Digital cutting technology is fuelling growth in large-format printing
18 The future of offset printing
Offset technology is evolving to meet the demand for efficient, automated solutions
20 A century of printing
Leech Group celebrates almost 100 years of success
23 An ever-evolving
sector
A deep dive into the challenges and opportunities for label converters
DEPARTMENTS
GAMUT
5 News, People, Installs
8 Calendar
NEW PRODUCTS
27 Introducing new solutions from Fujifilm, Agfa, Lecta, and Kodak
SPOTLIGHT
30 Alex Christopoulos, CEO, Icon Digital Productions
COLUMNS
FROM THE EDITOR
4 Nithya Caleb
Forging a new path to ownership
BYTE BULLETIN
8 A.J. Rai
Privacy is our new friend
CHRONICLE
10 Nick Howard
When it was time to go big
INSIDER
11 Bob Dale
Building a resilient business
TECH REPORT
26 Angus Pady
New path to ownership
Earlier this year, Annex Business Media, Canada’s largest B2B media company and the owner of PrintAction as well as 60 other publications, took a major step towards being an employee-driven business.
Fifty per cent of the company’s shares are now owned by a broad management team. It is hoped that before year-end, “all employees will be more closely integrated with the company’s financial success through a unique enhanced employee incentive program.”
there are less than 50 employee-owned businesses in Canada. The poster company for this in the printing sector is Friesens Corp. In 2010, Friesens adopted an employee ownership trust (EOT) business model. Today, it has more 650 employee-owners. In 2022, $10,000 was the average EOT payment at Friesens.
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Bob Dale, Nick Howard, A.J. Rai, Tony Curcio, Jack Kazmierski, Chiara Bezzi, Angus Pady
According to a survey by the Canadian Federation of Independent Business, 76 per cent of business owners plan to exit within the next 10 years.
Last summer, I wrote about how employee-ownership offers a new paradigm for securing the legacy of businesses. So, it was a pleasant surprise to witness Annex’s founder-owners, Mike and Sue Fredericks, chart a new path in Canada’s media industry and entrust the company’s continued success in the hands of the same people who helped build it.
As I mentioned last year, employee-ownership offers several benefits to both the company and the country.
It helps reduce the glaring wealth gap in Canada by offering employee-owners a greater share of the company profit. According to latest StatsCan data, “The wealthiest (top 20 per cent of the wealth distribution) accounted for more than two-thirds (67.4 per cent) of net worth in the third quarter of 2023, averaging $3.3 million, while the least wealthy (bottom 40 per cent of the wealth distribution) accounted for 2.8 per cent, averaging $67,738.”
Benefits to the company
Employee-ownership offers several advantages to the company. It establishes a sustainable ownership structure, ensures business continuity, and incentivizes long-term commitment from employees.
Benefits to the country
Beyond the benefits to individual companies, employee-ownership is beneficial to Canada. It contributes to economic resilience by diversifying ownership and reducing dependency on select companies. By encouraging broader distribution of wealth, employee-ownership helps address income inequality, thereby fostering a more inclusive society.
Canada’s opportunity
In the U.S. and U.K., employee-ownerships have been successful for years. Alas,
Given the benefits, there’s an opportunity for Canada to encourage employee-ownerships by creating favourable tax structures, broadening the eligibility criteria for EOTs, and implementing easy-to-understand rules.
I firmly believe employee-ownership is a sustainable option to traditional ownership models. It has the potential to shape a more equitable and resilient economy. I couldn’t be prouder of my company. Thank you, Mike and Sue Fredericks, for trusting us with your legacy.
Talking about legacy, another familyowned company is gearing up to celebrate its 100th anniversary in a few years. The Brandon (Man.)-based Leech Group is in its fourth-generation of family ownership. At the helm are two sisters who are determined to emulate their great grandpa and company founder, Cecil Leech (Pg 20).
Cutting systems
Another issue that’s been making headlines is the role digital cutting systems are playing in the growth of large-format printing (Pg 12). Given the increasingly prominent role of finishing in printed work, it’s not surprising that the digital cutting table, with its built-in digital front end software, is having a moment in the sun. These cutters can help fuel a print shop’s growth because they make the cutting process consistent, minimize waste, reduce time to market, eliminate costly dies and stencils, and even facilitate expansion into other markets.
Offset printing
In this issue, we also explore the future of offset printing. Is it really doomed or are we witnessing an evolution in offset technology? Flip to Pg 18 to find out. Don’t hesitate to share your thoughts on this subject as well as the whole issue.
NITHYA CALEB Editor ncaleb@annexbusinessmedia.com
Associate Publisher Kim Barton kbarton@annexbusinessmedia.com 416-435-9229
Media Designer Lisa Zambri lzambri@annexbusinessmedia.com
Account Coordinator
Melissa Gates
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Group Publisher/VP Sales Martin McAnulty mmcanulty@annexbusinessmedia.com
CEO Scott Jamieson sjamieson@annexbusinessmedia.com
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Friesens sponsored and printed around 600,000 copies of the Chaiwala! book, written by Priti Birla Maheshwari, illustrated by Ashley Barron, and published by Owlkids Books for the TD Grade One Book Giveaway program by the Canadian Children’s Book Centre. Friesens has been sponsoring this program from the start.
Due to the significant increase in raw material costs, especially driven by pulp, alongside other manufacturing costs related to the recent supply chain constraints in the Red Sea, Lecta increases the price of its specialty papers by eight to 10 per cent. The price increase will be implemented in all labelling and flexible packaging papers, coated one-side, release liners, metallized, cast coated, thermal and carbonless.
The Printing United Alliance releases G7+, a new and improved colour calibration specification that replaces legacy G7 with new logic and algorithms. After more than three years of R&D by Printing United Alliance, G7+ is designed to work with all printing technologies. It maintains the features, benefits, and general appearance of G7, but with more accurate grey balance, improved tonality, and better performance in unusual printing conditions.
CJ Graphics acquires Media Resources’ large-format digital
print division. The acquisition will extend CJ’s print services in the out-of-home and sign categories.
Sustana streamlines operations and brings together all business units under the Sustana brand. A company statement said, “We are creating a stronger, more united company around our shared purpose – making sustainability an ingredient in everyday products. This rebranding is more than just a change of name or logo. It’s a bold statement of our commitment to providing holistic, integrated solutions to our customers.”
Landa Digital Printing is opening an ink plant in the U.S. to supply its growing North American customer base. To be located in Mid-
western U.S., the new plant will manufacture the company’s water-based Landa NanoInk. The plant is due to become operational by H2 2024. Fully operated by Landa, it is positioned to produce for the United States, Mexico, and Canada markets.
TC Transcontinental closes its printing plant in Saint-Hyacinthe (Que.). Its activities will be transferred to other plants of the TC Transcontinental Printing network, mainly to the plant located in the Anjou borough of Montreal. “With the end of Publisac [a flyer distribution service] announced on November 3 and its gradual replacement by Raddar, printed at our Anjou plant, we regretfully had to make the decision to close our Saint-Hyacinthe plant,” said Pierre Deslongchamps, senior vice-president, retail, newspapers, distribution, magazines, books and catalogues, TC Transcontinental Printing.
Agfa and EFI enter into a global strategic partnership aimed at leveraging each other’s technologies. The collaboration between two companies marks a milestone in the wide-format inkjet printing arena. Within the framework of the partnership, Agfa will integrate EFI’s roll-to-roll system into its offerings, while EFI will incorporate Agfa’s high-end hybrid inkjet printers into its suite of solutions.
Printing United Alliance, Brand Chain, and the Print Education & Research Foundation (PERF) merge operations. The Alliance shares Brand Chain and PERF’s vision for advancing the printing industry through collaboration and innovation. The merger will enable the organizations to leverage their respective strengths, resources, and expertise to better serve their members and drive positive change within the graphics industry.
The Fedrigoni Group buys certain assets of Mohawk Fine Papers, the company it entered into an industrial partnership with in September 2023 to strengthen the distribution of specialty fine papers in the North American market. This follows a period of financial distress that affected U.S.based Mohawk Fine Papers. The transaction entirely cleared the new company from existing indebtedness, allowing it to preserve many existing jobs, industrial activities and customer relationships.
Max Solutions acquires Bellwyck Packaging. Bellwyck manufactures folding cartons, labels, and rigid packaging in three manufacturing sites located in Ontario and British Columbia focusing primarily on the pharma, health and beauty and horticulture end markets.
Miraclon appoints Tim Reece as manager of service and technical support for the U.S. and Canada. Leading the service and technical support team, as well as overseeing all third-party service providers, he will drive the team of experts responsible for supporting hardware, software and application optimization that enables Miraclon customers to maximize their technology investments. Reece brings with him a wealth of flexographic industry, service and technical experience, including 26 years with All Printing Resources.
SA International promotes Bobby Cagle as its new North America sales director and Katherine Magee as senior manager of customer experience for North America. Prior to this, Cagle was East Coast channel sales manager. With over 12 years of experience as an account manager, Cagle is well-versed in the industry. In his new position, he will oversee the sales of SA International’s Flexi sign making software and EnRoute CAD/ CAM design software throughout North America. Magee will oversee the technical support, customer service, inside sales teams, and orders department for North America. Her responsibilities will include maintaining the ticketing system, handling customer escalations, and advancing customer satisfaction.
Rémi Marcoux, founder of TC Transcontinental steps down from the company’s board. In recognition of his entrepreneurial career and his significant contribution to the vision, growth, and development of the company in keeping with its values, the board has named Marcoux “founder emeritus”. Marcoux is a member of the Order of Canada and an Officer of the National Order of Québec.
LMI Packaging installs a Komori Lithrone GLX 6 colours advance series 41-in. press.
Godin Productions is the first marketing solutions provider in Canada to install the Agfa Jeti Tauro H3300 UHS with a fully automated unloading system.
PrintFactory appoints Kelly Shearer as account manager for the U.S. and Canadian markets. Shearer brings over 25 years of experience in business development within the print and promo industry. As a seasoned professional with an undeniable passion for the world of paper and ink, Shearer is recognized for her expertise in large-format print and her commitment to helping printers achieve optimum results. She will play a pivotal role in responding to customer needs and collaborating with PrintFactory dealers throughout the U.S. and Canada.
Alberta-based Budget Printing expands its print and marketing services with the installation of a Konica Minolta AccurioLabel 230.
Gerry Bonneau (co-president and owner), Josée Debien (co-president and owner), and John Chisca (general manager) of LMI Packaging.
Katherine Magee
Bobby Cagle
April 10-12, 2024
ISA Sign Expo Orlando, Fla.
April 17-19, 2024
PPC’s 2024 Spring Outlook & Strategies Conference Frisco, Texas
May 5-8, 2024
FTA Forum, Infoflex 2024 Kansas City, M.O.
May 8-9
Americas Print Show 2024 Cleveland, Ohio
May 15-16, 2024
SmartMTX Red Deer, Alta.
May 28-June 7, 2024
Drupa Düsseldorf, Germany
June 13
DIA Annual Golf Tournament Alliston, Ont.
Sep 10-12, 2024
LabelExpo Americas 2024 Chicago, Ill.
Sep 10-12, 2024
Printing United Expo 2024 Las Vegas, Nev.
November 7, 2024
Canadian Printing Awards Gala Toronto, Ont.
Privacy settings make it difficult for marketers to personalize ads based on individual user behaviours.
Privacy is our new friend Personalized print can help brands strengthen consumer trust
By A.J. Rai
This year’s big three marketing trends are advancements in artificial intelligence (AI) and machine learning, hyper-personalization as well as changes to privacy and data protection systems.
The emergence of digital ads and mass e-blasts has been tough on the industry, but as privacy comes under scrutiny, businesses must prioritize consumer trust so that they can obtain stronger data to meet company objectives (i.e. growth as well as new markets and product lines).
Data collection
With the implementation of privacy regulations such as the General Data Protection Regulation (GDPR) in Europe and the California Consumer Privacy Act (CCPA) in the U.S., businesses are required to obtain explicit consent from users before collecting and processing their personal data. Marketers now need to be transparent about the type of data collected, the purpose of its use, and offer users the option to opt-out.
Cookie restrictions
Many web browsers have introduced stricter controls over third-party cookies and limited cross-site tracking. This has led to a decline in the effectiveness of advertising methods relying on tracking user behaviour through cookies. Reduced access to user data and tracking limitations make it more challenging for marketers to target specific
demographics accurately. Therefore, marketers are exploring alternative methods such as contextual advertising, which focuses on the content a user is currently viewing rather than their individual browsing history.
Ad personalization
Privacy settings make it difficult for marketers to personalize ads based on individual user behaviours. Instead, they are moving toward more privacy-friendly methods like using aggregated and anonymized data to create broader audience segments.
Focus on first party data
With limitations on third-party data, there’s a growing emphasis on leveraging first-party data. Businesses are investing in building direct relationships with customers and encouraging them to share info in exchange for personalized experiences.
Privacy-centric tech
The rise of privacy-centric technologies in browsers and search engines has prompted marketers to adapt their strategies. Marketers need to be aware of these changes and consider how their
messages can reach users who actively seek to protect their privacy online.
Educating customers
Marketers are focusing on educating consumers about the value exchange between their data and the personalized experiences they receive. Building trust is crucial in a landscape where privacy is a top concern for users.
What does this mean for print? Personalized print in the context of marketing in correlation with first-party data allows us to create more materials tailored to individual preferences and characteristics. We’re seeing a fall in digital ad and mass spray and pray marketing campaigns. We can use this narrative about privacy to reintroduce print as a solution instead of showcasing it as a commodity. This will help open new markets for us.
A.J. RAI is the vice-president of sales at Mitchell Press. He can be reached at
Privacy is a top concern for consumers.
When it was time to go big
How VLF offset presses found redemption on a billboard
By Nick Howard
n 1982, a French printer flew from Paris carrying a large tube filled with film. His firm specialized in large-format billboards, and my company was about to sell him a Harris LTZ four-colour press with a sheet size of 54.5 x 77 in. He came to North America because he couldn’t find a press that was over 72 in. in France. Only American-based Harris and Miehle were producing VLF (very-large-format) presses. England’s Crabtree Vickers manufactured the Sovereign S/72 (47.5 x 72 in.), but it was unpopular. Italy’s Nebiolo and Germany’s MAN, Roland and Planeta stopped at 63/64-in. Therefore, American presses were in abundance and led the market.
ILarge-format sheetfed offset presses first came into vogue during the Roaring Twenties when plate-making methods started to improve. The only edge a printer had at that time was the ability to print more pages in less time. Web presses were still mostly letterpress, leaving sheetfed and offset’s superior print quality omnipotent. Books and magazines folded into 64-page signatures became the norm. Sheet sizes 45, 52, 60, and 72 in. spread throughout America. Large platemakers, folders and guillotines were essential and spread just as. These presses were also used to print maps, gang labels, and folding cartons.
As the decades whizzed by and offset web presses matured, the late 1950s became the tipping point for VLF sheet sizes, and sales of new monsters began to stall. With the launch of much improved, smaller offset machines, VLF presses were only being used to print folding cartons (up to 64 in.) and billboards.
There are around 351,000 billboards in the U.S.
During the early 20th century, most large signs were hand-painted. The 24-sheet billboard, with a nominal size of 104 x 234 in., became a staple along roadsides, towns, and cities, hawking everything from booze, tobacco, and Coca-Cola. Run lengths were often small but offset was the only technology available until the early 1990s. Soon, inkjet appeared on the scene and played havoc with VLF’s status quo.
Discarded by conventional printers, antiquated Harris and Miehle 54 x 77-in. behemoths were being repurposed as poster presses in the U.S., Canada, Switzerland, France, Britain, and Japan. But it was still a surprise when, in the late 1990s, a group of engineers from Koenig & Bauer (K&B) jetted to North America to visit printers who still used this old technology.
Inkjet shakes up the field
K&B ended up modernizing a format long considered passé. The Rapida 205, with a 59.45 x 80.70-in. sheet size, was launched in Drupa 2004, followed by a smaller Rapida 185 (51.25 x 72.75-in.). These VLF sizes, nine and eight, would soon be joined by Manroland’s 900 XXL in a sheet size of 51 x 73 in. Manufacturing billboards was now more accessible and faster than ever, but as
quickly as these presses appeared, so did massive wide inkjet platforms. Inkjet could now print an entire billboard on one substrate as compared to 12 or 24 sheets that needed to be pieced and glued onsite. With inkjet platforms requiring one operator and selling for less than 15 per cent of the cost of a multi-operator VLF, it’s easy to understand their popularity. We haven’t yet added the platemaking and cutting equipment needed for VLF though. Today, outdoor signage is changing again with new digital billboards that can be installed or altered with the click of a mouse. Several ads can appear one after another, raising rental income tremendously. Digital signage is here to stay and will only get cheaper. Meanwhile, inkjet commands the lion’s share of billboard advertising. VLF offset presses retained a niche for over 100 years until a new technology displaced it. An impressive feat indeed.
NICK HOWARD, a partner in Howard Graphic Equipment and Howard Iron Works, is a printing historian, consultant, and certified appraiser of capital equipment. He can be reached at nick@howardgraphic.com.
A Harris 272 press printing a Budweiser Poster at Western Printing & Litho Co. This photo was taken in 1952.
Building a resilient business
Be ready for those inevitable tough days
By Bob Dale
or 2024, a flat economy with modest inflation or ‘soft recession’ is projected.
According to BDC economists, real GDP growth for 2024 is forecasted to be at one to two per cent and inflation is expected to be two to three per cent. A recent study by Printing United found growth was a modest 2.7 per cent in 2023. Also, only 50.5 per cent of printers reported sales growth.
With these projections, industry leaders may feel that if they continue as usual, businesses will have modest growth with low risk. However, multiple companies have approached us to help them sell due to projected rent increases of three to four times. Their entire business is now at risk because they can’t absorb cost increases and do not expect customers to accept price hikes. They are now desperate to offload their businesses and expect to close deals soon. However, three to six months is not enough time to go through the M+A process effectively.
When you’re forced to sell
Loss of a major customer can put the entire company at risk. Some companies may face significant increases in labour expenses. Further, the health of a business partner, spouse or self can create the need to focus on personal priorities.
Environmental concerns leading to a preference for sustainable practices have a major impact on the industry. Provincial and municipal governments have implemented legislation that influence the economics of printed material and their life cycle. TC Transcontinental recently closed the Saint-Hyacinthe, Que., plant after the City of Montreal banned the
delivery of advertising flyers to homes whose owners had not requested delivery.
1-2%
BDC economists forecast real GDP growth to be at one to two per cent in 2024.
In Ontario and British Columbia, extended producer responsibility for paper products and packaging laws mean producers (companies that design, create and market products and packaging) will be responsible for managing and paying for the full life cycle of their products. These laws not only affect printers, but also make print buyers cautious.
Risk mitigation plans
To prepare for major increases in expenses like rent and labour:
• be vigilant, prepare budgets, monitor financials and create ‘what if’ scenarios;
• have sound financials with capital reserves, or suitable line of credit;
• identify trigger events that impact business;
• engage professional support early;
• embrace technology that enables staff to do more with less effort for cost efficiencies;
• if you’re unable to attract high value clients, diversify to other markets or provide new product offerings;
• have a succession plan with rotating one-, three-, five-year plans because effective exit plans take years to execute.
• as owners age, they are less likely to make major investments that are important for the continued success of a company, so, it’s important to identify key roles and customer relationships and develop back-up strategies;
• participate in organizations and peer groups for greater insights as well as educate customers about current or potential legislation;
• invest in staff training and professional development as well as encourage staff to attend industry events, as it will prepare them for future challenges; and
• monitor market trends, technological advancements, and economic indicators closely to anticipate changes and adapt quickly. Think of these proactive steps not as work, but as insurance. We would not operate companies without adequate insurance, so add these steps to your policy.
There are several examples of companies in Canada that suffered major fires, were able to rebuild and emerge stronger.
BOB DALE is vice-president of Connecting for Results, the premier management consulting company focused on the graphics communications industry. He can be reached at b.dale@cfrincorporated.com.
The digital cutting table is a versatile system that comes in a range of sizes and can handle an array of applications.
BEYOND THE CUT
How intelligent digital cutting technology is fuelling growth in large-format printing
By Tony Curcio
Every successful printer knows that even the most meticulously printed masterpiece can be compromised by a mediocre finishing job. Of all finishing equipment on the market today, the digital cutting table, with its built-in digital front end (DFE) software, is among the most accurate, sturdy, dependable, and versatile systems available. The key word here is ‘versatile’ because today’s intelligent large-format flatbed cutting tables come in a wide range of sizes and can handle a huge array of applications in addition to paper— everything from rigid and flexible displays to textiles, from short-run packaging and plastics to corrugated, and from wood to metals. The list keeps growing.
Plus, today’s cutting-table OEMs have responded by creating entrylevel devices that can be upgraded to a more advanced model as a printer’s business grows. Flexibility also prevails in the tools offered. Most OEMs offer a choice of cutting heads with the ability to hold multiple tools that can be switched automatically. Flexibility is also reflected in the table’s automated loading and unloading options, which can include everything from robotic palette loaders for rigid media to winders for roll-fed substrates. Camera and optical/vision systems can track cutting accuracy on the fly, and built-in software can generate analytics regarding machine use and other performance metrics. Kongsberg PCS, Zund, Elitron and Colex are some of the major players in this space for now.
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Fuelling growth in large-format printing
While I hesitate to use clichés, large-format flatbed inkjet printers and intelligent, automated digital cutting tables seem to be a marriage made in heaven.
“Intelligent, automated cutting systems go hand-in-hand with reducing costs and improving accuracy and speed-to-market in large-format production environments,” said Vince Tuccitto, territory sales manager for Eastern Canada, Kongsberg PCS. “Packed with specialty tools, today’s systems offer speed, power, and the flexibility to add new tools for new materials, new applications, and more capacity.”
Tuccitto highlighted several reasons for why the technology is fuelling growth in large format. According to research firm Markets and Markets, the global large-format printing market is projected to grow from US$8.1 billion in 2023 to US$10.4 billion in 2028 at a CAGR of five per cent.
“Compared to hand cutting, every single cut is perfect, and the finished product, regardless of quantity or substrate, always looks the same. The technology also helps eliminate injuries due to knife cutting and repetitive tasks. It even aids in employee retention because the worst job in any print operation is cutting with a ruler. Plus, cutting by hand usually takes double the print time,” added Tuccitto. “Automated cutting systems can work their magic as the next sheet is being printed. This facilitates nonstop production usually at the same speed as the wide-format printer, allowing for more work to be produced. Plus, an automated flatbed cutting system with the right tooling can cut virtually anything and be upgraded to cut new products as markets change or grow.”
There are many digital cutters on the market today, such as light-duty and heavy-duty cutters, print-and-cut devices, CNC routers, cutters specifically for POP displays, textiles, leather, cutters with advanced robotics, etc. These cutters can help fuel a print shop’s growth. They can be employed to produce one-offs and short runs. They make the cutting process consistent and repeatable, cut parts and materials with precision to the tightest tolerances, minimize waste, reduce time to market, eliminate costly dies
2022
In 2022, signage, display, POP, and offset-printing specialist Lacasse Printing invested in a new Kongsberg X24 Cutting Table.
Intelligent, automated cutting systems go hand-in-hand with reducing costs and improving accuracy and speed-to-market in large-format production environments.
Tuccitto
and stencils, produce prototypes that are identical to original customer samples, and even facilitate expansion into other markets such as packaging.
Software: An essential part of the puzzle
While having a fast and precise digital cutter is central to automated finishing, the DFE software driving it should never be underestimated. Functions can include layout and
Lacasse Printing in Tecumseh, Ont., installed a new Kongsberg X24 Cutting Table in 2022.
The Zund D3 cutting table is a modular finishing solution with four different cutter models and fully automated set-up.
Vince Tuccitto
potentially nesting, materials planning and management, cutting machine control and monitoring, and analytics such as tracking production data, material consumption, parts, number, and type of jobs processed. The key here, as with all workflow software, is to reduce costly errors by eliminating as many human touchpoints as possible. Nesting and materials planning are even more crucial in large format because of the higher costs of substrates. So, lowering expenses by reducing substrate waste is very critical.
Additionally, the software must be integrated with existing workflow and business systems to achieve high levels of automation. This will help save time and costs.
Driven by application
Marc Raad, president of Significans Automation, is in a unique position to monitor this trend. He sold 150 Kongsberg cutting tables before starting a workflow software and integration company over six years ago.
CJ Graphics acquired the large-format digital print division of Media Resources in February 2024.
He said that virtually everything in the digital cutting space is driven by application. “Shop owners must first determine what they want to print, and on what media, then try to predict which new application opportunities will surface as their business grows. With so many options available, the key is to choose the hardware/software combination that will not just fit most efficiently into a specific production environment, but also connect seam-
lessly with the print shop’s other current workflow systems. The ultimate aim is to facilitate lights-out, end-toend production on a daily basis. For businesses that have done this, the results have been truly game changing,” explained Raad.
Suitable for large as well as small printers
“Today, extremely intuitive DFE software has removed many barriers for operating digital cutting and die-cutting devices,” said Stephen Longmire, national sales manager at print-finishing specialist Sydney Stone (Mississauga, Ont.). “In addition, size, and price options for print shops both large and small have expanded. We now have two-tool cutting systems that occupy 1 m2, up to large four-tool flatbed systems with oscillating knives, routing systems and auto-loading. With their automated loading and QR-code reading systems, even in entry-level devices, one operator can load multiple jobs and run them with the push of a button.”
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Marc Raad
This digital cutting technology has fuelled expansion, especially in large format. It allows smaller print shops to create new profit centres and expand into kiss-cut labels, small-run packaging, promotional, and POP.
Strategic installations spur company growth
In 2022, signage, display, POP, and offset-printing specialist Lacasse Printing (Tecumseh, Ont.) invested in a new Kongsberg X24 Cutting Table with automated conveyor and roll-off unit, a 3KW router, and a selection of tools for its finishing department.
“In the summer of 2021, we were struggling with labour shortages and more complex finishing requirements, which in turn was affecting turnaround times,” said owner and president Jeff Lappan. “Our order book was still growing, but customers were demanding shorter turnaround times and pushing us into more intricate work. So, it made sense for us to automate our finishing processes. We needed to do more and do it faster. Our investment not only met these requirements, but also enabled us to enter new markets, introduce new product lines, and expand our product range to include packaging. As a result, we’ve attracted new customers and increased sales.”
Moyy, a corrugate box manufacturer in Hamilton, made a strategic move recently by acquiring an Elitron Kombo TAV. The fully automatic cutting plotter with integrated loading, cutting, and unloading for packaging and display applications, proved to be a game-changing addition to its pro-
Today’s intelligent large-format flatbed cutting tables come in a wide range of sizes and can handle a huge array of applications.
George Perreira.
duction arsenal. With ‘lights out’ automation, the technology facilitated uninterrupted operation and enhanced efficiency enormously.
“The purchase was a response to the market demand for short-run production at competitive pricing,” said Moyy VP George Perreira. “This fully unmanned cutting table was the perfect complement to our digital printing press and workflow automation system integrated by Significans Automation. This forward-thinking approach underscored our commitment to meeting customer needs while maintaining a competitive edge in the industry. It also reflected how this cutting technology is still driving growth, both in packaging and wide-format print.”
CJ Graphics (Mississauga, Ont.) entered large format as one of its first adopters circa 2000. Today, most of its revenue and acquisitions involve wide format. At the end of February 2024, it acquired Media Resources Inc.’s large-format division, adding two Kongsberg and two Zund digital cutting tables to supplement its more than 60 finishing devices.
“These high-end cutting tables were instrumental in our transition to large-format and our subsequent growth,” said CJ Graphics president and CEO Jay Mandarino. “The key is automation, pure and simple. The technology improves cutting accuracy and repeatability, reduces waste, and above all, improves our speed to market. Anyone without it will have difficulty competing. To keep ahead of the technology curve, we’re now looking at cutting devices with advanced robotics. This is a key growth area for our industry, and we’ve been privileged to participate in several industry panels examining this exciting trend. In today’s bold new world, we’re ‘allin’ with evolving new technologies and AI. We as an industry must invest and rethink our business solutions in partnership with our clients, if we want to survive.”
Sept ember 19 - 20, 2024
The International Centre, Hall 5 6900 Airport Rd, Mississauga, ON
h Expanded list of categories for 2024 - from Wide Format Equipment and Substrates, to Channel Letter Machinery & Materials.
h Stacked education line-up! Learn from industry experts about new technologies and practices.
h NEW and returning features to take your business to the next level.
h Experiential features — get up close and personal with new tech, tools, and team building experiences. CANADA’S MARKETPLACE FOR SIGNS | GRAPHICS | PRINTING
Print runs of 200 sheets is possible on offset machines due to efficiencies and automation in newly built sheetfed presses.
THE FUTURE OF OFFSET PRINTING
Offset technology is evolving to meet the growing demand for efficient, automated printing solutions
By Jack Kazmierski
Offset printing has come a long way since this printing technique was developed in the early 1900s. More than a century later, we may wonder whether offset printing has a future in our modern digital world, especially with the advent and growing popularity of digital printing.
According to German Sacristan, group director, Digital Printing Production Services at Keypoint Intelligence, the printing industry is definitely seeing a transition from offset to digital technologies.
“In the ever-evolving print produc-
tion landscape, digital printing continues to expand—driven by the ongoing transition from offset to digital technologies,” Sacristan recently wrote in an article published on the company ’s website, www.keypointintelligence.com.
He added: “This shift is propelled by various factors, including the escalating costs associated with offset printing (such as plates and paper waste), challenges in labour operator availability, as well as the growing demand for short runs and personalized print products.”
Despite these challenges, Sacristan explained offset printing is here to stay.
“It is evident offset printing is not on the verge of obsolescence,” he said. “Offset printing remains strong and relevant due to its lower ink costs and higher printing speeds, compared to digital printing alternatives.”
Digital vs. offset
While it’s clear that offset printing is here to stay, at least for the foreseeable future, there are definite areas of the industry where one printing technology may be preferred over the other, and where either digital or offset makes more economic sense.
“I think it definitely depends on the segment of the industry,” explains Clarence Penge, executive VP of sales, product management and marketing for Heidelberg USA. “If you think of the packaging segment, for example, you would have to admit that there’s hardly any digital printing. If you’re in the commercial space, you really need both, because the two complement each other in many ways.”
Penge says the choice between digital and offset also comes down to the size of the product and the run length. “It’s all about the best way to maximize efficiency in your production,” he adds. “Sometimes that means sending the work to the digital machine, and other times it means sending work to the offset machine. And when you have both, you have the opportunity to maximize efficiency for both product lines.”
The breaking point
One of the key reasons for choosing
one printing technology over the other is the print run, as Sacristan explained. According to Harold Hoff, VP of sales and service for Heidelberg Canada, that print run number is not as high as it once used to be.
“It’s moving downward, year after year, and that’s really just because of the efficiencies and automation in sheetfed presses,” Hoff says. “Ten years ago, when we looked at the make-ready time, and the like, we often talked about 1,500 or even 2,000 sheets to go to digital. But that’s now much lower. We’re hearing that some customers in Europe, believe it or not, are making that transition at about 200 sheets. If it’s less than 200 they go digital, and if it’s greater than 200 they go offset.”
While that low of a number is likely to raise eyebrows, Hoff explains that it’s only possible if a print service provider running a tight ship. “A company like that is very fine-tuned with colour management, their processes are all in place, and they’re using a very automated press,” he explains. “But this illustrates where we are today: We can be that efficient on an offset press.”
Technology matters
Penge warns that you can’t expect to have a cutoff line as low as 200 if you’re still running older equipment. The quality of the equipment matters, and it makes a big difference. The modernization of the offset printing process makes all the difference.
“If you were to look at a 20-year-
1903
The earliest known offset printing press was invented by Ira Washington Rubel in 1903.
old offset machine, the crossover point to digital would be much higher—probably 5,000,” Penge adds. “That’s because the make-readies were 40 minutes long. Today, there’s more of an on-demand approach, and you can have make-readies done in two to three minutes, with very few waste sheets.”
Additionally, Penge says, we have higher running speeds on sheetfed machines, and the ink costs are lower. All these factors add up, and collectively, they make a big difference.
Another key differentiator is the intelligence of today’s equipment, thanks in part to advanced software, as well as artificial intelligence (AI).
“You don’t want a machine operator stopping to think and make decisions about what to turn on next when running a press because that’s a waste of time,” Penge says. “So today, we have software driving the setup of the press and AI making decisions for the operator to the point where the screens are changing automatically on them, and they don’t have to manually make selections or turn things on.”
The Heidelberg Speedmaster XL 106 offers production speeds of 18,000 sheets per hour.
These newer software-driven presses do all of the thinking, and they can continue through all the jobs lined up in a queue, one after another, until the operator manually stops the press.
Best practices
While we don’t know what the future holds, and how far digital and offset printing technologies will advance in the next decade or so, it’s clear that there’s room for both technologies today. Companies specializing in printing for a particular niche clientele may be able to get away with offering only one option, if that’s all their customer base ever needs. However, companies that want to cater to the printing needs of a broader customer base will likely have to invest in both digital and offset printing technologies, so that they have both options available, which will allow them to use the best technology for the job at hand.
“The best practice is to analyze the print buyer’s needs and have both solutions available to offer the best product in terms of cost and speed to market,” Penge concludes. “They really do complement each other today.”
A CENTURY OF PRINTING
Leech Group celebrates almost 100 years of success
By Nithya Caleb
Late last year, Leech Group, a family-owned mid-size commercial print and digital communications provider donated $100,000 to the Assiniboine Community College’s Centre for Creative Media, Man., to commemorate their upcoming 100th year in business.
Founded in 1927 by Cecil Leech as Leech Letter Co., the company transitioned into its fourth generation of family ownership in 2021. While Michael Leech is the company’s president, his daughters Gillian Leech and Meredyth Leech mainly manage daily operations.
Gillian is the company’s general manager and Meredyth is the sales and marketing director.
Leech offers offset, digital, and large-format printing, in-house binding and finishing as well as digital communication services such as email marketing and search engine optimization through a dedicated web department in their 16,000-sf facility in Brandon, Man. Leech does a lot of publication work as well as promotional products.
“We also have a full-service graphic design department. We do a lot of mail services. We’re proud to be a one-stop solution for our customers in the area,” added Meredyth.
Gillian, Michael, and Meredyth Leech.
Over the years
The company started out with a single letterpress machine in the late 1920s. It evolved from Leech Letter Co. to Brandon Publishing, Leech Printing and Office Supply, Leech Printing Ltd. and now to its most recent rebranding in 2021 as Leech Group.
“Each name really represents an evolution of the company and a necessity to rebrand and reintroduce us to the community with the new and innovative services that we have. Printing on paper is still the core of our business, but we’ve evolved to offer many other supplementary services. The most recent ones being large-format printing and graphic installation, digital and online advertising, promotional products, and mail services,” explained Gillian.
To ensure the company was meet-
Leech Group in Brandon, Man., is more than 90 years old.
ing the needs of their client, its owners made technological investments a priority.
In the 1950s, they bought one of the first offset presses in western Manitoba. That was also the time when company ownership transitioned from Cecil to his children, Don Leech and Bud Leech.
In the 80s, Leech Group was one of the early adopters of Postscript technology, which changed the way work was being produced back then. This coincides with the third generation of family ownership in the hands of Michael Leech and David Leech, Don’s sons. In 2008, they bought a 10-colour Heidelberg Speedmaster 74, which is sort of their workhorse.
The company also owns two Xerox Iridesses and two HP large-format printers. In 2023, they completed an extensive office renovation.
We don’t want to be seen like a traditional printer, although we’re proud of it. We want to be seen as a consultative advisor and problem solver. We encourage all our staff, especially within our sales department, to go above and beyond to achieve this. – Meredyth Leech
The sisters are now planning the next phase, which could potentially be the expansion of their production floor.
Fourth generation
It was never assumed that Gillian and Meredyth would join the family business. Gillian was a volleyball player in her university days. She did a few summer jobs at Leech Group, which translated into a formal position in the sales department.
“I soon realized that taking over ownership and really diving into the business would marry my passion for art, creativity and technology with my passion for leadership and teamwork,” shared Gillian.
An esthetically driven person, Meredyth studied interior design in college. She credits her dad for recognizing that her creativity and consultative approach would be an asset to Leech Group.
“I enjoy listening to my clients and their stories, and being able to translate those ideas and needs into print specifically. As director of sales and marketing, I’m always keeping an eye out for emerging trends and all the innovative ideas that we can apply here. I guess now with nearly a decade of experience in the print industry, I’ve learned the significance of print and its role within multi-channel marketing strategies. I take pride in providing my clients with versatile solutions,” said Meredyth.
Both the sisters have also become
+/-adept at separating work from home.
“My dad always refers to the two suitcases, one for home and one for work. So we like to separate the two. I think Gill and I have just sort of naturally kept on with that mindset. We’re very mindful of keeping them separate and just being respectful of each other’s boundaries,” expressed
Leech offers offset, digital, and large-format printing, in-house binding and finishing as well as digital communication services.
company’s onboarding and pre-flighting processes.
Talent management
Another issue has been staffing. Leech Group has around 40 employees. Many of the veteran staff are retiring. They’re looking into creative recruitment strategies to attract a new generation of workers, detailed training plans including investing in third-party training from suppliers and vendors as well as investing in automation to get through this transition period.
1927
The Leech Group was founded by Cecil Leech in 1927.
Apart from bringing in new talent, Gillian and Meredyth are keen on investing in new equipment, as they’re pretty much at capacity. They’re also looking into upgrading or changing their MIS.
They’re passionate about offering creative and innovative solutions.
“We don’t want to be seen like a traditional printer, although we’re proud of it. We want to be seen as a consultative advisor and problem solver. We encourage all our staff, especially within our sales department, to go above and beyond to achieve this,” said Meredyth.
Gillian was emphatic about supporting the Brandon community.
Meredyth.
“It also helps that we are both taking on responsibilities in different areas… we feel like experts in our own lanes and we’re not stepping into each other’s projects too much,” added Gillian.
The pandemic
The COVID-19 pandemic has been the biggest challenge thus far for Gillian and Meredyth.
“I hope it’s our biggest challenge for the foreseeable future too. The loss of print work combined with paper supply chain issues made for a difficult couple of years. It required a lot of creative solutions and on-thefly thinking and constant communication with our paper vendors and customers,” recalled Gillian.
On the bright side, they also viewed the crisis as an opportunity. Leech developed and launched online ordering portals for clients during the pandemic, which has now automated around 20 per cent of the
2021
Leech Printing Ltd. was rebranded as Leech Group in 2021.
“Brandon is a pretty small town, all things considered. We’ve been born and raised in Brandon, so we have a lot of roots here. The community has supported this company for almost 100 years. We recognize we wouldn’t be here today without that support. Our Grandpa Don said that you are only as good as the community in which you live and work in. We really agree with that wholeheartedly. Therefore we give back to our community as much as we possibly can,” she said.
Leech Group marches ahead to its 100th anniversary with two female owners who cherish the lessons passed down from one generation to another. They understand success requires agility.
“In the print industry, there’s always going to be something new, innovative, disruptive, or threatening on the horizon. Identifying and understanding these things early and tackling them head on is how Leech Group has made it this far, and this is how we will continue to operate in the future,” concluded Gillian.
Upcoming regulatory changes to packaging is a major challenge for label printing companies.
A CONSTANTLY EVOLVING SECTOR
A deep dive into the challenges and opportunities for label converters
By Chiara Bezzi
The label printing sector has always been a dynamic market. Brand owners are looking for increasingly innovative labels to differentiate themselves and convey current and targeted messages to consumers. The current trends are leading suppliers and converters toward solutions focusing on sustainability and innovation. In recent years label converters have also felt the need for automation at various product life-cycle stages.
A printed label is the visiting card of a product, the first step in communication between the brand owner and consumer. On the shelf, the label
contributes to the buyer’s perception of a product. The label’s graphic design, colours or embellishment can impact their purchase choice. For the same price and brand, we know the product with the most liked label and the ability to create positive expectations is chosen. To explore the role of this communicative tool in wine purchasing, UPM Raflatac commissioned a neuromarketing study from consulting firm SenseCatch, in partnership with Argea, one of the largest Italian wine groups; Kurz, a manufacturer of hot stamping and cold stamping technology; and Krämer Druck, one of Germany’s leading printers in wine labelling.1
The study was conducted in Germany. A group of consumers was shown 32 labels on the shelf with the same design but different from each other in terms of paper type and refinishing. The entire customer journey was reconstructed, from shelf observation and wine choice to product tasting. After choice, participants could observe, touch, and evaluate the bottles one at a time.
Throughout the entire decision-making process, consumers’ experience was analyzed using neuromarketing methodology.
In the first ‘moment of truth,’ in front of the shelf, the results showed that the bottles attracting consumers’ attention during the first five seconds of observation were those characterized by visual, colour, or material juxtaposition contrast, such as those with dark paper and shiny, metallic ennoblement. On the other hand, the most observed labels were characterized by light-coloured paper with gold or bronze ennoblements. Additionally, consumers’ attention focused on bottles labelled with rough and textured papers and embossed embellishments with a glossy effect.
During the second ‘moment of truth,’ which is when the consumer physically interacted with the bottles, labels with textured papers and embellishments of the same colour were considered interesting and mysterious. The study found they stimulated the ‘tactile imagination’ that antici-
pates the interaction experience.
The thicker, embossed paper and the embossing made the lettering more visible and enhanced the design, changing the perception from an empty and unattractive label—in the case of an embellishment of the same colour as the paper, devoid of embossing—to a label that was curated and intriguing, enhancing expectations about the product. In this case, consumers imagined a premium product.
Finally, the results showed that the combination of paper and embellishing influences expectations and has a positive effect on the perceived liking and taste of the wine. The same wine served from the bottle with the most appreciated label obtained a higher rating than when it was served from the bottle with the least appreciated label.
The effect also occurred at a subconscious level; in fact, the emotional involvement measured through psychophysiological parameters was higher (+13 per cent) when tasting the wine served from the bottle with the preferred label. In addition to influencing the likability of the wine, the label also influenced perceived taste.
Market trends
According to Mordor Intelligence, the print label market is expected to grow at a CAGR of 4.2 per cent between 2023 and 2027. Different factors are driving growth during the forecast
A label’s design, colours and finishing influence purchase decisions.
period, such as an increasing demand for more attractive brands from print label customers, and a rising demand for manufactured goods. The growth of the e-commerce industry is also expected to fuel the adoption of printed labels over the forecast period.
Challenges the sector faces include a reduction in average job lengths and life cycles for mass-produced products, and an increase in the regulatory content on the label.
Digital printing technology enhances the possibilities to provide new applications in label design, meeting a growing market demand. Printing technology suppliers are also developing hybrid solutions.
Automation
Label converters feel the need for automation due to staffing issues. Automation and interconnectivity have turned from cost saving topics into a necessity. In the area
of workflow, cloud-based ecosystems will become the norm. Today, automation and digitalization are a must have. Automation means integration of systems into the factory production processes that allows remote service, real-time machine monitoring and reporting production data. Among the advantages of automation are waste reduction, fast set-up, automated colour management, and reduced manual interventions. Other possible steps in advancing technology will happen through the application of artificial intelligence (AI) and machine learning. For example, AI makes the design procedure autonomous. At the same time, they can help identify defective products.
Sustainability factor
The biggest challenge facing brand owners is meeting the changing landscape regarding packaging and embracing the complexity of emerging direc-
tives around sustainable operations. Self-adhesive label manufacturers are developing eco-friendly solutions that are also more economical and efficient. The focus of these manufacturers would be on reducing the amount of material used. Release liners that are used as carriers for labels fulfil a crucial role in the production, conversion, and application of self-adhesive products. However, after fulfilling their role in this process, these liners can be valuable feedstock for new processes and products. Currently, many projects based on release liner recycling have been developing to collect a proportion of spent re-
lease liner for reuse or recycling. Release liner recycling is environmentally friendly, as it helps reduce the carbon footprint of the label company. Nevertheless, the best solution for our industry and for the planet is to ultimately eliminate liners.
In the food sector, designers and printers are facing another challenge regarding space limits of labels. In fact, international health and safety legislation will require space on labels. This will encourage the use of multilayer leaflet labels and clear-film labels on clear-container substrates, giving products the ‘no-label’ look and enabling back-printing on the label.
This article was originally published as part of Drupa Essential Series of Print. CHIARA BEZZI is editor-in-chief of Rassegna Grafica, the Italian B2B magazine for the graphic arts industries.
New high-end flatbed printer
3272 ft²/h output
10 colour channels
Latest print head technology
126“ wide roll option
Greenguard Gold certified inks
It’s all in the lighting
A simple fix for accurate colour printing
By Angus Pady
ver the years I have had the opportunity to visit hundreds of print shops across Canada. I’m usually asked to perform some tasks to help improve colour reproduction. I view colour management as a multistep process. Each one has an impact and will influence the result. Creating G7 press curves is only one part of the process. Today, I want to discuss lighting because I feel it is one of the most important aspects but is often neglected. People purchase D50 daylight bulbs and believe that should be adequate.
I have personally seen how this plays out. In one shop, I was called back because the press operator said the curves were wrong. He felt everything was coming out too red. I returned, measured the sheets, and they passed G7. But when I went back out to the press and placed the sheet under his lighting it looked redheavy. We then took the sheet outside to review. Under daylight it looked neutral whereas it seemed too red in the press booth.
In this situation, someone had replaced the tubes in the light booth with 5000k bulbs. Unfortunately, the bulbs did not reproduce colour accurately. One of the reasons for the inaccuracy could be the bulb’s colour rendering index (CRI). A bulb purchased at Home Depot will have a CRI of 70-80 but a unit purchased from the booth manufacturer or a reputable re-lamping source will comply with the required ISO 3664:2009 specifications.
Color rendering index
CRI is a quantitative measure of the ability of a light source to reveal the colors of various objects faithfully in
An example of how colours look under bulbs with different colour rendering indexes.
D50 has similar amounts of red, green, and blue energy, as seen here.
comparison with a natural or standard light source. Light sources with a high CRI are desirable in colour-critical applications such as neonatal care and art restoration. ISO 3664:2009 states that the general CRI of a light source should be 90 or greater.
D50 (5000K)
ISO 3664:2009 states that the general CRI of a light source should be 90 or greater.
D50 is a near white light source used for visual evaluation in printing, packaging, photographic, and other graphic art industries. It is the specified source in ISO 3664:2009. It has similar amounts of red, green, and blue energy. It neither accentuates nor subdues colour, a prime requirement when viewing press sheets and original images ( i.e. photographs) since they usually have many colours within the product to be evaluated.
Light sources with a high colour rendering index are desirable in colour-critical applications.
Another important point is that fluorescent tubes degrade and lose their colour accuracy. This happens around 4000 hours, which is less than a year.
Many factors contribute to a mismatch in colour viewing. It is not the purpose of this article to dive into the intricate and highly technical aspects of colour. I want to highlight that lighting is one of the easiest and least expensive components in the chain to fix.
If your tubes have been in the booth for more than eight months, contact your press manufacturer and order replacements. Tell them you want tubes that conform to ISO 3664:2009. Once they are replaced, print a sticker with the replacement date, and continue to replace every eight months.
ANGUS PADY is a G7-certified expert that has helped customers resolve colour management challenges for over 30 years. He can be reached at angus. pady@fujifilm.com.
Showcasing the latest offerings from Fujifilm,
Kongsberg PCS, Mark Andy, Nekoosa, EFI, Agfa, Lecta, Kodak, and Huge Paper
Agfa unveils new inkjet press
Agfa releases the SpeedSet 1060 inkjet printing press for the packaging market. It has a speed of 11,000 B1 sheets per hour. The SpeedSet can accommodate a range of substrates, from folding carton and micro-flute to various paper types, making it suitable for applications like retail- or shelf-ready food and beverage packaging.
Lecta launches new Metalvac papers
Lecta has developed new metallized papers with functionalities specifically oriented towards
flexible packaging and recyclable products. The Metalvac Seal is a functional metallized paper with heat-sealing properties on the back. It is suitable for graphic and flexible packaging applications for non-food products and food products that do not require a specific barrier. The shiny metallized side is suitable for offset printing (conventional and UV), flexography (UV, solvent, and water-based), and gravure.
The Metalvac Barrier WV is a functional metallized paper with heat-sealing and barrier properties against water vapour, light, and a certain level of
grease. It is suitable for flexible packaging applications for nonfood and food products (confectionery, coffee, tea, powdered products, etc.). It is heat-sealable on the metallized interior side and printable on the exterior side through gravure, flexography, and offset printing.
Fujifilm debuts Acuity Prime Hybrid press in North America
Fujifilm launches a new midsized Acuity Prime Hybrid press, specifically developed for wide format printing on a variety of substrates. The inkjet printer is a mid-range LED UV wide format press capable of printing both rigid and roll substrates. It allows for printing on flexible and rigid material up to 2 in. thick and roll media up to 6.5 ft wide. It has the ability to print up to 1,518 sf an hour.
Kongsberg PCS releases new digital cutter
Kongsberg Precision Cutting Systems unveils a new digital cutting platform, the Kongsberg Ultimate. It offers an acceleration rate of up to 2.74G and a cutting speed of 168 meters per minute. It has also
introduced a very large format digital drawing and light cutting machine, the Kongsberg C68 Exact, which has been specifically developed for industries demanding the utmost accuracy, such as the aviation, aerospace, or adjacent precision-focused sectors.
Mark Andy introduces the Digital Pro Plus press
Mark Andy launches a new version of its Digital Pro series of hybrid presses. Known as Digital Pro Plus, it uses the Mark Andy Pro Series flexo platform as a base for short to medium run digital printing that combines dry toner with optional flexo and inline finishing techniques. Digital Pro Plus has a standard web width of 13 in. (330 mm), and a 1200 x 2400 print resolution, equivalent to 3600 dpi. It is capable of production speeds up to 76 ft/ min (23 m/min) on a variety of substrates from paper to supported films and foil.
Nekoosa launches new dye sublimation paper
Nekoosa introduces a new paper for the transfer of sharp, high-definition colour images
Lecta’s Multivac Seal is a functional mettalized paper that can be printed on offset, flexography and gravure.
The Kongsberg PCS introduces new cutting platform mainly for convertors of corrugated board.
The Acuity Prime is a mid-range LED UV wide format press.
Nekoosa’s new dye sublimation transfer papers are 100 per cent recyclable and can be used on diverse substrates.
onto hard and soft surfaces such as metal, wood, ceramic, fabric, glass, fibreglass, etc. Nekoosa Dye Sublimation Transfer Paper is compatible with all major dye sublimation printer brands designed with waterbased ink systems. The Nekoosa Dye Sublimation Transfer Paper is paper-based and 100 per cent recyclable.
Huge Paper debuts new synthetic paper
Huge Paper adds PaperTyger, a new type of synthetic paper, to
its substrate repertoire. PaperTyger is tear-resistant, like synthetic paper, but feels and prints like actual paper. It has two sheets of FSC-certified paper with a layer of biodegradable, durable film in between that makes each sheet tearproof. PaperTyger is suitable for maps, menus, manuals, scorecards, race bibs, wristbands, etc. PaperTyger is foldable and perforated, die-punchable, and suitable for embossing, foil stamping, gluing and bonding, and sewing and grommeting.
EFI unveils new hybrid printer series
Electronics For Imaging (EFI) releases the EFI Vutek h3+ and Vutek h5+ hybrid flatbed/roll-fed LED printer series. The Vutek h+ series is a re-engineered and refined version of the high-volume, superwide-format hybrid Vutek h series platform. Media handling improvements are some of the most notable enhancements in the Vutek h+ series.
Kodak updates Prinergy
Insite workflow portal
Kodak launches version 10.0 of web-based Kodak Prinergy Insite Portals. It upgrades the Kodak Prinergy Insite Prepress Portal and the KODAK Prinergy Insite Creative Workflow with multiple new enhancements. This includes improved usability thanks to collapsible Job Group lists in IPP to reduce the amount of scrolling.
RELEVANT CONTENT
Alex Christopoulos / CEO / Icon Digital Productions
Alex Christopoulos became the CEO of Icon Digital Productions, Markham, Ont., earlier this year. He was the company’s CFO for 15 years before assuming company leadership in January 2024. He is now at the forefront of pivotal strategic transformations at Icon, orchestrating a significant shift in IT to foster innovation and creativity within the business. Here’s an excerpt from an interview with Alex.
What is the state of the print industry today, in your opinion?
AC:The print industry is undergoing significant changes, influenced by various factors such as technological advancements, environmental concerns, and shifts in consumer behaviour. On one hand, the rise of digital media and an increasing preference for online content pose a threat to traditional print publications. On the other hand, certain segments of the print industry, such as packaging and specialized printing services, have demonstrated resilience and even growth. Advancements in printing technology are allowing for more personalized and sustainable packaging solutions.
What attracted you to the print industry?
AC: In the eighties, I was drawn to the print industry because of my dad. He was a print operator running an offset press at McLean Hunter. I remember visiting him at the plant and touring the facility as a young boy. I even remember learning the meaning of CMYK as a 1st grader. There’s something special about holding a well-designed, beautifully printed piece in your hands that digital media can’t quite replicate. The ability to translate ideas into physical, visually appealing products fascinated me. The sense of accomplishment when a project comes together seamlessly is one of the most satisfying aspects of the job.
How can the industry attract more young people?
What are some of the biggest opportunities in the print industry?
01/24
Alex Christopoulos was appointed CEO of Icon Digital Productions in January 2024.
AC: We must highlight the innovations in the industry to attracting more young people. Embracing digital technologies, green practices, and interactive print-digital experiences can make print more appealing. Collaborations with educational institutions, internships, and mentorship programs can provide young talents with hands-on experiences. Establish a strong online presence through social media platforms to connect with younger audiences.
Demonstrate how print allows for unique and personalized projects, thereby encouraging young creatives to explore their artistic talent.
In such a competitive landscape, how can printers win more sales?
AC: The fusion of print with augmented reality and smart packaging opens new dimensions for user engagement. Continued advancements in digital printing technologies allow for cost-effective, high-quality, and personalized print solutions. The demand for eco-friendly and sustainable printing options are increasing. PSPs can streamline print services with e-commerce platforms to reach a broader audience and facilitate a seamless ordering process. The customization capabilities of digital printing cater to the demand for personalized products. Exploring 3D printing applications and leveraging data analytics for targeted campaigns are avenues ripe for exploration.
Providing comprehensive solutions requires a combination of strategic approaches including data-driven personalization, sustainable practices, and streamlined print-on-demand services.
AC: At Icon, we offer more than just print! Build strong relationships with clients and offer exceptional customer service. Streamline production processes to offer efficient turnaround times. Offering unique and creative printing solutions can attract customers seeking cutting-edge services. Highlight your commitment to sustainability by using eco-friendly materials and practices. This can appeal to environmentally conscious customers and contribute to your brand reputation.
What do you think is the most exciting thing about print today?
AC:The most exciting thing about print today is its adaptability and integration with digital technologies that offer businesses creative ways to engage consumers. This makes each print piece a gateway to immersive experiences.
Alex Christopoulos’ response was edited for length. For more Q&A Spotlight interviews, please visit www. printaction.com/profile.
