Graphic Arts Magazine | Spring 2021| Volume 24 | Issue 1

MAGAZINE

GRAPHIC ARTS For continuously learning professionals of graphic arts, print, sign, and packaging industries.

Spring 2021 l Volume 24 l Issue 1 | $7.95

ARE PRINT CONSUMABLES CONSUMING YOUR PROFITS? HOW TO TRAIN YOUR CUSTOMERS TO ORDER ONLINE

MAGAZINE

Contents GRAPHIC ARTS Spring 2021 l Volume 24 l Issue 1

For continuously learning professionals of graphic arts, print, sign, and packaging industries.

Spring 2021 l Volume 24 l Issue 1 | $7.95

11 Are print consumables consuming your profits?

Keys to controlling costs while maintaining print quality Tony Curcio

16 Ontario’s new Small Business Support Grant Plus a look at other financial help from the province Bonny Koabel

18 How to train your customers to order online Successful, easy-to-use re-ordering strategies Dave Hultin

19 Print Industry Profile: Significans Automation

ARE PRINT CONSUMABLES 11 CONSUMING YOUR PROFITS?

Are print consumables consuming your profits?

Utilize. Customize. Optimize. Maximize Staff writers

19 Graphic Arts: Product Update Ricoh’s Pro C5300s/C5310s sheetfed Production Presses Staff writers

HOW TO TRAIN YOUR CUSTOMERS TO ORDER ONLINE

20 What to consider when choosing a wide-format printer Five key factors to take into account Peter Dulis

23 Podcasting for printers: Part 1 Why printers should create these helpful tools Diana Varma

26 Process-less or process-free plates How to train your customers to order online

18

Why they’re “the quiet winners” Alec Couckuyt

30 Why everyone is talking about brand in 2021 And the reasons why print is so important Joanne Gore

In every issue

Podcasting for printers: Part 1

23

Process-less or process-free plates

For the

26

9, 10 14, 22 24 28 29 31

Print industry news Installations New products List of advertisers Classifieds Creative & design

of print.

View from the publisher

AND WE ARE BACK! Hello print universe, welcome back! As Canada continues to struggle with the third wave of the CV19, printers across our great nation continue to make miracles happen. In this first issue of Graphic Arts Magazine 2021, we are focusing on the inks, plates and papers that make print magic happen.

Be sure to check our cover story by Tony Curcio on page 11.

In this article you will learn about maintenance habits for offset, which if used, will reduce your business’s operating expenses. We spoke with the leading professionals in this realm of print, and their expertise must not be overlooked.

We understand that times are tough for most, and money may not be flowing as freely as it once did. But do not fear, because Bonny Koabel is here to share insights into the financial support that is being offered by the Government of Ontario. Many provinces across Canada are aiming to support struggling businesses, and I recommend you check out what is available for your business.

In offset news, Alec Couckuyt shares with us the advancing adoption of process-free plates in the wonderful world of offset printing. The major OEMs in this space have developed technology that is changing conventional norms, and we are

excited to review the main benefits that are now available from Fujifilm, Kodak and Agfa.

In wide-format news, Peter Dulis shares the five key factors to consider when deciding on your business’s next wideformat printer. This is an increasingly profitable area of print, but there are many aspects to consider when choosing which manufacturer to work with.

And finally, I have some housekeeping notes to share with you. Our highly anticipated website is officially live, and we are excited for you to check it out. In it, you will find breaking news, new technology, events and resources to keep you informed. We have many new multimedia offerings available, and I am very eager to work with your brand to showcase the very best in graphic arts, communications and print technologies.

All the best,

10,671 industry professionals are using Graphic Arts Magazine as their perfect online connection to the printing, graphic arts, sign, and packaging industries of Canada.

So if you have something to say, join the conversation today!

GRAPHIC ARTS MAGAZINE

is published ten times per year by B.K.L.K Inc. 17-17817 Leslie St. Newmarket, ON L3Y 8C6 Phone: 1-877-513-3999 Fax: 905-830-9345 e-mail: info@graphicartsmag.com www.graphicartsmag.com Ad submission deadlines are as follows: April 30 for May 2021 May 24 for June 2021 Publications Mail Agreement No. 40029380 Return undeliverable Canadian addresses to: Graphic Arts Magazine 17-17817 Leslie St Newmarket ON L3Y 8C6 email: circ@graphicartsmag.com 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.

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.

GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Alec Couckuyt • Tony Curcio • Peter Dulis Joanne Gore • Dave Hultin Bonny Koabel • Diana Varma

RYAN MULCAHY, Publisher ryan@graphicartsmag.com

@graphicarts /graphicartsmagazine /company/graphic-arts-magazine 2020 ADVISORY BOARD STEVEN APRILE

Grant Thornton LLP

EVAN CAMBRAY

Owner of Fastsigns

TONY CURCIO

Editor of Graphic Arts Magazine

Chairman

CTP supplied by

Joe Mulcahy

AIIM

Publisher

Printing

Ryan Mulcahy

AIIM

Editor

Cover Paper

Tony Curcio

Kallima

RICHARD KOUWENHOVEN

Copy Editor

Text Paper

NATALIA LUMBY

Paul Phillips

APP

Associate Professor at Ryerson University

Account Managers

Bindery

Maureen O’Sullivan Sandy Lee Tim Mulcahy

Specialties Graphic Finishers

Manager of DIA

Production Manager

Brian Gillet

Daniel Mulcahy

Art Director

Web Development

Edward Gorodkine

George Dedopoulos

Circulation Manager

RAY FAGAN

Heidelberg Canada

ANDREW (ANDY) GROUGROU 3M Canada

ROMESH HETTIARACHCHI B&I Legal Counsel Hemlock Printing

MARG MACLEOD PAUL McCARTHY

HP Indigo Country Manager

JOE MULCAHY

Former Publisher of GAM

DANIEL MULCAHY

Production Manager, GAM

PHIL RIEBEL

Two Sides North America

PAUL TASKER Spicers Canada

SERGE TRAJKOVICH President of RRGR

CARL WEGER

Sign Association of Canada We acknowledge the financial support of the Government of Ontario through the Ontario Media Development Corporation.

4 | Spring 2021 | GRAPHIC ARTS MAGAZINE

WARREN WERBITT CMCA AUDITED

www.warrenwerbitt.com

SCOTT WILLIAMS

Taylor Printing Group

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Check out the new layout, functionality & purpose of the Graphic Arts Digital Channel

NEWS RELEASES

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CLASSIFIEDS

Do you have a used press for sale? Are you looking to hire?

This is an inexpensive DIY way to access the market.

HOT OFF THE PRESS E-Newsletter

Canada's best access to the Graphics Arts industry. Communicate & promote your industry news, new technology, events & more.

Canada's best access to the Graphics Arts industry.

Communicate & promote your industry news, new technology, events & more.

Tony's Corner

A realistic path forward for struggling businesses There’s a wonderfully helpful online feature from the U.S.based Harvard Business Review, titled A Way Forward for Small Businesses. Authors Alexander Bartik, Marianne Bertrand, Zoë Cullen, Edward Glaeser, Michael Luca and Christopher Stanton surveyed about 5,800 companies in the U.S. and declared: “It will be years before we fully understand the economic impact of the Coronavirus.” But they also insisted that for small businesses to bounce back, owners must make the best possible decisions: “The targeting of current aid and the ability to make other adjustments will determine how many will last the year.”

The finding that really struck me was that most small businesses disagree – big time – about how long this crisis will last.

More than 30% surveyed felt that disruptions would be over

by June. Another 30% thought they’d last beyond August.

“This highlights the value of clear guidance from policymakers about what to expect in terms of disruptions for the months ahead,” the report concluded. The situation here in Canada is a stark reflection of our neighbours to the south – albeit with far less political squabbling and much more federal and provincial financial aid for businesses, employees, caregivers and others. Given the current complex and rapidly evolving situation, the authors made five recommendations that small business owners should consider.

Top speed of 6458 ft2/h

Great for corrugated

Automated production

Meet the beast

Award-winning image quality

Low ink consumption

They include: 1. Don’t rush your decisions, but do make short-term and long-term plans.

2. Take advantage of all federal and state (i.e. provincial) financial aid programs.

3. Figure out how your customers’ needs have changed right now – and understand exactly how their needs will be different when the pandemic is over.

4. Do some accounting and form realistic estimates of your cash flow during and after the pandemic.

5. Most importantly, look after your best employees and keep them loyal. Your workers are always your most valuable assets. If you lose your best ones during the pandemic, rebuilding your operation will be much more difficult.

The full article is very incisive and much more detailed than the brief summary I’ve outlined here. It’s well worth your time: Click here for full article.

Until next time, always remember that we’re here to help.

GREENGUARD Gold certified inks

Tony Curcio Editor, Graphic Arts Magazine tony@graphicartsmag.com

New Jeti Tauro H3300 UHS LED Harness this primal force Sturdy Fast Unstoppable Rely on our brand-new Jeti Tauro H3300 UHS large-format UV LED inkjet printer to create vibrant prints on a wide range of rigid and flexible media up to 3.3 m wide. 24/7 and fully automatic.

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6 | Spring 2021 | GRAPHIC ARTS MAGAZINE

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Print Industry News

Netpak invests over $2 million in production plant Leading folding carton printer and converter Netpak Packaging (Anjou, QC) has introduced new automated technology, and increased production capacity at its Montreal plant by over 30% in its finishing department, with an investment of over $2 million.

Netpak added a Bobst MasterFold A2 110 Folder Gluer with a SpeedWave Module, and a Bobst Spanthera 106LER diecutter.

The A2 110 enables non-stop production at increased speeds in addition to a high degree of automation. The SpeedWave Module reduces makeready and changeover times when setting up the machine for various styles of boxes. The 106LER diecutter includes cutting, stripping and blanking, in one pass, at high speeds. The company is also adding a Cartonpack Module automatic packer featuring an integrated sampler for quality checks without stopping production. Netpak also obtained several certifications including GMI, ISO and the highly coveted BRCGS Grade AA. Bobst MasterFold A2 110 Folder-Gluer

Bruhn joins Ricoh NA as President & CEO Carsten Bruhn is now President & CEO of Ricoh North America. He brings over 20 years of international experience, having lived in the UK, Denmark and Japan. Most recently, he served as Corporate VP for Ricoh Global Carsten Bruhn Services. He’s led teams that have built digital transformation strategies for organizations of all sizes. “The opportunity that lies ahead for Ricoh, our partners and customers is incredible,” said Bruhn. “We have a tremendous customer base, a passionately dedicated team, and a network of dealer partners who share our commitment to solving challenging business problems.”

Leskusky named President of PUA Printing United Alliance (PUA) has chosen Dave Leskusky as its President. Leskusky has led operations at Napco Media, which merged with the Alliance in 2019. Leskusky will retain his role in leading Napco while also Dave Leskusky supporting the Alliance’s efforts to further enhance its resources and services – including educational opportunities, training, workshops, events, research, government and legislative representation, safety, and environmental sustainability guidance. Ford Bowers, PUA CEO, will continue working closely with its board of directors, and will remain the main liaison to members, event exhibitors and the press.

Rowzie is new President of Two Sides NA

non-profit that promotes the sustainability of print and paper products. Kathi Rowzie, who’s been running day-to-day operations, is now its new president. Rowzie’s career spans over 30 years in corporate and consulting roles, including extensive experience in the paper industry. Her work dates back to Two Sides’ beginnings, when as a consultant she was instrumental in helping launch its website, educational tools, marketing materials and Kathi Rowzie other resources.

Rotoflex moves to new Mississauga facility The Canadian Regional Office of Rotoflex (Mississauga, ON), a Mark Andy company specializing in converting and finishing solutions, has moved to a new, more efficient building a few miles away, after it grew sales by about 30% over the previous year. “The shift resulted from the increased demand we’ve observed in the past couple of years,” said Kevin Gourlay, Senior VP. “We currently have a strong order book leading to the end of the first quarter of 2021, and plan to grow our team as we increase manufacturing capacity – to ensure customers will have their machines running in the pressroom when they need them. Bringing manufacturing in-house was certainly one of the leading factors facilitating our growth. Being independent allows us to better control production schedules, platform standardization, aftermarket support and even pricing. We can now create more robust machines in less time and offer them to the market at more Kevin Gourlay attractive prices,” he added.

Lorpon Labels installs HP Indigo 6900 Press Lorpon Labels of Toronto has doubled its digital label production capacity with a new HP Indigo 6900 Digital Press, improving agility to deliver labels with fast turnarounds to support an upswing in demand for food packaging. The converter – a major supplier to the wine and spirits, beverage, beer, food and cosmetics industries – has experienced nearly a 70% increase in orders during the pandemic, as food suppliers scramble to restock stores. Founded in 1985, Lorpon has been providing high quality labels and packaging solutions for a variety of applications – including product labels, shipping labels, blank labels and flexible packaging. “COVID-19 brought unexpected demand for labels. The addition of another press gives us flexibility and allows us to continue to deliver fast turnaround times in a period of dynamic supply chains,” said Jeff Sommer, VP of Business Development. Lorpon also operates an HP Indigo WS6800 and high-end flexo presses.

HP Indigo 6900 Digital Press

After starting the organization 10 years ago, Phil Riebel is retiring from Two Sides North America – an independent,

@graphicarts

GRAPHIC ARTS MAGAZINE | Spring 2021 | 9

Print Industry News

CPISTF establishes Don Gain scholarship and awards BCIT students

Spicers, Shippers Supply and All Graphic Supplies to operate under one brand

The mission of the Canadian Printing Industries Scholarship Trust Fund (CPISTF) is to attract the brightest and best students to the printing and graphic communications industry by providing financial assistance to enroll and continue in a post-secondary management or technical program at an approved institution.

Most recently, Canadian Print Scholarships (Toronto) established the Don Gain Scholarship named in memory of print industry veteran who passed away at 71 on December 31, 2020.

To honour his dedication and industry leadership, Canadian Print Scholarships established a fundraising campaign to create the new scholarship named for him. The organization was delighted to announce that the following companies have already contributed to the campaign: Willow Printing Group, CJ Graphics, Advocate Printing and Publishing, Connecting for Results Incorporated, and Frank’s Maintenance Products. The fundraising goal is $30,000. Donations can be made https://www.canadahelps.org/ en/dn/58501 or by contacting donate@printscholarships.ca.

Don Gain

Spicers Canada (Vaughan, ON) has announced that all of its divisions will now operate under a single brand nationwide – Spicers. Previously, Shippers Supply and All Graphic Supplies operated as separate entities. Shippers Supply (Edmonton) is a manufacturer and distributor of industrial supplies and packaging products. All Graphic Supplies (Mississauga) is a distributor of media and equipment for the sign, textile, digital label and specialty products markets. “Both Shippers Supply and All Graphic Supplies have proven incredibly beneficial additions to our company,” said Spicers Canada President Cory Turner.

“With this change, our Canadian customers will enjoy full and easier access to everything we have to offer, while creating brand clarity and simplicity that will ensure that their experience is reliable, consistent and recognizable – no matter in which area of the country they live.”

Cory Turner

In other news, scholarships were recently awarded to three students in the Graphic Communications Technology Program at BCIT (British Columbia Institute of Technology).

• Elodie Brewer won the John Kouwenhoven In Memoriam Scholarship.

Kouwenhoven was a founding partner of Hemlock Printers and a strong advocate for regional training. He served on the BCPIA Board and helped individuals to achieve their personal best.

• Thomas Huynh won the Peter Purcell Elodie Brewer In Memoriam Scholarship. Purcell established Inter-City Papers in Vancouver in 1984. His career spanned 40 years, including a lengthy role as a Market Development Specialist. He was a dedicated leader, committed family man, inveterate golfer and the ultimate salesman.

• Agnes Pham won the Dick Blockberger Thomas Huynh In Memoriam Scholarship. Blockberger was the third-generation President & CEO of Broadway Printers, a Director of the BCPIA and Canadian Graphic Arts Association, and Director & Chairman of the CPIA. He was known for his hard work and dedication and earned several industry awards.

Agnes Pham

10 | Spring 2021 | GRAPHIC ARTS MAGAZINE

Lacombe joins CPIA as Association Manager The Canadian Printing Industries Association (CPIA) has appointed Gerard (Gerry) Lacombe to the newly created position of Association Manager. Lacombe brings over 34 years of industry experience to his new role, 28 of those with Domtar. Over his career, he’s served in both operational and sales management roles, most recently as Domtar’s VP of Sales for Canadian Merchants. As CPIA Association Manager, his mandate will be to help the organization advance its core mission – to provide a national voice for the printing and graphic arts industry, and to serve as a connecting point for regional print associations, sector associations and print-focused, post-secondary educational programs. In 2021, his overall activities will focus on the facilitation of board and subcommittee meetings, initiating collaborative projects with the supplier and educational communities, and conducting industry stakeholder engagement on government affairs priorities. Gerard Lacombe

Huge Paper is Eastern Canada distributor of Legion Paper products Huge Paper (Toronto, with offices in Montreal and Ottawa) is now the exclusive distributor of Legion Paper products across Eastern Canada. Legion has a wide repertoire of metallic, fine-art and other high-end premium papers that add extra value and appeal to printing, packaging and signage. The company, headed by President Jeff Tapping, also supplies specialty substrates for wide-format printing and digital presses, as well as products for magnetics and printable synthetics, and much more.

Jeff Tapping

graphicartsmag.com

Cover Story

Are print consumables consuming your profits?

The keys to success are proactive press maintenance, understanding the overall value of consumables in your offset production processes, and managing costs while maintaining print quality.

You’ve likely heard the cliché “if it isn't broken, don't fix it.” This might be the norm in other industries, but in offset printing, it’s a recipe for future disaster.

Today’s offset presses are masterpieces of complex technology that have genuinely earned the characterization “workhorses.” Your press might be running just fine today, but unless you perform regular, proactive maintenance checks, it could cost you thousands of dollars in downtime tomorrow. Proactive maintenance checks are pre-emptive strategies designed to eliminate every possible repair that might adversely affect print quality, reduce press speed, increase waste and makeready times, require additional staffing, and so on. If these issues remain unchecked as you meet your hectic day-to-day deadlines, then you’re courting disaster.

Maintenance and repairs Most successful printers have established a proactive, preventative maintenance program – and they stick to it. Some even train pressroom employees in all aspects of hardware maintenance, establish an on-site spare parts and consumables inventory, institute procedures where repairs are identified quickly, and develop a daily maintenance log of jobs in progress. This log should contain not just production analytics like counts, waste and makeready times, but also alerts on delaying factors such as web breaks, press breakdowns and slowdowns.

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Art Andrews, owner of Arcade Printing in Toronto, whose main press is an RMGT offset from Ryobi, echoed those comments – but added that press operators should also be involved in the buying decisions of consumables. “I leave many of the purchasing decisions regarding consumables, including inks and plate sourcing, to my experienced frontline press operators who’ve had decades of experience with different products and suppliers. They know what works best on-press. For us, repairs are still the most costly issues. So involving press operators in decision-making and relying on their expertise has kept those costs low. Another strategy that has been successful for us is the management of waste.

For example, we’ve been selling endof-life printing plates for scrap for over 40 years. Even small day-to-day costsaving strategies like that certainly add up at the end of the year,” he added.

Here’s a brief update on pressroom consumables and issues that affect production and profits.

Pressroom chemicals “Preventative and scheduled maintenance are the key to achieving the maximum benefits from your fountain solution system especially when it comes to having well maintained water tank(s), water lines, water pans and rollers by deglazing them on a regular basis,” said Mike Thibault, Vice President of Technical Services at Unigraph International, Canada’s

leading pressroom chemical manufacturer.

“These can affect ink/water balance, drying times, colour consistency and the ability to have repeatable, predictable results on press. Regular preventative maintenance can be integrated into a weekly schedule without affecting production deadlines. The costs are small compared to the enormous gains in productivity,” he added.

Daily monitoring of the pH, conductivity and Brix are essential to understanding how well your press chemistry is performing.

Always start with a fresh mix and take those values. As the days and week go on, it’s normal to have a rise in all three.

As you do this on a consistent basis, the press operator will be able to determine how well the chemistry is working and take action accordingly. Understanding how certain inks and stocks affect the chemistry is essential in order to have the most stability on press. Pressroom chemicals are essential to the efficient running of an offset press. These can include fountain solutions and additives, alcohol replacements, press wash-up products (including roller and blanket washes) silicones (for heatset web presses) and specialty products such as roller deglazers, plate cleaners, chrome roller cleaners/desensitizers and more.

This brings us to our next and often overlooked factor – cost per printed page.

“If you buy everything on up-front price without a guarantee of on-press performance, you’re playing a risky game,” Thibault pointed out. “For example, in some cases just changing to a premium fountain solution and alcohol replacement can lower a printer’s ink bill by 5% to 10%, while also reducing paper waste.

As well, significant savings on filters for the water system can result. Our products reduce cost per page, improve print quality and provide greater stability on press.

GRAPHIC ARTS MAGAZINE | Spring 2021 | 11

Cover Story They can remedy common problems such as calcium carbonate build-up and contamination, drying issues, picture framing, dirty water system/back cylinders, blankets and metering rollers.

“We are always following market trends and developing new products to complement process-free plates, HUV and LED inks,” said John Thibault, President at Unigraph International. “Our R&D department is continuously working with our production department to develop, test and bring new innovations to the pressroom. We are always looking to add quality products to our portfolio to increase productivity and reduce costs in the pressroom.

We’ve been doing this since 1982 – and our focus has never changed,” he added.

Plates A common error here is confusing the cost of individual plates with the overall cost of plate production. It can be deceiving because it’s the overall cost of use that actually affects profitability, not just the individual plate price. Printers may also needlessly pay thousands more each year on chemistry consumption and labour. For example, if a processing system is cleaned every 4,000 m2 but is being

replaced by a system that must be changed every 1,000 m2, cleaning, labour, filling costs and downtime increase by 300%.

Also, expensive effluent treatment and removal should be considered. A second common error is failing to plan a transition for your pressroom. All plates are not equal. Each plate has different emulsion and plate-graining characteristics. These affect ink/water balance, tone reproduction, dot gain, run life, handling, paper waste and overall print performance.

Plan a complete print comparison test and learn the differences between what you currently use and any new plate products. When choosing a plate supplier, ensure that they can install, service and support your current processing line, are located in Canada, carry a full range of spare parts here, can respond quickly to your needs, and fully understands all aspects of prepress and pressroomrelated support – including on-press troubleshooting.

Next, the use of process-free plates, especially from the industry’s leading players – Agfa, Kodak and Fujifilm – continues to impress. Why? For starters, chemical and disposal purchases are no longer necessary, plus the cost of buying film and the equipment to develop it, are no longer needed. Eliminating the use of chemicals High-Performance Printing Chemicals also reduces employee health risks. These plates offer longer run lengths, usually from As we struggle through these 50,000 to 250,000 challenging times together, impressions. Chemistryour technical team is at the ready. free plates also provide Rest assured we will always be here higher sensitivity and to support your pressroom needs, throughput per hour. now and in a post-pandemic world.

Shops switching from Words alone cannot express our gratitude conventional CTP systo our dedicated dealers and printers, tems to chemistry-free for their loyalty and their business. can also use their existing We’ve been proudly serving the plate processors for Canadian printing community since 1982, plate heating and gumand we promise to continue that tradition. ming af ter imaging.

The chemistry is simply So from our family to yours, please be well, stay safe and stay positive. removed from the proBetter days are on the horizon. cessor. Watch for more about chemistry-free plates in our April printed issue.

12 | Spring 2021 | GRAPHIC ARTS MAGAZINE

Blankets The most important advance in recent years has been the rollout of Landa Nanographic printing presses. Their use of specially-treated blankets utilizes breakthrough technology to ensure an optimal image – including the full image transfer to the paper, the prevention of any ink residues, and a smooth and stable blanket motion. Their design enables the transfer of NanoInk ink drops to the various substrates without leaving a trace on the blanket. This ensures that the full image is transferred without any distortions and, most importantly, that the blanket remains completely clean and ready to receive the next image. The estimated life of these blankets, at last count, was about 500,000 sheets.

One Canadian company active in this sector is Vancouver-based Enviro Image Solutions (EIS). For the past several years, through its blanket-rejuvenation program, EIS has helped printers reuse blankets up to 12 times. The company has some helpful advice. First, reduce blanket usage by ensuring that your mechanical blanket washer device is regularly maintained and free of dry, abrasive ink contaminants. Next, go back to the basics of a dry substrate run without impressions when moving over to new sheet sizes. Most substrate-related blanket smashes occur at the beginning of the run, so this saves production time as well as blankets. Lastly, after a mechanical blanket wash, inspect your first few blankets for build-up around the outside edges of the substrate area known as a paper line, that, when left on the blanket, could score and even cut it!

Substrates Commercial printers today continue to look for guarantees when it comes to a substrate’s runability, printability, shade, smoothness – anything that might affect production, overall workflow and image quality. Ergo, leading press manufacturers have gone to great lengths to certify or recommend certain substrates for maximum on-press performance. And there are literally thousands of choices out there, especially for inkjet. We’ve also seen an

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Cover Story increase in the use of synthetic substrates.

These papers are often lightweight with high opacity, and can play an especially unique role in packaging. In general, synthetic papers combine the versatility of traditional paper with the durability of plastic, which makes them ideal for outdoor applications. They can be environmentally friendly, waterproof, more durable than traditional papers, flexible, foldable and can even hold colours well, regardless of the printing process used. For printers who deal in smaller runs, specialty substrates are becoming increasingly popular because they can differentiate print customers from their competitors via sensory and aesthetic appeal. Some papers, such as Neenah’s Elevate Your Brand media for premium packaging, are quite stunning – and are aimed at designers as much as commercial printers. Bottom line: the growing demand for specialty substrates that can change a customer’s interaction with the printed piece – in other words a material that’s more than just regular paper – adds enormous value for the end user.

One recent development of note is the Substrate Bank, a new online tool to source printing substrates launched in January in the Netherlands. The platform brings together print-media manufacturers and their products on a B2B industry platform, making the sourcing and specifying of substrates easy, fast and transparent. The Substrate Bank takes into account the intended use to find and source products digitally. Users of the platform can easily source substrates via industry-specific search criteria. After registration, they can even connect with manufacturers directly – to request samples, ask for directions to the nearest distributor, learn about print settings and receive technical datasheets, etc.

As we all know, substrates (especially paper) represent a major expense. So always buy your paper from a merchant who offers you a guarantee regarding runability, printability, smoothness and so on. This way you’re sure of getting the right paper cut from the master rolls of the same shade and production lot.

Also, remember that each lot likely has a shade variation, though minor. Also, some papers might be converted locally

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and may contain more dust that will affect productivity in the long run, and might result in more blanket changes.

Finally, don’t open skids unless you’re going to use the paper immediately, to ensure uniform moisture consumption.

Paper, especially board, can curl from the edges. This could affect your ability to print at the required speed, which in turn impacts productivity.

Inks Generally speaking, ink formulation depends on the printing technology, namely the application technique to the substrate (offset, flexography, gravure, inkjet) and the drying mechanism of the solvent (evaporation, absorption into the substrate, oxidative drying, or curing by irradiating energy such as UV light or an electron beam). For example, an ink to be UV-cured may consist of monomers and pre-polymers such as acrylates, pigments, photo-initiators and additives (i.e. surfaceactive substances, waxes, silicones and curing inhibitors). What does all this mean for the average print provider? If you’re in doubt in any way, always seek advice first from your ink manufacturer, and second from your OEM. For commercial printers, two emerging trends here are an increase in flexographic printing inks and the continuing shift towards environmentally-friendly inks demanded by the end user – such as waterbased products which have fewer toxic effects when compared to conventional

printing inks. Also, as more sophisticated presses emerge, inks are becoming more specialized, especially for wideformat inkjet and textile printing. Equally important in this space is technology that controls the amount of ink used for any given print project. Common devices that reduce ink waste and costs are ink dispensers, ink levelers and ink agitators. In the end, it’s all about cutting costs by reducing consumable and substrate waste while maintaining print quality.

Even software can play a part. For example, Agfa’s InkTune allows for better control over printing resources and standards.

The software can optimize print performance, reduce production costs and lower total cost of ownership. This intelligent tool is part of Agfa’s ECO³ platform that gives printers more control – from ink use to compliance with ISO, G7 and client-specif ic standards – while reducing production costs. The OEM’s focus on Ecology, Economy and Extra Convenience (ECO³) make prepress and printing operations cleaner, more costeffective and easier to manage and maintain. This isn’t surprising, given that Agfa-Gevaert has a long tradition of lowink laydown technology built in to its ‘workhorse’ wide-format printers.

Tony Curcio Editor, Graphic Arts Magazine tony@graphicartsmag.com

GRAPHIC ARTS MAGAZINE | Spring 2021 | 13

Installations

Flash Reproductions installs first Valiani Omnia in North America from Sydney Stone Print-finishing leader Sydney Stone (Mississauga, ON), Canada’s exclusive Valiani Omnia dealer, has announced the first North American installation at Flash Reproductions (Etobicoke, ON).

The Valiani Omnia (VO) flatbed die cutter automatically feeds and contours cut media. The operator can load material up to 60 cm x 80 cm. Omnia will feed media to the cutting arm using a suction system that lifts media from the feeder and drags it onto the conveyor. The feeder holds up to 500 sheets, depending on media thickness. Once in position, the camera will detect crop marks and execute the cut file for the pre-printed graphics. The completed sheets drop into the catch tray. A wide array of tools handles many applications and substrates – including bevel cut 40 or 45 degree, embossing/debossing, creasing, kiss cuts, and style pens in three different sizes.

“Our purchase of the Valiani Omnia die cutter stemmed from the equipment’s multiple industry-leading attributes,” said Rich Pauptit, President of Flash Reproductions. “Topping our list is the near-infinite flexibility of contour cuts that cover a wide range of substrates – from text-weight paper grades to heavy-gauge corrugated board. Its cutting flexibility with a highly adaptable media gamut paves the way for Flash to expand our range of signage and POP offerings. Compatibility with our existing KM1 digital press is optimal in terms of

maximum sheet size (60 cm x 80 cm), allowing us to press the limits of this formidable combination of technologies.

Lastly, VO’s Auto Load capability frees up our operator, allowing for increased productivity.” The software can control multiple workflows – including cut files from various graphic design software, QR code mode and non-printed material.

Omnia is ideal for die cutting cardstock projects including packaging, business cards and kiss-cut. It can also process heavy materials such as corrugated cardboard, chipboard or thin plastic sheets.

Valiani Omnia automated flatbed die cutter

AGFA and Esko install Esko Kongsberg C24 finishing solution at Albion Screen Printing Albion Screen Printing (Gatineau, Quebec) has invested in a new Esko Kongsberg C24 Digital Cutting solution from Agfa Canada. This investment has allowed Albion to considerably increase the productivity in its finishing operations. “The added value of the Kongsberg table lies in the service and the robustness of the equipment,” said Alain Deschamp, owner of Albion Screen Printing. “The 3 kW motor in the router allows us to cut materials like acrylic, much faster.” Albion specializes in a huge array of wide-format products – including banners, posters, signage, fleet graphics, window / wall decorations and POP/POS displays, as well as decals, promotional products and nameplates and tags. Albion also provides a wide range of client services – from screen and digital printing, die cutting, installations, distribution packaging and more, to rapid and accurate estimating, on-time shipments and reliable installations.

The carbon fibre traverse of 3.2 m makes the Kongsberg C Series of digital cutters uniquely equipped for high speeds.

Its rigid quality makes it possible to maintain consistent accuracy on all materials. It also minimizes deflection when carrying heavy tooling or creasing with high down force. The series is the only super-wide finisher with a powerful 3 kW continuous-duty, high-performance milling unit. It can be configured for milling applications ranging from sporadic, light-duty routing, to

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lengthy jobs working with dense materials – all while boosting exceptional productivity. Its heavy-duty Tool Unit offers 500N (110 lbs) of down force, sufficient to crease even the most challenging materials at large diameter creasing dimensions (150 mm). The Kongsberg C series can also be outfitted with a wide-format roll feeder to support heavy-duty rolls of materials such as textiles and vinyls up to 3,330 mm (131”) wide.

Alain Deschamp, owner of Albion Screen Printing, beside his new Esko Kongsberg C24 Digital Cutter from Agfa Canada.

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Ontario’s new Small Business Support Grant and other financial help The Ontario Government’s new Small Business Support Grant provides a minimum of $10,000 and up to $20,000 to help small business owners affected by COVID-19. The one-time grant is open to any small business that had to close or significantly restrict services due to the province-wide shutdown that began December 26, 2020. To be eligible you must also have fewer than 100 employees and experienced a minimum of 20% revenue decline in April 2020 versus April 2019. The small business has the option to use this grant in whatever way makes the most sense for its operation.

The business must also have a business number. If not, you need to apply for one before proceeding. Businesses that are not eligible include those that were already required to close prior to the introduction of modified Stage 2 measures on October 10, 2020, and essential business permitted to operate with capacity restrictions (e.g. discount and big-box stores selling groceries, supermarkets, grocery stores, convenience stores, pharmacies, and beer, wine and liquor stores).

Ontario's Main Street Relief Grant: $1,000 for PPE. In addition, the Ontario Government is providing $1,000 for the unexpected costs of PPE (Personal Protective Equipment).

To be eligible, a business must have 2 – 9 employees and operate in retail, accommodation and food services,

repair and maintenance, personal and laundry services, gyms and yoga studios.

To apply, businesses will need to submit copies of invoices for PPE purchases made after March 17, 2020. This includes invoices for gloves, gowns, face shields, eye protection, masks, sanitizer, sanitizing wipes, thermometers, temperature monitors or cameras, physical changes including the installation of hand sanitizer stations and plexiglass dividers and signs to guide or inform customers and employees.

Ontario property tax and energy cost rebates.

Businesses that are or were required to shut down or significantly restrict services due to provincial public health measures, can apply for rebates provided in the form of grants, to help with their fixed costs. Businesses struggling to pay their energy bills as a result of COVID-19 may also be eligible for the COVID-19 Energy Assistance Program for Small Business (CEAP-SB), which you can apply for through your utility provider.

All small businesses that are eligible for the Ontario Small Business Support Grant are also eligible for these rebates.

Businesses are also eligible if they are or were required to close or significantly restrict services as a result of being under control, lockdown or province-wide shutdown in the COVID-19 response framework “keeping Ontario safe and open.”

Also eligible were businesses required to close or significantly restrict services as a result of being under Modified Stage 2 restrictions in the previous framework. Eligible businesses could get rebates for municipal and education property taxes, and energy costs including electricity and natural gas (or where natural gas is not available, propane and heating oil). Funding will cover the entire length of time that regionally targeted public health restrictions were in place.

To apply, businesses will have to submit proof of costs. For property tax rebates, this includes your property tax bills, or proof of costs associated with property taxes. For energy cost rebates, this includes a digital copy of the first energy bill (including electricity, natural gas, propane or other) you received on or after the day of Modified Stage 2, control, lockdown or province-wide shutdown restrictions were put in place in your region. You can also submit other energy bills if your business is heated by propane or heating oil. In order to apply, businesses will need to provide general business information (for example, CRA business number) as well as banking information (i.e., banking institution, account number, branch code, etc.). To apply for PPE support, property tax rebates, energy cost rebates, the Ontario Small Business Support Grant and other initiatives, please visit: https://covid-19.ontario.ca/ covid-19-help-businesses-ontario. Once your application is successfully submitted, expect to receive your grant within 10 business days. If applications are incomplete or incorrect information is provided, you can expect a delay in the grant processing time.

Bonny Koabel CPA, CGA is President of AKR Consulting Canada (https://www. akrconsulting.com/), a Mississauga, Ontario firm specializing in government grants, subsidies, tax credits, refunds and rebates since 2003. email: info@akrconsulting.com

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Get more productivity out of your staff Do you have a creative employee who is always coming up with “outside the box” ideas but when it comes to writing a report, reading copy or spelling they fall short?

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How to train your customers to order online Meet Dennis, a subscriber to the website service from Marketing Ideas For Printers. He’s a hero to his customers when he politely shows them the efficiencies of placing online orders. Dennis doesn’t force his customers to learn something new. Instead, he provides an easy path for his offline customers to become online customers at a time they chose.

Here’s how he does it.

When Dennis and his team receive an order from someone that’s never used his website (i.e. is placing an order over the phone, by email, or in-person), the first thing Dennis and his team do is to place the order online on behalf of their customer. They go to his website and enter the order information they already have, and then, using the customer’s name and email address, create a complimentary account. A short conversation is enough to begin: “Thanks for the order, Bob, I’ll get that going right away.

As a bonus, I’ll use this info to create an account for you on our website. That way, in the future, you can use that account to track your orders and view your order history.” So Bob gets an account created on the website and receives status updates as the order progresses through the production cycle. His completed order is recorded in his account’s order history on Dennis’s website.

By using this technique, not much changes for the customer. They place the order, and you fulfill the order. However, by adding this quick-and-easy step, Dennis stands to gain major points with his customer in the future. How? • Every email generated by Dennis’s website nudges the customer back to the website to place future orders or browse other helpful website content.

• Dennis’s website generates status updates as the order works its way through the production workflow.

Dennis’s customers appreciate the up-to-the-minute status updates – and your customers will too.

• Dennis’s website starts building the customer’s order history in realtime.

As They See It. Your newly trained customer’s online order history starts

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with that first order, but it shouldn’t stop there. If the customer still prefers that you do the online legwork, you can continue acting on their behalf. It takes a little more creativity to access the customer’s account to place repeat orders. You have to know the customer’s account password (which you shouldn’t have access to for security reasons), or you need to use a tool that allows you to continue to place an order on behalf of your customers. On Dennis’s website, that tool is called “As They See It.” When Dennis’s customer is ready to place the next order, Dennis and his team simply go to the back end of the website to locate the customer and click the pair of eyeglasses next to the customer’s account. (That eyeglasses icon is the “As They See It” tool.) Clicking that icon temporarily whisks Dennis away from the back end of his website into a view of the website representing what the customer would see if they were logged in to the website on their own. Dennis can now assume the identity of his customer and place additional orders on behalf of the customer, just like he did for that customer’s first order.

Building order history. Every time Dennis places an order for his customer in this way, he’s building the customer’s order history, and at the same time, is training the customer to order online in the future.

Every email the website generates as part of the ordering process reminds the customer that their website account is waiting for them. The best time to start building your customers’ online order history was ‘yesterday.’ The second-best time is now. When your customer warms up to buying printing online, all of the orders you’ve placed on their behalf will be waiting as a complete order history – and you’ll be able to “wow” your customers with an easy-to-use reorder system. That’s when your customers will thank you for providing them with the opportunity to place simple online orders.

Dave Hultin is the President and visionary behind Marketing Ideas For Printers. He’s on a mission “to lead printers to success by providing powerfully innovative online ordering solutions and impossible-to-ignore content.” If you’re looking to sell more printing and grow your business, follow Dave on LinkedIn: www.linkedin.com/in/davehultin

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Featured Print Industry Profile: Significans Automation

Utilize. Customize. Optimize. Maximize.

The numbers speak for themselves – 96X increase in efficiency, 30% increase in capacity year over year, and several hours of labour reduced to mere minutes!

When print industry veteran Marc Raad founded Significans Automation in 2018, he was convinced that only highly customized workflow solutions, built to a company’s very specific needs would bring unprecedented savings in time and labour.

“During my 25 years in the industry, I saw so many instances of workflow software being underutilized. Because of this, I was absolutely convinced that customized automation was the best – and only – path forward,” he said.

Today, Significans Automation develops and integrates customized prepress and other types of advanced automated workflow and communication solutions for printers, converters and packaging companies that consistently outperform standard off-the-shelf software solutions. The key word here is “customize.” Significans’ four-step path to client success includes: Utilize to tailor workflow processes that minimize waste and extends resources; Customize to create efficiencies and immediate production capacities; Optimize to fully automate functions and

processes from end to end; and finally, Maximize to increase profitability and return-on-technology investments.

The development of automated workflow solutions with advanced levels of customization have become a “Turbo Switch” for businesses, proving value time and time again in terms of time recovery, production efficiency, error reduction and improved profitability. Here are just a few examples: • Category 5 Imaging saw a 25% to 30% increase in prepress efficiency.

• Boxes Inc. reduced job prep time from 8 hours to 5 minutes.

• Century Printing & Packaging increased prepress productivity from 10 to 50+ jobs a day and reduced labour costs by 40%.

• Wright Global Graphics cut 4 to 5 days off the processing of each job.

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Ricoh’s Pro C5300s and Pro C5310s Digital Sheetfed Colour Production Presses celebrate their first anniversary this month Both presses continue to turn heads with their exceptional copy, print and scan capabilities, high-quality colour output, and wide range of finishing and substrate options. They can help corporate printing departments bring more work in-house, and marketing agencies exceed quality expectations. Commercial printers can also use them as high quality printing and proofing devices without having to interrupt expensive long-run jobs.

The models are also excellent options for printers looking to use specialty stocks for jobs that command premium prices. Precise registration and colour matching combine with support for a very wide range of media – including specialty stocks, synthetics, envelopes and oversized sheets. Extensive finishing options can create professionally finished saddle-stitched booklets, course guides, marketing materials, presentations and much more. Features include fast duplexing, full-colour, 2,400 x 4,800 The Ricoh Pro C5310s

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dpi resolution, speeds up to 65 or 80 ppm, 13” x 19.2” paper size, and built-in sensors to aid front-to-back registration, to name a few.

Ideal for premium applications, these presses maintain their image quality on media up to 360 gsm. Ricoh’s Pro C5300s and Pro C5310s also allow users to keep finishing work in-house with a versatile range of finishing options – including a multi-fold unit for brochures, direct mail, booklets and other bound-document production. A 10” Smart Operation Panel makes managing substrate options much easier, and an intuitive Paper Library can hold up to 1,000 pre-set or custom profiles. Trained Customer Replaceable Units (TCRUs) also empower users to execute routine maintenance on their own schedule.

For more information please contact Document Direction Limited (DDL), the largest Ricoh dealer in Canada. Based in Toronto and serving the GTA, Southern Ontario and Canada, the company specializes in Ricoh production print equipment, MFPs, imaging, IT, digital transformation services, cyber security, A-V communications and much more.

Please call (416) 218-4360 or visit www.documentdirection.ca

GRAPHIC ARTS MAGAZINE | Spring 2021 | 19

Column

Five key factors to consider when choosing your next wide-format printer Having worked with Canon Canada for the last 14 years as National Manager, Large Format Printers, I’ve had the privilege to work with some of the largest and smallest print shops in Canada. Each segment is different and has its own needs. Over the past 20 years, large-format printing has developed into a very profitable sector for many of the shops that have carefully monitored their customers’ needs. There’s no denying that the printing industry has suffered during the 2020 pandemic, but the good news is that, according to KeyPoint Intelligence reports, the outlook is expected to improve soon.

operation, here are some key factors to consider. I want to thank Grimco and Epson for allowing me to interview them to better understand the needs of their customers. Questions may be different for someone looking to upgrade a large-format printer, as opposed to someone just starting off with a new large-format printer – but you can use this article as a checklist.

Having the right equipment and workflow, and offering customers the ability to place, approve and track their orders online, will greatly help print companies survive. So, when considering to add or upgrade a large-format printer to your printing

• What type of jobs do I expect to be running?

20 | Spring 2021 | GRAPHIC ARTS MAGAZINE

Here are the five factors I believe you should consider: Applications • Will this new large-format printer meet my current needs?

• What is your target market or area of focus for your business?

• Do I need print for indoor or outdoor

applications – or both?

• Will the printer handle all of my current applications in regards to print quality and speed, and do it economically?

• Are there jobs you currently turn away or need to outsource?

• Can the printer hit all the colours you need it to achieve, such as specific Pantone colours?

• Does the printer print white or silver, and will this be a future requirement?

• Does the new printer allow me to grow my business?

• Is the new printer versatile enough to allow me to evolve into new applications beyond my current core business?

• Can the printer handle the volume of work if I increase my business?

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• Does the printer give me an advantage over my current competitors?

Cost of ownership • How much will this printer cost to operate?

• Calculate the total cost per square foot of printed media: • Ink cost per square foot • Consumables costs (print heads, cleaning products, etc.)

• Electricity consumption • Periodic manufacturer maintenance • Daily maintenance time required Productivity • How fast can the printer print at reasonable quality?

• What does your expected print volume look like?

• How long do you need to wait before laminating and how will that affect your production workflow?

• Does the printer have an integrated cutting solution or is the cutter sold separately? (Print and cut integrated solutions are great, but they’re not made for high productivity. They’re made for smaller shops that don’t have space for two separate pieces of equipment. Having a printer and a separate cutter allows for a faster production workflow. The cutter can cut while the printer prints.

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• Is this printer compatible with my current workflow and software?

• How much time will be required to retrain staff, etc.?

• If there’s a change with the front-end software, what advantages are there – and are the advantages worth the learning curve?

Service and support • How capable is the dealer to support me during and after the sale of the equipment?

• How fast can I get my printer serviced when it needs repairs?

• How many dealers support this printer and how many experienced technicians does each have so that I’m not locked into only one dealer for ongoing support.

• How much does it cost to repair this printer on an hourly basis?

• How reliable is this printer and are referrals available?

• Does the dealer offer new materials and applications training to support growth?

• Do the manufacturer and dealer offer a tech-support helpline?

• Do the manufacturer and dealer offer colour-management support?

Price

never be your main concern.

• It’s important to buy the right printer for the right application that gives you room to grow your print volumes and different application types.

• Service is also critical. How quickly will your new printer be up and running after it goes down?

• Does the printer come with all the software it needs, or is there an extra charge?

• Should I lease or should I buy?

These are just some of the questions that I would ask a customer, as we start a discussion of a new wide-format printer. The key is to understand your business, your customers and your needs. You need to find a printer that’ll handle your largeformat print needs now, but also give you plenty of room to grow. I hope this helps as you seek to grow your business in 2021.

Peter Dulis is a large-format printing executive who’s worked with Canon Canada for the past 14 years as National Manager, Large Format Printers. He’s a frequent contributor to Graphic Arts Magazine, Luminous Landscape, Photo News, Visual Wilderness, and his photography and articles can be found on his websites: https://www.peterdulisphotography.com/, https://photographyadventures.ca/ https://www.linkedin.com/in/peterdulis/. Dulis is available for consultation or keynote speaking related to photography and large-format printing: pdulis@rogers.com.

• Price is important when considering the purchase of a new printer, but it should

GRAPHIC ARTS MAGAZINE | Spring 2021 | 21

Installations

Point 1 Displays installs Jeti Tauro from Agfa Canada Montreal’s Point 1 Displays has installed a Jeti Tauro wide-format press from Agfa Canada (Mississauga, ON). The company specializes in displays for the health and beauty markets. For over 27 years, it’s been a key partner for some of the most respected brands in the industry. The addition of the Jeti Tauro will expand its range of services while offering even more added-value products. Point 1 Displays has a team of over 18 designers with specific expertise in merchandising that works hand-in-hand with its manufacturing team. Its 146,000 sq. ft. production facility in Lachine, PQ is equipped with wide-format, silk screening, hot stamping, die cutting, lithography, laminating, CNC cutting, and vacuum-forming technology. The company also has a co-packing and logistics team for exceptionally fast speed to market. Applications include permanent displays (wood, metal, wire and plastic), temporary displays (corrugated, chipboard, plastic), acrylic and plastic displays, product glorifiers, vacuum-formed displays and a wide range of signage solutions. Its retailer-specific solutions serve leading companies, including Walmart, Loblaws, Shoppers Drug Mart and Costco.

Agfa’s Jeti Tauro uses UV LED curing that yields vivid 6-colour (plus white or white and primer) prints, exceptional productivity, and cutting-edge automation for countless rigid and flexible media applications. A robust hybrid UV inkjet printer with an

integrated roll-to-roll system, the Jeti Tauro will be especially helpful as its possibilities for high-end sign and display printing are almost endless – including prints of up to 2.54 metres wide. The Jeti Tauro has 32 fast-firing Ricoh inkjet print heads, each with four nozzle rows for two colours per head. Gloss and satin modes can accommodate an even larger colour gamut, while enhanced spot colour reproduction means no loss of image quality or extra ink usage. Optional 3/4 automation is also available.

From left are Point 1 Displays’ Daniel Gornitsky (Account Manager) and Bruce Gornitsky (President).

Cambridge Label installs DC330 MINI Label Converter Leading trade-only printer Cambridge Label (Cambridge, ON), the largest printer of trade labels in Canada, has self-installed a DC330 MINI Label Converter from manufacturer Grafisk Maskinfabrik A/S of Birkerød, Denmark in just one day using the OEM’s Visual Guide. With built-in functions such as semirotary die-cutting, varnishing, laminating, slitting and more, the new machine will help the company to better accommodate the growing demand for high quality labels and shorter turnaround times. Cambridge Label specializes in manufacturing custom-printed labels and shrink sleeves in quantities as few as 100 up to several million, using a wide selection of stocks and adhesives and an immense number of sizes and styles.

Popular label options include digitally printed labels, variabledata labels, laser die-cut labels, cold foil, hot foil stamping, embossing, and more, for a wide range of industries, especially wine, food and cosmetics. For over 20 years, the family-owned trade printer has excelled in producing high quality, technically challenging labels on deadline.

The latest generation of the compact DC330 MINI Label Converter digital label finisher has been redesigned and features new electronics, a newly designed control panel and an updated user interface. The drive train of the DC330 series is completely servo-driven and offers low maintenance, exceptional tension control and precise registration. High performance

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output can reach up to 72 metres per minute (236 feet per minute). Web widths can vary from 50 to 330 mm (2 to 13 inches), and substrates from 50 to 200 µm (2 to 8 point) can be accommodated. Precise cutting that reduces waste begins within the very first rotation. No station movement or mechanical set-up is needed and the unit’s updated touchscreen shows configuration, spindle directions and web-up.

Deanne Sinclair, Cambridge Label President, with Shelden Hubbs, Cambridge Label Business Development Representative, in front of the newly installed DC330 MINI Label Converter.

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Podcasting for printers: Part 1 There are many great reasons for a printing business to create a podcast, whether you’re a large, medium or small business in this industry. In the first of this three-part series, we’ll explore why to start a podcast and your target audience.

In Part 2, we’ll examine the what, where and when of ‘finding your voice’ as you determine a podcast format and plan.

Part 3 will focus on the ‘how’ including the hardware and software requirements. Just over a year ago, I dove into the world of podcasting, launching Talk Paper Scissors – a podcast about printing and design, typography and branding, books and publishing. What started as a passion project quickly turned into an important communication channel that I’ve integrated into my role as an educator in the graphic arts industry.

My dad was in the audio business his entire life. While I inherited some of his desire to connect via audio, I definitely didn’t have the technical skill set.

Nowhere in my formal education was I taught how to write and record for audio, edit audio tracks, broadcast audio via the internet, set up RSS feeds to ensure that podcast directories could find my content, and so on. However, with the help of fellow podcasters, LinkedIn Learning and YouTube tutorials, as well as good old fashioned stick-with-it-ness, I was able to create and broadcast my work to the world. I’ve learned a lot creating Talk Paper Scissors and coaching others to create their own podcasts. I aim to give you a high-level overview of questions, tools and considerations for starting a podcast.

Why should a printer create a podcast?

According to author and podcaster Eric Nuzum, you only need two prerequisites to start a podcast: something to say and a passion for saying it. Podcasting is relatively uncharted territory for most businesses. As Buzzsprout describes in its excellent free resource, How to Start a Podcast – The Step-by-Step Guide, for every one podcast there are roughly 29 YouTube channels and 750 blogs. Plus,

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approximately 90 million Americans and 8 million Canadians listen to podcasts every month! Podcasting, therefore, is a comparatively untapped, yet indemand channel and unique opportunity to carve out space in an otherwise crowded digital landscape.

More specifically, a podcast is a high-value, low-cost tool that can help you 1) establish yourself as a thought-leader in industry, 2) allow you to explore interesting topics that can add value to your current products and services, and 3) allow new customers to find your business. Therefore, podcasting is a tool that can leverage current sales, marketing and customer-service efforts in ways that few other mediums can. Unlike the fragmented and microbursts of marketing content blasted out each day on social media, TV and other commercial channels, podcasting is a unique long-form content approach.

Podcasts are also often consumed onthe-go – while walking the dog, exercising, driving and so on. With easy accessibility to hardware and software, recent simplicity of recording and distributing your work, and the relatively inexpensive cost of both, there’s never been a better time to start your own audio broadcast.

Who is your podcast intended for?

You can use podcasting to educate customers about everything from the power of packaging design to the world of publishing. Whatever your topic, it should

be aligned with your business goals while keeping your audience highly engaged. What are your audience’s desires, hopes, dreams and fears that will help direct the content you create and the overall strategy you employ?

The ‘who’ must be addressed before the what, where, when and how. Creating an audience profile (sometimes called an ‘avatar’ or ‘muse’) is a helpful first step, including writing a description about a specific individual for whom you are creating this podcast. Then look beyond the obvious and try to pinpoint big emotions that lie under the surface.

Don’t worry if it feels like you’re overgeneralizing at this point. No two people are the same, but understanding commonalities among your listeners is invaluable. No listener will be 100% like your avatar, however every listener wants to be like your avatar in some way, shape or form.

Envisioning your future podcast should feel exciting and challenging. Let your ideas marinate for a few weeks and stay tuned for Part 2 when we’ll tackle the key questions of what, where and when to podcast.

Diana Varma is a Lecturer at the School of Graphic Communications Management (GCM) and the Master of Digital Media (MDM) program at Ryerson University.

She also hosts a podcast called Talk Paper Scissors. www.talkpaperscissors.info

GRAPHIC ARTS MAGAZINE | Spring 2021 | 23

New Products

Print on two identical cylindrical objects at once

A high-resolution flexographic production-class press

Inkcups newest addition to its Helix line is the Double Helix that features two side-by-side print stations that can simultaneously print the same artwork on two of the same vessels.

These print stations have the ability to print high quality, full-colour (CMYKWW+V) images on straight-walled and tapered cylinders. The Double Helix can print full-colour seamless graphics at about 6 to 8 parts per minute depending on artwork size. It’s ideal for drinkware, barware, spirits, craft beer, candleholders and many other industrial cylinder printing applications. Typical end products include graphics on stainless steel tumblers, pint glasses, beer cans, wine and spirit bottles, sports bottles and more. The Double Helix is also compatible with Inkcups’ full line of UV digital inks. With a printable area of 8.6”, it can print on items up to 12” in length with a diameter of 2-5” using spot varnish, tip-to-tip printing, mirror print, contour print and more.

Other features include the ability to add a new and patented Transparent Pin Curing (TPC) system for transparent drinkware items and easy integration of pre-treatment processes.

Inkcups Double Helix

Mark Andy’s latest hybrid inkjet flexo production press, the Digital Series iQ, is built on the OEM’s Evolution Series flexographic platform for wide application flexibility. It combines a Domino N610i UV inkjet module with Mark Andy web-handling technology for maximum performance at “an affordable initial capital investment.” It combines high-resolution print and inline converting, and can be configured with up to 7 UV inkjet colours (CMYKOV+WW). Hybrid converting components can be integrated to meet each user’s specific requirements. Print stations, semi-rotary diecutting, a rail system and inline slitting have been common options selected by some early adopters.

With speeds up to 230 fpm (70 mpm) in rapid production mode, the press also integrates software solutions from Esko and Global Graphics – from ScreenPro for workflow and digital front-end (DFE) processes, to processing of files and variable data or high-SKU-count applications. Consumables are available through Mark Andy Print Products, while Domino technical staffers will work with Mark Andy to support the rollout.

An automated creaser for the North American market Print finishing leader Sydney Stone has brought the Morgana AutoCreaser Pro XL to North America. Morgana’s new Adaptive Process Control (APC) monitors sheet feeding in an efficient, closed-loop process. The Pro XL is specifically designed to handle the widest range of media. Its feeder continuously checks the paper float zone and automatically makes adjustments on the fly. It ensures high feed reliability and can be operated easily by employees of varying skill levels. Running at a maximum of 8,500 A4 sheets per hour, this is Sydney Stone’s “most productive creaser to date.” The Pro XL can handle a sheet size of 385 mm x 1,300 mm with a table extension that comes standard. The Pro XL can be also linked to its AutoFold Pro – an automatic folding system designed specifically for the professional printer for folding of digital stocks. It uses patented Flying Knife technology developed to prevent scuffing and marking on digital stocks.

Rotary perforation comes standard and an optional cross-perforating unit can be added for more complex jobs.

Sydney Stone’s Morgana AutoCreaser Pro XL

24 | Spring 2021 | GRAPHIC ARTS MAGAZINE

Mark Andy Digital Series iQ flexographic press

Industrial dye-sub printer with premium features The Mosaica Group’s Panthera JR is an industrial, 1.9-metre digital dye-sublimation printing system that includes “more affordable” premium features. Panthera S4 printing systems offer high-quality printing with 2 x CMYK ink configurations.

An optional 8-colour ink configuration provides even sharper images, more vibrant colours and deeper blacks. The Panthera JR is equipped with four i3200 Epson print heads that achieve speeds up to 1,900 ft2/hr. Panthera systems use a speciallydeveloped print head controller that offers better precision, along with an anti-crash system on the carriage to protect the print heads from incorrectly hitting the transfer paper. The printer’s roll-to-roll feeding system helps eliminate paper waste and is capable of direct-to-fabric printing in certain applications. Panthera printers require less cleaning and less maintenance, are easier to operate, and can perform routine maintenance checks. The Mosaica Group’s dye-sub product line also includes SwissJet premium dye-sub inks, and can accommodate other dye-sub printers with Kyocera or Epsonbased print heads.

These inks offer extremely low consumption with a quick transfer rate.

The Mosaica Group’s Panthera JR

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Column

Process-less or process-free plates – the quiet winners With digital printing taking up most of the oxygen in news coverage in the graphic arts world, we tend to lose sight of other critical developments in our industry. One remarkable silent evolution has been the gain in importance of process-less plates in offset printing. Simply put, in a process-less plate production process, the plate goes straight from the image platesetter to the printing press, bypassing the plate processor. The plate coating is subsequently removed during the start-up of the press.

Although process-less or process-free plates have been commercially available since the beginning of the new millennium, it took until approximately 2014 that we saw the first uptick in the adoption rate of this technology. However, it’s only in the last couple of years that the technology has really gained traction.

The three major players in this field – Fujifilm, Agfa and Kodak – have consistently invested major R&D dollars in the development of their respective processless plates. Recent introductions include Fujifilm with their Superia ZD line, Agfa with their Eclipse and Azura lines, and Kodak with their next-generation Sonora line.

These R&D investments underscore the importance that these OEMs are paying to this technology. As we take a closer look at reasons why process-free plates are gaining popularity, we believe that there are four interrelated factors driving their adoption: technological improvements, cost benefits, environmental benefits and business trends. The coalescence of these four complementing factors is accelerating the adoption rate of these plates.

1. Technological Improvements There’s no doubt that the initial releases of process-less plates encountered some challenges that jeopardized both quality and productivity, which slowed their adoption rate. Shortcomings in quality were reflected in elevated sensitivities to scuffing and scratching,

26 | Spring 2021 | GRAPHIC ARTS MAGAZINE

fingerprints, and unintended light exposure. Residue build-up on the press required frequent cleaning, degrading print quality during a run which then triggered reprints. Shorter run lengths limited the types of jobs that could run using these plates. UV inks also caused major issues. The latest technological improvements exemplified by the most recent product releases by Fujifilm, Agfa and Kodak have drastically elevated both quality and productivity levels for both web and sheetfed presses. These technological improvements have now pushed the adoption rate of process-free plates past its lethargic early-adoption phase into the mainstream.

2. Cost benefits Substituting conventional plates with process-less plates eliminates a critical step in the prepress workflow, shortening the time from platesetter to press, thus gaining productivity. The technology also eliminates the need for the plate processor itself – which in turn cuts out its related high usage costs of water and electricity. Removing the platesetter also eliminates its utilization and maintenance costs and creates the opportunity to redistribute labour elsewhere within the production process. Lastly, it also frees up costly floor space that can be repurposed. Combining all these cost benefits is another factor that drives the adoption rate. Although process-less plates might demand a slightly higher

up-front price, the price differential is more than offset by cost savings and their overall production benefits.

3. Environmental advantages Over the last several decades, the graphic arts industry has made major strides in responding to environmental challenges – and the introduction (and evolution) of process-free plates is yet another important step in that awareness cycle. The environmental benefits with process-free plates are self-evident. The elimination of a plate processor not only saves a production step in the pre-press workflow, but also sharply reduces the use of water and electricity while eliminating a multitude of chemicals. There’s no doubt that this technology drastically reduces an operation’s overall carbon footprint. And as mentioned before, the physical removal of the plate processor also saves real estate in the prepress department.

4. Business trends Next to the factors already stated, there are underlying business trends in our industry that are making the case for process-less plates. As I mentioned earlier, most of the news cycles are focusing on digital printing while under-reporting advances made in conventional printing.

Although conventional lithographic offset still produces the lion’s share of printed pages by far, the changing demands for shorter runs and faster

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Column turnaround times have put tremendous pressure on offset press manufacturers to meet these demands. There’s no doubt that digital presses are changing our industry’s landscape by offering successful solutions for the increasing demand of personalization and versioning. And the continuously improving financial break-even point of digital presses for shorter runs compared to lithographic offset presses is putting pressure on conventional production processes. Offset manufacturers have reacted by launching faster presses, introducing highly automated makeready processes, and leveraging their integrated workflows. Process-less plates seem to be a logical extension and tool to partly compete with these changing digital challenges of faster turnarounds and shorter run lengths.

Mitchell Press, based in Burnaby, British Columbia has been one of the early adopters of process-less plates when they switched to the Kodak Sonora line in 2014. Scott Gray, VP of Sales and Marketing, explained that the company prides itself to be at the forefront of incorporating sustainability as an integral part of their business practices – hence their decision on process-free plates. In a recent interview with UK-based Print Business, John O’Grady, President of the Print Systems Division at Kodak, said that the demand for process-free plates is on the rise. “There are several trends fueling the growing popularity of processfree plates, including the increasing interest in protecting the environment, constant pressure in the industry to cut costs, and the desire for more efficient workflows and faster prepress processes,” he pointed out.

The three major plate manufacturers continue to make their mark Martin Boucher, National Director of Sales, Graphic Systems Division, Fujifilm Canada, has seen a substantial uptake in their process-less Superia ZD plate line. He insisted that clients are sensitive to the environmental impact of their production processes, and are looking for solutions without compromising on quality and costs. TC Transcontinental in Aurora recently adopted these processless plates. Paul Houde, Director ISM Manufacturing, specifically referred to their environmental and cost benefits.

The removal of the plate processing equipment triggered a sharp reduction in power consumption and water usage while eliminating the use of chemicals.

Transitioning to process-less plates also contributed to workflow productivity improvement s and overall cos t reductions.

Fujifilm Superia ZD Plate

@graphicarts

combines superior and stable image contrast with easy handling and cleaner operations. She stated that several adopters have already confirmed this, reporting up to 40% faster start-up times, up to a 15% reduction in paper waste, and savings up to 25% on press cleaning.

Process-free is here to stay There’s no doubt that the graphic arts industry is going through some major changes. The digitization of communication tools is fundamentally changing the printing industry and is rewriting how we do business within the overall communications industry, which we are part of. The printing industry is reacting by continuously launching newer digital technologies, but also by introducing innovative new “conventional” products – of which process-free plate technology is one truly remarkable example. Although the evolution of process-free plates is not grabbing headlines, or is not the subject of major news cycles, it’s definitely a winning technology – albeit a quiet one!

Kodak Sonora Plate

Sheetfed commercial printers here in Canada and around the globe are reporting the benefits of Agfa’s processfree printing plate, the Eclipse. It not only eliminates the need for a processor using chemicals, but distinguishes itself as a ‘drop-in’ that’s just as easy to use as a conventional plate. Iris Bogunovic, Product Manager of Plate & CTP Systems at Agfa, insists that this plate “eclipses” all other process-free plates because it Alec Couckuyt is an experienced printing executive who held key roles at Canon Canada, Agfa Graphics (Belgium, Canada, Germany), Transcontinental Printing, Symcor, and U.S.-based EDS. He holds a Bachelor of Science Degree in Economics from the University of Antwerp in Belgium, and can be reached at alec@agcconsulting.ca

Agfa Eclipse Plate

GRAPHIC ARTS MAGAZINE | Spring 2021 | 27

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@graphicarts

GRAPHIC ARTS MAGAZINE | Spring 2021 | 29

Column

Why everyone is talking about Brand in 2021 The year 2020 proved to be a gamechanger for every industry – especially print. The pandemic forced a rapid virtualization of many aspects of doing business, which in turn forced us to rethink how we operate, sell and market.

After a year into it, some businesses have adapted well while others still struggle – begging the question: what will be the differentiating factor for companies in 2021? The answer – Brand!

Building trust throughout the buyer journey is critical, as is maintaining that trust once you’ve won their business.

According to the 2021 Edelman Trust Barometer, the pandemic has accelerated the erosion of trust around the world.

People are looking for leadership and solutions. They’re quick to reject anyone – or any brand – deemed not credible.

More time spent at home during lockdowns means more time spent online. According to Stats Canada, online shopping has doubled during the pandemic, while social media usage has increased by a whopping 69%! With more and more eyeballs online, capturing attention is harder than ever. Your potential customers are not going to stop and pay attention to their feed until they see something that stands out.

Blink, and they’re gone! It’s more important than ever that prospects understand how you help them within the first five seconds of visiting your website. With an innate ability to tune out marketing completely, this generation’s business buyers make their decisions by starting their research online and in groups.

They rarely deal with a salesperson until afterwards, migrate to companies that align with their beliefs and social causes, and seek trustworthy resources to help them make an educated decision. Brand is more than your logo, tagline or messaging. It’s all of those things wrapped up in an experience that leaves a positive – or negative – feeling that resurfaces every time it’s encountered. Jeff Bezos said it best: “Brand is what people say about you when you’re not in the room.”

Today, it takes more than 10 interactions

30 | Spring 2021 | GRAPHIC ARTS MAGAZINE

before brand recall even begins to set in. These 10+ “touches” come in many forms, including digital marketing, social media, advertising, websites, cold calling and print – which has the strongest memory recall of all. Each touch is an opportunity to create awareness, build trust and develop relationships.

Print puts your brand in the palm of their hands. Exciting our senses of touch, smell and sight, colourful print complements interactive digital customer journeys with fun, one-of-a-kind experiences. Providing a multi-touchpoint, engaging and relevant omnichannel experience becomes a brand-showcasing opportunity. And nobody builds a memorable brand experience better than print. Direct mail and postcards are just two examples of how printers can literally put your brand in the palm of your customer’s hands. Adding interactive elements, like augmented reality and QR codes, heighten the experience – and brand recall.

Print puts your brand in front of the camera. Video presents a great opportunity to show off your brand. Don’t wait for a tradeshow to wear your logo’d shirt – wear it on camera! Better yet, send your branded swag to your customers, prospects and influencers. Lanyards, clothing, wall graphics, mugs, water bottles, even pens – if it appears on camera, then it can be branded.

People share your brand with other people. One LinkedIn study showed that over 70% of all salespeople have adopted

social selling – if you’re a millennial, the adoption rate is nearly 80%. People buy from people, not companies. Today’s salespeople are not pitching products and services. They’re online using proven techniques focused on helping prospects transition from “I’m just looking” to “I’m ready to talk dollars.” New approaches to selling and buying behaviour have heightened the need to know exactly who is making the buying the decision.

The brand experience is what separates you from the competition. And it’s no longer in the hands of the marketing department. From the floor sweeper to the CEO, every employee is a brand ambassador – with the power to share information and knowledge about who you help, how you help, and why it matters.

Using new social-selling techniques, brand ambassadors can connect with, understand, and cultivate relationships with prospects – whether it’s on LinkedIn, Instagram, Twitter, Facebook, TikTok or somewhere else. This gives your buyer a chance to connect on a deeper level with the people in your company – and your brand – and learn more about why you’re the right business choice for them.

Joanne Gore, President of Joanne Gore Communications, is a B2B marketer who’s passionate about print. She has spent the last three decades helping hardware, software, manufacturing and print companies stretch their marketing dollars with programs that generate awareness, customer engagement and growth.

Email: joanne@joannegorecommunications.com LinkedIn: linkedin.com/in/joannegore121

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Creative and Design

X-Rite unveils Pantone Colour of the Year

Shutterstock debuts The Create Fund for designers

X-Rite and Pantone have revealed that Pantone 17-5104 Ultimate Gray plus Pantone 13-0647 Illuminating have been chosen as their official Colour of the Year for 2021. “A marriage of strength and optimism, Ultimate Gray and Illuminating don’t have to be used in equal proportions. Either colour can take precedence whether for print, packaging, beauty or home furnishings,” said Laurie Pressman, VP of the Pantone Color Institute. Ray Cheydleur, Printing and Packaging Market Manager at X-Rite, added: “Producing Illuminating for its highest visibility and impact, or Ultimate Gray for its versatility in packaging and store displays, will require the right colour management software that can match the colour across corrugated, film, offset and digital, to ensure that all the components match. This includes tools for digital colour communication, ink formulation, colour measurement and quality control.” To arrive at the selection, experts at the Pantone Color Institute search the globe for new colour influences. For 22 years, their choice has influenced product development and purchasing decisions across multiple industries worldwide.

Shutterstock has announced The Create Fund – a $300,000 (USD) artist grant program that will provide financial support for artists around the globe – focusing on diversity, inclusion, social justice and environmental awareness through content they create. Shutterstock’s aim is to fill content gaps and further diversity and inclusion within its content library and contributor network. Support will be offered to “under-represented artists who are advancing the global mission of diversity and inclusion through their visual content.” At launch, grants offered will cover three areas: Create for Climate (supporting artists who depict climate change, environmental protests, and our changing landscape); Support Invisible Illness (promoting artists who create visual stories that break the stigma about mental health); and The Senior Creatives (supporting designers over 50 who want to share their experiences and perspectives through their creative work). Artists – including photographers, videographers, illustrators, composers or writers – are encouraged to apply and must submit a project proposal, examples of their work, and a short biography. Please visit the Shutterstock website for program deadlines and rules.

Idealliance launches updated colour reproduction guide Idealliance has released Volume 21 of its Guide to Print Production. The popular publication will now be offered as a textbook, printed on-demand and designed to serve as the definitive reference guide to the critical science of colour reproduction. At the heart of the guide are the standards and specifications that make colour possible and practical.

For example, it includes Idealliance’s world-leading G7 specification and other science-based approaches to accurate, repeatable colour reproduction. The guide is organized into three parts. The first covers basic information about colour print reproduction and was designed for students and industry novices. The second focuses on Idealliance’s standards development, training and certification programs to improve competency and workflow. The third is the core of the guide and contains current, practical descriptions of specifications defining graphic communications colour workflow – including G7, GRACoL, and SWOP. This indepth section outlines colour, design and print management on specific data sets, targets, procedures and workflows that need to be considered in print and packaging creation and production.

@graphicarts

Evian launches its first label-free bottle Evian has unveiled, in Singapore, a new bottle design made from 100% recycled plastic with an engraved logo, as the brand looks at innovative ways to reduce its use of virgin plastic. “Reinventing the way Evian natural mineral water is packaged, the newly-designed bottle presents an opportunity to reaffirm the brand's beliefs and involvement in protecting the environment,” said the company. Aligned with Singapore's Zero Waste Masterplan to pave the way towards a zero-waste nation, the introduction marks a significant milestone for Evian “to becoming a circular brand by 2025 by making all of its plastic bottles from 100% recycled plastic.” In early 2020, Evian received a global certification for becoming carbon neutral. Its new 400ml bottle design features an Evian Pink bottle cap and will be made available at selected hotel, café and retail outlets in the months ahead, according to the company.

Evian’s new label-free recycled plastic bottle.

GRAPHIC ARTS MAGAZINE | Spring 2021 | 31

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