamp honouring one of the nation’s most iconic monuments – the Statue of Liberty. The problem? The stamp features a not-quite-authentic-looking replica Lady Liberty statue from a Las Vegas casino. The error was only realized after 3 billion of the stamps had already been printed.

The brand new first class “Forever” stamp was issued in America to commemorate one of the country’s most famous landmarks. But the face pictured on the stamp is not that of the iconic 125-year-old Lady that stands on NYC’s Ellis Island. Instead, the photo features the face of a half-size styrofoam and fibreglass replica that sits 2,500 miles away outside a gambling casino in Las Vegas.

A stamp collector noticed some significant differences from the original Lady Liberty’s face. The error is not too difficult to spot – there’s a patch on one of her spikes, her eyes are more defined, and the hair is different. The eagle-eyed stamp enthusiast contacted Linn’s Stamp News magazine to investigate, and the error was exposed.

The U.S. Post Office is now aware of the embarrassing mix-up. Spokesman Roy Betts told the New York Times that the post office regretted the error, and is “re-examining our pro-cesses to prevent this situation from happening in the future.”

With the option of re-printing all 3 billion stamps being too great a task, the U.S. Post Office has decided to live with the error. The postage stamp will stay in circulation. Instead, the collector catalogue will be re-printed to reflect the stamp’s true Las Vegas origin.

Can you spot the fake?

Graph Expo 2011 Must-See-Ems submissions openTaking place September 11-14 in Chicago is this year’s Graph Expo show. The Graphic Arts Show Company (GASC) has just announced that its Must-See-Ems program is now open for exhibitor submissions. These will be the exhibits, technol-ogies and products that will be “musts” for visitors to see at the show.

The Must-See-Ems program recruits a panel of industry experts to review hundreds of submissions and identify the products and exhibitions that show go-ers simply need to see. It provides a means for highlighting the show’s most important innovations.

“Must-See-Ems offer exhibitors a highly effective tool for call-ing attention to their most exciting new products on-site at the show,” says GASC President Ralph Nappi about the 2011 program. “This show will have its share of new product intro-ductions, and it will be difficult for the average visitor to see everything. The Must-See-Ems program enables companies with really compelling offerings to position themselves more brightly on visitors’ radars.”

As usual, Must-See-Em winners will be announced at the end of the Executive Outlook Conference that takes place the day before Graph Expo opens (on September 10). Honourees will also be published in the Show Daily newspaper, posted online, and distributed in a variety of other forms.

Exhibitors to the show are now invited to submit their solu-tions to be considered by this year’s panel. Submission procedures and details are available online at: mustseeems.com. The deadline to enter is July 15, 2011.

Inca launches Onset S40 wide-format UV printerInca Digital Printers has just launched a new addition to its Onset range of wide-for-mat UV flatbed inkjet printers: the S40 model. The Onset S40 prints over 5,000 square feet per hour on sub-strates up to two inches thick. The new press will be supplied by Fujif ilm, Inca’s exclusive global distribution partner.

With the addition of the S40 model, Inca now has 18 Onset configurations available. The company says it meets the high-volume, fast-turnaround production needs of specialist display print companies. It is ideal for the production of sin-gle and double-sided display POS, exhibition graphics, backlit /frontlit displays, outdoor signage printing and cos-metic/fashion graphics.

The press uses up to 168 user-replaceable printheads (28 per colour), delivering a 27 picolitre drop size and 600 dpi print quality. Other features include wide colour gamut, sat-in and controllable gloss levels, variable job management and the option of automation.

“The success of the Inca Onset and Onset S20 printers worldwide over the past three years has raised the quality bar in digital printed graphics and demonstrated the con-siderable market for fast turnaround, quality display graphics on a wide range of materials and at a competitive price,” says Dr. Linda Bell, Inca Digital CEO. “It quickly becomes apparent that there continues to be a strong mar-ket for an Onset with all the features and functionality that it offers. The Onset S40 is the logical next step for us in our printer portfolio. It f its nicely into the market and is highly competitive. Many companies are starting to invest in mul-tiple Onsets, and we are giving them the flexibility to mix and match the models to suit their customer’s needs and production requirements and provide room for growth.”

May 2011 | Graphic Arts Magazine 9 Your perfect connection to the printing and graphic arts industry

News and comments

Kristen Read

Be

up

to d

ate


IAPHC celebrates printing craftsmanship

The Toronto Chapter of the International Association of Printing House Craftsmen (IAPHC) recently held its annual Gallery of Superb Printing awards dinner. The event honours craftsmanship and excellence in print. The IAPHC board also made a generous $1,000 donation to Ryerson University’s TAGA Student Chapter.

The IAPHC’s Toronto Chapter began in 1919, guided by the principle of “share your knowledge.” The organiza-tion’s mission is to educate, promote, inform and connect the people within the printing and communications industry.

The organization’s annual Gallery of Superb Printing event was held this year at the Duncan House in Toronto, on March 23. Pictures from the evening can be found on the IAPHC website at iaphc.ca.

Companies such as C.J. Graphics, Colour Innovations, Lowe Martin Group, Metro Label, Parker Pad & Printing, Polytain-ers, PPP Trade Finishers and The AIIM Group took home top prizes. A full list of the winners can be found at graphicarts-mag.com.

Canon & Océ to launch first jointly developed digital production pressIn a $1.09 billion deal, Canon acquired Océ in late 2009. Now, the companies have come together to unveil their first digital production press that they developed together. The solution builds on Canon’s imagePRESS C7010VP series of colour multifunction presses and incorporates Océ’s PRIS-MAsync software.

Leveraging their first jointly developed solution, Canon and Océ say they aim to provide improvements in product, ser-vice and solution offerings to markets that target corporate reprographic departments (CRDs) and commercial printing. The new series of presses will reportedly feature a unique job scheduler, advanced colour management and intuitive workflow operation.

“Not only will the new models improve production efficiency, but the flexibility that they offer in terms of media handling, run length and intuitive operation means that they will enable print professionals to expand their service offerings and increase their profitability,” says Nick Klitsie, vice-president, Business Group Office and Printroom, Océ.

A recent statement from Canon on this announcement states:

Canon and Océ’s first jointly developed solution builds on Canon’s imagePRESS C7010VP series of color multifunction presses, which deliver high-quality, high-resolution imaging performance approaching offset printing while boasting high productivity. The models incorporate Océ’s PRISMAsync front-end controller, realizing high compatibility with Océ’s PRISMA workflow, which is well established in the production industry.

Océ’s PRISMAsync software delivers high functionality through an intelligent job-scheduler feature, which enables users to calculate printing times, as well as predict the opti-mal timing to refill paper supply, consumables and other items, based on such factors as paper weight and size, and post-processing method. The feature supports the efficient processing of print jobs while minimizing downtime. In addi-tion, newly incorporating an easy-to-use upright 15-inch TFT LCD full color touch panel, the model delivers seamless operations with PRISMAsync.

“The high quality of Canon imagePRESS C7010VPS and the speed with which we have been able to launch it to market demonstrates the level of cooperation that already exists between Canon and Océ,” says David Preskett, european professional print director, Canon Europe. “By acknowledg-ing each other’s expertise, we are becoming stronger together and, through such joint innovations as the image-PRESS C7010VPS, we are better positioned than ever to help our customers make the leap to new areas of business and take advantage of the opportunities available.”

New sales and manufacturing agreement for TI GroupIn a new strategic sales and manu-facturing agreement, Toronto’s TI Group will begin manufacturing orders for Total Graphics, with a full transition to be completed over the next two months. All of Total Graphics’ account management activities will be merged into TI Group’s location.

TI Group expects that these accounts will immediately grow its large-format revenues. The company says it has experienced significant growth in recent years, and that the agreement will deliver revenues across all of its production platforms, including large-format digital printing.

“TI Group, building on a strong pre-media and digital photog-raphy infrastructure, recently made significant investments to expand its traditional printing platforms,” says Marc Fortier, president of TI Group.

Not long ago, the company added a 73-inch 6-colour UV press, a 40-inch 6-colour UV, and a 20-inch 6-colour press to its existing capabilities. TI Group has also recently com-pleted the merger of BGM Imaging with SCL Imaging and invested in a direct mail company called CDIC.

“This gives us the fire power needed to meet our clients’ present and future promotional printing needs. The strategic agreement with Total Graphics is another step in our pos-itioning as a total solution service provider,” says Fortier.

Gerry Jansen, president of Total Graphics, says, “Total Graphics has been looking for a strategic partner to com-plete an orderly business transition for some time. We have been competing with TI Group for many years and they are a strong manufacturing company. I feel confident our clients will continue to experience high level of customer service as we work with TI Group’s management team to complete this transition.”

Ricoh re-organizes production print businessWhat was previously called InfoPrint Solutions will now be known as Ricoh Production Print Solutions (RPPS). The com-pany recently announced that it is incorporating InfoPrint and the Ricoh Production Printing Business Group’s marketing and planning resources from Japan into a new business model that will operate out of the U.S.

A press release from the com-pany explains: “These changes are being implemented with the objective of streamlining pro-cesses, operations and



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organizations within the Ricoh Family Group of Compan-ies[…]The new business model will deliver greater customer value by bringing together Ricoh resources to develop, market and support industry leading end-to-end solutions for production customers.”

The new RPPS operation will be headquartered in the U.S and co-located in New Jersey with Ricoh Americas Corpor-ation. It will report to Ricoh’s Production Printing Business Group (PPBG) in Tokyo, Japan.

“The decision to locate the headquarters of RPPS in the United States is an indication of how important this market is for future success,” says Shiro Kondo, president and CEO of Ricoh Company. “This is a clear indication of our desire to increase our marketplace penetration in the U.S. and around the world. We fully expect to see the positive results of this in the coming months and years.”

Ricoh expects that these changes will provide customers with faster marketplace response time, longer-term port-folio management, education and marketing support globally and tighter communications between geography sales requirements and product and solutions development.

Shiro (Simon) Sasaki, former chairman and CEO for Ricoh Europe, has been appointed as chairman and CEO of the new RPPS organization. He says, “One of the most import-ant initiatives in our short- and long-term business plans is to grow our production print business in a meaningful and valuable way across the globe[…]We are looking forward to bringing the benefits of this realigned organization to our current and future customers.”

Adobe introduces Creative Suite 5.5Recently released from Adobe is version 5.5 of its popular Creative Suite of design and publishing software. The product release is said to deliver innovation across Flash, HTML5, video, mobile app and digital publishing tools. Also new from Adobe is a subscription plan, allowing users access to the software for a monthly fee.

The subscription pricing model is designed to ensure that customers are always working with the most up-to-date version of the software, without the upfront cost of full pricing. It could be beneficial for users who have project-specific needs, or wish to try the software for the first time. For example, a month-long subscription to Photoshop 5.5 costs $35 USD. Other rates available include Design Premium 5.5 for $95 USD per month, and the entire Master Collection Suite 5.5 for $129 USD per month.

A press release from Adobe notes:

The new Adobe Creative Suite 5.5 product line enables designers and developers to target popular and emerging smartphone and tablet platforms, as the revolution in mobile communications fundamentally changes the way content is dis-tributed and consumed. Substantive advances to HTML5, Flash authoring, digital publishing and video tools as well as new capabilities that kick-start the integration of tablets into creative workflows, anchor the new Adobe Creative Suite 5.5 product family.

Though users in the printing industry may not find essential new content in the upgrade, there are a few advancements in version 5.5 geared towards the digital publishing side. Design-


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ers can add new levels of interactivity to their page layouts targeted to tablet devices. Documents can include video, audio, panoramic views, 360-degree object rotation, pan and zoom of images, integration of HTML and HTML5 content, and other interactive overlays.

Much of the new content in version 5.5 is focused on the smartphone and tablet computing markets. Adobe estimates that there will be more than 200 million of these devices in the hands of consumers by the end of 2011. More about mobile development for Android, BlackBerry Tablet OS and iOS in CS version 5.5, as well as flash-enablement, can be found in the original press release form Adobe.

Agfa develops new thermal plate setting modelsCalled the :Avalon N8-60 and :Avalon N8-80, the new 8-up thermal processors feature a new generation laser imager and an improved recording head. Agfa says the new systems are more reliable and offer stable quality plate imaging. The fastest model can output more than 65 pph.

The new engines handle the full portfolio of Agfa’s thermal plates, supporting all commercial and offset packaging applica-tions. The two new models come in different speed versions to answer particular throughput needs and peak workloads.

“When you combine the new :Avalon engines with our Thermo-Fuse plates, chemistry-free :Azura TS or :Amigo TS, you get unparalleled quality and quality,” says Eddy de Dobbeleer, mar-keting output systems, Agfa. “The new engine in combination with Agfa Graphics’ :Apogee workflow and the :Sublima cross-modulated (XM) screening outperforms any other solution in the market on speed, ease of use and process stability.”

The new single and multi-casette autoloaders have been redesigned as well. Agfa says they are easier to load and even allow re-loading during exposure. A “stand-by” mode has also been introduced, saving 85 percent on power consumption without compromise on productivity.

Quebecor chairman passes away at 70Jean Neveu, chairman of Quebecor Inc, passed away recently of a heart attack at his vacation home in Florida. He died on March 11 in his sleep. He is survived by his wife, Doris Guerette, and three children: Marie-Josée, Louis-Philippe and Émilie.

Neveu was born in Montreal in 1941. He studied at École des Hautes Études Commercial. At the age of 28, Quebecor found-er Pierre Péladeau hired him to be his corporate controller, just as the company was beginning to grow. Neveu quickly became a trusted adviser and took on several management roles.

After leaving the company in 1976 and seeking a series of other jobs, he returned to Quebecor in 1988. When Péladeau died in 1997, Jean Neveu took his son Pierre Karl under his wing and groomed him to take over the reins. In the meantime, Neveu assumed the role of president and CEO.

“He was one of the great builders of the company,” Pierre Karl Péladeau, Que-becor president, told the Globe and Mail. “All his friends knew him as a man of tremendous integrity and forthrightness. His death is a loss for the entire Quebec business community.”

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Brian Ellis now with FujifilmBrian Ellis, former director of marketing for Heidelberg Can-ada, has joined Fujifilm Canada. In a consulting role as marketing manager, he will focus on mar-ket intelligence and customer relationship management. He has vast experience in printing technologies, business process-es and developing customer relationships, especially in the graphic arts industry.

“Our industry is going through a very unsettling transition as we transform from traditional print-ers to integrated communication suppliers,” notes Ellis. “While

there will be challenges, there will be just as many opportun-ities if we are willing to embrace the changes in media relationships. I am very pleased to be well immersed in our industry again – and aligned with another supplier with a very proactive approach to these changing times and ongoing, significant investment in research and development. The tim-ing is absolutely perfect for a new career direction and I look forward to embracing my future with Fujifilm Canada with great passion and enthusiasm.”

Wednesday, May 11 • Digital Printing Forum • Toronto • www .inter-quest .com/seminars

InterQuest is once again bringing its full-day Digital Printing Forum to Toronto at Ryerson University’s Heidelberg Centre. The event will run from 9 a.m. to 5 p.m. and will be divided into two sessions. The morning forum will focus on direct mail and multi-channel marketing communications, while the afternoon will examine digital book and manual printing. Full-day or half-day sessions are available. The event will also include a tabletop display area featuring event sponsors Can-ada Post, Canon, Cascades, Fujifilm, GMC, HP, KBR Graphics, Kodak, Quad Graphics, Ricoh, Riso and Webcom. The forum is also supported by the Canadian Book Professionals Asso-ciation (CanBPA), the Direct Marketing Association of Toronto and Xplor Canada’s Central Chapter.

Ontario Printing & Imaging Association coming events (www .opia .on .ca)

• Thursday, May 19 • OPIA Awards Night • St. George’s Golf & Country Club, Toronto, Ontario

• Wednesday, June 1 • SWOB Golf Tournament and Annual General Meeting • Doon Valley Golf and Country Club, Kitchener, Ontario

• Thursday, August 11, 2011 • OPIA Toronto Golf Classic • Angus Glen Golf Club, South Course

Friday, June 3 • Print: High Five • CPISC’s 5th Annual Industry Forum • Toronto • www.cpisc-csic.ca

Print: High Five is a free one-day symposium celebrating f ive of the industry’s pillars of success (leadership, results,

resilience, skill and innovation) while also commemorating CPISC’s 5th anniversary. Does your company have an HR department? Is it “Print Ready?” Do you want to take advan-tage of social media, but don’t know how? Then this seminar is definitely for you! The conference will bring together leaders from the Greater Toronto Area and beyond focusing on trends, attitudes, resources and tools to empower the printing and graphic communications industry. It will be held at the Sandman Signature Hotel Toronto Airport (55 Reading Court, Toronto). Parking is free.

Wednesday, June 8 • Print Automation Workshop • Nor-quest College, 10135 - 109 Street, Edmonton Alberta • michelle .braun@norquest .ca .

If you want to to reduce production costs and improve turn-around times, this is one seminar you’ll want to attend. It covers all aspects of print automation using systems that support the JDF standard. It’s hosted by The Centre for Excellence in Print Media in cooperation with Avanti, Duplo, FoldFactory, Heidelberg and Xerox. The seminar features live, automated digital and offset production workflows, as well as a plant tour of McCallum Printing Group, where attendees will learn about the benefits and eff iciencies of full process automation. The seminar also includes basic track courses on the fundamentals of JDF and several advanced track courses on focused areas of automation.

Tuesday, June 21 • PACKEX Conferences • Toronto Con-gress Centre • Toronto, Ontario • www.packextoronto.com

Three-day conference and networking event brings you up to speed on the latest trends and technologies in pack-aging. Benefit from expert insight on key topics of importance to packaging professionals. Discussions include Competing Globally Through Automation, Expanding Your Exports, Walmart Sustainable Packaging Conference, a Tac-tical Implementation Session, Global Food Safety Initiative, PACsecure Packaging Scheme and PAC Leadership Awards Gala Reception and Dinner.

Thursday, July 7 • BCPIA Golf Tournament • Morgan Creek Golf Club, 3500 Morgan Creek Way, Surrey, British Col-umbia • www.bcpia.org

September 11-14 • Graph Expo • McCormick Place • Chica-go, Illinois • www.gasc.org

Help us plan the perfect fall eventIt’s May and we need your feedback to help us plan the per-fect event. Events in this industry help us share, retool and rejuvenate. They also remind us that we are not alone and may indeed be on the right track! We want your help. We’re industry-sourcing our f irst event and want to make sure you are there with us in September – and what better way than to ask for your input. After all, it’s your show! We will take all your suggestions and work our usual magic – and the top three best ideas will earn Pizza for 30 at their off ice. Go to graphicartsmag.com/eventsurvey and tell us what you think, what the industry needs right now and how these kinds of events can actually help us move forward.

People and events

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Tony Curcio




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Tech NewsGCM prof develops iPhone apps for print productivity calculations

Manfred Breede, professor emeritus at Ryerson University’s School of Graphic Communications Manage-ment, has developed 14 new iPhone apps for dealing with paper and printing industry productivity calcu-lations. These include: basis weight, grammage, M-weight, paper roll length, roll weight, and more.

Here is a description of the apps, available now on iTunes:

BasisWeight5: This app converts the grammages (GSM) of eight paper categories to their basis weight.

Grammage2: This app converts the Basis Weight of eight paper categor-ies to grammages (GSM).

Mweight2: This app converts the M-Weight of paper to grammage (GSM).

M-Weight Calculator: This app converts the Basis weight of eight paper categories to M-Weight.

M-Weight To Basis Weight: This app converts the M-Weight of paper to its basis weight, based on eight paper categories.

Paper Roll Length: This app calculates the length of a roll in feet, based on eight paper categories, roll weight, roll width and the paper’s basis weight.

Any Roll Length: This app calculates the linear length of any roll material in feet or meters, based on the material thickness, roll diam-eter and core diameter.

Roll Weight: This app calculates the weight of a roll from given roll diameter, core diam-eter and roll length. The weight is calculated in accordance with nine paper finishes.

Paper Roll Volume: This app calculates the volume of a paper roll in cubic feet and meters from given roll diameters and widths.

Paper Skid Volume: This app calculates the volume of a paper skid in cubic feet and metres from the length, width and height dimensions of a paper skid.

Pre-Press Gray Levels: This app calculates the number of achievable gray levels for any output device resolution/halftone screen ruling combination.

Scanning Resolution for Line Art: This app calculates the necessary scanning resolution for line art to be printed at different scaling per-centages and printer resolutions.

Maximum Halftone Screen Ruling: This app calculates the max-imum halftone screen ruling that can be used to achieve any desired number of gray levels.

Required Output Resolution: This app calculates the required Image/Platesetter output resolution for any desired halftone-screen-ruling / gray-level combination.

Yet another tablet computer emerges on the marketMotorola has recently released its take on the tablet: the Xoom. It features a 10.1-inch display with 1280 × 800 pixels. Much like the iPad, it has front and rear cameras, but at 730 grams, it weighs slightly more. Its brows-er supports flash, and the device has 32GB of memory.

“Motorola XOOM is a truly innovative tablet – its design, coupled with being the first tab-let to have Android 3.0, results in a user experience that is one-of-a-kind,” says Dan Papalia, vice-president of retail sales for Motorola Mobility. “We are now continuing to expand the choices available to consumers with the Motorola XOOM Wi-Fi to be available soon from numerous leading retailers in the United States.”

Starting on March 27, the Xoom Wi-Fi edition was released across the US, retailing for $599 USD.

Agfa launches new :Apogee Prepress AppAgfa has recently announced the development of a new (and free!) App for iPad, iPhone or iPod Touch. Allowing users to connect to their :Apogee Prepress server, the App displays the JDF submitted job list and tracks the equipment status in prepress production.

“The :Apogee Prepress App can be used to get a quick check of a specific job during production,” says Erik Peeters, market-ing manager for :Apogee at Agfa. “A convenient status overview of the prepress equipment, including proofers, CtP systems and other output devices, can also be displayed with the :Apogee Prepress App.”

The App’s description from the Apple Store says:

Apogee Prepress for iPhone leverages the JMF protocol to connect to your Apogee Prepress server. It allows you to visualize your joblist and track the prepress production. You can even select a specific job and do a quick check of the plates just before imaging by previewing the rendered data. To maintain an overview of your prepress equip-ment, the device states of proofers, platesetters and other output devices is shown.

“The status of jobs can easily be determined by a simple colour-code: green means a job is complete; blue means the job is waiting, for example, for a file to be uploaded; and red means that an error occurred and needs attention,” says Peeters.

The App is available as a free download from the Apple Store. An internet connection is needed to access the :Apogee Prepress server.


Photo credit: Ryerson University

Thinking about packaging, innovative constructions and

extravagant designs come to mind that beg for undivided

attention and create a sphere of desire . Unfortunately, cre-

ating only this kind of packaging is certainly not the

prevailing practice . There are many more dimensions to

packaging and in a daily routine, the performance of pack-

aging is measured with respect to the demands in various

areas . Packaging stands for a menagerie of materials, pro-

duction technologies, printing techniques and advanced

manufacturing . It needs to satisfy diverse clients and

consumers .

The core of packaging can be disclosed by taking a look at

the meaning of the word itself: packaging contains the idea of

“enclosing” as well as the concept of “presenting.” Enclosing

refers to the package as a container, while presenting refers

to its appearance. All packaging can be located along the

axes between these two poles.

To take a more precise look, all packaging has to fulfill three

primary functions: protection, distribution and communica-

tion. Protection relates to the requirement to prevent negative

influences between the goods and the environment; distribu-

tion expresses the need to consider handling conditions to

ensure efficient logistics; and communication takes care of

passing on information. Required information needs to be

displayed visibly to comply with regulations (e.g. health and

safety regulations). Other information can serve as a market-


Stefanie Stroh

ing tool by conveying the look and feel of the product and disclosing further details (e.g. special promotions).

The degree of emphasis on each of these three categories can vary dramatically depending on the type of packaging.

Generally, packaging is classified into the following types: primary, secondary, and tertiary packaging. The primary packaging contains the actual product and can also form the consumer packaging, which is used for display at the point of sale (POS). The secondary packaging is of a greater dimen-sion and carries a number of single packagings. The tertiary packaging is used for storage and distribution.

The above constitutes the extreme variety of requirements regarding packaging development. To narrow down the spectrum, the focus here is on consumer packaging for the field of Fast Moving Consumer Goods (FMCG), a sector in packaging that is strongly related to marketing. This area still holds a fascinating variety of products, materials and ambi-tious tasks. For instance, accessibility (e.g. braille), security features, convenience or other additional benefits.

There is one common goal for all consumer packaging. It should lure the consumer and eventually encourage him or her to purchase a certain product. Accord-ing to AIDA, a concept described by Elmo Lewis in the late 1890s, this process has four stages: attention, interest, desire and action.

Nowadays, it has become a problematic venture to draw someone’s attention. While in 1982, 80 percent of all consumers were reached with only two advertising spots, as many as 80–100 spots were necessary to achieve the same coverage in 2009 (source: Eye Square).

POS-packaging has the potential to dir-ectly address a target audience with little scattering loss. But even at the POS, it remains tricky to grasp a consumer’s attention. A study has detected that the average duration of viewing a product at the POS is 1.6 seconds (source: Future-brand). However, the immense effect that packaging can have becomes obvious when considering other market research. It purports that 60 percent of all purchas-es are unplanned and that 75 percent of the purchasing decisions are made direct-ly at the POS (source: Professor Richard Linxweiler). Furthermore, 60 percent of the purchasing decisions are based on the product packaging and presentation (source: Advertisement Association). These results identify packaging as a prime brand ambassador and a valuable tool for sales promotion.

Therefore, the initial goal of all point-of-sale packaging must be to perform successfully at the so-called first moment of truth. The packaging should attract the target customer’s attention away from the competitor products. However, despite the general wish for differentiation, the whole product line should provide orien-tation and still remain identifiable as a brand to create recognition.

Opportunities in Packaging DevelopmentTo exploit the full potential of packaging, it is helpful to exam-ine the basic elements that come together: a chosen material takes the shape of a construction, and in the process of print-ing and finishing, they are then joined with the design of the graphics.

The general characteristics of packaging depend a lot on the choice of materials used in the production processes. A material cannot only determine properties such as visual appearance and haptic experience, but can also influence factors such as production speed and food safety. There are continuously new advancements in materials towards enhan-cing qualities, adding features, creating composite materials, making better use of renewable resources and many others.

A smart choice of construction and technology can not only offer better running on machines or easier handling, but it also provides the opportunity for enhanced convenience and recognition with an impact on the consumer. The Cele-brations packaging (Masterfoods), for instance, can serve as a tray, while the Veltins bottle for gastronomy works without


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Stefanie Stroh

a label and has a high recognition value. A rather exotic example is shelf-ready packaging, which allows faster hand-ling. The employees open the boxes and put them in the shelves instead of unpacking them. These boxes also then also serve to reflect the brand where initially plain boxes were used for transportation only.

A lot of the final appearance in packaging production is established during the stages of graphics, printing and fin-ishing. Thus, a great potential for differentiation lies herein for creating amazing effects. Apart from the pure design, the possibilities are endless. They range from from low-migra-tion inks to hybrid printing, hot or cold foil stamping, lenticular printing, cast and cure (a decorative coating pro-cess) or liquid metal, to mention only a few. For planning and calculation, it is important to remember that some of the fin-ishing can be done inline, while others need additional processes.

In any case, it is for the best benefit that the design and pre-press departments are closely connected with the printing and finishing facilities. It will assure excellent results and help prevent errors. This may appear all too obvious, but occasionally reality proves otherwise: A renowned prepress and printing facility, that works for very prestigious and critic-al clients received a repeat job, a large print run for a tobacco company. Their operators are well trained and they maintain the newest of technologies integrated into their workflows. Therefore, it was a mystery why, being on press for the second time, the printed sheet would just not match the proof. It was finally decided to track the job back up to the person that had run the initial job. Having problems to reach the specified target, he had manually adjusted the ink density. Here, a small lack of communication had resulted in a time-consuming break during the production process for troubleshooting and had endangered the entire production job, if not the client.

With all the possibilities that result from the choice of materi-al, construction, design, printing and finishing there are vast opportunities for differentiation and innovation depending

on the feasability to pay a corresponding price.

For reasons of cost, the possibilities for elaborate packaging designs are usually quite limited for non-luxury products. Nowadays, however, there is not necessarily a visible gap between standard packaging, as a rather cheap and simple version, and high-end packaging creation, as there are great ways for customization.

There are also numerous packaging suppliers, which offer an incredible amount of standards available for purchase. They range from low-priced to sophisticated designs, usually also with various options for further customization. Since many prodution sites are in Asia, it is important to be aware of pos-sibly different standards and attitudes, for instance regarding quality or timely delivery.

No matter if packaging is purchased as such or developed from well-known standards, there is usually a way for fairly cheap customization. In some areas this can be a matter of minor changes in the production processes. Some may need an exchange of the material or adaptations of the production machines while others may need replacement of certain tools or a greater investment.

Red Bull, for instance, had equipped its cans with the cus-tomized blue ring pull, showing the shape of the bull from the brand logo. Nestlé had launched customized soup pouches for its brand, Maggi in some countries. A swing was added to the top side of the ordinary rectangular sealed joint bag.Such modifications will likely stand out on the supermarket shelves and, as a result, can lead to a greater brand awareness.

There has been a lot of excitement around integration of new technologies. Buzz words still pop up everywhere: from smart packaging to multisensual packaging, from augmented reality to social media. One intention behind many of those new advancements, of course, is to ring bells and whistles with the hope to increase the stimuli and create more pur-chasing responses.

Kellogg’s has launched cereal boxes that utilize augmented reality. A printed marker allows to play a game online while moving the box in front of a webcam. Other companies, for instance, use quick response (QR) codes to allow customers to con-nect to their website easily.

The possibilities are enourmous, but, in all cases, the process between idea and packaging some-times works by its own rules.

Looking at the Process of Packaging CreationThere are always some obstacles in the way of creating the perfect packaging. Time, financial restraints and competing interests are outlining factors. But some hindrances also lie in other areas.

Although the mentality has changed substantially in recent years, several innovative developments still fall victim to the prioritization of price before anything else. Classification by price is certainly a fundamental approach. The conse-quences of even a small variation in price must be recognized. For instance, the impact of a small difference of only five cents in production can have immense effects depending on the volume of packages put out into the mar-ket. So a limited special edition can carry some extravagances, but the cost accumulates rapidly when gen-erating a higher volume.

A lot of the final appearance in

packaging production is established during

the stages of graphics, printing and finishing. Thus, a great potential for differentiation lies

herein for creating amazing effects.



Regarding only the direct cost effectiveness, however, neg-lects all benefits of good packaging as described above. The cost-performance value can still work when providing a more elaborate packaging that attracts more attention. This proved to be true for Burgopack. Established in 2002, Burgopak developed a patented sliding technology. With its remarkably simple and equally stunning effect, they have won numerous international awards and have also attracted prestigious clients from around the world.

Unfortunately, some price issues can also be raised through structural problems. Traditionally, engineers and marketing strategists belong to different departments and have separ-ate budgets. This can become a major problem especially when packaging becomes an important marketing tool. If plans are made to implement more elaborate forms of pack-aging, there must be a balancing of budgets. Expectations to get an innovative brand packaging at the same cost as the old will most likely not be met.

A hindrance for successful development can also simply be caused by an imprecise briefing. Some briefings contain so many pages that the essential information has to be tracked down like a needle in a haystack. Others stay so short, that they lack even basic data. This is great if the client intends to leave it up to the creativity and experience of the packaging designer. But if an imminent idea was just not conveyed properly, the sudden realization may cause a rude awaken-ing at the presentation of the first prototypes.

Often the focus on communication should be substantially higher. One must have heard printers cursing about graphic designers for their impossible designs. It surely costs time to convey detailed information, but this time may be well spent considering possible workflow improvements. Having as many different specialist disciplines involved, as is true for packaging, the integration of the various parties at an early stage can be beneficial for the advancement of the whole project. Breaking the sequential process structure, cooper-ation and an information exchange can not only help to avoid mistakes, but can also create synergies towards exciting solutions. This certainly implies a certain amount of freedom, that allows the people to think out of the box.

A packaging developer recommends the following strategy if the client draws a tight outline for a plain standard construction: focusing on performing the given task, but if time permits, pro-actively developing and presenting a more elaborate con-struction. Experience shows that after the presentation, some clients have gladly adopted the new solution.

One crucial point in all of packaging creation is how the ser-vice is charged. Traditionally, many manufacturers have offered their creative services for free as part of the com-plete packaging job. But ambitious packaging creation is time consuming and now many clients also wish to have 3D renderings. Even if they accept to pay a reasonable price for the packaging development, they are usually not willing to accept virtual images at an extra cost.

A large packaging manufacturer solved its problems some years ago by creating an in-house packaging agency. While the agency is paid separately for its projects, the overall company still benefits from all existing areas of expertise. Next to other factors, this full service and their high stan-dards allow them to exploit packaging to its full potential and give them a better standing in the price competitive market, where often jobs are taken away by cheaper manufacturers.

It is most important to create packaging that is adequate for the specific market. It shows that packaging is subject to social changes, ethics, politics and economics and thus, is driven by trends. Each year prognosis hovers around the packaging market; one recurring keyword here is sustainability.

Sustainability and New EthicsThe sustainability movement itself is quite old. What has been identified in the mid 1990s as so-called “Cultural Cre-atives” or “Green Lifestylers” has now come into focus as Lifestyle of Health and Sustainability (LOHAS). Several stud-ies of market researchers and sociologists have come to the conclusion that this lifestyle that puts an emphasis on health and environment, coined with a positive attitude towards life, has become fashionable. The followers of LOHAS are driven by individualism and creativity and seek their little luxuries. But they expect socially-acceptable and environmentally-sound products. Within this ethical context, they are also willing to pay an appropriate price.

The group of the LOHAS has been growing extensively in the recent years and has supported the boosting demand for sustainable products. Demand, of course, is a strong incen-tive for manufacturers to also push forward in this area.

Sustainability is a particularly sensitive and complex field of activity and manufacturers and their efforts are being exam-ined critically. Slogans such as “cradle to cradle” or “closed loop solution” reveal that it must go further than choosing a certain material. In order to move sustainability efforts beyond a superficial level, a holistic view of the complete chain of the production process is needed.

In the packaging cycle, the first stage is the processing or refining of raw material (e.g. fibres) which then allows the production of packaging materials (e.g. corrugated board). These again build the basis for the production of the pack-aging containers (e.g. boxes) which then need go to a manufacturing plant for packaging and filling.

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Stefanie Stroh

Smart moves as well as improving technology

and constructions can sometimes

help cut expenses, serve to promote the sustainability efforts publicly, and in the

long run help the environmental idea.

The chain proceeds from storage to distribution into the mar-kets. The consumer then uses the packaging according to its functions. At the end, the disposal stage (disposal, recycling, repurposing) of the packaging is reached. Thus, sustainabil-ity is also about processes, workflows and transportation.

Comprehensive concepts for greater sustainability will often produce expenses. They can make investments necessary and may require the use of more elaborate technologies and more cost-intensive materials. Unfortunately, most custom-ers will still not be inclined to support this by paying higher prices.

However, sustainability may sometimes pursue the same goal as an economic approach. For example, distribution volume is an important aspect. That means that the more efficient the planning towards a good usage rate is, the more economic the transportation. This also means that consumer packaging needs to be adjusted to dimensions that will at the end best fit the final loading unit. For folding boxes, that also means that erecting the box should preferably happen at the stage of filling so that for transportation they will take up the least space necessary.

Smart moves as well as improving technology and construc-tions can sometimes help cut expenses, serve to promote the sustainability efforts publicly, and in the long run help the environmental idea.

For instance, the material used in the production of plastic bottles has been cut down by 30 percent within roughly a decade. Biodegradable materials begin to replace plastics. Dell, for example, has started to substitute Styrofoam with

bamboo for securing electronics. Another example is new paper and cardboard qualities, which show a great degree of extensibility. This allows to run some paper materials on standard form-fill-and-seal-machines.

However, the right question in sustainability issues might not always point to the detail of packaging but sometimes at the concept itself. With regards to our consumption of water from plastic bottles, one could question the necessitiy of the majority of the bottles instead of wondering about how to lower the amount of plastic used. Apart from some social and ethical aspects, this would also radically cut transporta-tion costs and have a great impact on reducing landfill.

One should also carefully examine the possibly negative impacts that can arise elsewhere due to sustainable con-cepts realized in the first world countries. This could happen when the cultivation of renewable resources starts to com-pete with essential food crops in the third world countries.

Overall, the multifaceted area of packaging presents itself as a cauldron of various fields of activities and endless possib-lities. Not all packaging is useful and maybe that is what makes it even more tempting to work on creating better and more reasonable packaging. In packaging lies an incredible potential for innovation. However, it is important to view all implications to really make a difference in packaging.



Stefanie Stroh has a M.Sc. in Packaging Design and

Marketing from the University of Applied Sciences. In

2009 she joined Ryerson University for a 1-year guest

professorship at the School of Graphic Communications

Management. Her fi eld of expertise lies in the area of

packaging and communication design.


Tony Curcio

[email protected]

Fo

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Richard Armstrong

Tony Curcio

For the recordRichard Armstrong, president of Heidelberg Canada, gives us some valuable insights in this month’s For The Record .

What do you view as your strengths and where do you feel you need to improve?

Our broad product range of equipment and consumables allows us to bundle solutions. This is a strategic advantage for Heidelberg and can be a competitive advantage for our cus-tomers. We are fortunate to have an excellent portfolio of products including our XL105 peak performance sheetfed machine. Our Inpress Control system has also been well accepted and allows our customers to print with high quality, consistency and productivity. The system measures spectral colour values and register inside the press and makes adjust-ments to the machine on the run, saving critical time and waste paper. The VLF Sheetfed market has been an outstanding suc-cess for us globally. Heidelberg Canada installed the first XL162-6+LX3 Logistics press in Canada last year and we see many opportunities for this technology. Our expansive service network in Canada is still the largest in the industry and we have technicians located across Canada. Our technicians and factory can also remotely access most of our equipment for quick troubleshooting. Regarding areas to improve, our gap in digital printing needs to be filled. Heidelberg has been absent from this segment for a number of years, and it is critical for us to offer our customers solutions that integrate well into the Hei-delberg platform. I am confident we will achieve this.

2. What’s on the immediate horizon in 2011 for Heidelberg and your Canadian clients?

In the last few years, Heidelberg has developed a business consulting offering for our customers. We have conducted many projects in Canada including productivity improvements, 5S projects and workflow studies. We strongly believe our suc-cess in the future is tied to making our customers as efficient and productive as we can. We are also offering detailed pro-ductivity reports on their newer Heidelberg machines. This allows our clients to continuously improve their operations and reduce manufacturing costs. In the past, selling a press meant delivering the machine, installing, training and providing war-ranty support. Today we can offer our customers complete support in achieving their productivity targets.

3. Are you still focusing on Saphira consumables? Any new products or product lines?

Saphira is Heidelberg’s private label brand, and we are continu-ally adding new products to our existing portfolio of plates, proofing papers, inks, blankets, coatings and chemicals. Our

objective is to sell products that have an excellent price/per-formance rating. This year, we added a complete line of high quality rollers for our sheetfed presses and a new line of Saphira Coatings manufactured by Heidelberg that offer superb performance and attractive pricing. We also introduced the Asahi Water Wash Flexo plate to the Canadian market last year. This is a high-quality Flexo polymer plate that is processed with water versus current plates that use harsh chemicals. We are showing our customers the performance and value they bring.

4. What are the biggest challenges facing Canadian printers and what can they do?

I believe it is balancing the need to re-invest in new technology with reduced print volumes and pricing. The strong Canadian dollar has reduced a once buoyant print export market and moved Canada from a net exporter to an importer of print. I see this trend continuing in the future and print volumes remaining a challenge. I also hear from printers that print pricing continues to be at record low levels. Just like print volumes, I see no relief in print pricing in the near future. As far as strategies to combat these challenges, many printers have added ancillary services such as fulfillment and wide-format inkjet in order to become a “solutions” provider to their customers. Without this type of dif-ferentiation, printers only have price to talk about. Therefore, I see this as a critical time for printers to examine their business carefully and make key strategic investments.

5. Anything else you’d like to tell to our audience?

Our industry is going through a massive technological revolu-tion and economic shift. Developments such as CTP, workflow and highly automated machines have driven massive amounts of labour out of the process. Competing communication tech-nologies such as the Internet, eBooks, etc. have also replaced some print. Printers need to find a position to play on this new stage. I see a clear parallel between what our customers are going through now and how Heidelberg has had to evolve. Only 10 years ago, 100 percent of sales came from the sale of equipment. Today, it is less than 50 percent. I expect that in another 10 years this ratio will change again. My message is that you cannot stand still; you need to continue to offer new products and services to your customers in order to remain relevant.

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There is a fine line between good design and great design. There is also a fine line between the design work you choose to complete yourself and the

design work you hire a professional to conceptualize and create for you. Below you will find numerous resources to produce a design yourself, as

well as the resources available to hire the right designer.

Graphic designers have a challenging role to play in the 21st century (and numerous hats to wear) due to our increasingly technological world. Designers of the past needed only worry about the print

options available, whereas designers of the new millennium have to understand various mediums, such as print (magazines, large-for-mat signage, labels and packaging, to name a few), the web (via HTML and Flash, for example), as well as smartphone and tablet technology. New-age design phenomena (like QR codes and augmented reality) blur the lines between the past and the future of design, creating excitement for those who know how to use it to their advantage and fear for those who do not. Maintaining a current skill set and keeping up with new technology is therefore an important tool in a designer’s toolbox. Hiring a professional who has a toolbox full of specialized knowledge may be exactly what is needed to get the job done right (therefore, this may not be the time to compromise and have your neighbour’s second cousin do your website). Striking the balance between professional and affordable is often a difficult task, but it is well worth the time to find the perfect designer to bring your perfect design to life.

IN-ACTION EXAMPLEDesign is critically important to one’s brand, which can be defined as the promise you make to your customers. Unique concepts and establishing a con-sistent message across various mediums are important attributes of great design. A common mis-conception, however, is to take a design piece from your largest competitor and create something very similar for your own business. It seemingly works for them, so why shouldn’t it work for your business too? Rhonda Page, design veteran and brand con-noisseur, states in her branding workbook (know your difference: be clear. stand out. win more busi-ness!), “Copying the competition just creates more noise.”

Page simplifies what it means to have a strong brand by stating that it should accomplish three objectives: communicates a clear message, stands out from the competition and inspires action. Page has worked with such companies as Coca Cola, Kraft and Nestlé and with

the help of her workbook is now helping entrepreneurs bring their design and branding desires to reality.

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TOP 10 Design Resources1. Read a magazine – online and in print, HOW

magazine is a fantastic resource for all designers, whether they work for a large cre-ative firm or for themselves. The magazine’s content focuses on the business, techno-logical and creative aspects of successful graphic design. (www.howdesign.com)

2. Follow a blog – fresh and funky, Print maga-zine’s imprint design blog focuses on a range of topics and is updated several times daily. (http://imprint.printmag.com/)

3. Find your perfect design book – The one and only advertising and design bookstore in Canada, Swipe Books on Advertising and Design is located at 401 Richmond Street West in the heart of the Design District in Toronto. Take your time enjoying the tactile experience of browsing through a carefully selected array of beautiful and practical books. (www.swipe.com)

4. Kick your creativity into high gear – How To Have Kick-Ass Ideas: Get Curious, Get Adventurous, Get Creative by Chris Baréz-Brown will get your innovative wheels spinning. This fun and frivolous gem is part workbook and part go-to guide, so take the time to enjoy every one of its 256 colourful pages!

5. Discover a talented and enthusiastic design student – Sheridan College’s Faculty of Ani-mation, Arts & Design is a highly regarded, industry leading training facility. Contact stu-dents and graduates from a number of different specialties (including, but not limited to Bachelor of Applied Arts in Illustration, Corporate Communications, Media Arts and Visual and Creative Arts) to make your next design project a successful one.

6. Find your perfect typeface – As a typography and stock photo haven, Veer’s site houses excellent design resources. Enjoy browsing through thousands of typefaces, images and illustrations, before heading over to the typ-ography merch and ideas pages where the real fun happens! (www.veer.com)

7. Hire a qualified professional designer – The Association of Registered Graphic Design-ers of Ontario’s vision is the achievement of a graphic design profession that is broadly valued for its contribution to life, commerce and society. RGD Ontario’s website is an excellent resource for designers as well as those looking to find a qualified designer. Click on the “hire a designer” link on the left hand menu for tips and resources to hire the best designer for your project’s needs. (www.rgdontario.com)

8. View an online video tutorial – Lynda.com is an extensive video tutorial resource con-taining thousands of videos on a range of design topics. Subscribers learn at a pace that works for them, and the library is con-tinually updated as technology changes to keep up with the fast-paced world of design. (www.lynda.com)

9. Take a course – Continuing education design courses are offered at most universi-ties and colleges across Canada, and are also offered as general interest courses through various school boards (the Toronto District School Board, for example). Invest in updating your skills in a classroom setting, by attending a semester-long course relat-ed to a specific program like Adobe Illustrator.

10. Go to Camp – Adobe Camp, that is! Organ-ized by leaders of the Adobe community, camps are held all over the world and bring exposure to local design and developer tal-ent. They also provide users with Adobe tools through coaching, hands-on-training and demos. They create awareness about local user groups and resources available to members of a particular community. (http://groups.adobe.com/group/466).

Diana Brown is the Owner of ON-SITE First Aid & CPR

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Paper type is an essential factor for any type of job being printed. However, its properties and characteristics are what determine the capabilities and limitations it has in order for it to be applicable for the appropriate job. Folding and paper strength are very important indications of the durability of archival papers.

What is Folding Endurance?Once you have printed the job and folded it, you notice the finished product exhibits splitting at the spine. This may be the result of your paper undergoing stress and causing the fibres and coating to uplift. These types of problems can be addressed in a corrective manner by understanding the pri-mary characteristics of paper which contribute to a paper’s folding endurance.

Folding endurance is measured through the paper’s ability to withstand multiple folds under a constant load prior to break-ing. This is defined by several characteristics such as fibre strength, the fibers ability to effectively delaminate at the score, and sheet pliability. Fibre strength is dependent on the amount of fibres within a sheet. An increase in the percent-age of fibres will strengthen the paper’s durability. This is further enhanced through moderate levels of refining, which is the interlacing of the bonds between the fibres. The paper pliability can be achieved through increasing the moisture content in order to enhance the effects of elasticizing the fibres. It is also important to take into consideration the grain direction to which the product is being folded; the endurance of the fold becomes greater against the grain because it per-forms a stiffer hold, which will less likely cause it stress if it were along the grain.

Tensile StrengthIt’s defined as the maximum amount of tensile stress that is reached before breakage. The tensile strength of paper becomes more enhanced through the process of refining because of the greater degree of fibre bonding that occurs during paper-making. However, excessive refining can reverse the properties causing the paper to be weaker. By prolonging the refining stage, it can cause extreme fibre cut-ting when the paper reaches its peak value; the paper becomes more hard and less compressible.

As fibre length is increased, it furthers the paper’s ability to withstand breakage; the longer fibres tend to distribute the stress over more fibres and bond, while short fibres allow the stress to be concentrated in a smaller area. In addition, all papers have higher tensile strength in the machine or grain direction, allowing the fibre to fold more easily and making it ideal for greater resistance of being torn across the grain.

Bursting StrengthIt is essential to understand that the strength of paper is not necessarily correlated with its thickness, but rather, the way the paper is formed. Bursting strength is characterized as an internal sheet property, defined by how much hydrostatic pressure a sheet can withstand before it ruptures. Such prop-erties that affect bursting are fibres, beating, surface sizing, and the coating of the paper. Long fibres increase the strength of paper since it allows the fibres to intermingle and interlock into one another. However, the processing of the paper is what mostly contributes to the paper’s strength properties. Beating and refining increase the bursting strength (as well as other properties) of paper since it assists in the bonding of the fibres. The process encourages an increase in the flexibility of the fibre and internal and external fibrillation, which enhances its strength. Additives are also applied to the paper to define its characteristics. Surface siz-ing fill in voids and spaces among fibres and adds stiffness, which increases surface strength of uncoated paper.

ConclusionThe properties of paper from paper-making to printing are extremely important for the end-use application to determine the durability of paper for products such as wrapping, bags, and twisting. Such products can endure much more physical force which explains the necessary increased strength to withstand folding, tearing, and ripping.

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The Grafik’Art Show April 14–16 at Place Bonaventure in Montreal attracted about 6,000 visitors who walked its 120,000 square feet of floor space exploring 87 booths – compared to 82 exhibitors in 2009. There was everything from small specialty printers to large press and pre-press equipment to finishing to sales and marketing solutions . However, as with all similar shows I’ve attended, I was impressed not only with the high level of technology, but even more so with seeing long-established companies survive and thrive in this current troubled ecomomy .

I remember my very first day on the job as a copywriter for The Toronto Star newspaper in May of 1969. I toured its Composing Department and watched rows and rows of men set “hot metal” lead type for pages for the next edition. So you can imagine how the fast pace of today’s technology simply blows me away when I attend shows like Grafik’Art.

Just imagine if I had asked someone in 1969 to print full colour on the surface of water (that I saw turning a lot of heads at the NuStream Booth)! Well, I’d be the one in deep water – at the bottom of Lake Ontario in a straitjacket!

Some of the show’s highlights, in my opinion? Well, let’s start by congratulating Konica Minolta, whose bizhub Press C8000 earned a Five-Star “Exceptional” rating from BERTL, placing it near the top of the industry list for high-speed digital colour that is comparable to the quality of offset.

Ricoh’s Pro C901 and C901s Graphic Arts Edition printers, geared to high-volume shops, were also very impressive – with a long list of power, speed, productivity, workflow, “near offset quality” and substrate flexibility benefits.

Fujifilm’s booth was a major centre of attraction at the show. “Fujifilm had an excellent show with sales of Acuity wide-format printers and Xerox digital printing equipment, along with tremendous interest in our digital inkjet J Press 720, Epson GS6000 and Fujifilm environmentally sustainable plates,” said Jay Lalonde, Product Manager, CTP, Workflow & Digital Printing (Graphic Systems).

The KBR Graphics Canada technical team was showcasing the MGI DP-60 multi-substrate digital press and the MGI Digital JETVarnish press, as well as other solutions from leading manufacturers such as Standard Horizon, Petratto, Esko Artwork, Graphic Whizard, Drylam, Challenge Machinery and more. Established in 1977 by Karl Belafi Sr., KBR Graphics is a unique success story and today represents many of the industry’s leading equipment manufacturers.

As I mentioned earlier, it was very inspiring to see not just the industry’s big manufacturers, but also the established small and medium-sized companies, the real backbones of our industry, continuing their great work under such difficult economic circumstances. Names like Terry C. Stapley (75+ yrs.), Unigraph (26+ yrs.), Value Rite (21+ yrs.), and many others too long to mention in this single article. I salute you.

Finally, I met so many printers and designers just entering our industry. I saw the gleam in their eyes, I sensed their enthusiasm and I was equally impressed. We need more people like them to enter this key industry and bring their energy, work ethic and innovative marketing ideas. Bravo!

Here are a few glimpses from this year’s Grafik’Art Show. Good luck to all in 2011 and beyond.

Grafik’Art Review

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Tony Curcio

Fujifilm had excellent sales and traffic at its show booth. The Fujifilm Canada Sales and Technical team (below) felt that this interest reflected the returning strength in the Canadian Graphic Arts industry, said Jay Lalonde, product manager, CTP, Workflow & Digital

Printing, Graphic Systems (middle row, far right).

The Konica Minolta team of (L-R) Jean Schryer, Ekaterina, Réjean Ouellette, André Grégoire and Élizabeth Fox with the award-winning bizhub Press C8000.



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May 2011 | Graphic Arts Magazine 32 www.graphicartsmag.comMay 2011 | Graphic Arts Magazine 32 www.graphicartsmag.com

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Bob Brickell & Bob Brickell Jr. of Terry C. Stapley Co. Ltd. – an industry leader for 75+ years and still going strong!

The Ricoh team included (L-R): Michel Dubeau, Clive Buckley, Richard Diamond and Bill Paulson showcasing the Pro C901/

C901s Graphic Arts Edition digital press.

The Insource Corp. group included (L-R) Mirco and Roselyne Graziani, president Tim Wakefield, Doug Ferguson and Stephane Lalonde.

Pressroom chemical manfacturer Unigraph International (L-R): Mike Thibault, vice-president, Technical Services; Leo Thibault, chairman and CEO; John Thibault, president; and Mark Thomas,senior technical representative. Mike’s (inset) daily seminars included key topics such as investing

in press maintenance to reduce costs.

The KBR Graphics Canada technical team (L-R): Kevin A. Belafi, Richard Marchand, John Kaliotzakis, Martin Lapointe, Denis Trudel, Stephanie Balayan, Karl Belafi Sr. and Karl F. A. Belafi.

Value-Rite’s Business Products’ Jay De Genova (L) and Tommy Otis.



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May 2011 | Graphic Arts Magazine 34 www.graphicartsmag.comMay 2011 | Graphic Arts Magazine 34 www.graphicartsmag.com

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Sam D. Dyer (L), Sales Manager, iCtP,Glunz & Jensen, with Michel Vachon,President, Innovachon Graphic Art Products.

Stacey Van Pelt, Thermotype, with Robert Jollet of International Binding and Laminating Systems Inc.

TeK GraphiX Inc. team of (L-R) Daniel Turcotte, Bob Vallée, Pierrette Turcotte, Yan Klepalo, Simon Klepalo

and Julie Levesque.

JHF Vista’s Leo Yuan.

Jeff Lo of Maxmedia Graphic Supplies Inc.

All Graphic Supplies and Signmaking Systems’ Charles De Souza.

The Club Impression booth kept Ron Breton very busy.

Keng Seng Enterprises Inc.’s (L-R) Rachel Polsky, Mitchell Cole (Pantone), David Chen and Sheldon Bronstein.

Robbie Dhanju, vice-president of Millenium Printing, with arguably one of the the most attractive

booths – and teams – at the show!

May 2011 | Graphic Arts Magazine 35 Your perfect connection to the printing and graphic arts industryMay 2011 | Graphic Arts Magazine 35 Your perfect connection to the printing and graphic arts industry

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Account Mgr. David Toledano of Duroflex Specialty Papers Inc.

RSP Bindery’s Serge Martel and Monique Albernhe.

Matthieu Goyette (L), Tim Troutman and Hugo Beauregard of Simple Signman Inc. Alex Malykhin, CEO, The Silver Sign Media.

The Multiforme team included (L-R) Helene Hébert, Pierre D’Amour, Sylvain Jodoin and Mélanie Cantin.

Southwest Bindings’ (L-R) José Lopes, Greg Djoboulian and Paul Needham.

The Nustream booth team (L-R) Guy Potvin, Steve Daigle, Alexis Aubre and Pierre Marquette turned a lot of heads at the show with its products and expertise – not to mention printing images on the surface of water!


www.graphicartsmag.comFeb. 2011 Vol. 14 No. 1 $7.95

FireLight Creations | Seian LiQue Design | two rivers digital design / retouching | Print Solutions Management Inc. | | Frontline Graphics | Kohan | Acart Communications | Delitala Design Inc | Alive Prostudios Inc | www.aliveprostudios.com | Dragonfly Design | Creative Colour & Communications | B G Communications | Exactic Graphics Inc | City Graphics | Artex Printing | Thrive Design & Communications | Canada Direct | Elan Designs Inc | Digital Art & Graphics | Barefoot Creative | Dpi Graphics Group | A Concept To Hard Copy | Alphabet Design | alphabet-design.com | Design North | Designwerke Inc | Beach House Graphics Ltd | Circle Media | Accugraphics Design | Edward Gabinet | Icon Communications Inc | Aspect Graphics Inc | Di3p Communicatons | Allard Johnson Communications | Colour Tech Marketing Inc | Impression House | Berkeley Studios Ltd. | Aramark Canada Ltd | Allcraft Print & Graphics |

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Most ink technologies have remained largely unmodified in the recent decades. Not much has changed in the many years of applying ink on paper or film or plastic. What’s new and different, however, is conductive ink technology. By tak-ing existing printing equipment and coupling it with the desire to solve a unique problem, conductive ink is changing the traditional role of printing and expanding its applications. Conductive ink is, therefore, an example of an ink technology that has broadened the scope of printing, paving the way for the future of what it means to “print.”

Conductive ink does exactly as it states. It is a series of print-ed ink applications that conducts electricity, and when applied to a substrate, enables the creation of printed elec-tronics. These conductive inks are both industry-established and innovative at the same time because the new printed electronics technology is blurring the lines between the print-ing, science and entertainment industries. In addition, printed electronics have brought printers, chemists, electronics spe-cialists, engineers and R&D experts together to achieve the common goal of moving an electrical current from “point A” to “point B.”

PRINTABLE ELECTRONICS & INK: The NowPrintable electronics can be manufactured using conductive ink and a number of different printing devices, including screen-printing, gravure, flexography, offset lithography and inkjet. Each of these printing methods provides unique capabilities in the printable electronics market in much the same way as in traditional print markets. For example, using a screen process to manufacture printed electronics allows for a dense layer of ink to be applied and is, therefore, to be used when conductive ink thickness is more important than fine detail. Benefits and primary appeal of printed electronics are their low cost on flexible substrates with the potential for customization, using current printing equipment.

Conductive ink has enabled a number of advancements in the electronics sector, thereby allowing disposable electron-ics to become a reality. Better production efficiencies, paired with material cost reductions and environmental advantages (due to non-etching methods of manufacturing) make con-ductive inks and printable electronics a viable option for

Pro

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rofile

This month’s topic: Inks

Diana Brown

ProductProfile

Saphira InksFor your peace of mindHeidelberg is an ink supplier like no other. Many printers across Canada already rely on Heidelberg to meet their needs for high performance printing inks and they know that there is more to Heidelberg than just a reliable source of supplies.

They understand that Heidelberg has the tools, knowledge, expertise and consumables necessary to keep their entire print production system tuned for maximum output.

Proven QualityAll Saphira Inks are carefully selected and

tested by our experts. You can be confident of consistent product quality thanks to consumables that are attuned to each other as well as to your equipment.

All of our printing inks are manufactured in Germany and the USA to exacting quality assurance standards.

Expert AdviceOur experts will help you select your inks

and answer any technical questions you may have, whether they relate to standard print jobs or special applications.

We can help you evaluate Saphira Inks on press and provide first class application and technical support when you need it.

A Single SourceWe are your one-stop shop for consumables,

equipment, software and services. Working with a single partner makes life easier, expedites solutions to challenging situations and simplifies administration.

Extensive Product RangeOur flagship process inks, Saphira Bio LT

and Saphira Advance LT, have consistently proven to outperform the competition. In addition to fast drying and excellent stay open properties, our customers tell us these inks save money day after day. Because of the ink colour strength, printers simply use less!

In addition, Saphira Bio LT is EcoLogo certified. The EcoLogo Program is North America’s oldest, and one of the most respected multi-attribute environmental standard and certification marks. For printing inks to become certified, they must not exceed a total VOC content of 4% and not exceed more than 6% of petroleum distillates by weight.

By using Saphira Bio LT, printers can receive a Secondary License which allows

them to put the EcoLogo mark on the materials they print. For savvy print buyers, this offers tremendous marketing opportunities.

To round out our conventional process portfolio, Heidelberg recently launched three new Saphira process inks that offer many of the same performance characteristics. These are Saphira C Standard 100, Saphira Eclipse and Saphira Universal Bio 100. These new inks are in stock and available for your evaluation.

Heidelberg offers much more than conven-tional process inks. We have solutions such as Saphira UV, Saphira UV Hybrid, Saphira Waterless as well as an ink for non-porous substrates – Saphira Solids.

Spot Colours, Metallics and Varnishes

For many printers, at least 20% of their ink requirements go beyond the basic process

colours of Black, Cyan, Magenta and Yellow. We have spot colours, metallics and varnishes to meet the most demanding applications.

For printers who want to mix their own spot colours, we offer the Saphira Bio Precision and Saphira Precision mixing series.

For printers who prefer to purchase spot colours, we offer mixing services through our Ink Labs in major cities across Canada. Whether it is a standard spot colour or a special match, our Ink Technicians can make the ink you need – when you need it!

ADVERTISING MESSAGETHE WORLDWIDE demand for fast-drying and high qualityprint products is increasing rapidly. Print buyers need tomake their products stand out from the crowd; they want tocreate emotions and the right coating makes it possible.Coatings enhance print products with gloss and visual effectsso products become more appealing and get higher attentionfrom consumers.

Besides this emotional and differentiating effect, coatingsalso perform a protective function. By improving resistance toabrasion and other potentially damaging effects, print prod-ucts last longer and perform better. In addition, coatingsenhance productivity. The highest press speeds can beachieved and printed sheets can be taken for finishing morequickly as the sheet is dry and protected from marking.

In May of 2008, Heidelberg acquired the high-performancecoating manufacturer Hi-Tech Coatings. Based in the U.K. andthe Netherlands, Hi-Tech Coatings is one of the world’s largestmanufacturers of coatings. They develop and produce over2,000 environmentally friendly productsand formulations mainly for the commer-cial print and packaging industry. Hi-Techhas been producing coatings for over 15years, including water-based coatings, UVcoatings and additives. These coatings aresold in Europe, Asia, Australia, China, theMiddle East, Russia, the United States,and now in Canada.“By acquiring Hi-TechCoatings, Heidelberg is pursuing its consistent strategy ofexpanding the range of services available to our customers,”stated Heidelberg CEO Bernhard Schreier.

“We’re all very excited about adding Saphira Coatings to ouralready extensive consumables portfolio. We want to extendthe coating success story from Europe, Asia and more recently

the US to Canada. Heidelberg will open a new state-of-the-artmanufacturing facility in the Detroit area this summer to keepproduction close to our customers.” said Ken Freek, Vice Pres-ident of Product Management at Heidelberg Canada.

Manuel Gutierrez, Product Manager for Press Room Con-sumables, is delighted with the introduction of Saphira Coat-ings and the initial feedback from customers: “Heidelberg hasdone extensive analysis and testing to ensure Saphira Coat-ings will meet or exceed customer’s expectations. During thephase-in period, we’ve had technical support people from ourmanufacturing plant working alongside Heidelberg pressinstructors and our customers’ operators. This combinationof technical support and a great product is proving to be ofgreat value to our customers. Saphira Coatings are competi-tively priced, and our warehouses are stocked up”.

Heidelberg is the one-stop shop for consumables,machines, software, and services. This makes life easier andsimplifies administration. The Saphira consumables range

spans the entire print production process from prepress andpress to postpress. Saphira consumables are thoroughly test-ed by Heidelberg’s experts to make sure they are perfectlyattuned to optimize production systems. Heidelberg’s expertsare available to work with customers to select consumablesand provide technical support.

Phone 1-800-363-4800www.shop.heidelberg.comwww.ca.heidelberg.com

Saphira CoatingsFor your peace of mind

Key Reasons for Saphira CoatingsProductivity - provide optimum machine speed, speed of second side application and speed to postpressQuality - provide consistent performance, and known reproducible results run after runPerformance - ensure that the final package or brochure looks and performs its best The environment - meet the latest industry standards for environmental friendliness

ADVERTISING MESSAGE


many end-use applications. Huge advancements and new markets for printed electronics create the opportunity for diverse end uses such as printed electronic display signage in advertising and disposable testing equipment for the healthcare market.

A news release on April 4, 2011 confirmed that NovaCentrix, a Texas-based leader in printed electronics manufacturing technology, won the Technology of the Year competition in the Materials category recognized by The Association of International Metallizers, Coaters and Laminators (AIMCAL). NovaCentrix was recognized for its copper-based screen ink because of the opportunity for inexpensive copper inks to decrease production costs of RFID and other related print-able electronics products. NovaCentrix’s Metalon ICI-020 copper screen print ink is designed for paper and plastic sub-strates for the smart packaging industry and RFID applications (priced at $75/kg USD). This copper screen ink’s cost saving potential helps broaden the scope of printed electronics and perpetuate the widespread adoption of this technology. NovaCentrix also manufactures conductive inkjet inks (both copper and silver).

Other major ink manufacturers are also producing conductive inks and have been doing so for many years. Sun Chemical, for example, has been active in the printed electronics mar-ket for 50 years and its Electronic Materials Group R&D team is focused on developing new solutions for this market. Sun Chemical currently offers a range of silver, carbon and graph-ite conductive inks to industrial markets, and states that the company is increasing its commitment to enable further solu-tions for the printed electronics industry.

BARE CONDUCTIVE: The NewBare conductive ink was conceptualized and brought to life by four postgraduate students from the Innovative Design Engin-eering Course at the Royal College of Art and Imperial College London. Their creation is innovative, non-toxic conductive ink that is the only skin-safe product of its kind available in today’s market. It is designed as a flexible conduit for small electrical signals to run across the skin safely and effectively. It has initially been used to facilitate artistic visions, but the group hopes to expand the range of use into the healthcare, sensing-electronics and educational industries.

I had the pleasure of speaking with two of the four co-found-ers, Matt Johnson and BiBi Nelson, about their vision and future plans for Bare Conductive inks.

“There are thousands of small problems that we have a solu-tion for,” states Johnson. From wearable options to off-body applications, Bare Conductive ink stands alone in the market for its versatility and innovation. Painted wall switches to con-trol lighting or disposable electronics on a business card, are within reach because of Bare Conductive inks. The team has also used the ink to print interactive posters and book cov-ers, whereby the conductive ink prompts a reaction in the form of a light or a sound, although this is not the intended focus of their product right now.

“Although we have few quantitative measurements to confirm the production capabilities of our inks for books, magazines or product packaging, we have a great deal of qualitative and anecdotal evidence that proves the inks’ physical perform-ance over time,” explains Johnson. “For traditional printing industry applications, we don’t consider our product just ‘conductive ink,’ but rather printing ink with increased functionality.”

Projects such as the “Humanthesizer,” in collaboration with Sony Music UK and artist Calvin Harris in 2009, demonstrate

the far-reaching capabilities of this technology. This first “human syn-thesizer” was used to promote Harris’ new music single. Bare Con-ductive ink was painted on more than 15 performers’ skin, completing a connection that triggered an instrument sound to play (including piano, drums and bass). When all of the performers acted in unison, Harris’ song was achieved.

Printing is no longer just ink on paper. In this case, printing is con-ductive ink painted on skin to make music. The unique application and creative thinking that went into not only inventing this ink product, but also finding creative collaboration across various industries, is brilliant. In this example, the printing industry, electronics industry and entertain-ment industry no longer stand in silos, but are collaborators who came together to achieve a com-pletely unique task. Watch this video for an introduction into the amazing prod-uct that is Bare Conductive Ink http://j.mp/h8IuQS.

The company is currently scaling up and is planning to have product to market by September 2011. For those who wish to buy small quantities, a 50 ml container will be priced under £30.

By expanding the horizons of what printing ink is convention-ally used for (printing on paper), the industry has a completely new set of infinite possibilities that were only conceptual not that long ago. Additionally, the market for conductive inks is expanding. Ink cost and capability will continue to greatly impact the effectiveness and widespread adoption of printed electronics in consumer markets.

If all of this amazing innovation is happening now, what’s to come with conductive inks in the future? Perhaps it will be con-ductive ink on our clothing to quickly and easily charge our electronics? Or ink that conducts electricity to run our vehicles and make our public transit system more flexible and automat-ed using conductive ink tracks and rails? I am keen to learn how the next stages of conductive ink technology will enable further collaboration among industries, companies and individ-uals and turn on the proverbial “light bulb.”

Pro

du

ct P

rofile

Diana Brown

Diana Brown is the Owner of ON-SITE First Aid & CPR

Training Group, a health & safety company who

provides training to the Graphic Arts industry.

diana@onsitefi rstaid.ca

This first “human synthesizer” was used to promote Harris’ new music single. Bare Conductive ink was painted on more than 15 performers’ skin, completing a connection that triggered an instrument sound to play (including piano, drums and bass). When all of the performers acted in unison, Harris’ song was achieved.



Sherbrand Industries Tel: (519) 621-1729 • 866-621-1729 • Fax: (519) 621-1936 E-mail: [email protected] • www.sherbrand.ca

SHEET FED PRESSES2002 HEIDELBERG CD-74-5-LX FIVE COLOR 23” X 29” AUTOMATED-COATING1989 HEIDELBERG MOSP-H, SIX COLOR, 19” X 25”, CONSOLE2000 HEIDELBERG QMDI46-4+, 3+ MILLION IMP, AIRTECH DRYER, PDR SPRAY, HARLEQUIN RIP1994 RYOBI 3302, 2 COLOR, CRESTLINE DAMPS, POWDER SPRAY, UV, SUPER BLUEWEB & FLEXO PRESSKOMORI-CHAMBON 8C ROTOGRAVURE PRESS # 3 (1994-98) 8 UNIT PRESS, 28”APECO WEB O PRESS16 UNIT PRESS, 16”DIDDE/ TANDEMERE MODEL# 176-597 14"W. 8 1/2 TO 17" CUTOFF, ROLL TO SHEETMARK ANDY 820, 7”, 3 COLOR, FLEXO PRESSCUTTERSMANDELLI 45” CUTTER , GERGEK COMPUTER1998 POLAR 137 ED CUTTER W/ POLAR(TR 1ER 145-4 UNLOADER2000LAWSON 60" MPU CUTTER ,LAWSON COMPUTER, DOUBLE END PULL1986 LAWSON MODEL MPU100, 70" GUILLOTINE CUTTER, WITH LAWSON DIGITAL SPACER;85” SEYBOLD HYDRAULIC GUILLOTINE CUTTER, MICROCUT COMPUTER, AIR TABLES1987 LAWSON 87: CUTTER, MICROCUT COMPUTER100” SEYBOLD CUTTER, MICROCUT COMPUTER2000 LAWSON 110 ‘ MILL TRIMMER (CUTTER), LAWSON MCC COMPUTER, SAFETY LIGHTS,BINDERY1989 NORMBINDER BINDER NB2,20 CLAMPS, 24 STATIONS, 3670 THREE KNIFE TRIMMER, 1504 ASTRO STACKER, 3 PUMPS 1997 MULLER MARTIN PRESTO STITCHER, 4 POCKETS, COVER FEEDER, TRIMMER, BELT DELIVERY, 10+ HRS2005 BOURG COLLATOR 2 10 BIN TOWERS,STITCHER, FOLDER, SHEETER, STITCHER, FOLDER, SHEETERSTAHL FOLDER , 20” W/ R ANGLE, KNIFE FOLD UNITSULBY VACUUMATIC PAPER COUNTER2000 DIGICOIL 4.25 X 5” X 14.5” X 12”, COIL AND PUNCHBELL & HOWELL INSERTERS, 4 POCKET

DIE CUTTERSHEIDELBERG 10 X 15 WINDMILLHEIDELBERG 10 X 15 WINDMILL W/ FOIL1981 HEIDELBERG GTP 68,000 13X18 FOILSTAMPERHEIDELBERG 28” CYLINDER DIE CUTTERHEIDELBERG SBG CYLINDER DIE CUTTER 22” X 30”1996 BLUMER PB-18-1 LABEL HIGH DIE CUTTER, FEEDER, BELT CONVEYOR DELIVERY, COMPUTERIZED1974 BOBST SP 1080E, 28” X 40”, 32 CHASES,2 PLATES,1978 BOBST 102E,2 CHASES,2 PLATES,NICE MACHINE1994 GEITZ FSA 7905, 2 DRAW FOILER, DIE CUTTER CHASE & PLATE NON STOP FEEDER & DELIVERY, 2 HONEYCOMBS2005 BRAUSSE CLAM SHELL DIE CUTTER 50” X 60”1994THOMSON 29”X 41”, CLAM SHELL DIE CUTTERTHOMSON 28” X 41” CLAM SHELL DIE CUTTERKENSOL HOT STAMPER #K36F3SHEETERS & SLITTERS1977 MAXSON MSH/600 SHEETER, MAXSON DUAL MOTER DRIVE SYSTEM (RETROFITTED IN 2000) 72” ROLL DIA. 2 ( TWO) G. MARTIN SHAFTLESS SELF LOADING ROLL STANDS, DUAL AIR DISC BRAKES (RETROFITTED 2002), PROPORTIONAL AUTOMATIC TENSION CONTROL (RETROFITTED 2002) MAXSON WEB CONDITIONING UNITBECK 45 SHEETER, W/ LAYBOY DELIVERY1998 JAGENBERG SYNCHRO-SPRINT 65” SHEETER, 2 SHAFTLESS UNWIND STAND, SLITTING,2000 CONTECH 80” SHEETER W/SHAFTLESS ROLL STANDKOLBUS SLITTER 55” #KS702WESTERN GRAPHIC SLITTER 59”PRE-PRESSHEIDELBERG PROSETTER 52. HEIDELBERG'S VIOLET CTP DEVICE. THE PROSETTER COMES WITH A 30MW LASER CAPABLE OF IMAGING SILVER HALIDE AND PHOTOPOYMER VIOLET PLATES @ 20PPH. IT IS ALSO FIELD UPGRADEABLE TO A PROSETTER 74."HEIDELBERG DELTA WORKFLOW INCLUDING P/S LEVEL 3 RIP, ROOM SOLUTION, SCREENING TOWER, IBM PC SERVER AND COLOUR MANAGEMENT SOFTWARE.HP 5000 INKJET PROOFING/ POSTER PRINTER.

WE NEED USED EQUIPMENT - PRESSES, BINDERY, CONVERTING, ETC


List of advertisers4Over Inc. 51

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Durabilt Pump 37

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House of Foil 37

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Sherwood Printers 27

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Commercial Printers32 Goodmark Place, Unit 1,Rexdale, Ontario M9W 6J4

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Commercial Printers32 Goodmark Place, Unit 1,Rexdale, Ontario M9W 6J4

Tel: (416) 675-2920Fax: (416) 675-2930

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ClassifiedFINE ART INK FOR EPSON

Very high quality pigmented fine art ink for Epson Up to 12 colours, archival quality made by a master

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LABELS - TRADE

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CLEAR PLASTIC BUSINESS CARDS

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or call Paul at 416-693-8530

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ADVERTISE WITH US

Best deal in print. Only $40 for 25 words in our classifieds pages.Call 877-513-3999 or email [email protected]

ADOBE PDF PREPRESS WORKFLOW

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RichmondElectric Services Ltd.

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Specialist in press repairsand transformers

Electrical InstallationsService and Maintenance

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Xone 2x2 - OUTLINES.indd 1 4/15/2010 2:42:38 PM

WANTED URGENTLYFOR EXPORT

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Legal note: this product and service has no affiliation and/or endorsed by these manufacturers.

Mimaki™ Roland™Mutoh™ Hp™Canon™Seiko™,Grandinnova-tion™Agfa™ Vutek™, Colorspan™, Epson™ *.

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HEIDELBERG PRESS SERVICEParts • Service • Consumables

PUMP REPAIRSMECHANICAL / ELECTRICAL

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Montreal Office:

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Mississauga Office:

www.kengseng.com

Tel.: 905-568-8567Fax: [email protected]

48 www.graphicartsmag.comMay 2011 | Graphic Arts Magazine

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.comments The latest activity at graphicartsmag.com.comments.comments The latest activity at graphicartsmag.com.comments

Kristen Read

Talkback Topics - check out what the industry is saying about some of the latest news:

Re: Poll - Are industry event evenings important to you?Industry events are very important for several reasons. Not only is it a great opportunity to network in a neutral, industry specific environment, but also an enjoyable way to acquire timely and relevant information. Even if the information presented is very strongly focused on vendors’ offerings, it is still advantageous to understand the products and solu-tions on the market without being drawn into a formal sales process. I strongly believe that for our industry to survive and flourish with com-plex technologies we need a means for open communication. Industry organizations and supplier events play a critical role in delivering this informal education. -Brian Ellis

Re: Poll - Do you offer online print purchasing?Wondering for those that answered “No”, what would be a reason for not offering online print purchasing as a method of revenue and lead generation?” -Michael

10 Tips for powerful body language

Sometimes, all it takes is a gesture or motion to subtly convey a powerful image. Your body language is very important when it comes to presentations, meetings and interviews. You may not realize it, but you give out sub-conscious cues to your audience in the way you stand, move and interact. Non-verbal communication is extremely significant in communicating with other pro-fessionals. Here are a few tips for projecting yourself with confidence.

#1: Dont hurryWhen your movements are slow and fluid, you put your audience at ease and show them that you are in control of the situation. Walk with long strides and look ahead of you, not down.

#2: Keep your hands in view and don’t fidgetFidgeting makes it look like you’re nervous or unsure. Take everything out of your pockets. Use hand gestures to create visual images to your audience, but don’t get too carried away. Over-gesturing can be distracting.

#3: Keep your head up and try to avoid a lot of noddingExcessive nodding can make it look like you’re just blind-ly agreeing with what’s being said. Keep your face relaxed and wait until the other person is done talking before you show your agreement or disagreement.

To read the rest of these tips, scan the following QR code with your smartphone!

To read the rest of these tips, scan this QR Code with your smartphone

What’s hot? Check out the top 5 most read stories from graphicartsmag .com:

1 Brian Ellis joins Fujifilm Canada

2 GCM Prof develops iPhone apps for print productivity calculations

5 Ricoh re-organizes production print business

4 Canon & Oce to launch first jointly developed digital production press

3 The US Post Office’s ‘monumental’ mix-up

We’d love to hear what you think.

Feel free to leave your comments and opinions at

graphicartsmag.com and don’t forget

to vote on our weekly web polls!



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UV COATINGUV coating is a process whereby a polymer resin changes from a liquid to a solid with the help of an ultraviolet light source. UV coating can be a direct replacement for lamina-tion and provides a protective covering that adds value to any document, increasing the vibrancy and richness of its colours (as well as protection from scratching and finger-prints). UV coating may be applied as a gloss, semi-gloss, matte, high-gloss, or in some cases with a special roller as a textured finish to many common applications – such as books covers, brochures, menus, postcards and calendars.

The latest UV coaters are offline units that allow the paper to be inserted through a set of adjustable rollers that applies the UV fluid before it’s “flashed” by the UV lamp. This process is instantaneous. However, it’s not a drying source but rather, a curing process.

Purchasing a UV coater is not something you want to cut cor-ners on, as all of these machines will require ventilation to exhaust the fumes and protection from the actual UV lamps. The UV coating process also requires higher energy use due to high voltage UV lamps and air conditioning requirements. The initial cost and investment for the machine may be high. However, the cost of consumables in the long term is remark-ably lower.

This start-up cost may scare some business owners, but the numbers you need to consider for a 12 × 18 document are approximately $.005 versus 25¢ per laminated sheet. The purchase of a UV coating machine can make sense, providing you have high enough volumes and a building with the required power and ventilation capabilities.

LAMINATIONLamination has long been one of the most popular and cost-effective methods to protect printed material. Lamination can be either hot or cold. The application determines which meth-od is used. As a basic guideline, thermal or hot-melt laminate (PET film) is a much lower cost that cold-melt and is most often used for encapsulation (both sides), while cold-melt is almost always used on a single side (with the exception of OPP film). Application also affects your choice in treatment. For instance, paper is perfect for hot-melt lamination as it can withstand heat. Cold laminate is used for the treatment of vinyl or other sign applications (many cold laminates also have additional UV protection for outdoor use).

LAMINATION FILMAs the digital print market continues to grow, OPP lamination films (which have long been the standard in high-volume large-format trade laminators) are now available in smaller format rolls (11.5”, 12.5” width x 1970’ of 1.2 mm thicknesses) in both gloss and matte. OPP is a polypropylene film that gives a high-gloss effect and is typically more economical than standard PET films that have been used for many years. The overall properties gives this film the highest level of clarity

and brightness over all other films, producing a finished prod-uct with similar quality and look to UV-coated material. This gives the average printer – who does not have it within his or her budget or space to purchase a UV coater – an easier starting point without compromising on quality. OPP Lamina-tion films are ideal for write-on/write-off applications, book covers for presentation, perfect-bound applications and sin-gle-sided business cards, to name just a few.

The purchase of small-format laminators is also a cost-effect-ive option. They take up little space, are easy to operate, and can be set up to run as little as a single piece with only min-imal heating time.

UV Coating pros and consPros

• Low per unit cost• Coating may be applied to cut sheets, which means no addi-

tional trimming of laminate material from the edges.• High Speed

Cons

• More expensive capital expenditure• Requires ventilation and high power consumption

Lamination pros and consPros

• Small-format machines with low-cost entry• Many machines will do both hot and cold• Even single pieces can be produced with minimal set-up

Cons

• Edges must be trimmed on each piece• Slower output• Higher cost per unit piece

Co

atin

gs

Tony Curcio

Tony Curcio

[email protected]

UV coating vslamination

PRINT RESELLERS

THE COUNTDOWN HAS BEGUN

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Today, we stock all substance and size of paper and cover including coated two-side glossand silk, offset paper and copy paper. We can also supply SBS, CCNB, Security Paper forBank Notes, Passport, Cheques, Bank Drafts, Metalized Paper and Board, Cigarette TippingPaper, Carbonless Paper and Hot Stamping Foil.

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