On the cover: Richard Kouwenhoven, president & CEO, Hemlock Printers, Jennifer McConnell, director of operations, Royal Printers, Dr. Martin Habekost, professor, Toronto Metropolitan University, and Gerry Lacombe, association manager, Canadian Printing Industries Association.
Proven steps to ensure your business strategy succeeds
12
Celebrating Canadian Print
Around 200 people from across country attended the 18th Canadian Printing Awards in Toronto, one of the nation’s largest celebrations of print
Ink innovations in large format printing
24 Role of printers in legal deposit
Exploring how printers can safeguard Canada’s cultural heritage
26 Embracing AI in the print industry
Practical applications and opportunities with artificial intelligence
DEPARTMENTS
GAMUT
5 News, People, Installs
5 Calendar
SPOTLIGHT
30 Richard Weedmark, executive vice president, R. E. Gilmore Investments
COLUMNS
FROM THE EDITOR
4 Nithya Caleb So long, 2024
CHRONICLE
10 Nick Howard
So long, 2024
It seems to me that in the recent past every year has been one that we’re happy to bid farewell to. First, it was the COVID-19 pandemic, followed by wars, high inflation and global economic slowdown as well as supply chain issues. Even though inflation has come down, most Canadians are anxious about their future. While steps are being taken to alleviate the crises, it’ll be a while before Canadians see tangible benefits. However, the flip side to this doom and gloom is that all major indicators are heading in the right direction.
US$521B
According to Smithers, the package printing market, which is worth US$512 billion in 2024, will hit US$695 billion by 2029.
According to Stats Canada, the consumer price index rose 1.6 per cent on a year-over-year basis in September, down from a 2 per cent gain in August. This was the smallest yearly increase since February 2021. While prices are high, the rate of increase has slowed. Rent increased by 8.2 per cent year over year in September, following an 8.9 per cent gain in August. Rent price growth slowed the most in Newfoundland and Labrador (+5.1 per cent), New Brunswick (+10.1 per cent) and British Columbia (+7.3 per cent).
Closer home, market research agency Smithers forecasts the market for printed packaging and labels to witness a growth rate of 6.3 per cent CAGR between 2024 and 2029. According to the Future of Package Printing to 2029 report, the package printing market, which is worth US$512 billion in 2024, will increase to US$695 billion by 2029.
The growth is attributed to long-term factors like global population growth and the increase in urban dwellers in developing economies.
“Urbanization leads to higher consumption of packaged goods, especially in the food and beverage sector. With the expanding global economy, the rise of a middle-class population with increased discretionary income, particularly in Asia, further contributes to the demand for printed packaging,” said the report. “Package printing processes are increasingly automated for greater efficiency with advanced workflows, robotics and artificial intelligence deployed on modern presses. Digital print is by far the fastest growing print technology for labels and packaging. As markets expand, the positive outlook for printed packaging will attract investment in new package print equipment and in R&D and services from packaging designers,
equipment suppliers, software, ink and materials companies and others.”
Market trends
Smithers also estimates the global retail-ready packaging market to grow by 9 million tonnes to reach 43 million tonnes in 2029. Corrugated board will have the largest market share, growing to 80 per cent in 2029.
“The rise of consumer sustainability demands, and retailer preference for less labour-intensive packaging, have contributed to the shift away from plastic packaging. Corrugated retail-ready packaging is particularly expanding with a projected increase in die cut and fibrebased materials affecting formats such as plastic packs and shrink-wrapped trays,” explained Smithers.
The Future of Flexographic Printing to 2029 report by Smithers said the flexographic printing market is worth US$242 billion in 2024. Smithers forecasts the market to grow at a CAGR of 5.5 per cent to 2029.
Smithers projects the global packaging market to reach US$2.23 trillion by 2050. The Impact of Population and Demographics on Packaging: Long-term Outlook to 2050 report examines key trends as well as shifts in demographics on the consumption and development of packaging. Per the report, the fastest growth rates in packaging will be in low and lower middle-income regions.
“These markets have significant room for expansion as more consumers transition from minimal or informal packaging solutions to more standardized, formal packaging options,” explained the report. “The packaging industry is constantly evolving, impacted by demographic changes, economic development and consumer demands. Low-income and high-income countries exhibit different packaging needs; for example, the drive for sustainability and premium packaging in high-income countries is not the same in lower income regions.”
I hope these positive trends set the tone for the new year. If you need a heavier dose of joy, check out this year’s Canadian Printing Awards winners (pg 12). See you in 2025!
NITHYA CALEB Editor ncaleb@annexbusinessmedia.com
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Students from Toronto Metropolitan University’s (TMU’s) 3D printing class, offered through the Graphic Communications Management department, designed a variety of ‘real-life’ objects that were then 3D printed, finished and featured in Little Canada’s newest exhibit: Little West Coast.
Cober, Kitchener, Ont., expands into western Canada by acquiring Alberta-based West Canadian Digital Imaging’s (WCD’s) digital print and wide format signage division. This acquisition will enable a fully integrated, streamlined fulfillment offering to large e-commerce brands as well as national print customers.
Canadian trade printer SinaLite, Markham, Ont., recently celebrated its 25th anniversary. The major milestone event brought together staff, clients, vendors, and special guests for a day of reflection, celebration, and appreciation. Special guests included Markham Mayor Frank Scarpitti and representatives from Heidelberg, Spicers,
HP, Kongsberg, Agfa, etc.
Founded in 1999 by Oscar and Fara Meshkati, SinaLite has grown from a small local business to a major player in the printing industry today serving over 20,000 print businesses across Canada and the United States.
Epson acquires Fiery from Siris Capital Group in a transaction valued at approximately US$591 million. Fiery will operate as an independent provider of digital front ends and workflow solutions.
TC Transcontinental sells its industrial packaging operations to Hood Packaging for approx. US$95 million. TC Transcontinental plans to use the net proceeds to reduce debt in line with its business priorities.
Hood Packaging is acquiring TC Transcontinental’s Thomasville, N.C., packaging operations and building, and 138 employees are being
transferred. Hood Packaging is also acquiring the industrial packaging business of TC Transcontinental’s Ontario, Calif. plant, which represents approximately 15 per cent of this plant’s revenues.
The United States International Trade Commission decides a U.S. industry is materially injured due to imports of aluminum lithographic printing plates from China and Japan, which the U.S. Department of Commerce (DOC) has determined are sold at less than fair value and subsidized by China. As a result of the Commission’s affirmative determinations, DOC will issue a countervailing duty order on imports of this product from China and antidumping orders on imports of this product from China and Japan, impacting Fujifilm’s U.S. operations.
Xerox acquires ITsavvy, an Oak Brook, Ill.-based provider of integrated IT products and associated services, for US$400 million. ITsavvy is a portfolio company of GenNx360 Capital Partners, a New York-based private equity firm.
Data Communications Management acquires Zavy, a New Zealand-based SaaS marketing technology company that helps companies optimize their social media effectiveness.
Cannon Graphic Solutions acquires Imprimerie Elite and Imprimerie Reflet in Montreal. With over 30 years of experience, Imprimerie Elite offers offset, digital, and large-format printing at their 15,000-sf production facility.
Atlantic Packaging Products, Scarborough, Ont., opens its newest manufacturing plant in Hamilton. “We built this facility with our customers in mind, it’s not just about expanding our capabilities; but about being able to respond quickly to our customers’ needs and support the growth of their businesses,”
CALENDAR
January 10-11, 2025
National Imprint Canada Show 2025 Toronto
March 10-12, 2025
Print UV Las Vegas, Nev.
March 25-28, 2025
TAGA NextGen: Innovate, Apply, Inspire Boulder, Colo.
April 9-11, 2025
Graphics Canada Expo Mississauga, Ont.
April 23-25, 2025
ISA Sign Expo Las Vegas, Nev.
June 10-12, 2025
Amplify Print Rosemont, Ill.
June 16-18, 2025
Color Impact 2025 Rochester, N.Y.
Resource Integrated moves operations to a larger facility in Aurora, Ont. The re-location doubles the company’s manufacturing footprint.
Anderson & Vreeland Canada partners with anilox manufacturer Sandon Global as its primary Canadian distributor.
The Paper Excellence Group integrates the recently acquired Domtar Corporation (and other legal entities) and Resolute Forest Products with the legacy Paper Excellence business, forming a unified forest products company. Together, the companies will now be doing business as Domtar with a new brand logo.
said Irving Granovsky, chair, Atlantic Packaging.
The Flint Group appoints Pepijn Dinandt as CEO. According to a press release, Dinandt has 30 years of experience leading organizations across various industries as well as has a proven track record in guiding companies through financial restructuring.
Group Magnitude
Billerud appoints Doug Schwartz as president of Billerud North America and member of the company’s group management team. Schwartz has extensive experience in the U.S. forest and paper industry, including serving in key leadership roles at companies such as Sonoco Products Company, International Paper and Champion International. He most recently held the position of vice president and general manager, rigid paper containers, at Sonoco.
Printing United Alliance makes two key leadership appointments. Mark J. Subers transitions from overseeing the Printing United Expo into the position of chief innovation officer and Chris Curran assumes the role of group president, media and events. Subers previously served as president, events and exhibition, at the Alliance, amongst other roles within the media brand division. As CIO, he will focus on long-term strategies that align with the Alliance’s mission to stay at the forefront of industry transformation. Curran brings with him a wealth of industry experience and service along with an in-depth understanding of the printing industry through his many roles at leading companies in the industry as well as across media brands at the Alliance.
Printer, Quebec City, Que., installs a new automatic high speed window patching machine. This made-in-Brazil machine was sold by MGM Canada.
Battlefield Press invests in a new Koenig & Bauer Allpro 110 folder gluer that will enhance the company’s bindery throughput.
Inkcups names David Connors as the company’s new vice president of operations. Connors will lead Inkcups’ operations and global supply chain, taking over from Frank Milne, who plans to retire at the end of 2024. Connors brings more than two decades of strategic leadership experience in operations and supply chain management, and in-depth knowledge of the manufacturing and distribution of automated machine parts and electronic components. Prior to joining Inkcups, he held key positions as director of operations, strategic planning and logistics at Ferrotec; director of materials at MKS Instruments; and director of supply chain at Sig Sauer. He holds a bachelor’s degree in business administration and an MBA.
Founded in 2004 by Sean Murray and Don Rees, Northern Label in Barrie, Ont., initially made its mark with an eight-colour, 10-in. UV flexo press. Their decision to integrate the Bobst Digital Master 340 into their production line marks a new era for the company.
Mark Subers
Chris Curran
a little
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Crossing the execution gap
Proven steps to ensure your business strategy succeeds
By Alec Couckuyt
How often have you seen a great strategy fall flat? In business, a compelling vision is essential, but it’s only the beginning. As Thomas Edison famously said, “Vision without execution is hallucination.” Transforming that vision into measurable results is the true challenge. Leaders must learn to bridge the critical gap, turning strategic plans into concrete actions that drive real progress.
Strategy is more than an idea; it’s a set of clear, actionable steps that align teams, operations, and resources toward a common goal. This roadmap is an essential guide for moving from aspiration to achievement.
Here are the core principles I’ve developed to help leaders achieve their vision. This framework includes four pillars that provide the structural foundation for execution and a seven-step model to guides leaders along the pathway to realizing their vision.
Four foundational pillars
Ownership: The first pillar, ownership, begins with leaders who take full responsibility for the strategy and execution. This means committing to the strategy from planning through to completion, acting as the driving force behind each stage.
Structure : The second pillar, structure, serves as the backbone of strategy. By aligning the five critical business competencies of operational excellence, talent optimization, product/service fit, sales and marketing effectiveness, and financial stewardship, leaders create a holistic framework that considers all essential factors influencing successful execution.
Discipline: The third pillar, discipline, supports the continuous, dynamic process. Execution requires constant measurement, refinement,
and adjustment, making discipline essential for staying the course until the vision is fully realized.
Collaboration: The final pillar, collaboration, requires alignment and engagement across teams. Leaders should foster a collaborative environment gaining the strength of a unified commitment to the vision.
The seven-step model
The four foundational pillars of businesses are ownership, structure, discipline and collaboration.
The journey from strategy to turning vision into reality follows a methodical process. My seven-step model begins with understanding the current state of the business and ends with a dynamic, adaptable plan.
1. Assess the current state: Begin with a thorough evaluation of the organization’s strengths, challenges, and market positioning. This sets the stage for a realistic, actionable plan.
2. Define the vision: Craft a clear, measurable vision that encapsulates the desired future state, encompassing growth goals, market positioning, product or service differentiation and defined timelines.
3. Identify the unique value proposition : Establish why clients should choose your organization. This is the foundation of your brand’s promise, aligning your offerings with customer needs.
4. Create a business strategy statement: Develop a concise strategy statement outlining primary initiatives and goals, giving
teams a shared sense of direction.
5. Develop a tactical plan: Translate high-level strategy into actionable steps within each of the five critical business competencies. Here, I encourage leaders to prioritize actions that directly support the vision.
6. Finalize the tactical plan: Select the highest-impact actions, assigning ownership, deadlines, and resources to ensure that each action is executable.
7. Execute, measure, adjust: Execution is an iterative process. Leaders should continually measure progress, adjust actions when required, close off completed actions, add new ones if warranted, and celebrate milestones.
Conclusion
While vision may set the destination, it’s the disciplined execution that makes the journey successful. Strategy serves as a roadmap that bridges today’s realities with tomorrow’s vision, guiding leaders in creating a pathway from aspiration to action. By following a seven-step structured approach grounded in the four pillars leaders can ensure their strategies evolve from concept to performance.
ALEC COUCKUYT is a business strategist. He can be reached via email at alec@agcconsulting.ca.
Pushing the envelope
The rocky road of early off-press console development
By Nick Howard
Change is probably the most challenging mountain to climb. Ask anyone who dared to alter the way things work. This phenomenon is particularly acute when reviewing the ups and downs of the printing industry. Today, with the rapid rollout of digital presses, traditional processes, including offset technologies, face the headwinds of change and struggle to fight back. One only must compare work run digitally to that of offset to see how far it has come. Incredible would be an apt description of what the likes of Landa, HP, Konica Minolta, Canon, and Ricoh can do.
Resistance to change will continue as it has always done, and no better example of this stubbornness is the introduction of off-press consoles for offset presses 60 years ago. Due to mounting pressure, American press makers embarked on a crusade to invent a device that would reduce waste and speed up makereadies. Cleveland’s Harris-Intertype and Pittsburgh’s Miller Printing Machinery would be the first to leap into off-press automation. With its purchase of PRD Electronics (1959) and merger with Radiation (1967), Harris had an advantage as it could utilize electronic technologies from these two firms. Around 1968, the branded Tele-Color remote control console using a CRT screen and rocker switches was said to be able to move a smaller servo motor by .0002 in. Each ‘key’ location was displayed on a tiny CRT screen. An acetate film was placed over the screen and marked with a pen to save the settings for repeat jobs. To excite the industry, Harris’s early promotions exalted Tele-Color as “built and tested by one of the developers of the lunar module.”
The CPC1 advanced the off-press console and ink key by using a motor-operated device. Pictured here is Heidelberg’s CPC1 key.
Miller’s RC200 Master Console featured a glass light table to check the register front and back, a tape recorder to leave messages, a densitometer, resettable counters, and dampener speed controls.
Harris was deeply involved in NASA’s Apollo missions, so the prescient mention of the 1969 moon landing indicated hi-tech to consumers. While the console cost a fortune and found few buyers in the sheetfed space, it was quickly embraced by the company’s web division.
Early consoles
Miller Printing Machinery merged with Radiation in 1967.
Miller wasn’t far behind. A much smaller company, Miller used a different and inferior technology to develop their RC200 Master Console. In 1970, it started shipping early versions of the console. These consoles featured a glass light table to check the register front and back, a tape recorder to leave messages, a densitometer, resettable counters, and dampener speed controls—all fit what today looks like a Flash Gordon movie prop. The fountain keys were pushed against a solid blade (like Harris), but the control of the keys relied on troublesome ratchet solenoids. Advancing or retarding these
keys proved near impossible as they’d typically bind or seize.
Chicago’s Miehle also produced a console for its 60-in. American-built presses. The Miehle Color Console was available by 1970 and had segmented blades driven by recently invented stepping motors, promoted to be calibrated to .000125 in. Miehle, as with Harris’s divisions, had at its disposal the tools of Allen-Bradley, which was a part of Miehle’s parent company, Rockwell. Rockwell was also heavily involved with NASA.
Industry response
The early years of all three American manufacturers’ groundbreaking efforts were difficult, and their first attempts to captivate the industry with automated consoles ended up drowning in red ink. There were two significant problems. The first was reliability and the second was the industry’s resistance to change. An operator’s skills made all the difference during the previous 60 years.
Tickling fountain duct keys was an art few wanted to give up to a box with buttons. Presspersons didn’t trust the fancy desk at the front of the press for anything more than using it as a press table. As word spread about the dubious and expensive option with dodgy electronics, these early controls were panned as a waste of good money. This story would be repeated when early closed-loop scanners and plate readers appeared on the scene in the late seventies. By 1992, early plate loading devices felt the strong headwinds of negativity, as analogue films were still in use with all their baggage, only dispelled once CTP (computer-to-plate) systems confirmed offset presses could improve without some of the skills operators of the past possessed. Manroland, Koenig & Bauer, and Heidelberg would pick up the torch by 1977. Manroland’s first attempt, the remote-controlled inking (RCI) did away with traditional ink blades. They were replaced with plastic-tipped motor-controlled ‘slides’. It was not ‘wear-resistant,’ as adver-
Manroland’s remote-controlled inking replaced traditional ink blades with plastic-tipped motor-controlled ‘slides’.
tised, and the company struggled with these consistently inaccurate keys until 1986, when an all-steel ‘linear’ key replaced them. Koenig & Bauer, who had a small sheetfed program, was primarily interested in consoles for its enormous web offset program, an area suitable for automation and screaming for waste reduction. Also, in 1977, Heidelberg was settling in as the pre-eminent juggernaut of sheetfed with the new Speedmaster series, whose design is still used today. The CPC1 (computer print control) radically advanced the console and ink key using a motor-operated device. Although CPC1 couldn’t store information, Heidelberg borrowed from Harris the use of clear acetate to mark the final positions of LED lights for repeat jobs.
Across the Pacific, Japanese manufacturers paid close attention and delivered reliable variations. Press consoles were finally here to stay. By 1982, naysayers soon raised the white flag of surrender and accepted a new technology, thanks to rapid developments due to collaborations between
electronics suppliers and press manufacturers. Press consoles had the means to set ink fountains as well as lateral, circumferential, and tangential registers along with dampening speeds. Today, the press console is the epicentre of the whole press. It can receive job data, control density variations, maintain colour and register, and diagnose faults. An operator doesn’t need to move away from the console after loading paper and plates.
The birth of the off-press console began in America, improved in Germany, and is now ubiquitous in every sheetfed press. We are now amidst the next wave: digital printing with more tools at its disposal. The transformation will be quick.
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.
High-end flatbed printer
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10 colour channels
Latest print head technology
126“ wide roll option
Greenguard Gold certified inks
Meet us at Graphics Canada, Toronto April 9 – 11, 2025, booth 5340
CELEBRATING CANADIAN PRINT
Around 200 people from across the country attended the 18th Annual Canadian Printing Awards in Toronto on November 7, organized by PrintAction and parent company, Annex Business Media, in what is one of the nation’s largest celebrations of print
John A. Young Lifetime Achievement Award
Gerry Lacombe, Association Manager, Canadian Printing Industries Association (CPIA)
Gerry is a veteran of the trade. He joined Barber-Ellis in 1984 as marketing manager and eventually became general manager. In 1991, he joined Domtar where he held several senior-level executive positions including VP, general manager of the Quebec Atlantic region and senior director-supply chain collaboration before retiring in 2019 as VP of sales for Domtar Merchants.
The retirement didn’t last long though. In 2021, Gerry joined the Canadian Printing Industries Association (CPIA) in the newly created position of association manager. As association manager, Gerry works closely with the CPIA board, committees, association members and partners to build and strengthen the printing community across Canada. Throughout his professional life, Gerry has always worked towards building strong, well-trained teams. He ensures all employees, customers and suppliers are treated fairly, honestly and with respect.
Printing Leader of the Year
Richard Kouwenhoven, President & CEO, Hemlock Printers
A graduate of the Toronto Metropolitan University’s GCM program, Richard oversees the day-to-day operations of Hemlock, and its subsidiary organizations, Hemlock Display and Hemlock Connect. Richard has over 30 years of hands-on print industry experience and has applied a passion for environmental sustainability to the Hemlock business throughout his career. Alongside a dedicated team of industry volunteers, Richard is also proud to support initiatives which strengthen our industry nationally. He’s the Chair of the Canadian Printing Industry Association, a role which he has fulfilled since 2018.
Community Leader of the Year
Dr. Martin Habekost, Professor, Toronto Metropolitan University
Dr. Martin Habekost joined the School of Graphic Communications Management at Toronto Metropolitan University in 2005 after working in the ink manufacturing industry for 10 years. At TorontoMet, Martin continues researching colour measurement and colour differencing equations. Since 2007, Martin has been the faculty advisor to the TorontoMet TAGA student chapter and guiding it to many successes. The group won the grand prize, the Helmut Kipphan Cup, eight times and over 35 awards in various other categories. At the School, he also co-ordinates the international exchange activities.
Emerging Leader of the Year
Jennifer McConnell, Director of Operations, Royal Printers
Born and raised in Toronto, Jennifer knew she needed a bold change and left Ontario for Vancouver, seeking a fresh start. She joined her father and stepmother at their print shop in White Rock, B.C., diving into bookkeeping and administration. Little did she know, this would ignite a passion for the print industry. Over the next 20 years, Jennifer honed her skills and built strong relationships that have fuelled her success.
Now, as director of operations at Royal Printers, she is dedicated to empowering others, guiding them to grow and thrive just as she once did. Jennifer has also been a dedicated part of PrintForward throughout her career, currently serving as chair of the Membership & Programs Committee, board director, and Lead of the NEXT Generation Task Force. She leads the Print Entry Level Training (PELT) Program, which is now entering its fifth cohort, helping to attract passionate new talent to the printing industry.
Plant Manager of the Year
Mike Martinez, Production Manager, Promotional Print & Packaging
Mike Martinez, a husband, father of two, and proud grandfather, has over 25 years of experience in the print industry, spanning screen printing, digital printing, and finishing. Starting his career in die-cutting and assembly, Mike’s journey took him through Artisan Complete, and now to Promotional Print & Packaging, where he leads a 23-member team with joy, professionalism, and an unwavering commitment to excellence. Known for his proactive approach to health and safety, Mike has transformed workplace protocols, increased team size by 60 per cent, and introduced machinery and production systems that have streamlined operations. His expertise and dedication to innovation have earned him the respect of his colleagues and made him an invaluable asset to the industry, continually pushing the company and his team toward greater efficiency and growth.
Full photo gallery.
In the next few pages, you’ll find the whole list of projects and companies that won this year’s Canadian Printing Awards winners as well as a snapshot of the gala. For the full photo gallery, visit www.PrintAction.com.
This year, more than 50 winners were celebrated at the 18th Annual Canadian Printing
Attendees to the Canadian Printing Awards Gala had the opportunity to check out all the entries to this year’s competition.
This year, two new categories of Packaging and Labelling were added to the Canadian Printing Awards program to much acclaim.
Awards Gala.
Gary Gunter, regional sales manager Canada, Landa Digital Printing, presents an award to Toronto Metropolitan University students.
Christine Yardley, president, Print Panther Direct, receives an award from Nithya Caleb, editor of PrintAction.
Jeff Sommer, VP business development, Lorpon Labels, receives an award from Kim Barton, associate publisher, PrintAction.
Serge Loubier, president, Marquis Book Printing, presents the award to Gerry Lacombe as Kim Barton looks on.
The Annual Canadian Printing Awards Gala is the perfect place for industry friends to meet and catch-up.
Nithya Caleb presents an award to Scott Gray, executive vice president, Mitchell Press.
Fred Cheetham of Friesens with Nithya Caleb. Friesens won six Canadian Printing Awards this year.
Congratulations to all the winners of the 18th Annual Canadian Printing Awards!
Apples Milkovich, director, product marketing, MET Fine Printers, with Nithya Caleb.
WORLD-CLASS PRINTING
A 13-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 more than 200 entries to determine the winners across 50 plus categories in Printing, Print Production, Packaging, Labels, Environmental and Technology.
Self Promotion, Printing Industry Supplier
Winner: ‘Future-proof your business’ – Gutenberg Gala Promotional Box – Canon Canada
Honourable Mention: HP Indigo 120K Sales Kit – HP Indigo
Business & Annual Reports
Winner: Wheaton Precious Metals
Sustainability Report 2023 –Hemlock Printers
Honourable Mention: Vancouver
Art Gallery – Annual Report 2023 – Mitchell Press
BEST OF SHOW
CJ Graphics
Brochures & Booklets, Offset
Winner: Truth + Joy, Lululemon
Book – MET Fine Printers
Honourable Mention: North Harbour Drift Book – MET Fine Printers
Books, Digital (Toner or Inkjet)
Winner: Fraser Mills Debut
Brochure – MET Fine Printers
Honourable Mention: Who Gives a Crap, Winnie the Pooh Linen
Hardcover Book – Hemlock Printers
Books, Softcover Offset
Winner: Daniel Fong Book – Been There, Mythbusted That – Hemlock Printers
Honourable Mention: Fram
Building Group Collingwood Quay Book – Lowe-Martin
Flyers and Leaflets (All Applications)
Winner: The Waverley – CJ Graphics
Honourable Mention: Tragically
Hip limited-edition series of art prints – Mitchell Press
PRINT PRODUCTION EXCELLENCE
Self Promotion, Printing Company
Winner: Shaken & Stirred
Brochure and Candy box – Print Panther Direct
Honourable Mention: Tempo Trail Mix PCR Stand Up Pouch –Tempo Flexible Packaging
Books, Hardcover Offset
Winner: Thuraya: Recipes from our Family’s Kitchen in Jordan – Marquis Book Printing
Honourable Mention: One
Richmond Book – MET Fine Printers
Magazines, Web Offset
Winner: Mountain Life – Coast
Magazine – Mitchell Press
Honourable Mention: YAM Magazine – Mitchell Press
Laneige
Calendars, Catalogues (All Applications)
Winner: Mitzi 24 Catalogue –Mi5 Print
Magazines, Sheetfed Offset
Winner: The Bitter Southerner –Friesens
Honourable Mention: Brian Jessel
BMW Magazine – 2024 July
Chinese Language Edition – MET Fine Printers
Business Cards
Winner: Nox Wine Bar Business Card – Print Pather Direct*
Honourable Mention: Cirque Du Soleil Business Card – CJ Graphics
* At the Canadian Printing Awards Gala, held Nov. 7, this award was erroneously attributed to CJ Graphics. The error was unintentional and regretted.
Binding ( Stitching, Perfect Binding, Coil, Wire, Case binding)
Winner: A Nation Takes Place: Navigating Race and Water in Contemporary Art – Friesens
Honourable Mention: La Hacienda Artisan Corn Chips –Lorpon Labels
TECHNOLOGY AND ENVIRONMENT
Abhay Sharma, Toronto Metropolitan University
Christine Yardley, Print Panther Direct
Peter Aston, Zebra Packaging
Steve Falk, Canadian Print Scholarships
Building on the legacy of Mitsubishi Lithographic Presses, the RMGT 1060 LX is the ideal solution to achieve greater profitability by ramping up your capacity with a high-performing press available from RM Machinery, the master distributor known for elevating packaging and commercial printers in the Canadian market.
Finishing – Emboss (Labels)
Winner: High Pony Hibiscus Cosmo – Lorpon Labels
Honourable Mention: Therianthropy Georgian Bay Syrah Cabernet Franc – Lorpon Labels
Honourable Mention: Abducted Imperial Stout – All My Friends – Lorpon Labels
Most Environmentally Progressive Packaging Project
Winner: Kallas First Press Olive Oil Package –MET Fine Printers
Most Progressive Printing Process, Software or IT
Winner: HP PrintOS OEE Leaderboard – HP Indigo
Honourable Mention: OnPrintShop Version 9.1 (Packaging Solution) –OnPrintShop
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
ReproArt
Imaging in Toronto offers a range of large format products printed on an AGFA Tauro H2500 with LED UV curing.
EXPANDING THE COLOUR PALETTE
Ink innovations in large format printing
By Abhay Sharma and Erik Schmitt
Large format devices come with a wide range of ink options that allow for exciting colour palettes and differing market applications. The use of multiple inkjet heads and UV and eco-solvent systems allow for colourants and substrates for art reproduction, outdoor signage and TTC streetcar window adverts.
Large format devices have the basic process inks (C, M, Y, K). Some will have light inks (lc, lm, lk), or expanded gamut inks (O, G, V, R, B) or specialty inks (white, metallic silver, fluorescent pink). Some printers, such as the Epson SureColor S80600, may have inks
that fall in all the above categories. This article considers the inks and colour management software and applications as used in large format.
Light inks
In addition to CMYK, we see a light ink for some channels—light cyan (lc), light magenta (lm) and light black (lk)—in many large format inkjet devices. Despite a popular misconception, light inks do not equal expanded gamut. Light inks are used in the lighter areas of an image to improve tonality and smooth gradients and do not contribute to creating a larger colour gamut. Light inks are valuable for photographic and fine artwork,
and less relevant but for large viewing distances such as signage.
Expanded gamut
A recent development in large format printing is the use of inks that expand the colour gamut. An expanded colour gamut inkset includes orange, green and violet inks, so we print with CMYK-OGV. Some manufacturers may use variations with blue or red. Expanded gamut inks will increase the print gamut in the relevant area of the colourspace. Based on their primary market segment or technical reasons, manufacturers would choose different inks with which to expand the colour gamut. For example red may be used in an eco-solvent system to overcome the weakness of magenta, or SwissQprint may use orange. It should be noted that large format systems often reserve channels for specialty inks such as white and varnish. By adding in expanded gamut colourants, we can increase the number of reproducible colours. A complete, “official” set of expanded gamut inks is OGV, as seen in the Epson SureColor P9570 for printing and proofing. Having the full set of CMYK-OGV allows for the reproduction of 90 per cent or more of a Pantone spot library. It is interesting to note that the larger, high-volume customers and devices are not using expanded gamut inks; perhaps one vendor will start and then all the others will play catch up!
Specialty inks
Most inkjet systems offer special inks (white, metallics, varnishes, etc.). These are very useful in targeted applications such as back-lit signage or printing on coloured PoP. It is important during the colour characterization to account for the effect that the speciality ink has on determining the final build of spot colours or the full gamut of the profile. White essentially becomes your substrate white point, varnishes add density or saturation to the printed colours and can affect the accuracy of the end output if not characterized when building your colour profile. Metallics lend their own challenge and are usually managed by a look up table developed by the printer manufacturer.
Colour
standards
Colour management is often imple-
A full set of CMYK-OGV allows for the reproduction of 90 per cent or more of a Pantone spot library.
The Epson SureColor P9570 uses a full range of expanded gamut inks. The Epson SureColor S80600 has orange and red.
mented by printing to a colour standard or specification. Borrowing from the commercial print world we have established colour aim points that used to be known as SWOP and GRACoL and have now been renamed to characterized reference printing conditions, CRPC 1 to CRPC 7. Most large format printing today aims to match CRPC 6 (equivalent to GRACoL 2013).
The G7 grey scale calibration process can be used in conjunction with the above colourspace specifications. G7 was recently updated to G7+. Keep in mind that G7/G7+ is only used to balance CMYK channels and does not manage ECG colour inks. XCMYK, a pseudo-expanded gamut colourspace, may also be used.
An important development is a new standard. The ISO 21328 Guidelines and recommendations for multicolour (CMYKOGV) print characterization, 2022 standard describes the ideal L*a*b* values for orange-green-violet inks in a printing system.
Colour management software
Every large format device is controlled by a RIP/driver software that incorporates colour management settings. The colour management process may be ‘high level,’ such as simply offering operators the ability to select ICC profiles and media or it may allow the user to delve into finer details such as halftone dots, ink splitting, ink limit-
ing, and strategies to map the image colours to the expanded gamut inks. Color management products allow users to manage the separations and ink recipe for each build. An orange colour, for example, can be made with a CMYK mix or with orange alone. Think about it—making an orange (a yellow colour) with cyan! A small drift or variation in the blue ink will hugely affect the colour, while a similar drift in orange ink will result in relatively little colour difference. PrintFactory software creates a build with emphasis on orange and yellow for what is an orange spot colour, Pantone Orange 021 C.
ReproArt Imaging
ReproArt Imaging in Toronto offers a range of large format products using the AGFA Tauro H2500 with LED UV curing with CMYKcm inks plus white. Their Epson SureColor S80600 has CMYK+OR and can produce proofs on media close to package production substrates. Zohrab Tatikian, president, ReproArt Imaging said, “The above systems allow us to offer solutions ranging from large format printing, mounting and lamination, POP displays, floor graphics and billboards.”
ERIK SCHMITT is sales director - Canada, GMG Color. Abhay Sharma is a professor at the Creative School, Toronto Metropolitan University.
Magenta
Light Magenta
Inkjet devices may use light magenta and magenta ink (left). In an L*a*b* colourspace diagram (right), the light magenta inkjet ink does not increase the colour gamut.
As the media production landscape changes, publishers, printers and Library and Archives Canada need to adapt to new challenges in the production and preservation of Canada’s documentary history.
OUR ROLE IN LEGAL DEPOSIT
Exploring
how printers can safeguard Canada’s cultural
heritage
By Olivia Parker
Printers touch literal history. Take this issue of PrintAction; created by its writers, editors, and designers, it’s a small piece of history. Yet, it is ephemeral. Once read it will, eventually, be recycled. But what happens if someone wants to read it 10, 50, or 100 years from now? They can. Thanks to the work of Library and Archives Canada (LAC), the federal institution responsible for acquiring, preserving, and providing access to our national collections. They ensure Canada’s cultural and documentary history is not lost. In the last 150 years, LAC has collected over
20 million Canadian books published in various languages, archived national newspapers from across Canada, stored approximately 5 billion megabytes of electronic information and filled more than 250 linear kilometres with textual records. But as technologies change, preserving Canada’s documentary heritage has become much more complicated. Printers, I believe, can be part of the solution.
Why is this important?
One of the ways Canadians understand who we are or will become as a nation is through our documentary heritage. History has shown that printed words and images have the
power to change people’s lives, minds, and identities. The Library and Archives of Canada Act (Bill C-8) governs legal deposit—a regulatory requirement that publishers submit copies of their publications to LAC. This ensures the preservation of Canada’s collective history.
Who is responsible?
Canadian publishers and producers are required to submit their physical and digital publications for legal deposit to LAC’s collections. This group includes producers of music, video, and audiobooks, trade and small press publishers, academic and educational publishers, and self-publishers who meet the following requirements:
• make a publication or production available in Canada;
• publish or produce from an official office of business within Canada;
• have at least 75 per cent of their employees based in Canada, and;
• are authorized to reproduce publications or productions and control the content.
Printers exist in a gray area. Printers produce the publications LAC seeks to obtain, but they don’t hold the copyright; and, therefore, cannot make submissions.
What’s collected?
Mary-Francis Turk, supervisor of Legal Deposit, Private Archives and Published Heritage Branch, explains that legal deposit enables LAC to collect materials created in Canada intended for sale or public distribution.
Legal deposit mandates the collection of books (monographs), maps, sheet music, and serials (magazines, journals, newsletters, newspapers) that Canadian publishers release in all formats—both digital and physical. The archive may also accept donations of theses, microfiche, Braille documents, annual reports, and other historically valuable materials.
Julie Anne Richardson, manager, Published Canadiana, Private Archives and Published Heritage Branch, emphasizes LAC focuses on educating publishers about their responsibilities rather than strictly enforcing the Act. Therefore, LAC goes to great lengths to build awareness and retrieve material by:
• connecting with publisher associations to give presentations;
• monitoring the book market to
identify new publishers needing education;
• sending requests to Canadian authors self-publishing through online platforms; and
• responding to inquiries from across the country (like being interviewed for this article).
However, the 21st century has changed the way books and serials are published. Publishers, printers and LAC are having to adapt to new challenges in the production and preservation of Canada’s documentary history.
Challenges
20M
In
the last 150 years, Library and Archives Canada has collected over 20 million Canadian books.
As the landscape of media production changes, the risk of losing significant parts of our national history increases. First, in the last decade, access to graphic design software and the growth of on-demand printing has removed many of the middlemen, such as publishers and design firms, who would have previously handled legal deposit. Printers have seen this firsthand. Clients are now often individuals or organizations designing their own documents and media.
Second, the digitization of traditional print formats, such as the incremental growth of ebooks, the decline of daily newspapers, and the shift of local news to online-only formats, means many publishers may not realize they must submit digital copies to legal deposit.
Finally, employee turnover. When people change jobs or retire, the tacit knowledge of submitting to legal deposit might be forgotten, creating gaps in the collection.
With these changes, the question arises: do organizations and individuals even know they need to submit? Michelle Foggett-Parker, acquisitions librarian, reassures that LAC monitors submissions and reaches out when they stop. But considering the volume of Canada’s published material, this is a monumental task.
Role of printers
Although printers are not responsible
As custodians of Canadiana, printers can inform and remind clients about legal deposit to help ensure that our stories endure for future generations.
for legal deposit, they are intimately familiar with both their clients and their media. This creates an opportunity for dialogue. Here’s how printers can help:
• learn about and share information on legal deposit;
• check the Library and Archives Canada’s online catalogue Aurora to confirm clients are submitting to legal deposit;
• ensure LAC’s address is in mailing lists and email listservs so physical and digital magazines are submitted in a timely manner;
• inform new publishers and self-publishing clients about their legal deposit obligations; and
• encourage clients producing culturally significant documents to check LAC’s interest in acquiring them for the collection by emailing them at depotlegal-legaldeposit@bac-lac. gc.ca.
Even if LAC is not interested other institutions like Provincial Archives or university libraries might wish to acquire them.
Publishers submitting physical publications must complete and send a form, available online, together with copies of the physical publication to legal deposit by mail. Publishers submitting digital publications will either need to create an online account or email Depotlegalnumerique-DigitalLegalDeposit@bac-lac.gc.ca a digital file.
By ensuring clients are informed about legal deposit, printers can help protect the stories that define Canada.
Conclusion
The work of Library and Archives Canada is a bit of a paradox. No one can know for certain what should be preserved, but it’s also impossible to collect and store everything. Mary-Francis Turk notes, “[Librarians] try to collect publications that will help us know the story of Canada over time.”
While documents, like books and magazines, have clear submission guidelines, other ephemera may hold cultural significance and need to be submitted. As media production evolves and clientele changes, printers have an educational role to play. As custodians of Canadiana, printers can inform and remind clients about legal deposit to help ensure that our stories endure for future generations.
ADOPTING AI IN PRINT INDUSTRY
Practical applications and opportunities with artificial intelligence
By Lee Eldridge
Artificial intelligence (AI) is helping printers across the country reshape workflows, enhance creative processes, increase operational efficiency, and open new growth avenues. At a recent webinar hosted by the Digital Imaging Association, Mark Lewiecki, senior product manager of Adobe PDF Print Engine, and Marc Raad, president of Significans Automation, shared their practical insights into how AI can be integrated into print workflows to address challenges and accelerate solutions. Their discussions highlighted the enormous potential of AI, and provided actionable,
present-day strategies for printers to consider when determining how to leverage this technology effectively.
Bridging creativity and efficiency
Technology companies like Adobe have been steadily integrating AI-powered features into creative workflows for several years now. Lewiecki emphasized that while ‘traditional’ AI features like Photoshop’s Content-Aware Fill or the Healing Brush tool have aided designers and prepress professionals for years, generative AI represents a significant leap forward. Tools like Adobe Firefly and Project Stardust enable users to gen-
Adobe Firefly enables users to generate entire designs by simply providing text descriptions and prompts.
erate everything from image components to entire designs purely based on text descriptions and prompts inputted by humans.
“In the last year, 7 billion images have been generated… Generative Fill is now in the top five most used features in all of Photoshop,” Lewiecki explained. These capabilities accelerate the design process and help to democratize creativity, allowing a wider range of users to make detailed image alterations.
For printers, this influx of AI or partially AI-generated content must be effectively managed and processed for accurate reproduction. Adobe is working to ensure that its AI outputs are print-friendly, with considerations for colour accuracy, resolution, and file formats aligning with professional printing standards.
Solving prepress challenges: AI-generated bleed
As accessible design tools like Canva encourage more non-designers to create files intended for print, a continuing challenge for printers is receiving designs missing production necessities like appropriate bleed. Traditionally, prepress operators have employed workarounds like scaling up background images or stretching or reflecting pixels at the edges of a design to add missing bleed to a client-supplied document. These solutions work well in some cases but may compromise the design’s integrity in others and lead to unsightly or visually disruptive image patterns at the edges of a trimmed piece.
Lewiecki demonstrated how AI can intelligently generate complex bleeds by extending the artwork while maintaining the original esthetic. Using Adobe’s Generative Fill features, printers can select areas adjacent to the provided design that are missing appropriate bleed, and the AI engine will rapidly generate image content that seamlessly blends with the existing design elements. This saves time and improves the final product’s quality over many traditional corrective methods, as it permits complex patterns, images with diagonal lines, or intricate shapes to be quickly and accurately expanded beyond their original crop.
Upselling with AI-driven embellishments
In addition to solving technical issues,
AI can also be used by printers to upsell services. Lewiecki discussed how AI tools can rapidly identify key design elements that might benefit from embellishments like spot varnish or metallic inks. By using AI-powered object selection tools, printers can quickly isolate specific features of a design and propose enhancements that add visual impact to their clients.
He suggested that a potential conversation starter with a client could be as simple as ‘I know you didn’t design the job with spot varnish in mind, but what if we were to add a spot varnish to this object. It would cost you this much and it will make it so much more effective.’
This approach leverages artificial intelligence for business development, offering clients added value and differentiated services without significant additional work.
AI in workflow automation
While AI is enhancing creative and prepress processes, automation remains crucial for operational efficiency. Raad emphasized the importance of integrating AI within existing print workflows to maximize productivity. By tailoring software solutions to fit specific business needs, printers can automate repetitive tasks, reduce errors, and free up human resources for more strategic roles.
Raad emphasized that data and logic are the critical raw materials of successful automation and AI integration. Printers need to map out their current processes, identify areas where AI can have the most impact, and use that to help them develop a roadmap for implementation.
Strategic steps for embracing AI
Raad outlined the following practical steps that printers can take towards their AI and automation goals:
• assess automation potential –evaluate in detail which business areas could benefit most from automation and AI;
• engage with experts and suppliers – discuss AI capabilities and roadmaps with your internal team and external technology partners to help support your goals;
• map out processes – document current workflows to identify existing inefficiencies and potential opportunities for AI integration;
AI-empowered Generative Fill is one of the top five most used features in Photoshop.
• plan incrementally – implement changes in manageable phases, focusing on areas with highest potential for immediate impact and moving down the prority list; and
• monitor and adjust – continuously evaluate AI integrations’ performance and adjust as needed to optimize results.
While AI offers considerable advantages in some areas, both experts underscored that human insight and expertise remain at the heart of the industry. artificial intelligence can be a powerful tool to augment human capabilities, but it doesn’t replace skilled professionals. Printers should view AI as an assistant or a co-pilot: an ally helping navigate complex workflows, enhance outputs, and unlock new business opportunities.
2023
Adobe launched the Generative Fill feature in Photoshop in May 2023.
“AI supports human decision-making,” Raad noted. “It’s becoming a game-changer for all of us because it does enhance production, speeds, reduce manual touch points, and ensures more precision.”
Like most new technologies, printers who proactively seek out solutions will be better positioned to meet increasing market demands and pressures. By combining AI-driven tools with tested human guidance and expertise, the industry can improve efficiency, creativity, and, ultimately, customer success and satisfaction.
LEE ELDRIDGE is a researcher and educator specializing in graphic communications technology, AI, and workflow automation.
Adobe’s
CONGRATULATIONS
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Platinum Sponsor
Richard Weedmark / exe. vice president / R. E. Gilmore Investments
As the executive vice president of R. E. Gilmore Investments in Ottawa, Ont., Richard Weedmark is deeply involved in strategy, vision, sales execution and company success. Who better to ask about the state of the printing industry than a management-level executive at one of Canada’s leading communications services providers. Here’s an extract from an interview with Weedmark.
What is the state of the print industry today, in your opinion?
RW: In my view, I don’t think that printers are transforming at the pace of change. This reality is resulting in shrinking revenue, mergers and sometimes even worse outcomes. The print industry has massive potential, but only to those that truly and fully embrace change. Companies hanging on to legacy revenue streams, legacy processes and old thinking will not survive against those that are aggressively transforming. In our case, we are on the road to our best revenue in a 40-plus year history.
The Gilmore Group of Companies was established in 1983.
The print industry has massive potential, but only to those that truly and fully embrace change.
What attracted you to the print industry?
RW: The truth is that there was no specific attraction to the industry. I was given a junior sales opportunity in this company in my early 20’s and worked my way through the organization. A better question maybe is, what’s kept me in the industry? The answer to that is quite simple. On one hand, the company’s ownership provided me with the environment to think freely and to build (within controlled reason) as I needed to grow the business. This combined with working with some exceptional teammates has allowed us to serve some of the world’s largest companies in all corners of the globe while selling print, e-commerce, digital fulfillment, AI, etc. In fact, we are now viewed as one of the world’s leading content communications providers for major markets.
How can the industry attract more young people?
RW: The first step is for industry leaders to think differently about its future. In my opinion, there are endless opportunities for success in this business, but not if one is unwilling to transform. To me, it would be exciting as a young person to sell globally through an ecommerce channel. Additionally, if you integrate transformative digital solutions, such as AI, you have the tools to become the perfect content communications provider. Secondly, I think it is important to adopt and include views from youngsters in the organization’s vision and strategy. This would be instrumental when combined with skillfully allowing young people to explore and develop new markets.
In such a competitive landscape, how can printers win more sales?
RW: In short, printers can win more
sales by not selling print! Of course, print revenue is a desired outcome, but when you wrap tremendous value around your offering and solve complex problems for customers, then you are viewed as a resource that is worthy of being at the table rather than an interchangeable commodity. Our company has experienced tremendous growth over 40 years by applying this logic. From being a digital printing pioneer and a global e-commerce provider to a business intelligence warehouse and a digital transformation architect, we now attract some of the world’s largest customers, and often with relationships measured in decades. And frankly, print revenue is part of this outcome.
We have also strategically assembled a close network of global service providers to fulfil our clients’ needs in each corner of the planet.
What are some of the biggest opportunities in the print industry?
RW: I think that some of the largest opportunities now and in the future will be presented to organizations creating a capability to engineer meaningful solutions for their intended audience. Large print revenue opportunities will come to those who are capable of imagining or re-engineering a process (global supply chain or other) that drives cost out of the customers’ total equation (not just print) and improves tactical efficiencies in their business. It is imperative for print strategists and sellers to move from transactional thinking to long-term strategic vision.
What do you think is the most exciting thing about print today?
Robert (Bob) Gilmore, chair and owner of the Gilmore Group of Companies, with a rare Columbian iron press donated to the company earlier this year by the Howard Iron Works Museum.
RW: It is what we make it. If we choose to be a transactional provider, then we are limited by our thinking. If we choose to be an e-commerce provider that ultimately fuels print revenue, we can have endless sales calls and endless success.
Richard Weedmark’s response was edited for length. For more Q&A Spotlight interviews, please visit www.printaction.com/profile.
