The 17th annual Canadian Printing Awards took place in Toronto with nearly 50 awards handed out for print innovation and industry achievement
20 Magazines still have a home
24
Rupert Murdoch’s lessons for us 12 24 30 20
As newspapers decrease, magazines continue to evolve, reaching and connecting with readers
Resin, latex ink are changing the game
Rapid evolution has made ink-based printers versatile production platforms
26 Web-to-pack drives growth
The combination of digital technologies and web-to-pack democratizes packaging
DEPARTMENTS
GAMUT
5 News, People, Installs
8 Calendar
NEW PRODUCTS
28 Introducing new solutions from Muller Martini, Techkon and Ricoh
SPOTLIGHT
30 Sibylle Cox, owner, Hubbub Paper
COLUMNS
FROM THE EDITOR
4 Nithya Caleb
A reality check
INSIDER
8 Bob Dale
The value of associations
CHRONICLE
10 Nick Howard
A reality check
Earlier this fall, I attended this year’s edition of Printing United Expo. With two halls of exhibits and multiple educational sessions, it was a busy two days in Atlanta, Ga. Below is a snapshot of the discussions at the Expo.
Jacob Kirby recommends creating a contingency strategy for clients who account for more than 30 per cent of the company’s sales or gross profit.
Workforce development
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The economic slowdown will likely extend well into 2024.
Andy Paparozzi, chief economist at Printing United Alliance, kick-started the Expo with a keynote presentation on the state of the industry. According to him, the economic slowdown will likely extend well into 2024. While operating cost inflation has moderated, supply chains have healed, the price increase resistance has stiffened, which has limited the ability of print service providers to pass on costs to clients and has also ratcheted up the pressure on margins. The gamut for opportunity is growing, but the margin of error is shrinking.
Artificial intelligence
He urged companies to “embrace artificial intelligence (AI) to maximize productivity, strengthen risk management because the next market upheaval can come from anywhere, invest in workforce development, particularly cross-training, and cultivate a company culture that attracts and retains the most productive employees, and be data-driven because success at any stage of the business cycle is all about the data.”
“AI is revolutionary because of its ability to automate what we never could automate before, to enhance outcomes through learning by doing, and to support superior decision-making company-wide,” he added.
According to Paparozzi, AI can be used to analyse keywords and phrases in communications; to identify prospects; assemble, analyze, and summarize trends, issues, developments, pain points, etc., in target markets; and create marketing campaigns as well as fully functional web applications.
Risk management
urged companies to develop key risk indicators (KRIs) to measure the risks that may impede growth as well as conduct stress tests.
He suggested creating contingency plans for worst-case scenarios such as your most important client reduces spending by 20 per cent or elevated interest rates slam your major market. In How to ‘Stress Test’ Your Small Business,
Apart from offering employees regular training opportunities, Paparozzi recommended companies focus on creating an inclusive, positive company culture as well as a compelling employer brand. “The clarity and stability a strong culture provides boosts productivity and employee engagement by helping staff deal with the uncertainty, distractions, and stress that downturns create,” he said.
Let data drive decisions
Paparozzi asked companies to treat data as a business asset, recognizing its value in uncovering evolving client preferences and ensure all departments work toward the same metrics.
Lisa Cross, principal analyst at NAPCO Research, spoke about the macro forces that are shaping the printing industry, such as convergence, AI, talent management, multi-channel campaigns, a new breed of print buyers, sustainability, e-commerce, automation, and mergers and acquisitions.
I’ll focus on one of the trends: print buyers. Cross explained that nowadays print buyers have too many job responsibilities. They are looking at and have access to non-print options. They’re under intense pressure to generate ROI. Print customers and prospects represent various generations, demographics, experience levels, and industries. They need to be educated on the impact print can have on their campaigns, which requires companies use data to sell their services and products.
While the road ahead seems challenging, companies that enhance operational efficiency, invest in employees, expand into new print segments, and use artificial intelligence as well as data to hone their messages will be able to improve productivity, sales, and profitability.
NITHYA CALEB Editor ncaleb@annexbusinessmedia.com
Bob Dale, Nick Howard, Olivia Parker, Daniel Valade, and Fred Corbo
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Cober is significantly expanding its headquarters in Kitchener, Ont. Their current facility is approximately 80,000 sf. The plan is to add 120,000 sf, which will be made up of approximately 10,000 sf of additional office space and 110,000 sf of industrial space. They are hopeful that by the summer of 2024, this 150 per cent increase in space will be ready for use.
“strengthen its position as a market leader” in large format.
Cannon Graphic Solutions acquires several companies, including Sisca, Copie Express, Copilab, and Editions Repro. The rebranded Sisca will now operate under the umbrella of Cannon Graphic Solutions.
SNZ Trading recently moved into a 40,000-sf distribution facility in St. Laurent, Quebec, to enable strong growth in the Greater Montreal Area and promote its expansion into Quebec City. The paper distributor is also celebrating 10 years in Quebec.
investment will allow the company to add new digital technologies such as UV LED curing that will allow the it to improve its carbon footprint.
Technorol acquires Nustream Graphics, St-Jean-sur-Richelieu, Que. Staffed by 10 experts, Nustream will continue to serve printers in the areas of design, colour management, workflow, and prepress. Meanwhile, Technorol will maintain its services for customers in the press and finishing departments through its distribution centre in Pointe-Claire, Que., and its Granby, Que., facility.
The boards of Smurfit Kappa and WestRock have agreed to merge the two companies and create a single entity, the Smurfit WestRock. Smurfit WestRock will become the largest listed global packaging company by revenue with presence in 42 countries.
Mitchell Press, Burnaby, B.C., rebrands itself, drops the word, ‘Press,’ from client-facing logos. The new brand identity reflects “Mitchell’s commitment to partnership, innovation, excellence, and the future of print communication.”
The Graphic Communication Division of Fujifilm North America partners with Miamisburg, Ohio-based Kongsberg Precision Cutting Systems Through this partnership, Fujifilm will distribute and sell all Kongsberg PCS digital cutting systems across the United States and Canada.
Hemlock Printers and the PDI Group rebrand PrismTech Graphics as Hemlock Display Solutions. With a fresh identity, the company aims to
The Toronto Metropolitan University was recently donated a R. Hoe & Co. hand iron press by Howard Graphic Equipment, a museum and restoration specialist in Oakville, Ont. The pre-1850 Hoe flatbed letterpress was restored by a team led by print historian and industry veteran Nick Howard. This beautifully restored press is fully operational. It can be used to print from letterpress wood or metal type, cuts and forms.
Sustana acquires Toronto-based Hanna Paper, one of the largest high-grade paper recycling companies in North America. Hanna processes 300,000 tons of paper annually through its eight recovery facilities. The company employs approximately 200 employees and services over 1,000 customers.
The federal government invests $1.3 million in Simpson Print, Bloomingdale, Ont. This
Tanner Hockey, a first year British Columbia Institute of Technology student, has been selected to receive a $5,000 scholarship from the Canadian Printing Industries Scholarship Trust Fund.
Earle O’Born, founder and chair of The Printing House, is the recipient of the 2023 the Fraser Institute Founders’ Award. The award is presented annually to individuals in recognition of their exceptional entrepreneurial achievements, generous philanthropic endeavours and dedication to competitive markets.
Vancouver-based direct mail expert, DataCore Mail Management, has been acquired by entrepreneur Enrico Guld. Guld is joining the DataCore team as CEO. He will work closely with company president Karly Black.
Cober to increase the capacity at their headquarters in Kitchener, Ont., by 150 per cent.
Mitchell launches new brand identity.
Tanner Hockey
Ian Baitz and Natalia Lumby from Toronto Metropolitan University with Nick Howard, Sarah Howard and Liana Howard of Howard Graphic Equipment at the dedication ceremony.
PrismTech Graphics rebrands as Hemlock Display Solutions.
A rendering of SNZ Trading's newest office.
Connecting for Results (CFR) engages industry expert Drew McLaren as business development specialist. McLaren has over 30 years of experience in print. He managed his familyrun print operation of 55 employees. Prior to entering the print industry, McLaren spent 10 years working with packaged goods companies, grounding his expertise in marketing, brand strategy, and management. Key elements of his leadership skills are corporate governance and structured succession planning. A strategic thinker with a strong analytical sense, McLaren’s experience as a company owner brings a pragmatic approach to problem solving while offering unconventional solutions.
Komcan appoints Sophie Myre as national sales support manager. Myre has a strong background in sales and marketing with more than 20 years of experience. She has worked for companies like Canon Canada and Linde Canada. She is passionate about developing and maintaining strong relationships centred on trust with each of her customers.
Drytac promotes Glen Fitzgerald to the position of director of sales for the Americas. In his new role, Fitzgerald will assume responsibility for overseeing all graphic and industrial sales across the Americas. Fitzgerald was previously serving as technical sales manager for industrial products in Canada since joining Drytac in September 2021. Fitzgerald offers more than 28 years of technical management experience in the adhesive/tape markets. He is also bilingual in French and English, has a bachelor’s degree in commerce, and is a graduate from the Schulich School of Business.
Montreal-based Emballages Mega Packaging invests in a new generation fully loaded Koenig & Bauer Rapida 106 six-colour press hybrid UV with coater, the first new generation hybrid UV press in Canada.
Warwick Printing of Lethbridge, Alta., installs a Komori LS 429 with H-UV curing and PDCS II. Founded in 1995, Warwick is one of the most successful printers in Southern Alberta.
Earlier this summer, industry veteran Ken Boris passed away at the age of 62 years after a short but valiant battle with ALS. At the time of death, he was surrounded by his loving family . Boris was predeceased by his parents, Henry and Florence Boris. Left to cherish his memory are his wife, Ruth, daughter Ashley (Leah) Daniel and son Kyle (Kathryn) Boris; grandchildren Oaklyn and Madelyn; sister Eileen Romanow (Gary), and extended family. Boris had a long and fulfilling career as a general sales manager at Imperial Dade. Ken genuinely valued the connections he made during his career and formed lifelong friendships with his coworkers and clients. He will be sadly missed by his family and lovingly remembered by friends.
Beneco Packaging recently installed a new Speedmaster CX 104-7+L equipped with Prinect Inpress Control 3 from Heidelberg at its Coburg, Ont., location.
January 12-13, 2024
National Imprint Canada Show 2024
Toronto
March 12-14, 2024
TAGA Annual Technical Conference
Dallas, Texas
April 10-12, 2024
ISA Sign Expo
Orlando, Fla.
April 17-19, 2024
Salon LE GRAND RENDEZ-VOUS
Sheraton Laval, Que.
May 28-June 7, 2024
Drupa
Düesseldorf, Germany
September 10-12, 2024
Labelexpo Americas
Palm Beach Gardens, F.L.
The value of associations
Association events offer unique opportunities to meet peers and find solutions for challenging issues
By Bob Dale
AIn-person events are a great opportunity to reconnect with colleagues and peers as well as make new friends.
ssociations have evolved over the past decade or so to accommodate the changing needs and priorities of members and sponsors. Many of today’s associations struggle to balance the value propositions of community engagement and networking with resources for education and advocacy. In addition, members have conflicting priorities with work commitments, personal and family responsibilities. Successful associations have worked hard to adapt and deliver value to members.
Networking with peers, industry leaders, potential clients, and suppliers remains a key benefit of associations. Knowledge sharing for best practices, resources, technology, and shared experience is now conducted at in-person events and through online resources, col-
laborative meeting spaces and social media.
Advocacy combined with marketing and promotion activities and events help to identify and connect with entities and influencers who can help achieve the goals of the association and address issues of the membership. Using a combined budget to create a common message that can be distributed to target groups to create awareness about benefits of the industry can be effective.
Professional development and certification programs have been a major activity for graphic arts organizations with programs for colour management and sustainability initiatives.
In many cases, an independent party is required to address the need to deal with different equipment suppliers (i.e. JDF, CiP4) and industry stakeholders like printers, suppliers, customers and in some cases, government agencies.
There are several associations dedicated to the graphic arts industry. Here is a partial list for the Canadian print industry:
1. Canadian Printing Industries Association (CPIA) members come from the regional affiliates, plus one sector association that include:
• Atlantic Printing Industries Association (APIA);
• Alliance Québécoise des Imprimeurs et Fabricants d’Emballage (AQIFE);
• Ontario Printing and Imaging Association (OPIA);
• Manitoba Print Industry Association (MPIA);
• Saskatchewan Printing Industries Association (SPIA);
• Printing & Graphic Industries Association of Alberta (PGIA);
• Print Forward: Printing Imaging Association BC; and
• PESDA: Printing Equipment and Supply.
2. Digital Imaging Association of Canada (DIA).
3. PAC Global – Packaging Association.
4. Sign Association of Canada (SAC-ACE).
5. College and University Print Management Association of Canada (CUPMAC).
6. Printing United Alliance, merger of PIA and sign garment, textile, electronics, packaging association with a North American focus.
The benefits of associations have been well demonstrated this year with webinars, in-person meetings on current topics of importance from CPIA, DIA, Print Forward, and other groups. Trade shows returned this year with Graphics Canada in May, and the Printing United Expo in Atlanta, Ga., this October. Both the trade shows presented unique opportunities to participate in informational seminars, hosted by industry experts and often with panels of users who are your peers and are willing to share their experience and best practices with different aspects of business and technology.
Connecting in person with industry experts and vendors from all over the world who bring their most experienced team to these shows is invaluable. We must not forget that these in-person events are a great opportunity to reconnect with colleagues and peers and make new friends with others we meet and network with.
Several academic studies have demonstrated that having a social network, which can include work associates also, is key to happiness and longevity. So, if you want to be happy, join us at the next trade show, webinar, or in-person event.
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.
Darren Loken, Connecting for Results, Pat McGrew, managing director, McGrew Group, and her colleague Jonathan McGrew with Bob Dale at the Printing United Expo.
Rupert Murdoch’s lessons for us
Find a market less travelled, exploit it and watch it grow
By Nick Howard
arshal McLuhan’s 1967 publication, The Media is the Massage (with the word ‘message’ misspelt) brought forth modern thinking when studying the increased presence of various forms of messaging from an expanding media industry. McLuhan rightfully showcased the rising importance of advertising in the lives of consumers. Content alone wasn’t enough; it had to be eyeball-snatching to grab and hold our attention.
Rupert Murdoch is one such media mogul who understood this well. From an early age, he built his empire on a simple premise: give consumers something different. In September 2023, 92-year-old Murdoch stepped down as chair of News Corp and Fox News, leaving behind a dynasty that includes print and television media.
I skate to where the puck is going to be, not where it has been. –Wayne Gretzky
Australian-born Murdoch found himself at the helm of his late father’s fledgling newspaper group, News Limited (now News Corp) in Adelaide, Australia. In 1952, soon after his father’s passing, Murdoch saw the opportunity to build a distinct market for his newspaper, embracing the tabloid format and offering salacious headlines, which were the opposite of the staid conservative broadsheets typical in Australia, America, and Europe. He realized competing for readership using the established playbooks wouldn’t increase readership or profits. During the next two decades, Murdoch replicated his formula to become Australia’s largest newspaper publisher. He then he turned his attention to Britain.
The United Kingdom
London’s Fleet Street, home of all the great British papers, operated as if it were 1869, not 1969, when Murdoch purchased News of the World. Publishers and powerful print unions were locked in a perpetual round of disputes. The unions stifled technological progress with bloated ranks and refused to modernize the print process. But publishers were still making money since newspapers commanded the lion’s share of news and, more importantly, advertising.
With quick success at News of the World, Murdoch bought the Sun from Robert Maxwell. He reworked the Sun from a broadsheet to a tabloid and juiced it up with brassy headlines, plenty of sport and titillating pictures of women. The modern tabloid was thus born.
In Britain, Margaret Thatcher’s Conservatives were marching toward the right, and Murdoch’s papers supported her as she took a sledgehammer to deep-seated unionism in the country. Fleet Street was well past its expiry date, still embracing letterpress to print all national papers. Offset had not entered the picture even though the technology was mature and used elsewhere in Europe. So, in 1986, Murdoch secretly took over an old factory at Wapping and purchased the latest electronic prepress equipment and new offset presses, where they were set up, ready for his final ultimatum to the powerful, yet behind-the-times print unions: either reduce your numbers or be out of a job. The unions refused and were summarily fired, forcing 6,000 members on the street.
Meanwhile, the new Wapping factory (with a small contingent of bused-in non-union replacement workers) started up the Sun and News of the World presses and carried on without missing a beat. Murdoch had won a decisive battle.
Crossing the Atlantic Ocean
Murdoch would see other successes, with the addition of the famed the Times in 1981. Still restless, Murdoch next cast his eye on America. In 1974, he moved to New York City, where he launched the trashy Star, a gos-
sip-filled tabloid. This was followed in 1976 with the purchase of the New York Post. But then he cast his net wider and established 20th Century Fox studios along with Metromedia, a small group of TV stations. In 1986, the new Fox Broadcasting Company would have two hits, the Simpsons and the X-Files. Murdoch had already invested in British TV with Sky Television in 1983.
It wasn’t long before Murdoch envisioned the next great opportunity ripe for huge profits. CNN and MSNBC, both left-of-centre networks, dominated cable news for years. Competing for viewers with similar content made no sense. The obvious choice was to offer content to the right-of-centre viewer. In 1996, Murdoch would do just that with Fox News. Canadian hockey superstar Wayne Gretzky was once asked about his secret. “I skate to where the puck is going to be, not where it has been,” he responded. This logic epitomizes Murdoch. He reasoned that competing in mass communications required a new approach to develop a loyal base of consumers who sought a unique voice. Once he realized this, making money was as easy as shooting fish in a barrel. Nobody else was there; open ice provided more chances to score!
Praise him or loath him; it doesn’t matter. Murdoch may not even believe what his tabloids or Fox News publishes daily. But he does know how to make a buck, and this is a valuable lesson for our world of print. Versions of the Sun are now sold all over the world. They attract those who feel disenfranchised, often angry, and usually right-of-centre. Nobody saw this wide-open market until Rupert Murdoch, and it’s a lesson for print communication: Find new markets, develop new products, and go where no one has gone before.
NICK HOWARD, a partner in Howard Graphic Equipment and Howard Iron Works, is a printing historian, consultant and Certified Appraiser of capital equipment. nick@howardgraphicequipment.com
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CELEBRATING CANADIAN PRINT
More than 200 people from across Canada attended the 17th Annual Canadian Printing Awards in Toronto on November 9, organized by PrintAction and parent company, Annex Business Media. The awards is one of the nation’s largest celebrations of print and graphics arts
John
A. Young Lifetime Achievement Award Nick Howard, CEA, Owner, Howard Graphic Equipment
With a lifetime spent in the printing and graphic arts industry, including 47 years of managing Howard Graphic Equipment, Nick Howard possesses an indepth knowledge of and is fully qualified to offer technical and consultancy expertise on all facets of the printing industry. As president of Howard Graphic Equipment, Howard has been instrumental in most buying and selling decisions, which places his opinion of values in machinery valuations, technical merits, and condition in demand. He has also been involved in appraising graphic arts equipment since 1976. As a Certified Equipment Appraiser, he has been called upon to provide specialist appraisals for over 200 companies, institutions, and investors.
Community Leader of the Year
Nicole Morrison, Communications and Marketing Director, Connecting for Results
Nicole Morrison is an award-winning communications and marketing professional with 15 years of experience. As the communications and marketing director for print management consulting firm, Connecting for Results, Morrison oversees all things marketing and helps to co-ordinate the company’s corporate social responsibility programs. She is a champion for the company’s student mentorship program, Print Wisdom, which helps Graphic Communications Management program students at the Toronto Metropolitan University transition from school to the workplace. She co-ordinates plant tours for students and is always available to help students and support connecting them with people or companies within the industry.
Emerging Leader of the Year
AJ Rai,
Vice-President,
Sales, Mitchell Press
In 2017, AJ Rai joined as Mitchell’s first digital media specialist. Even though he had zero traditional print experience, AJ quickly understood how to sell the value of the solution, rather than print by the kilogram. AJ was key to developing Mitchell’s new media services, now called Project 28, in 2018. In 2021, AJ was invited to join Mitchell’s executive leadership team as VPsales. Under AJ’s leadership, Mitchell has become adept at bridging the gap between print manufacturing and the digital realm. AJ’s vision to let data inform the marketing decisions of Mitchell’s clients is helping the company transform the industry. By integrating print as a pivotal metric in the digital landscape, AJ is empowering organizations to thrive in their endeavours while embracing the legacy of print.
Printing Leader of the Year
Chad Friesen, CEO, Friesens Crop.
Chad Friesen is the CEO of Friesens Corporation, an employee-owned company (Altona, Man.) serving the trade book, yearbook, packaging, and self-publishing markets.
While he shares the namesake, Chad is not actually related to the original Friesen family. He started his career with Friesens in 1993, and in many ways, he is a product of the company, having worked on presses, binding lines, customer service, project management, marketing, sales management, and general management. In addition to being a board director and trustee for Friesens, he is also the board chair for Red River Mutual, a board director on the Manitoba Business Council, a steering committee member on the Canadian Employee-Ownership Coalition and was a founding Director of SEED, a regional economic development organization.
Richard Kouwenhoven, board chair, CPIA, addresses the gathering.
Award-winning Toronto Metropolitan University students and Kim Barton (left).
Jordan Jones and Joe Carlos of Marquis Book Printing, Toronto.
At the gala, guests had the opportunity to browse through this year’s entries.
All the winners of the 17th Annual Canadian Printing Awards.
Stephanie and Sean Magil of Apex Graphics at the Canadian Printing Awards gala.
Jamie Barbieri (right), PDI Group, and Jay Mandarino, CJ Graphics, with peers.
Alec Couckuyt (middle) of Maracle with industry friends.
The Canadian Printing Awards is a unique networking opportunity for the industry.
The gala was a time for printers to renew and make new connections.
Chad Friesen (middle) with the rest of the Friesens team at the gala.
Kinga Krawczykiewicz, Lowe-Martin, and Yvon Sauvageau of Multi Bookbinding.
WORLD-CLASS PRINTING
A 14-person judging panel, working from a blind scoring system as well as considering factors like print quality, technical execution, creativity and design, paper, and substrate choice, as well as special effects and finishing poured through nearly 200 entries to determine the winners across 45 plus categories in Printing, Print Production, Environmental and Technology.
BEST OF SHOW
The Hip Trip Kit: Mitchell Press
Chosen from among all Print Production and Printing categories, the Best of Show Award went to Mitchell Press, Burnaby, B.C., for the Hip Trip Kit. The kit showcases the strengths of Canada’s first Landa S10P Nanographic Press including expanded gamut CMYKOGB colour, Pantone matching, and variable printing on multiple substrates. The tongue-in-cheek modern 1950’s tourism design takes inspiration from locations made famous (or infamous) in Tragically Hip lyrics. It comprises a custom folding carton container, journal/sketch book, five mini art prints (130 lb Cougar Cover), and custom synthetic baggage tags kiss cut on 20 pt Styrene to inspire your next trip.
PRINTING AWARDS
Self Promotion, Printing Company
Winner: 2022 Holiday Wrap –Hemlock Printers
Honourable Mention: The Hip Trip Kit – Mitchell Press
Web Offset (Heat set)
Winner: Road 13 Select Harvest
Sparkling Chenin Blanc 750 ml Face 2019 – Multi-Color Corporation
Honourable Mention: Inniskillin
Icewine Sparkling Cabernet Franc
375 ml Face – Multi-Color Corporation
Self Promotion, Printing Industry Supplier
Winner: Inspire Konica Minolta
Direct Mail – Print Panther Direct
Honourable Mention: Arizona
Interior Decor Box – Canon Canada
Specialty Project
Winner: Samantha and Brendan
– Hubbub Paper
Honourable Mention: University of Windsor Lets Go – Mi5 Print & Digital
Brochures & Booklets, Digital (Toner & Inkjet)
Winner: Mindham Fine Jewellery
– CJ Graphics
Honourable Mention: Aga Khan Collection – CJ Graphics
Books, Softcover Offset
Winner: Impressions of Newfoundland – Marquis Book Printing
Honourable Mention: F1 Race Weekend 2023 – Mi5 Print & Digital
For more information about the awards program, how to apply, as well as coverage of previous winning projects and industry leaders, please visit PrintAction.com/CPA
MAGAZINES STILL HAVE A HOME
As newspapers decrease, magazines continue to evolve, reaching and connecting with readers
By Olivia Parker
It’s easy for the public to write off magazines when they only know the commercialized ones that line checkout aisles. With the increase in digitalization and reduced production and distribution of newspapers, it is easy to assume magazines could follow the same trajectory, but that is not the case.
Print remains adored by people of all ages. Vividata’s SCC Study of the Canadian Consumer (2023) found that in an average month, 66 per cent of Canadian adults read print or digital magazine content. More importantly, among magazine readers, 42 per cent only read the print version and 17 per cent do so in combination
with more than one digital device. Why? In our digital-driven media landscape magazines are refreshing celebrations of independence, niche passions, and creativity.
To better understand how magazines reach and connect with readers I interviewed Dan Thompson from Italic, a print service provider in Toronto, and Nicola Hamilton of Issues Magazine Shop, Toronto
Print and digital co-exist
Although newsstands have declined, Magazines Canada identifies General Interest and (Other) Niche Publications as two of the best performing genres in 2023. Consequently,
Nicola Hamilton.
around the globe are shops that sell independent publications, including MagCulture Shop in London (U.K.), Casa Magazines in New York, Under the cover in Lisbon, Issues Magazine Shop in Toronto, and Atlantic News in Halifax.
Thompson and Hamilton both highlight the physical enjoyment and tactile experience as a major reason for print’s continued success.
Hamilton points out, “We’re still really wired to absorb information that is in print.”
Although digital devices have decimated our attention spans, print magazines combat screen fatigue and free us from the continuous onslaught of digital notifications.
Thompson echoes the sentiment.
“[Print is] the most efficient media format ever invented. It doesn’t need a battery. It doesn’t take any internet bandwidth. It lasts forever. It is one of the only media types that will last the ages because [it is] not in a format that technology will forget about as it advances,” he says.
It is a medium that one engages with intentionally. There is no clickbait. Ironically, independent publication production and readership have grown because of the internet.
The world wide web has enabled people of shared interests to congregate. Communities are no longer hindered by geographic borders to connect. This allows niche networks to organically share ideas and subsequently utilize crowdfunding platforms to support and create passion projects uninhibited by the publishing industry.
“We are seeing it more and more where publishing happens when the money is allocated on a small level… People who have like-minded tastes can then fund it and grow these niche publications out of an idea,” observes Thompson.
A 2016 Pew Research report stated that magazine-related projects made up 20 per cent of all funded projects in the Journalism category on Kickstarter. According to Maris Kreizman, Kickstarter’s former publishing and journalism outreach lead, in 2016, 40 per cent of those projects met their crowdfunding goals. Hamilton points out there are many success stories that highlight how these independent publications offer something different and desired
Independent magazines that are striving to be different helps set them apart from commercial titles and attract engaged readers.
Magazines celebrate independence, niche passions, and creativity. 66%
Per Vividata’s SCC Study of the Canadian Consumer (2023), 66 per cent of Canadian adults read print or digital magazine content on average monthly.
compared to their commercial counterparts. For example, Dan Crowe’s and Matt Willey’s Inque “They raised £175,000 [on Kickstarter] to create an [ad-free] publication…The goal was to build a literary magazine that would document the decade so it would exist for one issue a year for 10 years and then it would go away forever,” recalls Hamilton. Another thing to remember is that the digital issue supports growth. While more established titles might still be growing through traditional means, subscribership can also be digitally driven. Thompson sees digital editions as a powerful addition to magazines’ longevity.
“[There exists] this whole idea of
digital [issue] to physical then physical back to digital. It’s a really great loop. People leverage the power of print but also leverage the power of the digital magazine versions as well; the magazine exists in both places. You can read it quickly online but then if you want to spend time with the story…you have that option as well to go deeper with the printed piece,” he explains.
Production and distribution
Today, print shops of all sizes continue to print independent magazines. One of the greatest boons for publications has been the technological improvements in digital presses and inline finishing. This has made short-
run, high-end production affordable and timely. Thus, enabling small independent publishers and creators to produce gorgeous colour reproductions with high-end finishes. At Italic , Thompson observes, “All those embellishments...are key to making these publications stand out. The readers are buying it sometimes just for those reasons because they want a piece that looks great. They interact with it, and it lasts over time in their home.”
Independent magazines striving to be different (and sumptuous) helps set them apart from commercial titles. This is partially what attracts Hamilton’s clientele.
“Independent publishers are just investing more time [in things] readers actually value, like design and production quality…where[as], I think, over the years commercial titles have prioritized relationships with advertisers.” Independent magazines prioritize interesting concepts, unique designs, and well-rounded editorial.
Once produced there are several ways a magazine can reach its readers. Small to large print shops can
use Canada Post to send publications directly to subscribers or they can package them in batches and distribute them through various channels to other end-point destinations.
Hamilton has also observed printers who do a lot of publication design are, in some cases, providing single-copy fulfillment.
Issues employs several methods used to acquire their magazines. First are direct to publisher relationships. Independent titles and publishers may opt for this to keep costs down by cutting out the middle person. Second, are distributors.
“We work with a handful of distributors both here in Canada and abroad. The benefit of a distributor is that you’re managing one relationship for hundreds of titles,” Hamilton explains.
The future
Positive tactile experiences continue to drive the growth of printed magazines.
According to Vividata’s SCC Study of the Canadian Consumer (2023), 42 per cent of magazine readers only read the print version. 42%
In our digital-driven media landscape magazines are refreshing celebrations of independence, niche passions, and creativity.
According to Vividata’s SCC Study, Gen Z are more likely to only read print than millennials or Gen X. Gen X are the least likely to read both print and digital, going one way or the other
Hamilton sees this daily as she has anecdotally shared that Issues clientele are primarily creatives aged 25 to 40 years old.
The desire for community is one of the primary reasons for the longevity of independent magazines. At Issues, “there’s a sort of magic moment where you [find] a publication devoted entirely to [something you are passionate about]…One of our favourite things to witness is when people come in and they find something that speaks to them in some way. They actually hold the title closer to their chest instead of holding it and putting it down.”
Like the book which has not disappeared in the face of digital counterparts, magazines continue to thrive. People value and collect magazines for a myriad of reasons. Whether it is a special issue, the content, or the object itself. The combination of a unique concept or topic and creative execution make these magazines into art objects just as much as editorial collections all while illustrating the communities you belong to. In Thompson’s opinion, “There is a resurgence to get back to analog…like the resurgence of records that have that tactile col-
lector feel. Short-run publications are of the same note. People are missing from their general lives these days something that sits around their house for slow digestible content. Short run and small [are] just what people want whether it’s a lack of local content in a specific market or a real niche interest. These types of jobs are hanging around because they are making an impact in the communities in which they serve.” Never is this more apparent than now with the reduction of accessible local news. Further, there is trustworthiness in the printed word. While online offers convenience, in our reality of generative AI, digital media is more questionable, and information is harder to vet. Thompson elaborates that “digital information is becoming more and more valueless because we can’t authenticate the source. We are seeing that in spades right now where people are choosing print because it is one of the only channels left that holds authenticity.”
Conclusion
I’d like to close by sharing a final thought from Hamilton. “[Magazines] are things we’re keeping… A lot of people’s energy and effort goes into creating that publication.”
Whether they live on our shelves for a few days or years, magazines are objects of beauty with an innate connection to their readers that, unlike a book with finite pages, continue to release issues and adapt. As cultural artifacts and curated objects, there is so much joy to be found in them. Out there is a magazine for everyone on every subject.
The biggest hurdle is exposure. While newsstands have diminished, the Internet has stepped in to fill that gap. Social media and forums have nurtured a digital-print feedback loop helping readers find their publication and by extension a community. This demand for community is why we are still creating and printing publications and why shops like Issues exist. I encourage everyone to see what’s out there in the stacks. You will be surprised.
OLIVIA PARKER teaches visual communication and media production. She can be reached at olivia.ovp@gmail.com.
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Some resin inks can achieve deep and rich colours, offering excellent print quality.
THE POWER OF NEW INK TYPES
Rapid evolution has made resin and latex ink-based printers versatile production platforms
By Daniel Valade
Resin or latex ink and printers have been around for more than a decade. However, in recent years they have undergone significant and rapid evolution.
With the digital printing market expected to grow at a compound annual growth rate of seven per cent over the next 10 years, it’s time to take another look at this versatile print technology.1
Today’s expanded lineup of resin inks and printers offers bold, rich colour options, an ability to handle a wide range of media, environmentally friendly low-VOC output, and fast-drying prints. Resin ink printers
provide production power for a diverse set of applications including wallpaper and fabrics, vehicle graphics, canvas printing, and interior and exterior signage.
Two names, one technology
Resin ink and latex ink are two names for similar, water-based, multi-purpose ink technologies. There isn’t latex or resin in the inks. Although the various latex and resin ink technologies are similar, the ink formulations vary substantially from manufacturer to manufacturer, so you’ll want to research your options carefully.
Resin ink printing works by preheating the material, after which the
printer deposits a droplet of optimizer on the substrate. The ink is deposited inside the dot of optimizer, yielding just the right amount of dot gain. Using a high-quality optimizer is critical for controlling the level of dot gain, and therefore for controlling output quality.
Colour quality
In the past, resin ink colours have been known for being less rich and deep than those printed using eco-solvent ink. However, with today’s advanced equipment and ink formulations, some resin inks can achieve deep and rich colours that match the performance of eco-solvent inks.
The latest resin printers use advanced technology like variable dot control to fire different types of ink droplets, yielding unparalleled image quality. In addition, these newer ink formulations create more durable prints with greater scratch resistance than in the past.
Versatile print technology
Today’s resin ink printers provide a versatile production platform for a wide range of permanent and temporary signage, including wall, window, and floor graphics, fleet graphics, retail and office graphics, posters, banners, stickers, and labels.
Additionally, resin ink’s waterbased print technology meets the requirements for print products used in certain environments, such as schools, health-care facilities, and hospitals. This sustainability aspect of resin inks is also more in demand market-wide, especially for interior graphics. Some manufacturers’ formulations have even achieved GreenGuard Gold Certification, providing assurance that they meet the most stringent standards for low VOC emissions into indoor air.
High-volume production
Many resin ink printers are designed to be high-volume machines and some even offer users lower running costs compared with other technologies. Users appreciate the time savings from resin ink production, which does not require post-production steps like outgassing. This simple workflow means resin ink prints are quickly ready to laminate, install or ship. Additionally, without the need for post-production steps, resin ink print-
Resin ink can be used to produce signage, fleet graphics, posters, banners, stickers, and labels.
ers can be loaded up with one material and left to run for hours. This makes them suitable for printing on fabrics, signage, window graphics, floor graphics, or fleet vehicle graphics.
Expanded media options
In the past few years, resin ink technology has evolved and the range of media these inks adhere to has expanded. Resin ink printer manufacturers are also focused on helping providers make use of more materials.
There are, of course, specialty materials designed for resin printers. However, when paired with the latest hardware, resin ink is compatible with a wide variety of media types including traditional signage materials as well as fabrics, wallpapers, and uncoated papers.
Durable, sustainable prints
The digital printing market is expected to grow at a CAGR of seven per cent over the next 10 years.
Due to their eco-friendly composition, resin ink prints are in demand for indoor signage and decor, particularly at schools and medical facilities. Since these prints are viewed at close range, they also tend to be higher-margin products for print shops.
Resin inks’ durability has been improved and resin prints are now competitive for outdoor graphic applications such as vehicle and fleet graphics. Some manufacturer’s latex or resin ink formulations are best used for wraps on box trucks and trailers where less conformability is required. However, some of the newest resin inks are far less prone to cracking, which makes them a suitable choice for wrapping vehicles with more curves and edges.
Resin ink printer features
When evaluating resin ink printing technology, there are several important factors to consider.
Production speeds
Like all production equipment, today’s resin ink printers vary when it
comes to speeds. Be sure the printer can produce at the speed and volume you need.
Testing, testing
It’s important to request test prints to ensure the ink formulation and printing technology can produce high-quality prints for a variety of applications. If your shop is considering adding high-margin products like vehicle or environmental graphics, you’ll need an inkset and printer that can consistently produce vibrant, rich, durable prints, which can conform to curves and edges.
Printhead technology
For consistently vibrant, detailed output, be sure to inquire about the printhead technology. Some manufacturers use a thermal printhead, which can degrade over time, resulting in colour variation.
Service and support
Another important factor is whether the printer manufacturer you are considering provide solid support and a trouble-free warranty.
Poised for growth
Industry leaders are predicting the printed graphics market will continue its current pattern of growth, and print providers need to consider options that will allow them to successfully meet the expanded demand for digitally printed output.
With their fast-drying, durable, and sustainable formulations, resin and latex inks are making resin ink production an increasingly popular solution.
DANIEL VALADE is product manager of digital print at Roland DGA.
The increasing number of new product launches is contributing to the growth of web-to-pack platforms like SmilePack.
WEB-TO-PACK DRIVES GROWTH
The
combination of digital technologies and web-topack has democratized packaging
By Fred Corbo
“
The waste that is recycled best is the one that we haven’t produced.” This adage, whose perspicacity cannot be questioned nowadays, applies to all areas, particularly packaging. As producers of packaging, we are accustomed to explaining to clients the packaging that is most easily recycled is the one we haven’t produced! One might say we are schizophrenic. Or rather, it is an urgent and absolute necessity to align ourselves with values, both personal and applied to our company, even if it means shocking others.
Yet, if we want to envision a sus-
tainable and harmonious future, we must change our attitudes and discourse, offer new solutions that embody the challenges of tomorrow, disrupt deeply rooted habits, approach growth differently, and recognize that there is not just one way of doing things.
Digital technologies, which commercial printing and the label industry have embraced for a long time, will inevitably contribute, whether we are convinced or reluctant, to providing new perspectives in service of projects and needs. Behind digitalization lies not only the printing aspect, which is often seen in opposition to conventional approaches like offset or flexog-
raphy, but also a world of finishing, including embellishments such as varnish and foil stamping, as well as cutting, automated workflow management, and enhanced prepress control that bridges the gap between clients and production.
To embrace and perhaps anticipate these technologies, the key is to evolve the mindset, adopt a holistic approach, reconsider the relationship with clients and the market, and thus transform the company culture, allowing new capabilities to permeate and impact all levels of society.
Digital synergies
Web-to-print, continuously evolving in its approach to the market, anticipating needs, and delivering highly refined customer experiences, has directly benefited from the new capabilities offered by digital advancements. It certainly would not have revolutionized the market without this contribution. However, we must not forget that web-to-print and digital technologies mutually leverage and feed off each other to progress and gain market share, forming a virtuous spiral.
In turn, web-to-pack benefits from the capabilities provided by digital means dedicated to the packaging and point-of-sales industry.
This, in turn, justifies the development of new equipment and solutions by manufacturers. The combination of digital and web-to-pack undoubtedly contributes to democratizing access to simplified packaging solutions that were previously reserved for experts with minimum volumes.
It now allows any brand or project holder to launch, test the market, make mistakes, backtrack, and avoid imposing heavy commitments.
Rapid web-to-pack market growth
All of these factors contribute to the rapid growth of the market share captured by web-to-pack without impeding the traditional business conducted on a person-
al basis. Moreover, the increasing number of new product launches, special and limited editions, and the incredible trend of offering numerous variations of the same product—to cater to individual consumers’ preferred flavour, colour, etc.—all contribute to the explosion of demands that require online solutions coupled with digital production technologies. If these numerous packages are produced locally, directly within the workshops connected to the web-to-pack platform, the loop is closed.
We are witnessing the development of more or less advanced and transparent web-topack offerings, indicating that these solutions seem like El Dorados. However, let us not be mistaken. The production of packaging, even with digital equipment, requires well-controlled processes and technical know-how that are acquired over time, sometimes through setbacks. Some platforms simply act as intermediaries, selling products produced by local or exotic manufacturers, while others make the radical choice of controlling their processes and production in-house, despite the constraints and difficulties this process entails. However, they retain all the added value within their own company.
As with any epic journey, we are witnessing the creation, consolidation, disappearance, and rapid growth of companies until the market structure solidifies. In the meantime, ingenuity and creativity know no bounds, naturally pushing the boundaries.
The remarkable ability of human beings to invent and reinvent themselves gives us hope for a promising future, albeit different from what we know today. Ultimately, one question remains: Do we wish for something better tomorrow, or can we become better ourselves? That is quite a program.
CEO and owner
FRED CORBO is
of SmilePack.fr, a web-to-pack platform. This article was originally published as part of the Drupa Essentials of Print Series.
Showcasing latest offerings from Muller Martini, Techkon and Ricoh
The Antaro’s modular, expandable design caters to digital nearline/ inline production and conventional production environments.
Muller Martini introduces new binder
Muller Martini unveils the Antaro perfect binder, which is available in two versions. It is designed to meet the demands for on-demand and conventional, offset applications. For digital finishing applications, the Antaro Digital produces print-on-demand books at a rate of up to 2,000 cph. For offset print applications, the Antaro delivers at a rate of up to 4,000 cph.
Techkon unveils ChromaQA 5
Techkon USA introduces ChromaQA 5, a colour quality software solution designed to automate and simplify the colour matching process for packaging printers. Achieving precise brand colours in the inkroom and on the press has traditionally been a complex
ChromaQA 5 is a colour quality software solution from Techkon.
and time-consuming task due to various factors affecting the printing process, such as the condition of anilox rolls, doctor blades, and even the press washup between jobs. ChromaQA’s SmartInk technology uses a formulation engine that removes all the subjectivity with toning ink on press.
New press from Ricoh Ricoh debuts the Ricoh Pro Z75 digital press, the first B2 per-
The Ricoh Pro Z75 can handle up to 400 gsm (24 pt) with a max sheet size of 23 x 29-in.
fecting (auto-duplexing) sheetfed inkjet platform using aqueous ink. The Ricoh Pro Z75 offers print speeds of up to 4,500 sph in straight printing or 2,250 sph in duplex/perfecting printing. Stainless steel piezo print heads bring 1,200 dpi native resolution at all speeds with four colour (CMYK) pigment-based inks.
Sibylle Cox / owner / Hubbub Paper
Hubbub Paper, Cambridge, Ont., created a buzz at this year’s Canadian Printing Awards. Besides winning four awards, this husband and wife-owned company impressed the jury with their unique printing work. While Sibylle Cox is the primary specialty printer, Steve Cox oversees the digital and finishing side of production. We interviewed Sibylle about the state of the industry as well as the story behind Hubbub.
What is the state of the print industry today, in your opinion?
SC: Exciting! The technology is forever evolving, and the possibilities continue to expand. While the majority of our business is weddings, our customers are continuously pushing us to learn new techniques and adopt new technologies to bring their designs to life. We continue to add technology, and subsequently, new capabilities. This is in addition to our core strengths, which remain in specialty print and finishing. Technology is allowing us to deliver more complex projects quicker with a greater degree of accuracy.
What attracted you to the print industry in the first place?
SC: I went to school for fine art. I specialized in printmaking, and then I kind of left that for a while. I started working more in digital and web design. It wasn’t until I was working with a letterpress printer to create our wedding invites that I was re-introduced to physical print. I started a greeting card company in the back bedroom of our house in Toronto, and eventually started designing and printing wedding stationery. Word got out that there was a new specialty printer in Canada, and we started to get requests from other wedding stationers to print their designs. That side of the business grew so quickly that the decision was made to focus on production and move away from greeting cards. The single garage became a double garage, then 1000 sf, and most recently, several thousand along with a handful of employees.
How can the industry attract more young people?
SC: The industry serves young people. The more they can become part of the process, the more they will come. The
Technology is allowing us to deliver more complex projects quicker with a greater degree of accuracy.
entrepreneurial spirit seems to be alive and well with young people, and because the cost of entry into the industry can be low, more youngsters are starting businesses printing on all kinds of things from clothes and wood to acrylic. We have friends who have started businesses in their apartments with a laser or silkscreen and now have scaled to the point where they have converted from side hustle to full time. In many cases, they’re providing a living wage to others.
In such a competitive landscape, how can printers win more sales?
What are some of the biggest opportunities you see in the print industry?
Hubbub Paper was established in 2015.
SC: It is important to understand your business and strengths. Printing is no longer only about paper and ink. We recently attended a print show and were amazed at how people were able to do one thing really well and building a very lucrative business around that one product or service. We happen to focus on specialty printing on a wide variety of papers using both digital and analogue techniques. We don’t print t-shirts, mugs, or vehicle wraps. However, there are plenty of shops doing just that and making a decent living doing so. If you are good at what you do, you will attract the people who are seeking what you provide.
SC: The constant evolution of technology is opening up possibilities for creators. The idea that small runs and one-off products can be created very easily and inexpensively is allowing creators to prove concepts and establish need prior to investing or printing massive runs. Additionally, platforms like Etsy and Amazon Handmade are enabling makers to test the market and maintain manageable inventory levels. They are also allowing those same creators to reach audiences that they never could have hoped for 10 years ago.
What do you think is the most exciting thing about print today?
SC: The sheer volume of print products that are available today are creating opportunities for the creators. Innovation in technology and creative minds pushing the limits of their capacity make for an interesting combo that perpetuates this cycle.
Sibylle Cox’s response was edited for length. For more Q&A Spotlight interviews, please visit www.printaction. com/profile.
Versatile By Design
Versatile By Design
The Acuity Ultra Hybrid LED can print on rigid and flexible media with speeds up to 2,345 square feet per hour and resolution up to 1,200 x 1,200 dpi making it perfect for applications like interior graphics, signs and decor, and short- and long-term exterior signage.
