How can inkjet drive growth for your business? The Xerox® Baltoro® inkjet platform can streamline, automate and accelerate work. Our platform’s seamless expandability, green-button simplicity and lowest total cost of ownership create more opportunity for you. We call that inkonomics. Learn what inkonomics can do
FEATURES
10 Nick Howard Flute: Print’s golden goose 12 22 6 16
Light Visions creates a sensory experience with large-scale graphics
DEPARTMENTS
GAMUT
5 News, Calendar, People, Installs
TECHNOLOGY REPORT
19 Exploring the latest in plates and imaging hardware
NEW PRODUCTS
21 Introducing new solutions from Roland DGA, Koenig & Bauer and Flint Group
SPOTLIGHT
22 Chloé Lépine, account manager and marketing co-ordinator, Paragraph
A growing number of systems make DTG printing fast and affordable COLUMNS
FROM THE EDITOR
4 Nithya Caleb
Opportunities with large formats
INSIDER
8 Bob Dale
Challenges and opportunities
CHRONICLE
Trends in large formats
According to Smithers, the printed signage market is forecast to grow and reach a market value of $43.73 billion in 2024.
A number of key trends affect the global printed signage market including technological advances and web-toprint platforms for inkjet.
Technology advances
$10B
Global digital textile printing market will be worth $10 billion in 2026.
Per the Future of Printed Signage in an Electronic World to 2024 report, all aspects of printing technologies continue to evolve and improve printing processes.The key factors driving developments in all of these print processes are centred around reducing production costs through faster press set-up, and increased use of computer-controlled automation at all stages.
Web-to-print platforms for inkjet
Web-to-print platforms are changing the way printers take and process orders. These platforms enable customers to place orders via the internet that will flow directly to production and on to the dispatch department upon completion. The process is suitably aligned with digital print processes that print from a computer-generated image, saving time and costs for both the customer and the printer over the traditional process of initial briefings, artwork modification and final approval.
Interior decor
Interior decor can effectively convey a brand’s story and influence one’s perception of space. In a recent blog, Wouter Derichs, sales & marketing director, Large Format Graphics at Canon Europe, said, “Interior decor is one of the largest growing markets in digital printing and the rapid evolution of print technology is constantly creating new and exciting opportunities. In 2024, the global printed signage market within interior decor will, it is speculated, be worth $54 billion.”
According to Derichs, the biggest area of growth is in wall covering solutions, such as wallpapers, murals and textiles, largely due to advances in digital print.
During the pandemic, online art gallery Elephant Stock saw a 185 per cent rise in demand for home decorating solutions, as locked down shoppers decided to refresh their living spaces.
“Digital print means consumers can now order tailored products based on criteria such as how long they want them to last, what surface they are applying it to, and whether they want to install it themselves. Additionally, thanks to digital print, these bespoke designs now come in at a lower price point for both the customer and print service provider, allowing for more frequent alterations,” added Derichs.
Textile printing
According to the Future of Digital Textile Printing to 2026 market report by Smithers, the demand for digitally printed textiles is set for accelerated growth over the next five years. Smithers forecasts that a CAGR of 12.7 per cent will push the market’s global value to $10 billion in 2026.
Across the same period, Smithers predicts the volume of inkjet printed fabrics, such as apparel, household furnishings, technical textiles and display media, will increase from 2.89 billion m2 (2021) to 5.53 billion m2 (2026).
This will see inkjet’s share of the total printed textile market rise from six to 10 per cent over the Smithers’ forecast period. For print OEMs, this presents a major area for diversification and growth as many other print segments continue to trend downward.
The potential for design freedom, customized fabrics, short print runs, quicker reorders and print with a lower environmental impact means the demand for inkjet machines will continue to rise.
Evolution of technology
Inkjet printing is already familiar in several sectors, but penetration into others, such as technical textiles, is much more limited. Smithers believes this presents extra opportunities as technologies mature.
As the market evolves there will be multiple technological advances that can support further sales. These include greater automation of presses and finishing equipment, boosting machine throughput and the wider use of pigment-based inks in soft signage and home furnishings.
Reader Service
Print and digital subscription inquiries or changes, please contact
Barbara Adelt, Audience Development Manager
Tel: 416-510-5184
Fax: 416-510-6875
Email: badelt@annexbusinessmedia.com
Mail: 111 Gordon Baker Rd., Suite 400, Toronto, ON M2H 3R1
COO Scott Jamieson sjamieson@annexbusinessmedia.com
Subscription rates
For a 1 year subscription (10 issues): Canada — $43.00 +Tax Canada 2 year — $70.50 +Tax United States —$98.00
Other foreign —$191.00
All prices in CAD funds
Mailing address
Annex Business Media
111 Gordon Baker Rd., Suite 400, Toronto, ON M2H 3R1
Tel: 416-442-5600 Fax: 416-442-2230
Occasionally, PrintAction will mail information on behalf of industry related groups whose products and services we believe could be of interest to you. If you prefer not to receive this information, please contact our Audience Development in any of the four ways listed above.
Annex Business Media Privacy Officer Privacy@annexbusinessmedia.com
800-668-2384
PrintAction is printed by Annex Business Media
Printing on Creator Gloss 80lb text and Creator Silk 70lb text available from Spicers Canada.
ISSN 1481 9287
Mail Agreement No. 40065710
printaction.com
NITHYA CALEB Editor ncaleb@annexbusinessmedia.com
The Paper and Paperboard Packaging Environmental Council (PPEC) has announced the results of its 16th biennial Recycled Content Survey. The survey determines the average recycled content used to make paper-based packaging products in Canada.
The average recycled content of domestic Canadian shipments of the three major packaging grades—containerboard (used to make corrugated boxes), boxboard (for boxboard cartons) and kraft paper (paper bags)—is 81.7 per cent, according to the 2020 survey, up from 73.5 per cent in 2018.
The average has steadily increased from 47 per cent in 1990, when PPEC first started collecting recycled content data from Canadian paper mills.
The Printing United Alliance finalizes its 2021-22 Suppliers and Manufacturers Council (SMC). Appointed annually, this group of industry leaders advises the association on issues and trends related to the future success of the printing industry at large and represents a cross-section of all market segments.
The 2021-22 SMC is led by chair Carleen Gray, CEO, Stahls’, and vice-chair Michael Brice, VP, sales & business development, INX International Ink. Andrew Oransky, CEO, Roland DGA, assumes the role of past chair.
Konica Minolta Business Solutions (Canada) has been named as one of the world’s premier managed service providers (MSPs) in the 2021 Channel Futures MSP 501 rankings.
The Channel Futures MSP 501 survey examines organizational performance based on annual sales, recurring revenue, profit margins, revenue mix, growth opportunities, innovation, technology solutions supported and company and customer demographics.
Ricoh USA, Inc., introduces its Wide Format Elite Access, a new service that connects wide-format print professionals with production workflow experts to help them maximize wide-format production capabilities and bridge the knowledge gap to better satisfy customers. This one-on-one connection to industry experts is designed to empower printers to quickly resolve production challenges and share practical knowledge and best practices for sign and graphics workflows, regardless of brand.
Hazen Paper Company has received official recognition of recyclability from two European certification authorities for the transfer-metallized product, Envirofoil. Envirofoil is Hazen’s environmentally friendly option for metallized
and holographic packaging and print solutions. After scoring Envirofoil 19 out of 20 total points for recyclability using methodology developed by the Bifa Environmental
Institute, Interseroh in Cologne, Germany, authorized the use of the “Made for Recycling” quality seal for packaging made with silver or holographic Envirofoil. The Lucense Research Institute, based in Italy, granted Envirofoil the certification “Recyclable with Paper – Aticelca 501.”
Kornit Digital partners with online visual communications and design platform Canva. As part of the partnership, KornitX, an operating system for on-demand sustainable fashion, will become one of Canva’s first certified integration partners. The move empowers Canva to help clients add the Canva design tool to their e-commerce websites. KornitX will also manage and route all orders through Kornit’s global fulfillment network.
Rondo-Pak, a provider of folding cartons and printed components for the pharma-
CALENDAR
November 16-18, 2021
Xplor21: The Future of Customer Communications
St. Pete Beach, Fl.
November 16
Unbound by APTech Online
February 21-24, 2022
Hunkeler Innovationdays Lucerne, Switzerland
May 31-June 03, 2022
FESPA Global Print Expo Messe Berlin, Germany
June 14-16, 2022
Amplify Print Minneapolis, Minn.
September 13-15, 2022
Labelexpo Americas 2022 Chicago, Ill.
October 19-21, 2022
Printing United Expo 2022 Las Vegas, Nev.
ceutical, medical device and consumer industries, earns certified vendor status with Genentech, a member of the Roche Group.
This designation comes as a result of Rondo-Pak providing dozens of consecutive batches of material, totalling eight-million cartons, without a single complaint or failure. As a preferred supplier, the status signifies Rondo-Pak’s consistent ability to provide supreme customer service, while minimizing cost and maximizing efficiency for its customers.
Per an agreement, Pacific Office Automation (POA), an office and print technology equipment dealer in the United States, will become a key distributor of Eastman Kodak Company’s digital print solutions. The collaboration with POA will increase accessibility of Kodak’s leading digital print equipment including KodakNexfinity and Kodak Prosper presses to U.S.-based customers.
The average recycled content of domestic Canadian shipments of the three major packaging grades is 81.7 per cent.
Rondo-Pak earns certified vendor status with Genentech.
Pacific Bindery names Claus Larsen as manager. Larsen will team up with supervisor Rob Kondratowski and his team of operators. Larsen will be responsible for day-to-day partner communication, estimating, scheduling, project consultation and meeting with existing and prospective clients.
Domino has made some changes to its sales team. Emily Kroll, digital printing account manager, will handle the Southeast region. Patrick LaMourie, digital solutions manager, has transitioned to the role of digital printing account manager for the Mid-West and Ohio Valley states. Mike Agahee was named digital printing account manager for the Southwest region. Based in California, Agahee comes to Domino with over 30 years of work experience in the graphic arts industry.
Global Graphics Software appoints Peter Kushnieruk as manager of OEM sales for the Americas. Kushnieruk has over 30 years of experience in print technology. While at companies such as Agfa, Fuji and Kodak, he gained experience in direct, channel and OEM sales, as well as in vertical markets where print and the products to create it were the main technology. He then branched out to EFI, X-Rite/ Pantone, JYBE and Valli Information Systems where he gained knowledge and experience of enabling technologies for print applications and other manufacturing processes.
Lewis Color installs the Ricoh Pro TF6250 and Ricoh Pro L5160, wide-format solutions that produce graphics on a variety of indoor and outdoor substrates as well as offer a range of professional services.
Jostens, Clarksville, Tenn., installed a Speedmaster XL 75-5+L with Anicolour technology and two Speedmaster XL 106-8Ps with push-to-stop technology. All are controlled by the Prinect workflow solution.
The Printing United Alliance appoints apparel industry veteran Josh Carruth as managing director, apparel community. In this role, Carruth is responsible for the growth and support of all apparel-related programs and membership initiatives at Printing United Alliance. Carruth previously worked with Emerald Expositions where he was responsible for leading brand strategy and profit and loss management across all media/events within the portfolio while driving profitable event and media growth.
Miraclon names Chris Mitchell as Midwestern U.S. sales manager. The role includes supporting and enabling customers to maximize the capabilities of their Kodak Flexcel NX Solutions and aiding prospective customers to achieve business growth with new investments in Flexcel NX Technology.
New York Label & Box Works is the first U.S. company to invest in an Edale FL5, flexographic, single-pass, carton press and inline flatbed die cutter.
Mike Agahee
Challenges and opportunities
Common issues
plaguing the North American printing industry
By Bob Dale
recently spoke to printers from across North America about their top business challenges and opportunities. While the priorities changed weekly, there were a few common challenges that I’d like to offer for your consideration.
In the early part of the year, the top challenge was dealing with the high price of paper and other substrates and consumables. This changed a few months later when paper became scarce. Clients began to select printers on the basis of their ability to get paper.
Pricing issue transitions to material shortages
During shortages, part of the solution is based on your relationship with the paper supplier. We all know the challenges, but if you paid your bills on time, had a collaborative working relationship and were smart with your inventoried stock/JIT order process, your supplier will help you as best as they can. We know of printers who are frequently challenging their paper suppliers and being delinquent on payments, so they are moved to COD and limited stock and no allocations.
It’s also a case of how well did your customers treat you as their print provider? There are customers who consider their printers as partners and treat them fairly. Others argue prices, refuse legitimate charges and then delay payment. Will you be incentivized to bend over backward to get paper for them when others treat you fairly?
Labour scarcity
Labour availability is the second most common challenge. This is an
issue for printers all over North America with positions from entrylevel unskilled labour and skilled staff to executive-level positions going unfilled. Companies have used creative ways to hire staff. For example, they’ve offered increased compensation, better working conditions, signing bonuses and relocation cost incentives.These strategies come with other challenges. For example, if new employees are offered premium wages to join, this will increase the expectations of current staff. As you raise pay scales to avoid staff departures, your costs will increase, so either your prices increase or you reduce costs through efficient production.
Smart tech investments
Growth opportunities
BOB DALE is COO, Connecting for Results, Inc. He can be reached at info@connectingforresults.com. Reducing 25 per cent of
This brings us to an opportunity— smart investment in technology. There are frequent news about companies investing in presses with automated features and bindery and finishing equipment that reduce labour and improve workflow by increasing throughput. While vendors may provide you with excellent case studies, you still need to do the research to evaluate the investment’s impact on your operations. It is important to remember that reducing 25 per cent of work hours of four different staff members does not always result in cost reduction equivalent to the salary of one full-time employee.
Mergers and acquisitions present growth opportunities. If a company is healthy and has access to capital to make a tuck-in acquisition, the result can be rewarding for both the buyer and seller. The challenge is that many owners do not have a realistic understanding of their company’s worth due to the financial impact of the pandemic. While the average commercial printer experienced a revenue decline, government subsidies helped offset the decline. Business valuations must take the impact into consideration. Many owners want to be paid today for future sales without a track record to demonstrate success. While sales activity may be returning, the company needs to prove this trend will continue, and structure a deal that shares the risk of future activity.
Be positive
With these challenges and opportunities, one thing that is common for many successful people is the need to be optimistic, and share positive messages about printing and the future of the industry. Together we can help our customers, employees and companies and make the industry stronger.
On all Raised Foil or Raised UV Greeting Cards
Greeting Cards / Raised Spot UV
Greeting Cards / Raised Metallic Foil (Gold or Silver)
Flute: Print’s golden goose
A moment in time when corrugated carton came out of the shadows
By Nick Howard
In the 20th century, the J.W. Sefton Manufac turing Company’s Chicago offices were buzzing with the ar rival of a potential new customer: a glassware manufacturer from Okla homa. The glass was shaped as a globe. It was popularly used for street gas lights at that time.
Sefton was in a fledgling sector of making the newly invented corrugat ed board from yellow straw, referred to as strawboard. The company had started manufacturing wooden but ter dishes. However, this changed when Jeffrey T. Ferres, an employee, patented a new principle to an exist ing ‘corrugator,’ known as a pres sure-roll single facer.
Unfortunately, the glass execu tives were not convinced a rigid and pleated strawboard box would be better than their current wood box filled with excelsior (shredded wood).
Wooden boxes
Wood packing was the only option until then. It was expensive. Further, fragile items like glass globes often broke during transit.
The novel idea of a corrugated box had the added benefit of reduced weight, but it was unproven in the days when everything had to travel by train. Despite Sefton’s sales team citing how glass products were already being shipped to as far off as
An original patent for first automatic liner application from a roll (1900).
The introduction of aniline (flexo) ushered in an era of improved graphics along with rapid ink drying.
were packed in these newly designed cartons, taped shut, and brought to the top floor of Sefton’s Chicago building. In a stairwell, each box was booted down the stairs, floor after floor, until they arrived in the basement looking battered. When the cartons were opened, the glassmaker was surprised, as none of the globes were broken. This moment in time would be instrumental in bringing the corrugated carton out of the dark shadows of irrelevance and mistrust.
Double-face cartons
Jeffrey Ferres improved the single-face corrugator, which was designed in 1895 by Philadelphians Charles Langston and David Weber. He added a liner to the open corrugated flutes.This would soon develop a double-facer, opening up corrugated materials to the modern age.
There were many more hurdles to overcome since printing on paper cartons proved difficult. Hooper presses were the only way to print, and these machines were designed for wood boxes, not corrugated. They were unforgiving. Since they embossed deeply—and ideal for wood —corrugated materials were crushed by the press. Modifications and new printers soon solved the problems, but with type only being applied.
The introduction of aniline (flexo) ushered in an era of improved graph-
ics along with rapid ink drying. Even today flexo is widely used for printing directly on corrugated double-face cartons. A pizza box is a popular example of flexo in action.
As the wood packing industry slowly fell out of favour, corrugated took another giant leap with litho-printed paper laminated to flat boxes. By the mid-20th century clerks and salespeople started disappearing from stores. This meant that the products on the shelves had to become the salesperson while safely holding the contents. Today we are witnessing the same transformation of retail job losses; the only difference is that the catalyst now is IT.
Printing on flutes
Corrugated straw paper was initially patented in England by Edward Healey and Edward Allen in 1856. However, the patent was not for making a box, but for creating flutes without liners to protect delicate glassware inside a wood box. Their invention was a by-product of the laundry industry where young
The single-face corrugator was designed in 1895 by Charles Langston and David Weber.
women hand-fed the edges of window curtains or collars of shirts and blouses. Today corrugated materials are widespread with the recent addition of micro-flutes, specifically Fand N-flutes, which can be easily printed while offering rigidity and protection for everything from cosmetics to foodstuffs. In the 1970s, Planeta promoted the ability of their Variant offset press to print on F-flute since the variant could handle over 50 point materials.
billion. It is expected to grow to USD339.95 billion in 2025.
Eighty-eight per cent of new corrugated includes recycled materials, a big win for environmentalists. This stat is also attractive to consumers who want companies to adopt eco-friendly practices.
Corrugated straw paper was patented by Edward Healey and Edward Allen in 1856.
The genesis of modern corrugated production began at J. W. Sefton’s factories in Chicago and Anderson Indiana. In 1930, Sefton was purchased by Container Corporation of America. Today, the remnants of J.W. Sefton are held by RockTenn that merged with MeadWestvaco in 2015 to form WestRock, the world’s second-largest rigid and corrugated packaging manufacturer after International Paper.
According to Dublin-based Research and Markets, corrugated board sales are growing fast. In 2019, the sales were worth USD262.61
Easily recycled corrugated has indeed changed the way we buy goods. From frugal beginnings to today’s modern, strong and lightweight box, there is no stopping our love affair with fluted cartons: a win-win not only for the environment, but also commerce. Perhaps we can say WestRock is the father of the modern corrugated shipping carton business.
and Certified Appraiser of capital equipment. nick@howardgraphicequipment.com
NICK HOWARD, a partner in Howard Graphic Equipment and Howard Iron Works, is a printing historian, consultant
The visual elements of the Mandela: Struggle for Freedom exhibition were printed and fabricated by Light Visions on HP 3600 latex printer.
A LATEX STORY
Light Visions creates an immersive sensory experience with
large-scale graphics
By Nithya Caleb
The show-stopping Mandela: Struggle for Freedom exhibition is continuing its successful run across North American museums. The exhibition was produced by the Canadian Museum for Human Rights (CMHR), Winnipeg, in collaboration with the Apartheid Museum in Johannesburg, South Africa. It debuted at CMHR in 2018. In 2019, it began travelling across North America, most recently to the Illinois Holocaust Museum and Education Center, Skokie, Ill.
Exhibition details
Mandela: Struggle for Freedom takes visitors through the story of Nelson Mandela and the struggle of Black
and other non-white South Africans for freedom from colonial rule and apartheid.
“This was our first blockbuster travelling exhibition since the museum opened. We wanted to create a sensory, immersive experience utilizing scenography and largescale graphic elements,” explains Rob Vincent, acting director of design and innovation at CMHR.
Key visual components of the exhibition were printed and fabricated using HP Latex 3600 technology by Light Visions, a Winnipeg-based specialized printing company, in spring 2018. Light Visions used a variety of materials like vinyl, paper, acrylic, wood, steel and fabrics to create textile banners, wallpaper and vinyl wraps. This
contributed to the rich sensory experience featuring dramatic visual elements and original artifacts.
Light Visions printed 280 to 300 image and text panels and largescale murals. All the panels were uniquely built.
The project comprises 18 murals. The biggest one is 33 x 11 ft. Light Visions also created 71 vinyl wrapped story and text panels. These panels were joined together to create massive panel clusters.
The exhibit also includes a dramatic “Wall of Laws” that visually illustrates the oppressive rules of apartheid, the system of racial segregation that existed in South Africa until 1994 when Nelson Mandela became the country’s first democratically elected president. The Wall of Laws comprises 74 printed panels.
Design concept
The museum’s project team wanted to use materials that were relevant to the time frame and area where the story was taking place. As a result, wood and steel are used throughout the exhibition, as well as vibrant graphics and typographic treatments, explains Vincent.
The exhibition itself is divided into five chapters. The Wall of Laws anchors the “Apartheid” chapter. For the “Defiance” chapter, a living room set in the sixties shows how people were fighting apartheid. A life-size scale of Nelson Mandela’s jail cell anchors the “Repression” chapter. “Mobilization”, the fourth section, is headlined by a life-sized Casspir tank to show visitors what it was like to defend oneself from tanks with garbage cans. Finally, the last chapter, “Freedom”, is a celebration of South Africa’s first democratic elections and Mandela’s win.
For each chapter, the curators wanted to create a large anchor with scenographic elements to emphasize that particular section. This approach is exemplified by the Wall of Laws, a tall mural consisting of laws and signs that were used in South Africa at that time to enforce the system of apartheid. The Light Visions project team ensured all signs were printed on the substrates (e.g. plastic, wood, steel) that were used originally to ensure authenticity and potentially transport visitors to South Africa.
The Wall of Laws was direct printed with UV inks.
The Wall of Laws isn’t just a collection of panels stuck on the wall. They all overlapp, and are at different levels. Further, they have to be mounted to plywood panels. It is a really complicated piece. – Allan Brooks
18 71
The project comprises 18 murals. The biggest one is 33 x 11 ft.
Light Visions created 71 vinyl wrapped story and text panels.
Allan Brooks, president, Light Visions, recalls distressing plywood to ensure it looked like the wooden sign panels used in South Africa. The team also deliberately rusted metals before printing on them.
In the end, “the signs we created blended seamlessly next to the original signs,” says Brooks.
“The only difference between the installation and the actual artifacts is that the latter are behind plexiglass. Other than that, you would have a really hard time differentiating the two,” adds Vincent.
A lot of the textures used in the exhibition resemble shweshwe, a fabric that was brought into South Africa by Europeans. Though its origin is colonial, the South Afri-
cans made the fabric their own by adding vibrant colours, patterns and textures.
“In the beginning of the exhibition, the colours are quite dull; just black and white, but as the story progresses, you’ll see other patterns and colours including blue, green, red and yellow. If you look back at exhibition at the end of it, you will see all the colours of the South African flag coming together in unity,” describes Vincent.
Equipment
Nearly 90 per cent of the exhibition was printed on HP 3600 with latex technology.
“We can print just about anything on the HP 3600. It has a lot of con-
trols. It is also eco-friendly since it is latex,” said Brooks.
Wall of Laws
As mentioned earlier, the Wall of Laws is a 17-ft tall wall comprising printed laws, signs and photos. It is a challenging concept. Since the show was travelling, the project team had to create a modular design. The modular panels also had to fit together so that the installed exhibit looked like one seamless piece.
“The Wall of Laws isn’t just a collection of panels stuck on the wall. They all overlap, and are at different levels. Further, they had to be mounted to plywood panels. It is a really complicated piece. Also, we didn’t want them to look like they were mounted to plywood panels. They had to look like they were literally floating off the wall. It was a tremendous challenge,” recollects Brooks.
Easy assembling
One unique feature of the exhibition is that the large, integrated story and text panels were built to be assembled with the ease of an Allen key to make crating and assembly easier.
“We refer to these panels as monoliths. Each monolith has three or four 1- to 3-in thick panels, each over 300 lb. We managed to reduce the weight in half by hollowing out the backs of the panels without affecting the overall look. Now, they all had to be assembled and disassembled. So, we came up with a system to assemble them with Allen keys. We even designed custom wall hardware for them because they had to be lifted onto the wall. We wanted to ensure the assembly was easy for
Light Visions created large graphics with scenographic elements to anchor the different sections of the exhibition.
Some panels used in the exhibition had a modular design to enable easy assembling and disassembling.
Light Visions used a variety of materials to create textile banners, wallpaper and vinyl wraps.
everyone,” explains Brooks.
Value engineering design
The initial design plan exceeded the budget. The Light Visions project team had to fit the design vision into the budget.
“One of our biggest challenges at the beginning was figuring out how we were going to produce the exhibit without losing the impact and at the same time stay within budget. I think we were successful in that,” says Brooks.
Quality
Typically, exhibition panels will have to be reprinted if they are travelling to several locations, due
to normal wear and tear. However, this exhibition “is still almost the same as it was, which is phenomenal,” says Vincent.
Successful show
The exhibition was a huge success for CMHR, which had an increase in visitors. Around 80 per cent of visitors came for the exhibition. This was the largest and most complicated exhibition for Light Visions since a Jane Goodall exhibit. “We love working with CMHR because they constantly challenge us with new designs and initiatives. Rob always likes to raise the bar, and my staff loves the challenge,” says Brooks.
Allan Brooks
Rob Vincent
For textiles and fabrics, the Pantone colour swatch library is printed on cotton, polyester and nylon.
NEW CONCEPTS IN DTG PRINTING
A
growing number of systems make DTG printing fast and affordable
By Abhay Sharma
Garment and textile printing offer new opportunities for commercial printers who are seeking to diversify businesses. Many of the concepts of a textile-creation workflow, such as short, digital print runs, PDF workflows and Pantone, may be familiar to the commercial printer, but there are new constraints like swatches on cotton, nylon and polyester to contend with. Further, instead of grain direction we may consider direction of the weave. In this article, the author explores many “print transferable skills” and describes new concepts in direct-to-garment (DTG) and textile printing.
There are two main applications
of printing on fabric: DTG and textile printing.
Through DTG, one is transferring a design to a pre-existing garment, such as a T-shirt or football jersey. This may be done in many ways including via a conventional silk screen, a thermal transfer process or directly by inkjet onto a specific garment.
Another growing category is printing of the textile or fabric that is later cut and sewed into shirts and skirts, bed spreads, cushions or curtains.
In both, we may consider the advantage of a digital workflow (i.e. shorter print runs, easy prototyping and using the same material for proofing and production).
Growing areas of business
Author and marketing consultant
Cary Sherburne describes how “new manufacturing operations are stepping up to the challenge of delivering apparel on demand. Since labour rates in Asia are lower than in the West, manufacturers in North America must leverage technology to compete, and that’s what many of these relatively new businesses— often called microfactories—are currently doing.”
Adobe Textile Designer plug-in
In early 2020, Adobe released in beta version a Photoshop plug-in called Textile Designer that provided a link from creative designers to the DTG market. It was popular and used widely until the beta program closed in June 2020. In June 2021, Adobe announced a partnership with Aquario Design and NedGraphics to deliver Adobe Textile Designer technology as a plugin from Aquario. Adobe’s plug-in points to the benefits of a PDF workflow, the
Direct-to-garment and textile workflows have many familiar steps from client brief and colour swatches to creative design and production.
same benefits that we’ve been enjoying in print, such as the ability to have separate ICC colour profiles for different parts of the artwork, resolution-independent vector or bitmapped graphics, and to store the cutting/dieline information in the same file.
2021
In June 2021, Adobe partnered with Aquario Design and NedGraphics to deliver Adobe Textile Designer technology as a plugin from Aquario.
Previously, Adobe generously provided the PDF (and TIFF) specification to the print community, and since 2008, the specification has been an open, international standard—ISO 32000—to be freely used and implemented by all parties.
An important concept that we learn from VDP and direct mail is the efficient use of repeating elements. An AirMiles or Aeroplan mailing has a fixed number of holi-
day locations, which are repeated to thousands of recipients. Part of the PDF standard is support for caching of repeating graphical elements to reduce the file size and processing time. For fabric printing with long pattern repeats, we can thus borrow an important caching technology used everyday in the direct mail environment and in VDP.
Pantone swatches
Most printers are aware of the Pantone Formula Guide with around 2000 colour swatches. The books are printed on coated and uncoated paper to closely mimic the type of paper you may be using and ensure a closer colour match. Of course, we need to use fabric swatches for fabric
Serving the US market for nearly a decade, RM Machinery (RMM) proudly brings our expertise to Canada’s printing industry. We deliver the highest quality sheetfed o set, digital inkjet, and flexo printing presses by partnering with the finest manufacturers in the industry.
RMM is the premier distributor in Canada for Mitsubishi, RMGT, and Miyakoshi printing presses; Böttcher rollers, blankets, and chemistry; Standard Horizon finishing systems; GEW UV curing systems and TOYO inks.
The Return of Excellence
For years, Mitsubishi set the superior technology standard for Canadian printers. Today, RM Machinery returns that innovation to Canada, but with an even higher standard: Ryobi Mitsubishi Graphic Technology (RMGT).
We are stable, local, and o er the best-in-class technology. We maintain an ample supply of parts, and for as long as you own one of our supported presses, you are guaranteed ongoing service and support programs that are among the best in the industry.
RM Machinery Inc.
905-238-9797 • 1-855-RMGT-123
5250 Satellite Drive, Unit 9 Mississauga, ON L4W 5G5 www.rmmc.ca
A single PDF file can contain both the CMYK print information and the associated dieline cutting pattern.
printing, so Pantone has a growing division called Fashion, Home + Interiors (FHI). Akin to the original coated and uncoated formula guides for printing, the fabric swatches are printed on cotton, polyester and nylon.
“Our color system centres on the Pantone Swatch Card that is made on double-layered fabric and has been formulated for colour fastness and colour constancy. Cotton is the industry standard substrate as well as the best substrate to represent
colour for multiple fabrics. The swatches are made here at our headquarters in Carlstadt, N.J., where the colours are formulated, dyed, treated and conditioned. They are evaluated and approved by our textile quality manager. Then they are packaged and put into stock for all our clients worldwide,” explained Tannese Williams, product manager, Pantone.
The Pantone swatch card is produced to within a 0.5 Delta
E tolerance to ensure colour consistency and is provided with spectral data. The reference illuminant in textiles is D65, so the Pantone swatches are measured with CIE Illuminant D65, compared to D50 that is commonly used in North American printing.
Zazzle.com
We need a connection between the customer/client, designer and design software and a file format that can contain and communicate the design and colour data in an unambiguous manner. We need the ability to direct the output at different resolutions (S, M, L, XL, XXL), have printing equipment to print the correct colours and finishing technology to cut and finish the item.
While there are many solutions on the market, Adobe has partnered with Zazzle.com for your baby grow, T-shirt or bachelorette parties. Just like we
have RIPs and workflows in the print space, we have dedicated software for apparel printing that’s similar to the Apogee, Esko, Prinect and Prinergy systems. In DTG printing, the software systems tend to be smaller, nimbler and more fun. In textile printing, the software may assist the user in developing the pattern, including 0.75, 1, or 1.5 spacing on the repeat, any “gutters” the repeat makes and “ganging up” for optimum use of material.
While seeing your design on a T-shirt is fun, there is also a serious business model and commercial opportunity in this field. It is a possibility due to a growing number of printing and finishing systems that make DTG printing fast, efficient and affordable.
ABHAY SHARMA is a professor at Graphic Communications Management, the Creative School, Ryerson University*, Toronto.
Plates and imaging hardware
Showcasing some of the technologies from Fujifilm, Kodak, Esko and DuPont
DuPont
DuPont Cyrel Solutions launch the new Cyrel Lightning plate family. These new printing plates are optimized for UVLED exposure systems, such as the Esko XPS Crystal, to make full use of these systems’ capabilities. The benefits of the plates include an optimized match between access time and plate performance without compromising quality.
Cyrel LSH is the first of a new range of photopolymers plates, and will be available in 045 and 067 gauges. It is solvent processable and comes with certified exposure recipes in the latest software of Esko XPS Crystal units.
Cyrel LSH is a hard durometer plate with smooth surface, suitable for advanced surface screenings and optimized for a broad range of substrates and clean press runs in flexible
The DuPont Cyrel Fast 3000 TD is a thermal flexographic plate processor.
DuPont’s Cyrel Lightning plates are optimized for UV-LED exposure systems.
packaging, tag and label and paper printing applications.
Earlier this year at virtual. drupa, DuPont launched its Cyrel Easy R plates family as well as the DuPont Cyrel Fast 3000 TD thermal flexographic plate processor.
Cyrel Easy R is the family of new formulations that maintain the benefits of Cyrel Easy flat top dot photopolymer plates while adding on new attributes to help improve plate handling and on-press performance. The plate family comprises photopolymer plates that are suited for thermal and solvent development and come with smooth or structured surface to provide the best match for a large variety of print conditions.
Kodak
The Kodak Mobile CTP Control App allows remote control and monitoring of up to 10
Your Superior choice for
2. SUPERIOR TECHNOLOGY — Die crease without a die, then fold and even glue all on the same machine, up to 30 pt.
3. INTEGRATED MODULAR UNITS — Combined in-line finishing: crease, fold, glue, tipping, envelope inserting, ink jetting (Duplex), clip seal (3 sides), mail prep.
4. SAVE ON POSTAGE COSTS As a Certified Canada Post Direct Marketing Specialist, we get contract pricing reductions.
5. RETURN MAIL PRODUCTS — Customized “Return Mailers” created in-line with “U” or “BOX-shape” remoistenable glue, time perfed applications and envelope formation.
6. MINI-BOOKLETS — Saddle-stitch and trim 2-up booklets in-line to the size of a business card. No need to trim off-line, or do 2 passes.
7. HIGH SPEED EQUIPMENT — High speed Tipping, Folding, Saddle-stitching and soft folding ensuring on time delivery.
Kodak updates its CTP Control App.
Kodak CTP Platesetters, thus reducing dependency on onsite labour for managing jobs.
The enhanced version of this app provides access to real-time and historical data with customizable reporting to save time on data analysis, help prioritize actions and improve plate-making efficiency. The new version of Kodak Mobile CTP Control App is now available worldwide to download for Android and iOS mobile operating systems.
Fujifilm
Earlier this year, Fujifilm unveiled the Superia ZX, its new processless thermal CTP plate. Due to Print Control Layer Technology, the output will be fast, thereby reducing paper and ink wastage. It will also
The CrystalCleanConnect flexo platemaking solution automates the entire platemaking process.
help increase press utilization rate. Extreme Adhesive Bonding Technology has increased run length. Due to High Color Generation Technology, image visibility on the plate has also improved. This performance will enable the customer to check information on the plate easily, thus preventing mistakes onsite. Processless Gumming Technology will prevent ink stains caused from scratches by hydrophilizing the surface of the aluminum.
Esko
Esko has collaborated with Asahi Photoproducts, a pioneer in flexographic photopolymer plate development, on the CrystalCleanConnect flexo platemaking solution.
The CrystalClean Connect solution fully automates the entire platemaking process, from imaging and exposure through to plate production, reducing the number of steps in the flexo platemaking process from 12 to just one. This equates to a reduction from 36 minutes in platemaking and plate cutting to just 2.5 minutes of operator time to complete all processing steps.
Showcasing the latest offerings from Roland DGA,
Koenig & Bauer and Flint Group
Roland
DGA
launches new solutions
Roland DGA Corporation adds a 64-in. GR2-640 and a 54-in. GR2-540 large-format vinyl cutters to the Roland DG CAMM-1 series. These machines are capable of cutting almost any shape from a broad range of materials.
Roland also launched the Texart XT-640S, a multi-station DTG printer. The XT640S is suitable for graphics apparel businesses.
Koenig & Bauer unveil new inkjet printer
AlphaJet5 X, a continuous inkjet from Koenig & Bauer Coding, features new operational concept and design.The printer has been modernized in terms of both look and usability.
Flint Group introduces new coatings
Flint Group Narrow Web introduces two UV-flexo coating products, the Evolution Deinking Primer and the Evo-
lution Caustic Resistant Overprint Varnish, to improve the recyclability of shrink sleeves and pressure-sensitive labels. Both coatings have been recognized by the Association of Plastic Recyclers to comply with the guidance for PET packaging. Both the inks do not impact the colour, image quality or code readability.
Roland DGA adds two large-format vinyl cutters to the CAMM-1 series. The Roland DGA XT-640S is a multi-station DTG printer.
Chloé Lépine / Account Manager and Marketing Co-ordinator / Paragraph
Chloé Lépine is an account manager and marketing co-ordinator at Paragraph, Montreal. At a time when the industry is struggling to recruit young talent, it is reassuring to discover emerging leaders like Lépine who are optimistic about the industry’s future.
What is the state of the print industry today, in your opinion?
CL:Throughout history, the print industry has steadily grown. It has changed constantly, but I think it has evolved more in the past 10 to 15 years. The introduction and continuous improvement of digital technologies have made this even more true, as new opportunities are now at our disposal. The exciting part is that technology and equipment are evolving. This makes the print industry a very fast paced and dynamic one. There was a point when people thought the print industry would slowly die, and make way for everything digital. Of course, this theory has been proven wrong. It isn’t a matter of print vs. electronic media. A combination of both can be a powerful communication tool.
What attracted you to the print industry?
CL: I was around my father’s business since a young age. He built Paragraph in 1989, working with his associate and two pressmen. Today, the company employs more than 200 people and is constantly growing. When I was 14 years old, I started working summer jobs in the bindery and I filed dockets for a couple of years. While there, I became curious about the work, clients and the beautiful products we were making. From that moment, whenever I walked into a store, I would try to locate the work we had done. It made me proud, and also made me realize print is everywhere! I understood quickly there are many opportunities in this industry, but no one is really aware of it, yet.
How can the industry attract more young people?
CL: Young people don’t consider printing because the industry isn’t well known. Further, a lot of youngsters are focused on ‘new media’. They don’t realize print goes hand in hand with
new media. It isn’t about just printing. It’s the whole process of creating displays or marketing materials that will help companies reach their clients better and faster.
Chloé Lépine began working at Paragraph when she was 14 years old. 1989
Paragraph was started in 1989.
Lépine’s responses were edited for length. For more Q&A Spotlight interviews, please visit www.printaction.com/profile. 14
In such a competitive landscape, how can printers win more sales?
CL: I think printers who understand their job goes beyond “putting ink on paper” will win more sales. The goal of printers is to produce pieces that drive our customers’ sales. Print buyers are not experts, so they will appreciate someone guiding them and proposing original and creative concepts to help them reach their clients.
What are some of the biggest opportunities in the print industry?
CL: Digital printing! It allows for flexibility and agility. Both are important in today’s market conditions. Digital printing allows customers to test multiple offers and to use personalization tools with variable images or text. They can produce personalized printed pieces suited for each audience segment, at full production speed, without sacrificing quality or spending more once the variable data has been programmed. Digital printing for packaging is also a big opportunity. In the
cosmetics or consumer goods industries, for example, packaging is a major area of focus because it often plays a big part in product selection by consumers. Digital short run packaging testing can help companies understand what types of shapes, colours and adornments impact buying decisions. Whether it’s for evaluating alternative ideas or simply trying to maximize impact through a highly personalized approach, the possibilities with digital printing are endless.
What do you think is the most exciting thing about print today?
CL: Most people are realizing print is an important part of the communication mix, and it is definitely here to stay. Another exciting aspect is the continuous improvement in equipment and technology. As mentioned earlier, digital printing offers a lot of flexibility. Ten years ago, digital printing was still considered ‘less than’ for many. Look at all the opportunities available today. Imagine where technology could take us in 10 years.
Set your table with the right plates
Introducing the newest product from Fujifilm in the portfolio of true processless plate technology.
The Fujifilm SUPERIA plates delivers outstanding printing quality and efficiency plus additional features including:
•Increased durability extending the range of print performance
•Use with UV/curable ink applications
•Wider range of market applications while delivering reliable on-press performance
The table has been set to make your offset printing more profitable with SUPERIA plates.
