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April 2011

Vol. 14 No. 3

CAPITAL INVESTMENTS tel: 416.536.6156 fax: 416.536.4874



Mark Johnny















Arthur Juan

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April 2011 Magazine

Capital investments

GRAPHIC ARTS MAGAZINE is published ten times per year by B.K.L.K Inc. 72 Main St. Mount Albert, ON L0G 1M0 Phone: 905-473-9111 Fax: 905-830-9345 Outside Toronto: 1-877-513-3999 e-mail: Submission deadlines are as follows: April 15 for May 2011 May 13 for June 2011 Publications Mail Agreement No. 40029380 Return undeliverable Canadian addresses to: Graphic Arts Magazine, 72 Main St. Mount Albert, ON L0G 1M0 email:

Publisher: Joe Mulcahy Associate Editors: Natalia Gilewicz

Kristen Read Copy Editor: Mandy Bayrami Senior writer: Tony Curcio Columnist: Diana Brown Production Manager: Barb Vowles Account Managers: Maureen O’Sullivan Sandy Lee Tim Mulcahy Classified Manager: Bruce MacLean Creative Director: Javad Ahmadi Layout: George Dedopoulos CTP supplied by: Sina Printing Paper: SNZ Trading Inc. Printing: Sina Printing GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Diana Brown • Tony Curcio • Peter Dulis • Natalia Gilewicz Andrea Mahoney • Jacky Mao • Myrna Penny Kristen Read • Kelley Robertson • Chris Smyth 2011 EDITORIAL BOARD

Javad Ahmadi, Ernie Bardocz Danny Ionescu, HP Evan Cambray, Spicers Steve Klaric, Heidelberg Canada Jana Lucatch, Magnum Fine Commercial Printing George Mazzaferro, RP Graphics Group Brian O’Leary, Kwik Kopy Angus Pady, Digital Solutions Paul Tasker, Spicers CMCA AUDITED

Opinions expressed in this magazine are not necessarily intended to reflect those of this publisher.  Graphic Arts Magazine accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Graphic Arts Magazine also reserves the right to limit liability for omissions and errors to a printed correction in the next issue.


Chris Smyth

North American investment trends and more

22 For the record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tony Curcio

This month: Bob Elliott from CPIA

24 Understanding todays marketing landscape . . . . . . . . . . Myrna Penny New media trends and measuring marketing spend

30 On-demand fabric printing . . . . . . . . . . . . . . . . . . . . . . . . . .

Peter Dulis

Therman transfer, dye-syb, DTG explained

32 For your print information . . . . . . . . . . . . . . . . . . . . . . . . . .

Jacky Mao

Ink tack and rub resistance

36 Education and training 101 . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown Maintaining your skill set in today’s competitive workforce

40 Colour automation tools have more under the hood .

Andrea Mahoney

More functionality with CMYK Optimizer

42 Product Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Diana Brown This month’s topic: MIS systems

50 11 webinar mistakes you need to avoid . . . . . . . . . . .

Kelley Robertson

Are you guilty of making these common mistakes?


Installations & Investments

46 List of advertisers 47 Classified 48 .comments

SUBSCRIBER’S NOTICE: From time to time we may rent our mailing list (names and addresses only) to select third parties whose products or services may be of interest to our readers. Please contact us should you wish to be excluded from these mailings using the contact information at the top.

We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund (CPF) for our publishing activites.

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Capital investments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Joe Mulcahy

Publisher’s note At press time, a federal election was imminent. Well, here’s the good news: banners, lawn signs and flyers will need to be printed. The possible bad news is that an election may see a delay in the extension (to Dec. 31, 2013) of the Accelerated Capital Cost Allowance (ACCA) which was to be included in the federal budget. “We have been asking the Conservative government to extend the ACCA…..and are extremely pleased that this has been granted,” says Bob Elliott, CPIA President. “However the threat of a federal election…..would potentially put this concession in jeopardy.”

Executive Officer of DIC Corp., Sun’s parent company. And Patrick Bolan, President and CEO of Avanti Computer Systems, has joined the advisory board of CIP4. Congratulations to all. KBA has partnered with R.R. Donnelley to manufacture and market inkjet products for several specific markets. Barney Printing Ltd. of Woodstock, Ontario and Aylmer Express Graphics Group are joining forces. Barney Printing is a 77-year-old commercial printer while Aylmer was founded 130 years ago. In other news, Google’s ambitious plan to digitize every book ever published was nixed last month by a federal judge in New York. Apparently copyright laws were a big part of the problem. Another revenue-producing niche, printed game manuals, is being cut from many new releases of video games to make them more eco-friendly. Finally, Hemlock Printers, based in Burnaby, BC, has a new logo that now includes the phrasing: “Integrity. Innovation. In Print.”

This month’s big show, Grafik’Art 2011, will once again be held at Place Bonaventure in Montreal April 14 – 16 and there are more exhibitors compared to the Grafik’Art 2009 show. It will focus on press and pre-press techniques, sales and marketing and management. Be sure to stop by our booth (#348) and say hello. Next month, on May 11, InterQuest is bringing its day-long Digital Printing Forum to Toronto at Ryerson University’s Heidelberg Centre in downtown Toronto. Topics will include direct mail and multi-channel marketing and digital book and manual printing. This Fall, Mutoh and Avery Dennison will sponsor a car-wrap training tour. It hits Toronto Sept. 8 for three days with car-wrap specialist Justin Pate in the spotlight.

Hopefully, as you’re reading this, the warm weather we have all been waiting for so patiently will be upon us. As always, stay positive and stay focused.

Joe Mulcahy Publisher, Graphic Arts Magazine

People and mergers are also making news this month. Hadi Mahabadi, VP and Director, Xerox Research Centre of Canada, Mississauga, has been named the recipient of the Robert F. Reed Technology Medal from the Printing Industries of America. Rudi Lenz, President/CEO of Sun Chemical, is now an



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Print can

fly to Jupiter.

… 3 – 2 – 1 – zero. Start for the world’s most wonderful children’s program. Lift-off begins on page 1. And the rocket climbs higher with every letter. Past the moon and deep into our solar system. Everything looks just as you imagined it would. Your thoughts drift weightlessly until on the last page the rocket comes in to land. The book is finished. But the story goes on.

Print can do.

Natalia Gilewicz

We love math This is your official content warning: this magazine issue contains articles with numbers and mathematical language. Reader patience is advised! To redeem ourselves, this month’s lead article, Capital Investment by Chris Smyth, is the result of many requests from readers like yourself for a how-to about the math. In particular, Smyth addresses methods for deciding if you should invest in new equipment. Further, he takes you through different avenues of financing if you have made the decision to buy. Presenting the advice of practitioner Sonya Kopecky Duffand, a key account manager at SL Financial Services Canada and academic Dr. Goss, Professor at Ryerson (who in fact is a GCM graduate with roots in the industry—and my old finance professor, but that’s clearly a tangent!) Continuing in the vain of equipment and money, monthly columnist Diana Brown discusses a few options for Management Information Systems (MIS). There are of course many more companies delivering MIS solutions, however these are highly specialized for the printer and worth investigating.

Continuing the conversation about technology, Kelly Robertson takes your through some tips on common mistakes to avoid in webinars. For example, having the speaker using speakerphone, which I think makes it sound like they’re sitting in a bathroom. On the topic of technology that is more directly tied to print, Peter Dulis writes about fabric printing. In particular, he looks at several digital technologies that are up-and-coming. My favourite is the new direct to garment digital printers that allow you to print your designs right onto the fabric. Without a doubt this is an educational issue! And if you haven’t had enough, this month’s 101 article is all about training and education. Diana reviews a great list of books for print beginners, and includes a wonderful list of online resources, ideas for training and associations that can help! Of course that leads me to my last and final note, if you have a print background and adore education be sure to check out the GCM job posting at www.ryerson. ca/jobs Happy egg hunting to all!

To help alleviate the math headache, we also have several excellent marketing articles this issue. If you are not yet a member of the DIA or missed the recent meeting, Myrna Penny reviews the highlights of the event. The focus of the article is digital media. The event speakers seem to be in agreement that print is not being replaced with digital, and that there is a place for both marketing avenues to prosper. Looking into the future however, it is likely that a partnership with digital marketing and printing companies would be beneficial.

April 2011 | Graphic Arts Magazine

Natalia Gilewicz is a full-time Assistant Professor in the School of Graphic Communications Management at Ryerson University. Her teaching concentration is in areas of prepress, typography, and layout. In her research, she studies e-print and its applications. Contact her at


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

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Installations & Investments

Agfa account executive, Parker MacDonald, and Style Print’s president, Nelson Chiu, with the new :Anapurna flatbed printer

David McClure, owner of Process Print & Litho, with the new Xerox 700 digital colour press



At its fourth store location in Markham, Ontario, Style Print just installed an Agfa :Anapurna M4f flatbed UV printer with a roll-to-roll feeder. The company chose this machine in order to achieve the flexibility of printing on the widest range of rigid materials in the industry.

A new Xerox 700 digital colour press has recently been installed at Mississauga’s Process Print and Litho. Purchased from Fujifilm Canada, the printer has a high speed output at 70 images per minute and also has scanning and booklet-making capabilities. David McClure, the company’s second-generation owner, decided on the Xerox machine for its ability to produce offset-looking matte finish jobs and capture opportunities he hadn’t been able to before.

Dave Moulden, Canadian Printing Equipment; Kevin Burns, xpedx Canada; and Nick Karanasos, Print shop supervisor, City of Burnaby, with the new Ryobi 524GE press

Francis Tellier, president of LVP, with the new HP Scitex LX800 printer



Based in Terrebonne Quebec, printing firm LVP has recently installed an HP Scitex LX800 printer. Founded in 1993, the company specializes in wide-format printing for the promotional and retail sector. The new investment has allowed the company to provide its customers with original and effective solutions. LVP chose the HP Scitex not only for its cost-effectiveness and efficiency, but because of the environmental benefits.

The City of Burnaby’s in-plant print shop has recently installed a Ryobi 524GE press, sold by Winnipeg-based Canadian Printing Equipment. The organization provides traditional offset, digital and wide format printing for Burnaby, BC’s City Hall as well as the RCMP, Library and Fire Department. With the new press, the organization says it has been able to greatly expand its offering, service, turnaround times and competitiveness.

April 2011 | Graphic Arts Magazine


Kristen Read

3D printer creates human-like ear

company calls it the largest and most productive digital colour press, “bringing the concept of mass customization to printing.” The press runs at speeds of up to 600 feet per minute.

With the dramatic advancements in 3D printing the world has seen in recent years, it isn’t hard to imagine a future where it’s possible to manufacture human body parts. Researchers at Cornell University have taken the first steps in creating a 3D bio-printer that could one day “print” skin, cartilage or even bone.

The T400 can print up to 5,200 full-colour letter-size pages per minute. That’s 44 percent more than the closest solution from competing vendors, according to a press release from HP. “…our inkjet web press systems are changing the business dynamics of applications such as publishing, transpromo and direct mail,” said Christopher Morgan, senior VP, Graphics Solutions Business, HP. “With the significant throughput capacity the new HP T400 offers, customers can now break into a world of true mass personalization and customization and take advantage of substantial new growth opportunities.”

Almost like an inkjet printer, 3D printers lay down material in thin layers, eventually building up to create a three-dimensional object. These printers have made news lately by enabling artists to create 3D models and miniatures of cars, buildings and other products. Until now, materials like plastics and metals have been used. However, this 3D printing technology is really taking off, and is being applied in all sorts of industries.

While the T400 is scheduled to be available on the market later this year, one has already been installed at O’Neil Data Systems in Los Angeles. The data-driven marketing communication firm recently showcased the installation, serving as the world premiere of the new press. Company president, James Lucanish, said, “The HP T400 Color Inkjet Web Press truly is converging on offset speeds while providing the benefits of a digital printing environment.”

A recent story, from Cornell University, takes a look at a prototype bio-printer that could one day make it possible to print human body parts – an ear for example. The bio-printer first starts with a computer file containing 3D coordinates of an ear, but instead of ink, real tissues and cells are “printed.”

New: removable, reusable adhesive paper

Also making news in the same field is the possibility of printing internal organs. In new footage from the popular Ted Talks video site, surgeon Anthony Atala demonstrates an early-stage experiment that could someday solve the organdonor problem: a 3D printer that uses living cells to output a transplantable kidney.

Yupo, a large well-known manufacturer of synthetic papers, presented its newest innovation at the annual Dscoop 6 conference. Called YUPO Octopus, the synthetic paper adheres to any smooth surface, yet is removable and reusable because of a new micro-suction technology.

Atala is the director of the Wake Forest Institute for Regenerative Medicine, where his work focuses on growing and regenerating tissues and organs. His team engineered the first lab-grown organ to be implanted into a human – a bladder – and is developing experimental fabrication technology that can “print” human tissue on demand.

The company says that POP materials, interactive marketing elements and promotions, and stand-out designs previously unheard of are now possible because of its new product.

HP introduces T400 – world’s first 42-inch high-speed digital colour press

Tiny suction cups formed on one side of the paper, nearly invisible to the naked eye, grip any flat surface like an octopus’ tentacles. The paper is waterproof and features tear resistance and durability.

Hewlett-Packard has introduced its latest technology to the graphic arts industry: the T400 Color Inkjet Web Press. The

“In both senses of the word, the ‘applications’ of YUPO Octopus are limitless,” said Bill Hewitt, marketing manager. “Octopus doesn’t adhere to a surface just once – it can be washed off, kept clean, and re-adhered to any other smooth surface as many times as you’d like.” Though the applications of Octopus can be considered limitless, the options for printing on it are rather limited. The company says that it is not compatible for use with inkjet or laser printers. It is, however, reportedly compatible for HP Indigo digital printing. The adhesive paper is compatible on mediums such as glass, PVC, aluminum, coated paper, and other smooth surfaces. Since it doesn’t rely on magnets or static, Octopus is safe for use on electrical surfaces without adverse effect.

April 2011 | Graphic Arts Magazine


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Heidelberg and Ricoh announce new partnership

ities used in the production of offset plates,” said the statement. “Kodak understands the difficulty our customers face with increasing costs for many of the consumables used in the printing process, from ink and paper to energy and fuel,” explained Doug Edwards, GM of Prepress Solutions and VP of Kodak. “During a time when all companies are facing added costs of doing business, we will work closely with our customers to ensure that both their plate needs and business requirements are met as effectively as possible.”

In early March, Heidelberg announced a new global strategic partnership with Ricoh, a leader in digital production printing. Under the agreement, to commence this month, Heidelberg will be able to sell Ricoh’s latest colour digital press, The Ricoh ProTM C901 Graphic Arts Edition. Both companies have agreed to enter into a global distribution contract for Ricoh’s Production Printing portfolio, including Ricoh services and support. The first markets to see the collaboration will be the UK and Germany, and international completion is slated to coincide with drupa 2012.

Increases for digital plates will be in the range of 5-10 percent. Increases for conventional plates will be between 15-20 percent. Kodak said that details of the new pricing structure will be communicated in April to all customers and dealers. The company also notes that all current contractual commitments will be honoured.

A growing number of offset printers are considering entry into the digital world in order to expand their businesses. The press release reported:

The iPad 2: What’s new?

Digital printing continues to grow as commercial printers extend their business models to offer marketing services, short run colour, and same-day service. Offset printers are increasingly seeking to complete their portfolios with a flexible digital solution integrated into their existing high quality offset environment.

In March, Apple released the longawaited version 2 of its iPad tablet device. Analysts estimated that close to one million of the touchscreen computers were sold during its debut weekend. By comparison, it took the original version 28 days to reach the million mark. When the iPad 2 hit the shelves in the U.S. last month, retailer Best Buy reported that some outlets ran out of the tablet within 10 minutes. (The iPad 2 release date for Canadian stores was March 25.)

Many opportunities for growth in today’s graphic communications industry lie within digital printing technology. Ever since Heidelberg announced nearly a year ago that it had a digital printing market strategy in the works, the industry has been speculating on the details with great curiosity. The company had previously entered this arena in a partnership with Kodak to develop the NexPress, however, Kodak has since taken over the project. Now, Heidelberg is making major moves again in the digital direction. In February, the company announced a new agreement with EFI, in which Heidelberg USA will distribute the VUTEk GS series of super-wide format digital printers. In late 2010, offset manufacturer manroland made a similar move, partnering with Océ to extend its market reach into inkjet printing solutions.

“With more than 15 million iPads sold, iPad has defined an entirely new category of mobile devices,” said Steve Jobs, Apple’s CEO. “While others have been scrambling to copy the first generation iPad, we’re launching iPad 2, which moves the bar far ahead of the competition and will likely cause them to go back to the drawing boards yet again.”

“In today’s climate it is important that commercial printers have the right tools to be versatile, and meet both long and short run requests,” said Mr. Shiro Kondo, president and CEO of Ricoh. “This partnership demonstrates [Heidelberg’s] confidence in our digital technology […] Together, we are in a strong position to support businesses seeking to extend their existing equipment and services with a digital solution.”

Around this time last year, the original version was released, with many pondering how it would revolutionize technology and communication media. Now, a year later, Apple has launched a thinner, faster product that has some eye-catching new features.

Bernard Schrier, CEO of Heidelberg added: “By rounding off our offset portfolio […] with new digital printing equipment, we are providing our clients the combination of best-in-class offset, and now also digital printing technology.”

Apple calls it a “magical device for browsing the web, reading and sending email, enjoying photos, watching videos, listening to music, playing games, reading ebooks and much more.” This version is 33 percent thinner and up to 15 percent lighter than the original iPad, but it still has the same 9.7-inch LCD screen. This model is available in both black and white, and features up to 10 hours of battery life.

Heidelberg’s and Ricoh’s future plans reportedly include integration with Heidelberg’s Prinect workflow solution, as well as joint development activities for future printing applications. “With this new partnership we will also address customer demands in the broad spectrum of hybrid print applications, i.e. the combination of offset and digital printing within a single print product,” said Schrier.

The company has also made available two new apps for the iPad: iMovie and GarageBand. With these programs, users can shoot and edit videos on their iPad, and play music on touchscreen instruments.

Kodak to increase digital and conventional plate prices

A pair of cameras – one front and one back – are the hottest addition on the iPad2. This was no surprise to many, as Apple made the same upgrade on its latest iPhone version 4. The front camera brings FaceTime (like Skype) to iPad users. The rear one works like a regular camera.

In a recent press release, Kodak has stated that it will increase the prices of its digital and conventional plates as of May 1, 2011 in all regions of the world. “The move is necessitated by the sustained, universal rise in costs for key raw materials and util-

April 2011 | Graphic Arts Magazine

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QuarkXPress 9: designers can publish directly to digital devices

that already contain text, to unlink stories spanning multiple pages, and to link or unlink boxes without disrupting existing text • Story Editor: Provides a word-processor-like view within QuarkXPress, which is most helpful when text within a layout is difficult to read and when reviewing stories that span multiple pages • Cloner: The smartest and most efficient way to clone design elements, Cloner allows designers to copy items or pages to other pages or layouts and can be used to combine layouts or split them apart

Quark has recently announced the release of QuarkXPress 9, the latest version of its design software. The company said that the new program will “allow designers to publish directly to digital devices and increase their productivity with new features for design and automation.” Set to ship during April, version 9 of Quark’s graphic design and page layout software will sell at $799 for a full product license. QuarkXPress 9 has some new features included that help automate the design process:

Designers can now also publish directly to digital devices such as e-readers, smartphones and tablets – with one tool and without programming code. “Whether a designer needs to publish directly from QuarkXPress to the iPad, create content for an e-book, or reach an expansive audience through the Blio eReader, QuarkXPress 9 can help,” said the press release from Quark.

• Conditional Styles: This new feature allows designers to automatically style content based on powerful styling rules • Bullets and Numbering: Compatible with Microsoft Word import and export, the new Bullets and Numbering feature of QuarkXPress 9 makes it even easier to format ordered and unordered lists and complex multi-level outlines • Callouts: With the Callouts feature, boxes and groups move automatically with text as determined by the designer; callouts can be positioned relative to the page, spread, text box, paragraph, or character • ShapeMaker: A wizard for easily creating or modifying hard-to-draw shapes such as waves, polygons, stars, and spirals, ShapeMaker also allows designers to create unique corner effects • ImageGrid: Allows designers to import and automatically build grids of images with a variety of layout options; also supports image captioning • Linkster: Enables designers to unlink and relink text boxes

RR Donnelley and KBA’s new collaboration

It has been announced that KBA is collaborating with RR Donnelley in an agreement to develop, manufacture and sell what they call “next generation piezoelectric digital inkjet printing solutions.” Under the agreement, KBA will be able to license and integrate RR Donnelley’s digital imaging technology into the creation of new presses. In turn, the partnership enables RR Donnelley to expand into new markets.

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April 2011 | Graphic Arts Magazine


“RR Donnelley and KBA have long been leaders and innovators in our respective industries,” said Thomas J. Quinlan III, president and CEO of RR Donnelley. “We look forward to having the combined R&D resources of nearly 1,000 engineers and imaging scientists bring forward the next generation of digital imaging technologies.”

BBC’s article notes that corporations like Kellogg’s and Weetabix are now taking steps to reduce the amount of mineral oil in their packaging, and other major food manufacturers have stopped using recycled cardboard entirely.

The new piezoelectric digital inkjet printing solutions that the companies will develop together are going to be be targeted for the packaging, securities, commercial and newspaper industries, according to a press release.

“Government scientists in Switzerland found quantities of mineral oils between 10 and 100 times above the agreed limit in foods like pasta, rice and cereals sold in cartons made from recycled cardboard,” said the story. A German study conducted last year found that the oils easily passed through many of the inner bags used to keep food dry and fresh. It also seems that the longer a product sits on a store shelf, the more mineral oil it can absorb.

KBA said it spent a year and a half assessing current and future digital printing technologies from around the world. Helge Hansen, CEO of KBA had this to say about the company’s analysis and findings: “It was clear that RR Donnelley was uniquely positioned to partner with us from a digital print technology, experience and scale perspective. It’s more than a sales and service agreement for existing technology. We look forward to jointly reinvigorating this industry with new digital imaging platforms.”

Using virgin fibres to create the packaging instead is expensive and not always available in abundance. Some alternatives that food manufacturers are now considering include: using aluminumcoated or thick plastic bags to protect the food from the package, and using recycled packaging that does not contain recycled newspapers.

Does food sold in recycled cardboard packaging pose a health risk?

It seems that several leading food manufacturers are looking at changing their product packaging after heath concerns surfaced about boxes made from recycled cardboard. Researchers have reportedly found that toxic chemicals from recycled newspapers can contaminate food sold in cardboard cartons.

For the time being, however, it doesn’t seem like consumers are in any immediate danger. More research and testing must be done before it is clear that recycled packaging poses a health risk to the public. It is likely that a person would have to consume large quantities of mineral oil for a sustained period of time before significant risks arise. Food and Consumer Products of Canada, a major industry association representing food companies, told the Globe and Mail that consumers who eat a balanced diet should be safe. After more research and testing has been conducted, manufacturers will be able to determine the necessary course of action.

This latest development, first published by BBC News, revealed that printing inks from recycled newspapers are believed to be the cause of the problem. The inks contain chemicals such as mineral oil, exposure to which has been linked to inflammation of internal organs and cancer. Questions are now being raised about the health risks associated with using recycled cardboard with these chemicals for food packaging.

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April 2011 | Graphic Arts Magazine


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Paper Excellence buys idled Canadian Domtar mill

continue to be the exclusive Canadian distributor and authorized service provider of W+D’s inserting machines and parts. Insource, founded in 2005, has represented W+D since 2007. The renewal is also a continuation of Insource’s original relationship with Buhrs ITM, acquired by W+D in 2011.

In its latest Canadian expansion move, Paper Excellence is buying up Domtar’s Prince Albert, SK pulp mill. It plans to invest $200 million at the former kraft pulp and paper facility. Last year, the company also purchased an idled pulp mill and a newsprint operation in B.C.

“Our W+D Inserter customers include leaders in the printing, mailing and bindery industries that focus on the direct, transactional and trans-promo mailing segments,” says Insource president and founder Tim Wakefield. “These customers have realized outstanding output results, reduced per capita operating costs, straightforward set-up and operation, as well as incredible flexibility in meeting the creative demands of their clients. The renewal is also great news for Canadian customers who rely on Insource for equipment, warranties, on-going servicing and parts,” Wakefield added.

Paper Excellence, a unit of Indonesia’s Sinar Mas, plans to invest the $200 million in converting the mill so it can make dissolving pulp, which is used in the production of products such as rayon. It aims to meet rising demand from the textile industry, according to a recent news post from Reuters.

NY Times launches paywall - Canada first

“The deal is the latest to highlight the increasing demand for dissolving pulp, which is a chemically refined, bleached pulp that is composed of pure cellulose fibres and made by only a small number of mills around the world,” said the article.

One of the world’s most well known newspaper publishers has implemented a digital paywall. The New York Times will use Canada as a test market - effective immediately. Users north of the border are being asked to pay between $15-35 per month for access to the newspaper’s online content.

The Saskatchewan government has reportedly agreed to allocate wood fibre to the mill. The province’s SaskPower utility will purchase surplus electricity to be produced from a biomass generator at the mill.

The 160-year-old US newspaper is not the first to launch a paywall for access to its website. UK’s The Times instituted a similar barrier back in the summer of 2010, and announced “encouraging results” several months later. The Wall Street Journal and Financial Times have also implemented paid digital subscriptions.

Insource continues as W+D exclusive Canadian Distributor

Insource Corp. of Markham, Ontario has announced the renewal of its strategic partnership with W+D Direct Marketing Solutions and W+D North America. Insource will

“Today marks a significant transition for the New York Times as we introduce digital subscriptions,” says publisher Arthur

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Sulzberger Jr. “It’s an important step that we hope you will see as an investment in The Times, one that will strengthen our ability to provide high-quality journalism.”

system, IP version 4, is limited to only 4.2 billion addresses. In January, GAM reported that the number of Internet users worldwide had climbed to a whopping 2 billion. With the planet’s population at 6.8 billion and rising, almost one person in three is online. Each website on the Internet, and each device that connects to the Internet, needs a unique IP address for identification. Running out of IP addresses is almost like not having enough license plates or phone numbers for everyone.

The paywall will hit Canadian readers first to work out any bugs and “fine tune the customer experience.” The US and the rest of the world followed on March 28. Readers will be able to read a set number of articles (20) for free, before they will be prompted to pay for continued access.

The creators of the original IPv4 format, which is still in use today, designed a system that allowed for only 4,294,967,296 unique addresses. With the enormous growth of the Internet and computer technology, it is no wonder that this stash has been depleted.

Interestingly, “readers who come to Times articles through links from search, blog and social media like Facebook and Twitter will be able to read those articles, even if they have reached their monthly reading limit” says an open letter published online by The New York Times.

On February 3rd, the last five blocks of remaining IP addresses were given out to the world’s Regional Internet Registries (RIRs). Below is a map that shows these five regions of the globe. When all of the numbers in these last batches are given away, there will be no more version 4 addresses to replace them with. Due to the technology boom in China, it is expected that the Asia-Pacific region will run out first, sometime in mid-2011.

Subscribers to the print edition of the newspaper will have access to online content for no extra charge. Digital subscriptions start at $15 for a month, for access to the full website and a New York Times smartphone app. Users with iPads will be charged $20, and $35 will buy access across all digital and mobile platforms.

World runs out of Internet IP addresses - now what?

Earlier this month, the global warehouse for Internet addresses ran empty after giving out its last 5 batches. IP (Internet Protocol) addresses are numerical labels assigned to electronic devices like computers and printers. The current

April 2011 | Graphic Arts Magazine


Your perfect connection to the printing and graphic arts industry

Your perfect connection to the printing and graphic arts industry

Eco News

An initial life-cycle analysis conducted by Imperial College London showed that Coca-Cola’s use of PlantBottle packaging provides a 12-19 percent reduction in carbon impact. In 2010 alone, the use of this new material eliminated the equivalent of 30,000 metric tons of carbon dioxide, or 60,000 barrels of oil. Coca-Cola’s goal is to transition all of its plastic packaging to PlantBottle material by 2020.

Heinz, Pepsi and Evian slim down their plastic bottle packaging

Within the last few months, three familiar international food and beverage manufacturers have each announced a significant reduction in the plastic content of their product packaging. Evian redesigned its 1.5L water bottle, cutting out 11 percent (3.4g) of plastic. Heinz will launch a new ketchup bottle this summer that contains 30 percent PlantBottle packaging – a material derived from natural sugars found in plants. Pepsi has just announced development of a 100 percent bio-based plastic bottle using agricultural byproducts such as pine bark and corn husks.

The new 20-ounce ketchup bottles, though they won’t look any different from the current bottles, will hit the shelves in June with a new label that asks: “GUESS WHAT MY BOTTLE IS MADE OF?” Heinz plans to introduce 120 million of these packages in 2011, and coca-Cola plans to use more than 5 billion of its own PlantBottle packages during the same time. Together, the companies will significantly reduce potential carbon emissions while adding more renewable materials to the recycling stream.

EVIAN Evian water now has a redesigned 1.5L bottle that’s made up of 50 percent recycled PET. This change means that while the packaging is still fully recyclable, it uses 11 percent less plastic than before. This latest move is part of Evian’s current environmental policy. The company aims to reduce its CO2 emissions by 40 percent by the end of this year.

“The partnership of Coca-Cola and Heinz is a model of collaboration in the food and beverage industry that will make a sustainable difference for the planet,” said William R. Johnson, Heinz chairman, president and CEO. “Heinz ketchup is going to convert to PlantBottle globally, beginning with our best-selling 20-ounce variety of Heinz Ketchup, which will reach customers this summer.”

The new Evian water bottle weighs in at 3.4g less than the previous design. The bottles are easier to crush now as well, taking up less space in recycling bins.

PEPSI Not to be outdone by its rival Coca-Cola, Pepsi has taken plant-based plastic packaging a step further. In mid-March, it announced development of the world’s first plastic bottle made entirely from plant-based renewable resources, significantly reducing the carbon footprint of the package.

“Evian is committed not only to the quality and purity of our water, but also to the reduction of our impact on the environment,” said Jerome Goure, vice-president of marketing for Danone Waters of America. “With the launch of our latest bottle which is lighter and more compatible, we hope that our customers will feel good about purchasing Evian, and feel encouraged to recycle.”

PepsiCo is calling it the “green” bottle because it is made from biobased raw materials including switch grass, pine bark and corn husks. In the future, the company says it expects to broaden the range of possible renewable sources used to include orange peels, potato peels, oat hulls and other agricultural byproducts. “This breakthrough innovation is a transformational development for PepsiCo and the beverage industry,” said Indra Nooyi, PepsiCo chairman and CEO. “PepsiCo is in a unique position, as one of the world’s largest food and beverage businesses, to ultimately source agricultural byproducts from our foods business to manufacture a more environmentally-preferable bottle for our beverages business.”

HEINZ Heinz announced in February that it will change its familiar and iconic ketchup bottle – the biggest change to the product in over 25 years. The company has partnered with Coca-Cola, and will begin producing ketchup bottles this year using Coca-Cola’s breakthrough PlantBottle packaging material.

Combining biological and chemical processes, PepsiCo has identified methods to create a molecular structure that is identical to petroleum-based PET, which results in a bottle that looks, feels and protects its product identically to existing PET beverage containers, said a recent press release.

Coca-Cola launched the PlantBottle initiative in 2009. Instead of using regular plastic bottles to package its popular Coke soda drink, the PlantBottle PET bottles are made partially with material from plants, and have a lower reliance on non-renewable resources. PlantBottle containers look, feel and function just like regular PET plastic and remain fully recyclable. The only difference is that up to 30 percent of the material is made from plants.

A pilot production of the new bottle will commence in 2012. Upon successful completion of the pilot, the company says it intends to move directly to full-scale commercialization.

A press release from Heinz said: The plant material is produced through an innovative process that turns natural sugars found in plants into a key component for PET plastic. Currently, PlantBottle is made using sugarcane ethanol from Brazil, the only source widely recognized by thought leaders globally for its unique environmental and social performance.

April 2011 | Graphic Arts Magazine


Chris Smyth


CAPITAL INVESTMENTS All things considered, now is a very good time to invest in capital equipment in Canada. Economic indicators in North America are showing optimism, and the economy is adding jobs. According to a report from the National Association for Printing Leadership (NAPL), year over year commercial print sales numbers are on their way up, even if only modestly (1.1% three months ending October 2010 – NAPL’s State of the Industry 9th edition). As well, a recent report from Dr. Joe Webb, director of WhatTheyThink’s (www. Economics and Research Center indicates that in the U.S., January 2011 commercial printing shipments were up 2.5% (adjusted for inflation). Canada’s numbers for December 2010 were also up.

April 2011 | Graphic Arts Magazine

It is a good time for other practical reasons, too. The Canadian dollar is valued high in relation to both the USD and the Euro. With major industry manufacturers based out of the United States, or Europe, the improved buying power of the Canadian dollar means there are savings to be had on equipment. Now is a good time to evaluate your current plans, with an eye towards capital needs. Perhaps your strategy includes realizing efficiencies in production, or expanding products and services to existing customer base, or entering into new markets. Better decisions will come from planning based on comprehensive knowledge and analysis, followed up with actionable plans to implement the strategy. The current economic environment means additional pressures to do more with less. The implica-


Your perfect connection to the printing and graphic arts industry

Chris Smyth


tions of decisions will be felt more finely than before; there is less room for error. A strong plan, well executed and monitored, is a strong predictor of future success.


The NAPL study, released at last fall’s Graph Expo in Chicago, painted an overall conservative picture of capital investment plans in the North American industry for the next three years. Perhaps somewhat understandable, given the impact of the economic conditions since late 2009, half of the respondents reported that they expect to invest less in the next three years, compared to what they had invested in the previous three years (the full study is available for purchase through the NAPL at Generally, following recessions, there is an increase in activity, the result of “pent up demand” that built up during the recession, as organizations and consumers conserved their resources and delayed non-essential spending. This creates a situation in which unrealized demand in the market place contrasts with the existing capacity. Maturing industries, such as graphics communications, typically see an increased level of mergers and acquisitions. This activity acts to take excess capacity, and therefore capital assets, out of production. However, undercapitalization can be a concern in companies of all sizes, and at different stages of their development. Managers should plan to regularly reinvest in the company, at a minimum this should be equal to their annual depreciation. In bad economic conditions, some companies avoid reinvestment, which helps them appear more economical in the short term. However, this approach is obviously detrimental in the long term. If it’s applied continuously, it undermines the base of the company, and makes it even harder to finance the necessary capital investments.


Determining if a capital investment project makes sense for a company should be a financial decision, not an emotional one. Finance theory, using a simple return on investment (ROI) can quickly demonstrate the benefit you get from buying a new press, or other desired equipment.

‘‘ ’ there is an increase in activity, the result of ‘pent up demand’

An ROI analysis compares the gains against the costs of the capital investment, project, or new program. A simple ROI can be calculated by taking the gains – capital investment costs/investment costs = ROI percentage. Anything greater than 0.0% is a positive project.

income, given in today’s dollars is referred to as its “present value.” The percentage rate used to calculate the value of money through time is called a “discount rate.”

However, relying purely on a simple ROI can mean bad decisions. According to Dr. Alan Goss, an assistant professor of finance with the Ted Rogers School of Management at Ryerson University, using straight ROI can lead companies to miss valuable opportunities. Over time, this approach tends to make companies more conservative in their capital/project plans, because it ignores the relative risks associated with the potential investments.

NPV calculations allow companies to compare alternative projects vying for capital resources; it allows a common metric to help determine which project makes the most sense from an economic standpoint for investment. Companies should develop a “required rate of return” percentage, an internal hurdle rate, to help evaluate potential capital decisions. The rate serves as the bar to determine if an investment makes sense for the company, or not. This hurdle rate is calculated from the company’s cost of capital, and it also includes an adjustment for “risk factor.”

Companies analyzing their capital options should work with the “Time Value of Money” also known as Net Present Value (NPV), or Discounted Cash Flow analysis. This approach is based on the reality that a sum of money in the future is valued less than money today. A dollar today is worth more than the same dollar a year from now, because today’s dollar could be invested, or spent.

This risk factor allows companies to calculate a risk adjusted rate of return – the more risk there is to actually receiving the

The cost of a future cash outlay, or value of a future cash

April 2011 | Graphic Arts Magazine


Two commonly used liquidity ratios are the current ratio and the quick ratio. Current ratio is defined as current assets/current liabilities. The current ratio is a measure of the firm’s ability to pay off current liabilities, as they become due. Quick ratio, or “acid test” is more conservative than the current ratio and is calculated as quick assets/current liabilities. Cash and accounts receivable are used to determine a company’s ability to meet its short-term obligations. In both cases, the higher the ratio, the better position the company is in.


Return on assets (ROA) = net income/assets. ROA is a quick measure of the return on money provided by both owners and creditors; it reveals how efficiently all the resources are managed. Return on equity (ROE) = net income/equity. This is a measure of the return on money provided by the firm’s owners. Gross margin = gross profit/sales. Gross margin measures the profitability by using variable costs, and is a measure of the percentage of revenue that goes to fixed costs and profit.


Debt total assets = total liabilities/total assets, this quickly lets people determine the percentage of a business currently financed by creditors. Debt to equity = total liabilities/owner’s equity. This ratio will provide a percentage showing how much of the business financed by creditors for each dollar of equity. This is quick overview; there are a multitude of other ratios that can be calculated to measure and contrast a companies overall health. future benefit (profit), the less value the profit has in terms of today’s dollars. Companies can use their internal hurdle rate as their discount rate to compare projects.


These calculations are, by their nature, based on assumptions. How much revenue is the new equipment expected to bring in, or how much will it save in operations? Goss explains that performing a “sensitivity analysis” is critically important in making a capital investment decision. Managers should review each assumption, and adjust the numbers, up and down, to gauge the relative impact of that assumption on the overall decision. This can be quickly done in a spreadsheet, and a quick search online will turn up several excellent Excel-based templates for more sophisticated evaluations (adjusting multiple variables at the same time). Scenarios can be developed, and perhaps categorized as conservative, moderate, or aggressive, with their relative assumptions adjusted and their impacts on the NPV of the project evaluated. Goss explains that this analysis, by nature, removes the emotion from the decision, and allows for a “what if I’m wrong?” review.


Managers, financial analysts, and lenders can use a variety of financial comparisons (ratios) to determine the overall health of a company, and compare it to similar firms. If candidates don’t “hit their ratios,” they can be declined lending, or be in a breach of a previous lending agreement. Ratios can be used to measure a company’s relative liquidity, profitability and solvency (debt).

April 2011 | Graphic Arts Magazine



You’ve based your decisions on an analysis of your customers, your company’s core competencies, and your overall goals and objectives for the future. Once the decision has been made to invest, sources of financing must be arranged. This can be done through reinvestment of existing capital into the company, or through external financing. Types of external financing include loans and leases, and sources of external funding include traditional banks, manufacturers, or asset based lending companies.


Goss explains that, with the current low interest rates, the general market for borrowing money is competitive. However, Sonya Kopecky Duff, a key account manager with SL Financial Services Canada, cautions that today, for small- and medium-sized companies (half a million to 15 million in sales), lenders now want to see very strong credit. This is not particular to graphic communications companies, Kopecky Duff continues, that “since the meltdown,” the general criteria for lending have become more stringent across all industries; “anyone who has not been to market since June 2008” will find it is a very different environment. Regardless of the source or previous relationship, small- and medium-sized company borrowers should now expect to be thoroughly reviewed, complete a full credit application and give up their financial statements. In addition, lenders are now typically requiring a personal guarantee in support of the application; they will run a credit bureau check to make sure the actual borrower has a good personal credit history.

Your perfect connection to the printing and graphic arts industry

Chris Smyth


Kopecky Duff explains that banks are now in effect, enforcing conditions that were always in place. In the past, if there was an existing relationship, and a borrower didn’t hit the predetermined ratios, it was not always acted upon. Financers can review three levels of statements for private companies. First level statements are built from ongoing transaction records that are generated internally (revenues in, expenditures out, how much money was spent to make money). These are taken to an accountant and put into a format consistent with preparing financial reports, a report that is referred to as a Notice to Reader statement. The next level of financial statement is a Review Engagement Report (RER), where the accountant reviews the details from the Notice to Reader statement, and may (or may not) format it according to Generally Accepted Accounting Principles (GAAP), a standard for financial reporting. Kopecky Duff explains that it is often worth the additional time and expense to have an RER created, as the additional assurance can allow lenders to offer companies lower borrowing rates. The final option is more time consuming and expensive, and requires that financial auditors come into the company, and perform a complete audit.


Vendor financing is a loan between companies, which is used to buy goods and materials from the company providing the loan. It allows the vendor to increase sales, while possibly earning interest, or even acquiring an interest in the customer company. Vendor financing is generally at higher rates than “traditional” channels. Effectively the lending company is increasing its sales through buying its own products. Graphics manufacturers can offer their own financing, or have a third party underwrite it on their behalf. They could underwrite the credit risk without the customer being aware of it. One benefit is that manufactures could allow for more flexibility in financing, allowing customers to build up the market with their new equipment. Manufactures are a questionable source of information for companies evaluating capital investment projects; it’s a bit like going to a mechanic and asking if your car needs to be repaired.

‘‘ ’

In general, manufactures are feeling the effects of the economy as well, and are less directly involved in financing now.


Lease costs are generally less than borrowing costs, and are calculated from the purchase price, the interest rate applied, the residual value and the length of the term of the lease for the asset.

In general manufactures are feeling the effects of the economy as well, and are less directly involved in financing now.

A capital lease, or finance lease, is an arrangement between two parties, where the lessee (the one borrowing the funds) works with a lessor, who actually buys the asset from the manufacturer. The lessee pays a series of monthly payments – length of terms vary depending on the amount of financing, and nature of the asset. Regardless, the lessee obtains full use of the asset for the term of the lease, as well as accepting the risks of ownership. Generally the equipment is leased for most of its useful life, and the lessee has the option at the end of the arrangement to acquire ownership.

it on their balance sheet as a leased asset, and the payments become a liability.

Capital leases tend to have lower costs related to them, in part because there is a lower risk premium included with them by the lessor, to account for the disposition of the asset and the end of the lease. For tax purposes, purchases and finance leases allow for a Capital Cost Allowance (CCA) tax deduction, as well a deduction can also be claimed for a calculated interest expense.

A company that acquires an asset through a finance lease enters

April 2011 | Graphic Arts Magazine



Lending decisions are based on a company’s current cashflows, not the expected future ones from the investment. This creates an “incremental volume problem” for borrowers. Finance companies specializing in leases can arrange for modifications, which can appeal to companies in specific situations. These alternatives include the opportunity to have deferred payments, or stepped payments, which increase at a future point in time (to account for set up and efficiencies). Industry specialized financing companies can also have practical knowledge of equipment capabilities, lifecycles and market values. This puts them in a position of being able to arrange financing for second hand equipment, offering further savings opportunities.


Capital Cost Allowance (CCA) is a yearly deduction that businesses can claim on their income taxes, to account for the fact that capital assets decline in value as they are used. The percentage amount depends on which Canada Revenue Agency asset class the equipment belongs to (for example, Class: 43 is manufacturing and processing machinery and equipment and has a CCA rate of 30 percent). Companies making capital investments can also use a NPV analysis, as they did to evaluate potential projects, to determine the relative cash flow advantages by comparing total cash outflows between leasing and purchasing options. There are a variety of methods to calculate the amount of depreciation, and therefore the amount of CCA that can be claimed. Straight line is a basic method, and is determined by taking the purchase price, subtracting the salvage value and dividing this across the equipment’s useful life.

However, there is also an operating lease, which is generally used when the length of the lease is shorter than the expected useful working life of the capital asset. This is also referred to as an “off balance sheet lease.” Operating leases do not appear on a company’s balance sheet (although they may be included in the notes), the related payments are recorded as an operating expense. For income tax purposes, with an operating lease, the user of the equipment deducts the lease payments as an expense. This financing technique allows companies to acquire capital assets without leveraging their balance sheet, which can be desirable if additional debt has the potential to challenge an existing bank covenant. This is not as big an advantage as it may have once been, as lenders tend to be reviewing full financial histories now. The difference between a finance/capital lease and an operating lease is important for accounting purposes. Accountants review the lease, and ask the following questions. If the answer is no to all four, then the lease is considered an operating lease. First, is the lease term more than 75 percent of the equipment’s anticipated useful life? Next, does the lease include an option for the lessee to purchase the asset at less than its fair market value? Third, does actual ownership of the asset get transferred to the lessee at the end of the lease? Lastly, does the net present value of all the lease payments work out to greater than 90 percent of the fair market value of the equipment? ( operating-lease-versus-capital-lease).

April 2011 | Graphic Arts Magazine


A more accurate method is the “declining” balance approach, which is calculated yearly by taking the capital cost of the equipment and subtracting the CCA claimed in the previous years. This is a more conservative approach, and takes into account that equipment loses more value in its earlier years. It’s important to note that the Federal Government offers an Accelerated Capital Cost Allowance (ACCA), which is currently set to expire in December 2011. This program allows for a 50 percent straight-line accelerated CCA rate for capital investments in manufacturing or processing equipment. This allowance was designed to encourage capital investment, and makes it more attractive for businesses to write down their investments in new equipment. Several groups are lobbying for an extension in the next Federal Budget, due this spring, including the CPIA and the Canadian Manufacturers & Exporters. While the economy since late 2009 would lend itself to a conservative approach to capital investing, current interest rates, the strong Canadian dollar, potential tax advantages and strategic choice for working through changing markets make this an excellent time to make the capital investments in the new equipment required to deliver on your new strategies. Mangers should carefully review potential projects; evaluate the likelihood of their success, and engage the support and advice of their accountants and financial partners. Most importantly, they should set clear targets to measure progress and strengthen their post-investment evaluations to ensure that the project is a success. Chris Smyth is an Assistant Professor with Ryerson University’s School of Graphic Communications Management, in Toronto, Canada. He is a member of the Ghent PDF Workgroup, and a past co-Chair of Magazines Canada’s Technical Standards sub Committee.

Your perfect connection to the printing and graphic arts industry

Tony Curcio

For the record

For the record Bob Elliott

With the flat economy still adversely affecting the graphic arts sector, key industry organizations have ramped-up their activities to promote and advance the causes of Canadian printers. I spoke to Bob Elliott, President of the Canadian Printing Industries Association (CPIA), to get an update on what his organization is doing.

As part of our commitment to provide information on the industry at large, we have just completed a survey of the state of the printing industry. Working with Industry Canada and our partners in the U.S. – Printing Industries of America (PIA) – we surveyed over 4,000 printers and will be writing a report outlining where the industry has been, where it is today and where it might be headed over the next couple of years. We consider reports like this as part of our role in providing important industry information. We also publish our annual Industry Profile and write the annual Forecast issue for the magazine published by PIA. We have also just been asked by Environment Canada to co-chair an industry advisory committee to provide feedback to that department on its plans for a VOC agenda for our industry.

CPIA has long acted as the “watchdog” if you will, for our industry when it comes to federal government policies, regulations and legislation. If there was no organization like CPIA to work on Parliament Hill on behalf of the printing industry, we would risk being told what we have to do – instead of having the opportunity to provide feedback in advance so that our perspective is taken into account as key policies, regulations and legislation are being developed. We have had many successes over the past several years, but our most recent is the Accelerated Capital Cost Allowance (ACCA) that CPIA has been advocating for many years. This was passed in 2007 and provides printers with the ability to write off their capital equipment and software purchases over a much shorter time frame of 2 years, rather than what was permitted previously. The federal budget released on March 22 called for a further 2-year extension. However, we will see what happens if and when an election is called. Also, in 2010, we worked with other interested groups to ensure that Canadian companies would continue to be able to insert mail directly into the U.S. Postal System. There was strong opposition in some circles and it took about 5 years to finally convince the government that this was critical to our industry.

How has the association fared over the past few years of economic instability?

I understand CPIA will be launching a new membership campaign. What are your plans?

The tough times that our members and the industry have faced have also had an impact on CPIA. I wish I could say that membership numbers held their own, however, they have actually declined. Printing companies were faced with tough decisions and in some cases that meant having to drop a membership that they had held for many years. Similarly, the landscape made it tougher for us to recruit new members. Additionally, the economy had a significant effect on the success of the Graphics Canada show in which CPIA had been a sponsoring partner for many years. The bottom line, as our members are aware, is that we have struggled over the past few years. However, this hasn’t stopped us from successfully performing most of our traditional activities, and continuing to offer a array of benefits that provide exceptional value to our members.

Our plans are to involve more printing companies in CPIA. There are 8,000 – 9,000 printing companies in Canada employing about 65,000 people. CPIA’s role on behalf of the industry in federal government affairs alone is certainly valuable to every one of those companies. When you consider the other services we offer, including membership in the Printing Industries of America, I feel that perhaps we haven’t managed to explain effectively what we do to a majority of those printers. So, we plan to do a much better job beginning with this campaign, in the hopes that increasing our numbers will carry more influence when we do speak to government on behalf of our members.

What’s new with CPIA right now?

For more information, please visit CPIA’s website at www.

CPIA has been strong in promoting networking and opportunities for pre-press and bindery as well as print providers. However, your focus on government representation seems to be at the top of your list. Why is that, and can you give me some examples of recent successes?

April 2011 | Graphic Arts Magazine

Tony Curcio


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Your perfect connection to the printing and graphic arts industry

Myrna Penny


Understanding today’s marketing landscape The Digital Imaging Association hosted a panel of marketing professionals who addressed where dollars are being spent today, why, and how effective the move is to the Interactive Media Mix.

marketing spending in selected channels. PRIMIR surveyed 100 media buyers and thought leaders to capture information about where they considered the demand for different types of print material was going to go. The survey also identified the positioning of the Internet and other online channels. Additional information showed specifically where marketing dollars were going to be spent out to 2012. Overall spending is growing for the Internet and mobile. The survey also showed continued spending with other forms of media such as promotions, out of home, television, merchandising, packaging, direct mail, radio, telemarketing, sales collateral, magazines, trade shows, catalogues, directories and newspapers – in other words, a vast array of media to select from and to strategize choices for supporting selections. Karg’s assessment of this data is that there are significant spends with Internet, mobile, and out of home – and still a significant amount of spends with print media.

Panelists included: Sue Britton, vice-president, Pareto; Vijay Saxena, marketing manager, Graphics Communications & Professional Colour Solutions, Xerox Canada; Tony Karg, Sr. director of business development & marketing, Fujifilm; and Maura Hanley, president, BigReach Learning. Moderator Doug Picklyk, DIA’s technical committee chair, fielded questions. Attendees came away with an overview of the following: • Hottest new media trends • Perceived strengths and weaknesses of print as a communications medium • Defining and measuring marketing spend • What constitutes great results • Mobile advertising

Ipsos Reid statistics on the consumer viewpoint, Karg told the DIA audience, demonstrate some interesting facts about response to email marketing. Recent figures show a high number of people who sign up for marketing email, and a high response rate. What is most significant is the willingness of people to continue to receive these messages; the Ipsos Reid study shows this percentage to be high. The same survey shows a noteworthy percentage of people who search for a specific company, product or brand online and a high percentage of people who click on search engine page ads.


Tony Karg presented independent data from recent reports that show where marketing dollars are flowing. Karg’s first stats were gathered from the Print Industries Market Information and Research Organization (PRIMIR). PRIMIR performed research surveys to assess where spending dollars will go. DIA attendees saw results demonstrating future

April 2011 | Graphic Arts Magazine


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Myrna Penny


While consumer gravitation to mobile marketing is increasing, the actual response to this type of marketing is still low. And most significantly, the willingness of consumers to continue to be engaged on their mobile device tracks extremely low. From these stats, Karg extrapolated that print remains a strong media of choice; print isn’t going to be replaced by digital media, he said – not yet.

in general she has – slowly. Hanley thinks that what a lot of marketers are struggling with is that some of these digital opportunities are efficient in terms of a low cost per thousand, or a low cost of production. But, marketers are asking: how do I scale it up to enough people that I know are interested in my product versus what I can do through mass media?

Karg also reviewed a Chetan Sharma Technology & Strategy Consulting study that demonstrates a significant slant toward digital media, showing the efficiency of mobile and Internet against TV, print, radio and outdoor. When relating time spent with the various media against the ad spend, Internet tracks best, but print, TV and radio still rank very well. The choices are dependent on the product and the target audience as it’s very segment specific.

BigReach sees that television is still the biggest piece of the pie for media spend, and the biggest bang for the buck in terms of reaching people. Sue Britton, however, did not agree and raised the question: how many people do you get into a Wal-Mart in one day versus the number of people watching the Super Bowl? You get more eyes on the in-store printed media than on the television commercial. Conversely, said Hanley, there is a different dynamic with the decision to go forward with something more service-based, such as financial products or services. BigReach clients are becoming more disciplined at looking for the best opportunity to shift interest to a sale.


Pareto is Canada’s market-leading shopper marketing company. Sue Britton explained its function is to enhance shopper experience and influence shopper behaviour, helping their clients sell more. Britton defined shoppers not as consumers, but as people who have just started to make purchasing decisions.

DIA’s presenters agreed that the decisions are complex. Television can provide strong brand awareness while in-store print offers information to consumers when they are ready to buy. Print has high value in certain segments to drive marketing fulfillment. Additionally, there are certain products that are highly driven toward digital delivery.

Pareto has seen – recession and post recession – manufacturers and retailers increasing their marketing expenditures to entice consumers to buy their products. In a retail environment, 80 percent of the purchase decisions are made in the store; and still the best way to market to the consumer in-store is through promotional POP – print-based media. That doesn’t mean there aren’t digital channels being used, but Pareto sees digital deployed to build awareness and to get people into the store. Essentially, though, digital for a lot of retailers and manufactures is still in the cool-factor phase.

Then there’s Social Media. Vijay Saxena talked about the key difference between Facebook and Google. Google is based on search results and ranking. Facebook relies more on word-of-mouth and reference marketing. If your Facebook friends recommend something, it influences your own buying decision. Picklyk sees a focus on the ability to measure the marketing spend and to capture its ROI. But, lots of things can lead up to the buying decision. There is considerable data available though not necessarily real ROI. Just because you have data, advised Hanley, doesn’t mean the cause and effect of a marketing effort can be definitive. In retail, Britton added, there are so many tools being used to capture a buyer’s attention. The increase in sales can certainly be measured, but it’s against the entire marketing activity, not just one element.

BigReach Learning is a marketing communications training company, offering workshops and seminars on integrated communications planning, media management, advertising performance measurement, online advertising, social marketing and mobile marketing. BigReach President Maura Hanley has seen that media buyers are becoming more focused on digital media. Doug Picklyk asked if Hanley was seeing a shift from other forms of media toward digital, and,

The speed at which technology is advancing forces traditional marketing and promotional tools to become less relevant in today’s marketplace, even those seen as revolutionary only a few years ago.

April 2011 | Graphic Arts Magazine


Myrna Penny




For digital, it keeps changing. Britton talked about Wag Jag and Groupon as “flavour[s] of the day.” What will it be tomorrow, and how do marketers select the options that will capture the most attention? Many choices represent an additional tactic, not something, in Britton’s opinion, that will replace other forms of marketing, except for perhaps some radio and TV. But as long as business sees more return on marketing spend, they will do more marketing; therefore, increasing budgets.

Vijay Saxena advised that Xerox has recognized it is largely the new generation driving the shift toward digital. In 2008, Xerox changed its logo not only to expand its image, but to also represent a change in the company’s go-to-market approach. Saxena explained a targeted marketing campaign Xerox did last year, which allowed the DIA audience to see the statistical outcome derived from each of the media spaces used. One was a direct mail package. The piece included a call to action and a giveaway for respondents. It did not drive the response Xerox had hoped for. They also used social media, partnering with a company to select social media spaces to deliver content and drive “click-throughs” to a Xerox web page. They also developed an article that was placed on a number of blog sites. The response statistics showed campaign results with and without the use of social media. They got the traction out of the social media exercise they wanted – more than what was generated by the direct mail piece. They found that not only were they delivering new content and new value to selected printers, but they were also getting exposure through a media space that developed more interest in what they had to say.

One of Xerox’s objectives is to assist customers in being more profitable. Saxena told listeners that Xerox often works with their customers to add, as an example, a QR code to a

Mobile is still in the early stages and is also fragmented because of the immense number of apps, making the reach of any one app tiny. Advertisers are looking for scale to be able to reach the largest number of people possible...

The “New Xerox” now hands out a social media business card that shows how to connect to Xerox Canada through Twitter, LinkedIn, Facebook, Digital Printing Hot Spot Blog and YouTube. The card also includes a QR code that connects to a Xerox YouTube video. The number of followers within these social media spaces is growing month by month. The next steps might be to develop additional content that could interest the followers in a community building endeavour.

WHERE ARE MARKETERS FINDING INFORMATION? Xerox is utilizing a research portal that delivers information from industry studies that demonstrate where the market is going, thus enabling Xerox to align its marketing accordingly. The market data communicates the facts. Karg advised that there are many resources that are free such as Twitter, LinkedIn and blogs. And there are other resources and aggregate resources available at various cost levels. Karg further advised the printers in the audience to call on their vendors who have already gathered data they would be willing to share. Marketing bureaus and associations and industry magazines are valuable resources as well.

simple black-and-white printed price tag to engage shoppers by taking them to a digital experience. The combination of the multi-media is gaining momentum and also driving additional spending to make sure information does not remain static – therefore more print, more changes to websites, more direct mail – and so on. There is opportunity for both the service provider and its customers to drive more revenue.


Developing content is becoming more diverse. It is either professionally made, or often consumer generated, thus engaging the customer more directly with the brand. YouTube is a digital space that enables utilitarian content to effectively achieve market reach. Most significantly, Hanley advised the DIA audience, if you are going to develop a “place” for people to go, you need to be sure the content is ever-changing so they have reason to go back.

Any service provider needs to target its identified market and sell its value proposition. All the presenters at the DIA meeting concurred that printers can no longer just sell print unless they want to sell it as a commodity. Pareto partners with printers to collectively develop a strong deliverable. Conversely, printers can partner with other service providers to expand their own marketplace strength. Service providers need to be relevant to their customers. They need to fundamentally understand the business their customers are in and what their customers’ needs and marketing objectives are – and then deliver relevant solutions.

Mobile is still in the early stages and is also fragmented because of the immense number of apps, making the reach of any one app tiny. Advertisers are looking for scale to be able to reach the largest number of people possible and that is very difficult to get right now with mobile, though there is a lot of developmental work going on.

Become a member of the Digital Imaging Association today. Membership enables companies to send employees to each informational session at no additional charge above the low cost of membership. Contact Marg Macleod, Association Manager 416-696-0151 or As a member of the DIA you become part of a network of professionals dedicated to the strength and future of the industry.

The key point is to develop a marketing plan based on your audience and then devise your tactic specific to that plan. The challenge is to select the appropriate channels to be in.

April 2011 | Graphic Arts Magazine



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April 2011 | Graphic Arts Magazine


Your perfect connection to the printing and graphic arts industry

Peter Dulis

Te c h n o l o g y

On-demand fabric printing Dye-Sublimation Transfer Printing

The traditional textile market produced over $43 billion in worldwide billings last year, apparel textiles made up the largest portion of that amount at almost 90 percent of the total. Also included in this number are automotive trimmings and carpets, according to a recent I.T. Strategies report. The digital garment printing industry is starting to make its stamp upon this industry, with significant growth in recent years. And it looks like its set to grow even further in the future.

Dye-sublimation transfers differ from thermal transfers because the dye actually transfers from the carrier paper to the garment. A dye-sublimation printer employs a printing process that uses heat to transfer dye onto materials such as a plastic card, paper, fabric and many other materials. Dyesublimation produces a print that has virtually no feel on the garment, but is more expensive than thermal transfer printers.

Wherever you look, custom apparel, in-store advertising, trade show exhibits and custom products are all covered with an array of digitally-printed fabrics. While historically these results were achieved using screen presses, the in-vogue method of choice is now digital printing.

Unlike thermal transfers, screen-printing and direct-to-garment printing, dye-sublimation printing needs a synthetic substrate to effectively transfer onto. Dye-sublimation is definitely the process of choice for decorating non-textiles such as mugs, plates, brass and aluminum, and produces very vibrant prints when printed on the correct type garment. Typically, their wash fastness is excellent, however, they do tend to fade with exposure to sunlight, so they are not the best solution for garments that will be worn extensively outdoors.

Brazilian-British duo Basso & Brooke were the first brand to create a fashion collection relying entirely on digitally-printed fabrics back in 2004, and now many other designers are getting in on the act. There are many online services springing up, like Karm a Kraft, Fabric on Demand and Spoonflower to name but a few. They all have similar product offerings in which customers submit their own artwork online or work from a series of pre-designed templates, select their choice of material and finally order as little or as much of the printed fabric as they need.

Direct-to-Garment Digital Printing (DTG)

The Decorated Apparel Industry was taken by storm in late 2004 when some of the first commercial based direct-to-garment (DTG) printers were released. DTG digital printing involves the use of a modified inkjet printer with specially formulated water-based textile inks which are heat set with a heat press or textile dryer. Unlike screen-printing, DTG output does not require separations, films and screens. Once your artwork is ready on the computer, it is output directly onto the garment. DTG digital garment printing does not compete with simple one or two colour screen print jobs when quantities exceed three or four dozen; however, it does fit in nicely for larger runs of more complex full colour graphics.

Recent statistics appear to back up the trend. According to InfoTrends and Fespa’s World Wide Survey, the fastest growing application in wide-format digital printing is textiles with 93 percent of printers polled stating that they expect to see growth in this market. Which type of method should you use for imprinted apparel? In the digital world, there are three options we would like to look at, each with its own strengths and weaknesses.

Thermal Transfer Printing

With the advent of white ink for DTG printers, new opportunities have sprung up for DTG printing with short-run and custom dark shirts. DTG printing, with its full colour palette, is the wave of the future for garment imprinting as the price comes down.

Thermal transfer printing has been around for a while and involves the smallest initial investment. You simply need a conventional inkjet or colour laser printer with the proper transfer paper and a heat press. The most common complaints about thermal transfers are cost per print, inconsistent wash results and potential peeling or cracking of the transfer; however, the newer transfer papers on the market today can minimize the outline of the transfer paper by using a two-step process to virtually eliminate the outline completely. Because the inks are translucent, the thermal transfer printing method is limited to white or lighter garments.

April 2011 | Graphic Arts Magazine

Peter Dulis Wide Format Printing Specialist Canon Canada


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For your print information Ink tack and rub resistance Ink Tack

Ink tack is a crucial aspect in the printing process that needs to be constantly monitored for quality control. When we talk about ink tack, it refers to the stickiness of ink or the force required in splitting an ink film from one surface to another. Proper ink tack needs to be achieved in order for the ink film to transfer from the ink train to the printing units and onto the printed substrate. It is important to understand the factors that affect ink tack and this will provide us better insight into tack-related problems and how they can be solved. In offset lithography, inks are formulated to have a high degree of tack to avoid emulsification by the dampening solution. The vehicles used during ink formulation determine ink tack and viscosity. Offset inks should be as tacky as possible without picking the surface of the paper. It should also be noted that to some extreme, picking caused by high tack inks might even tear the substrate. To achieve proper ink trap in multi-colour printing, the first ink should have the highest tack value that won’t disrupt the substrate surface when printing. The succeeding inks should have progressively less tack. Increased or insufficient ink tack also influences the reproduction of solids, sharp lines and may cause improper dot gain.

can also render it too waterproof. This can cause problems during printing because the ink will begin to adhere to the non-image area, causing scumming or catch up.

Ink tack can be influenced by several factors: ink viscosity, press speed and ink film thickness. In flexographic and rotogravure printing, low-viscosity inks are used to accommodate high press speeds. If high-viscosity ink is used on a highspeed press, it will result in high ink tack and can cause picking. By maintaining optimal press speed and roller temperature, ink tack can be controlled.

Linseed oil is sometimes added to improve an ink’s drying property and bonding of pigments to paper. Linseed oil works both as a binder and a varnish and it creates a protective coating against scuffs that holds this pigment onto the substrate surface after drying. Linseed oil also has the ability to reduce ink tack. When using linseed oil, precautions should be taken because the amount added could affect the overall attributes of the ink.

Rub Resistance

Often during the shipping or handling process, printed products will be exposed to a degree of abrasion to its surface. Regardless of quality or perfection of the printed product, a scuffed, rubbed off or scratched surface would render it a print defect. Because commonly printed products such as magazines, newspapers and brochures are handled very often, the ink on the substrate needs to be formulated to have some degree of rub resistance. By adding components such as waxes and/or hard-drying oils, an ink’s rub resistance can be improved.

We should also be cautious as to how much oil or waxes are added to the ink formulation. These additives may change the properties of the ink and may lead to other print-related problems. This is why it is crucial to understand how certain additives behave when they are added to printing inks. The right balance is needed to achieve high quality print as well as an abrasion resistant surface.

Waxes are often added to printing inks to improve rub and scuff resistance. Waxes can be Polyethylene or PTFE-based. The amount of wax added can affect the characteristics of the ink. If there is too little wax, little rub resistance will be obtained. If there is too much, it can soften the ink and lead to rub problems. Since lithographic inks need to emulsify with a certain amount of water, excessive wax content in ink

April 2011 | Graphic Arts Magazine


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Diana Brown


Education and training 101

As our economy is more dependent than ever upon intellectual capital (versus physical buildings or machines), the role of continuous education and training is all the more relevant and necessary to succeed in today’s business world.

• Viewing free online videos on YouTube • Following relevant blogs of industry professionals and corporations • Joining related networks and participating in discussion boards on websites like • Gathering online professional resources from organizations like the Printing Industries of America ( • Subscribing to industry-related magazines • Attending webinars, like those available from PaperSpecs ( • Participating in public workshops for entrepreneurs (Ex: Mars & PodCamp Toronto) • Attending industry conferences and trade shows (Ex: Print World & Graph Expo) • Attending topical seminars (such as those offered by Adobe Systems Incorporated) • Participating in customized, one-on-one training with suppliers, that may include using training simulation software • Joining relevant associations • Participating in hands on training, like courses available at the Heidelberg Print Media Academy ( • Enrolling in continuing education courses (Ex: Ryerson University) • Achieving advanced degrees, such as a Masters in Print Media from Rochester Institute of Technology (RIT)

In speaking with Scott Millward, instructor at the School of Graphic Communications Management at Ryerson University, he shares a similar view that continuous education plays an integral role in today’s marketplace. “Technology and research in the graphic communications industry is constantly changing and growing, making continuous education in the latest trends and theories a must. Formal academic education provides learners groundwork in theory and practice for a wide range of relevant, cutting edge topics in the business and technology of the industry. Training programs developed by industry leaders and organizations offer a place to specialize and gain a deeper understanding of a specific area of interest.” Scott also sees the value in training outside of the classroom. “Vendor training presents the opportunity for specific knowledge in operation and use of a product or technology.” There is no one-scenario-fits-all training solution, and it is often a broad spectrum of educational outlets that helps promote learning. Training doesn’t have to be formal and expensive. The following options provide perspective on the diverse opportunities for continuous education, and they will hopefully provide you with inspiration to learn something new!

April 2011 | Graphic Arts Magazine



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Participating in continuing education courses is more feasible than ever before. Educational institutions understand the time constraints in the lives of busy professionals, but at the same time, understand the value in offering continuing education courses. As a result, many courses are offered online and can be completed within the comfort and flexibility of your own schedule. This also opens up the opportunity to participate at a distance, whether national or international, making it all that much easier to find a course that is the perfect fit for your needs.

the “big leagues” on the large production presses. This training program is no longer available due to the expensive up-keep of the program, but this demonstrates the type of comprehensive and practical training programs that exist within our industry. 10 Printing Associations in North America (in non-specific order) 1. The Technical Assocation of the Graphic Arts (TAGA) 2. The Flexographic Technical Association (FTA) 3. International Association of Printing House Craftsmen (IAPHC) 4. Ontario Printing and Imaging Association (OPIA) 5. Canadian Printing Ink Manufactures’ Association (CPIMA) 6. Canadian Printing Industries Association (CPIA) 7. Printing Industries of America (PIA – formerly PIA/GATF) 8. The National Association for Printing Leadership (NAPL) 9. The Association for Suppliers of Printing, Publishing and Converting Technologies (NPES) 10. International Prepress Association (IPA) and IDEAlliance


A unique example of an on-the-job training program is with Gannett Co. Inc., a media and marketing solutions company. The company owns printing facilities and print Rochester, New York’s Democrat & Chronicle (D&C), among many other publications. Gannett’s print training program is so unique because it maintained a small training press that mimicked its full-web newspaper presses. Printers would participate in extensive training on the smaller press before moving up to


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Pocket Pal is in its 77th year of publication and is the “handy book of graphic arts production.” First published in 1934, this comprehensive guide provides information about the history of printing, prepress, typography, printing processes, post-press, paper, quality control and more. It is the perfect reference guide for the print professional who needs to have quick access to terminology to maintain their industry lingo.

Getting It Printed is a practical insight into what customers expect from their print shop, including planning a print job, timely scheduling, planning workflows and more. Where Pocket Pal was a quick reference guide, Getting It Printed is a hands-on guide to working with printers. This is an excellent resource to use as a reality check for your printing business to ensure you are in-line with customer expectations and industry norms.

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isn’t the most glamorous field to specialize in. I want to change that, so I created The Print Chef to make printing fun…” Recent posts include: Sticking to the Main Thing: Better Ingredients, Better Pizza and Sell Like Groupon.

WEBSITE – Printing Industries of America ( This website has a user-friendly interface with fantastic industry tools such as a comprehensive upcoming industry events calendar and professional resources divided by workflow area (ex: prepress, sales & marketing, etc). There is also an online storefront with books, magazines and downloadable products for every print professional.

The key to success is maintaining your skill set and learning about the most recent trends in our industry. Building this knowledge is not only important to advance your career as a printing industry professional, but overall success is also dependent upon how well you can use all resources to your greatest advantage. If you’re not always one step ahead, you can be sure that your competitor is. Knowledge is power.

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Diana Brown is an account executive in the Trade Book Publishing division with Toronto-based book printer, Webcom Inc.

This may not be the most recognized or followed blog, but it sure gets my vote for creativity! Hef Matthews, a proud printing guru in Nashville, Tennessee, uses cooking comparisons to explain printing topics in a clever way. “While I consider printing to be very intriguing, I realize that the print industry

April 2011 | Graphic Arts Magazine


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Andrea Mahoney

Te c h n o l o g y

Colour automation tools have more under the hood CMYK Optimizer – more under the hood

has built-in transparency controls. It takes into account sensitive overprints, gives a choice to handle complex transparencies only or to completely flatten. With these options, soft proofs can be flattened and correctly optimized to one colour space for printing before approval of a soft proof.

The automated colour tool CMYK Optimizer performs simple, yet accurate colour transformation tasks using Alwan Dynamic Device links. With the ability to reduce Total Area Coverage (TAC) by performing Grey Component Replacement (GCR), the following beneficial side effects occur: ink savings, dollar savings, improved grey balance, faster makeready time and easier proof matching. This product comes with Alwan ColorHub, which handles the input, output and error reporting. The ColorHub can also perform ICC Profile Processor tasks to convert profiles within PDF files. The ICC Profile Processor is another module in Alwan’s set of colour tools.

This soft proofing benefit alone is enough reason to take a look at CMYK Optimizer. The ColorHub provides FTP in and FTP out to provide complete control to single customers or for an entire product line for do-it-yourself soft proofing. Hot folders are created automatically and error reports are generated as well. The Optimizer at the front of the workflow makes this a powerful preflight tool to manage colour and flattening. The special colours feature deals with vector items, like lines and type. Text that is RGB black (0,0,0) can be changed to 100 K throughout the PDF with a special colours setting. You can even set a range of three to get multiple shades of RGB black. For some workflows, converting a device N greyscale solid to 100 K will solve an issue as well. This special colors option can also be used for Rich Black mapping, changing flat tint values or fixing screened text.

The return on investment for the CMYK Optimizer is based on the main tasks of creating optimized CMYK colour separations. Upon investigation there are many more interesting functions, including tools to help with soft proofing using Acrobat as well as options that can help inkjet, digital and online workflows. If you are using Acrobat to soft proof PDF files, CMYK Optimizer can improve this workflow for you. When a PDF contains multiple embedded profiles inside your customer’s document, Acrobat will colour manage them for you on screen. This may not be the way the RIP will convert each image; the RIP will use its system to convert from each embedded profile to the output profile.

A sharpening feature is built in and can be customized. It has a radius and amount setting and gives you a preview image to see the results before setting. Another option available is for spot colours. This allows you to map spot colours inside vector art to match specified values; you can also import existing spot colour values. Colour in vector art can be colour managed like the images in the file or left alone; the setting defaults to colour managing like in the case of bitmaps. It can also be viewed online at Alwan/PGL_ Alwan_EG_v3_rvb.pdf.

Instead of allowing multiple ICC profiles to be managed and then reconverted by your RIPs, bring them all to the space you use for your press before the soft proof. Optimizer can convert from the embedded profiles to one standard colour space allowing the soft proof to display the images without additional colour management on individual images.

Andrea Mahoney designs and installs automated workflows for all types of printing professionals. Tribay, a workflow automation company, offers the tools, training and setup for successful automated workflows. Visit and/or email Andrea at

Soft proofing colour, plus the addition of transparency to the mix causes another issue. Transparency flattening when performed by the RIP can cause colour shifts when multiple colour spaces and overprints are involved. CMYK Optimizer

April 2011 | Graphic Arts Magazine


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April 2011 | Graphic Arts Magazine


Your perfect connection to the printing and graphic arts industry

Diana Brown

Product Profile Keep Customers Happy!

This month’s topic: tuMIS systems Reduce rnarou time. nd

Pro Gain du

ivit the production team complete their Welcome to the (sometimes complex and intimidating) world This helps all members ctof y! Reduce of Management Information Systems (MIS) for the graphic jobs to the best of their abilities. Systems can be integrated 2010 arts industry! With so many options to choose from (and so throughout a business allowing for increased continuity and Budget much techo-babble to wade through), it can be difficult to simplicity. Measuring performance by key success indicators n 262 narrow down the features and benefits of each system’s (output, profit margin or value Ruadded, for example) is critical to reports by ! success. The HIFLEX sysofferings. Today’s examination of four MIS providers understand the business and plan for 5 pm today includes HIFLEX, Avanti, EFI and Prism. This is meant to be tem enables transparency for better production planning to be a brief overview of each company’s product and their proactive in a market that too often is reactive, and as a result, capabilities. The focus is on the products’ unique position in HIFLEX systems have won 10 CIP4 Innovation Awards. the marketplace, and not a comprehensive examination of Avanti each system. Although I can provide a concise explanation of each solution, I cannot do any company justice in one 1-800-482-2908 • article. Therefore, there is a web address beside each Avanti’s management software for print explanation where you can find a great deal more informashops allows integration from order tion about all of the solutions available. input, through the management of the Co a gaznilduct lion employ review ee s

Product Profile

“Before Avanti, something as simple as a business card took 28 steps to get the job out the door.”

print shop floor, to invoicing. Avanti’s mission is “to help our customers streamline their workflow and increase their revenue through the implementation of our print MIS software.” Avanti’s 25-year history has allowed the company to create a comprehensive JDF-enabled workflow, customized to various equipment and processes in the graphics industry (from sheetfed offset to screen printing to bindery). Their dedicated partnerships to the world’s leading equipment and software manufacturers (including Xerox, HP and Microsoft) enable integrated MIS functionality. End-to-end solutions and depth of experience provide Avanti with its greatest advantages.

HIFLEX HIFLEX is an MIS and Web2Print automation solution for the graphics industry, which uses the power of a JDF workflow to take functionality to the next level. HIFLEX MIS systems are extendable, which allows for superior connectivity to existing technology. Graphics industry users of HIFLEX systems vary across a range of applications, including commercial printing, newspaper and packaging. Information gathered by the system is displayed on the dashboard in visual graphs and charts for quick reference.

April 2011 | Graphic Arts Magazine



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April 2011 | Graphic Arts Magazine

Fax (913) 648-7750


Your perfect connection to the printing and graphic arts industry

Diana Brown

Product Profile


particularly strong solutions for printing facilities with a combination of conventional and digital equipment, due to its enhanced system configurability using a common database. Prism has partnered with numerous equipment and systems manufacturers (including Heidelberg, Goss, Kodak and Agfa, as well as CIP4 for JDF capabilities), ensuring full integration of its product into specific workflows. With 7,000 users of Prism WIN MIS and Prism QTMS worldwide (and offices around the world to support the installations), the company is a global organization in which “innovative products are modular and fully integrated and will manage all or any part of your business with unrivaled accuracy and flexibility.” EFI’s MIS and ERP software systems are uniquely designed to custom fit individual system needs. EFI invests a great deal in research and development and is therefore able to provide solutions to changing MIS and ERP system needs over time, as technology changes. EFI asserts that its systems will be relevant long after the average system (which is approximately 10-15 years after implementation) and its strong research and development focus helps EFI to create this exceptional longterm value. The company’s solutions range from small-scale copy centres (PrintSmithEFI) to large global operations (MonarchEFI) with a variety of scalable options. These options aim to fulfill a number of functions including, but not limited to, removing paper-based processes, maximizing resources and capturing key business data to make better-informed decisions. EFI’s product line also incorporates JDF automation allowing its MIS products to communicate with other JDFenabled systems, permitting complete automation from start to finish. EFI maintains 26 offices globally and with over 10,000 print MIS and ERP installations, EFI is leading the way in business solutions management for the graphic arts industry.

Management Information Systems require meticulous research and consideration to ensure the best possible solution for your specific needs. There is only so much insight you can gain from reading product brochures, so speak to your colleagues and industry contacts to discover what has worked well (and what has not worked well) in their experience. Only after you clarify your most important non-negotiable items for a MIS will you be able to sift through the information and find the right fit for your business.


Diana Brown is an account executive in the Trade Book Publishing division with Toronto-based book printer, Webcom Inc. Prism’s MIS and ERP systems have been available in the market for 25 years, including options for packaging, commercial print and others around the world. The company employs

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April 2011 | Graphic Arts Magazine

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April 2011 | Graphic Arts Magazine



Your perfect connection to the printing and graphic arts industry

Your perfect connection to the printing and graphic arts industry

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April 2011 | Graphic Arts Magazine


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April 2011 | Graphic Arts Magazine


Xone 2x2 - OUTLINES.indd 1

Your perfect connection to the printing and graphic arts industry 4/15/2010 2:42:38 PM

Kristen Read


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

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10 Tips: How to get the most out of your next conference #1: Pre-plan Prepare beforehand. Get a hold of the conference agenda and go through it thoroughly. Don’t attend sessions on topics you’re familiar with - you’ll get bored. Figure out what you want to see before you get there so you have a schedule in mind.

Heinz announces big change in its ketchup bottle packaging 3D printer creates human-like ear

#2: Maximize networking opportunities Stay at the conference’s assigned hotel. You never know who you could meet in the lobby or elevator or bar. Position yourself where you are most likely to expand your network.

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

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Talkback Topics - check out what the industry is saying about some of the latest news: Re: How “print-ready” are your customers’ files? “It is kind of sad to read that after so many years there are still so many issues with print ready files. Especially sad because all the tools are available… But printers need to communicate this to their customers instead of complaining about files not being print ready! So: use and promote the existing tools/settings files. Problematic PDFs will probably harm your bottom line. Unless you are able to charge the total amount of time you spent on fixing them…but, be honest: do you really charge for that? -Eddy “I guess we prepress developer folks should be thankful - people still need to modify pdf files before they can print them, so we still can make a living.” -Michael

April 2011 | Graphic Arts Magazine


We’d love to hear what you think. Feel free to leave your comments and opinions at and don’t forget to vote on our weekly web polls!

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April 2011 | Graphic Arts Magazine


Your perfect connection to the printing and graphic arts industry

Kelley Robertson


11 webinar mistakes you need to avoid Webinars have become a low-cost way for people and companies to promote their products and services. In addition to using them frequently in the last year, I have also attended many webinars on a variety of topics. However, I have noticed that many webinar organizers, hosts and panelists, create a variety of mistakes that reduce the effectiveness of their program.

 Taking too long to get into the program. I have attended countless webinars where the first five to seven minutes is absorbed by self-promotion, introduction of the presenter or guest expert, or information that was irrelevant to participants. Although sponsoring companies want adequate airtime, it is essential that you manage their expectations and keep the introduction brief and concise.


Requiring too much information. I don’t mind giving my name, email address and company name when registering for a webinar. However, I don’t like giving my address, telephone number and five other details. I know that you want to collect data, but the more information you ask for, the less likely I will register for your program.


Too much promotion. Many of the webinars I have attended have been a thinly-disguised attempt at selling a product or service. I understand the importance of generating sales, but if your webinar is promoted or sold as an “educational” session and you spend most of your time talking about your product or company, participants are likely to quickly disengage.


A sking mandatory questions. Most webinar technology allows organizers to ask registrants several questions when they register. However, making these questions mandatory can work against you, especially if the question is irrelevant. Many people will refuse to answer these questions and back out of the webinar.


 Failure to deliver high-quality content. A webinar should deliver value for attendees. Unfortunately, too many programs give “here’s what you need to do” information without explaining how to actually apply the concepts. It is better to delve deep into a topic than offer three dozen ways to improve without providing substance.


Unfamiliar with the technology. A fatal mistake is to familiarize yourself with the webinar technology only shortly before the program begins. I admit to include myself in this category. A few years ago, I agreed to deliver a series of webinars for a client and unfortunately, my contact person was unfamiliar with the technology. As a result, we had several glitches and problems that reduced the overall effectiveness of the program.


Failure to deliver value. This ties in with the previous point. A successful webinar provides high value to the participants, regardless of the price point. Enough said.

s d

 he webinar is too long/short. The length of webinar T is irrelevant. What’s important is the value that is delivered during the program. You can’t stretch a short program into a long one and an intense, lengthy session cannot be condensed into a short webinar. Whether you are the host, organizer, or guest expert, make sure that you allot the appropriate amount of time for your particular program.

Using a speaker phone. I recently attended a webinar and it appeared that one of the panelists spoke from a speaker phone or computer microphone. This created a vacant echo which became distracting whenever she spoke. It is critical that you have a good connection to the call and many companies suggest that you use a landline to ensure that you have a good connection with minimal interference.


...too many programs give “here’s what you need to do” information without explaining how to actually apply the concepts

April 2011 | Graphic Arts Magazine


 ot allowing questions. I made this mistake during my N first few webinars. Participants have questions and they want to have the opportunity to ask them. Increase the value of your webinar by giving people ample time to ask questions and allot time for these questions so that you are not racing through the final six or seven minutes of your presentation.

 Poor PowerPoint slides. Death by PowerPoint! My belief is that webinar slides should reinforce your key point, not make them. Too many people use too many bullet points or try to cram too much information on a single slide. Improve your effectiveness by creating a better PowerPoint show. Check out Slide Share for some examples.


Webinars can be an effective marketing vehicle and a great way to generate sales leads. Improve your results by avoiding these common webinar mistakes.

© 2010 Kelley Robertson, All rights reserved. Kelley Robertson, professional speaker 905.633.7750



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April 2011 - Capital investments  

Capital investments issue: is this is the time to invest in new printing equipment? Capital investments, For the record: Bob Elliott from CP...