Graphic Arts Magazine |May 2021| Volume 24 | Issue 2

MAGAZINE

GRAPHIC ARTS

For the continuously learning professionals of the design, print, sign and packaging industries of Canada May 2021 l Volume 24 l Issue 2 | $7.95

PRINT FINISHING AND EMBELLISHMENTS: THE WOW FACTORS

MAGAZINE

GRAPHIC ARTS Contents

For the continuously learning professionals of the design, print, sign and packaging industries of Canada May 2021 l Volume 24 l Issue 2 | $7.95

May 2021 l Volume 24 l Issue 2

11 Print finishing and embellishments The WOW factors Tony Curcio

16 Project Gutenberg and the birth of digital publishing A fascinating retrospective Megan Knoblauch

PRINT FINISHING AND EMBELLISHMENTS: THE WOW FACTORS

18 Podcasting for printers: Part 2 What, where and when to podcast Diana Varma

19 Print industry profile: Huge Paper Ideas Print finishing and embellishments: The WOW factors

11

New website helps you make the best the substrate decisions Staff writers

19 Seven business card trends for 2021 Staff writers

22 Get funding for college/university intern employees The federal Student Work Placement Program Bonny Koabel

30 The subscription evolution The role of newsletters and tips for success Joanne Gore

31 What will the internet look like in 2050?

Futurists predict what the next 30 years will bring Staff Writers Project Gutenberg and the birth of digital printing

16

In every issue 9, 10 14, 20, 27 21 24, 25, 26 28 29 Podcasting for printers: Part 2

18

What will the internet look like in 2050?

For the

Print industry news Installations Creative & design Product innovations List of advertisers Classifieds

31

of print.

View from the publisher

Source - Jack Butcher, Visualize Value

Creators + audiences = a creative community Howdy, thanks for checking in! Graphic Arts is excited to debut some big announcements that have been developing within the wonderful world of graphic arts and print technology.

This month, we have been focusing on what American entrepreneur and investor, Marc Andressen once said: “Creativity is a collaborative exercise between the creator and the audience.”

As a creative media outlet, Graphic Arts Magazine has been taking strides to become better connected to our audiences.

Please keep this in mind as you are browsing the latest and greatest news, product announcements, creative and design, events calendar and insider insights found within this document. Whether you hate it or love it, or just need more answers to your questions, we want to hear from you!

In continuing our mission to make remarkable content, we are testing out some new methods of content creation and delivery. You will notice changes to our layout in the upcoming issues, but first take a look at some images in this document – they are not just images, but actual videos! (I wonder if Michael Hart, inventor of the eBook and the Gutenberg Project ever imagined this would happen.)

These changes won’t af fec t your daily life, but over time, these new media formats aim to better serve your businesses’ needs. But as Marc Andressen reminds us, creative endeavours cannot successfully happen without collaboration between the creator and their communities. Our goal is to provide access to resources that you and your team leaders can use to make practical improvements to your business.

So here are two options for keeping the collaborative process alive! Let us know what you think via email, text, phone call, direct mail, tweet and or live stream. Or as an alternative, just tell your suppliers about the news you have discovered in Graphic Arts Magazine! Both options will be generously appreciated, and are big karma points.

RYAN MULCAHY, Publisher

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: June 11 for June 2021 July 9 for July 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.

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In ink we trust.

GRAPHIC ARTS MAGAZINE would like to thank our contributing writers: Tony Curcio • Joanne Gore • Megan Knoblauch Bonny Koabel • Diana Varma

@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.

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WARREN WERBITT CMCA AUDITED

www.warrenwerbitt.com

SCOTT WILLIAMS

Taylor Printing Group

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Tony's Corner

Reading printed materials improves literacy and engagement Every day at 7 am when I take the bus to work here in downtown Toronto, I see about 80% of passengers focusing on their devices, like lions stalking their prey. Then alas, I feel really, really old! But then my habit of reading only printed publications was reinforced when I came across a new study: 21st Century Readers: Developing Literacy Skills in a Digital World. The OECD (Organization for Economic Co-operation and Development) and PISA (Program for International Student Assessment) special report revealed that students perform better when they read from printed materials rather than from digital devices. In fact, students who read printed books more often, performed better in reading tests and spent more time reading than students who read mostly from digital devices.

Sadly, about one-third of students rarely or never read books. This is alarming, the report concluded. While it’s positive that printed books still remain the preferred medium for reading, two-thirds of students are not reading enough – or enough in print – to develop strong literacy skills. “This will have far-reaching ramifications,” the study added. “Developing strong literacy skills is crucial in our knowledge-saturated digital societies. The best tool for reading is proven to be print.”

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Across all countries surveyed, students who read printed books also spent more time reading for pure enjoyment.

Plus, those who read printed books more often, read about four hours more per week. Reading digital texts more often than printed texts actually showed a “negative association with reading performance.” The report did say that digital technologies can “amplify” learning – but “providing access and promoting the use of digital tools doesn’t automatically lead to better results.”

So guess what folks? What applies to students, applies even more to adults whose reading habits seldom change with age. So if you prefer to read printed publications, please go right ahead and enjoy yourself. The only exception – of course – being this thoroughly enjoyable May digital issue of Graphic Arts Magazine! As for myself, I’m on the verge of completing my 30th printed book since the lockdown. Unfortunately, I lost my crayons!

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

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Print Industry News

Paper Excellence to acquire Domtar for $3 billion Paper Excellence (Richmond, BC) and Domtar (Montreal & Fort Mill, South Carolina), have inked an agreement under which Paper Excellence will acquire all of the issued and outstanding shares of Domtar common stock for $55.50 (USD) per share in cash. Paper Excellence is a diversified manufacturer of pulp and paper that’s built a vast network of mills and chipping plants. Domtar is an integrated manufacturer of uncoated free-sheet paper in North America, and one of the largest manufacturers of pulp in the world. The transaction is expected to close in the second half of 2021. The all-cash transaction represents an enterprise value of $2.5 billion (USD), or about $3 billion Canadian dollars. Paper Excellence will retain its corporate and production locations and intends to continue the operations of Domtar as a stand-alone business.

Domtar will continue to be led by its current management team.

CCL installs world’s first HP Indigo 35K Digital Press CCL Industries, a world leader in label, security and packaging solutions, has installed the world’s first HP Indigo 35K Digital Press at its CCL Label Healthcare facility in Montreal. The new B2 sheetfed press for cartons and specialty boards offers high-definition printing, security inks and variable-data printing for track-and-trace solutions and security printing. The folding carton solution can deliver multi-layered brand protection applications, on one press and in one pass, to serve the health and personal care, plastic card and high-end folding carton markets. The investment was also a huge milestone. It was the 100th press added to CCL’s global fleet of HP Indigo digital label presses running at more than 60 sites worldwide.

HP Indigo 100K Digital Press

Fort Dearborn sets world record of 82 million impressions on its Heidelberg Speedmaster Fort Dearborn, a custom label and packaging company with 20 locations across the U.S., reached nearly 82 million impressions on its Heidelberg Speedmaster XL 106-8+L in 2020. This high level of productivity was especially critical to Fort Dearborn’s success as demand at grocer y Fort Dearborn production team members stores due to COVID-19 from left are: Press Operators surged. Printing primarily Rosendo Pozos and Brent Baldwin, with cut-and-stack labels, the Maintenance Technician Mike Suarez.

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Fort Worth, Texas location of Fort Dearborn is equipped with two Speedmaster XL 105s and one other XL 106 in addition to its world-record-setting Heidelberg Speedmaster XL 106-8+L press, which was installed in July of 2019. In comparison to similar machines in the market, the XL 106-8+L at Fort Dearborn produced more than 250% of the annual gross impressions compared to the industry average of 32 million. Fort Dearborn credits its record-breaking performance to the advanced technology of the press, its increased business in 2020, and its overall plant strategy and teamwork.

Cimpress and HP sign major deal to deploy HP Indigo presses HP and Cimpress, a world leader in mass customization, have announced a multi-year, strategic agreement for a large-scale investment in next generation HP Indigo digital presses to grow Cimpress’ online personalized print product market. HP Indigo’s largest customer globally, Cimpress will deploy a fleet of new HP Indigo digital presses over the next two years, primarily the OEM’s B2-format HP Indigo 100K Digital Press.

More than half of the new HP Indigo 100K presses will be installed in 2021. Cimpress’ worldwide businesses, including Vistaprint online printing services, attract tens of millions of customers every year by making personalization affordable, and producing unique products that have the quality and affordability of mass-produced goods.

Canon is 2020 market-share leader for total production inkjet Following the launch of its varioPRINT iX-series in April of 2020, Canon Solutions America was recently recognized by Keypoint Intelligence as the #1 Market Share Leader for Total Production Inkjet in 2020. The OEM’s varioPRINT iX-series has proven to be a popular investment for commercial printers as well as in-plants and book printers due to the series’ outstanding offset-like quality throughput, and sheetfed application flexibility. Canon also led the Continuous Feed Inkjet Market Share category with 35% of installations largely due to the success of its ColorStream series that continues to be the most installed inkjet press worldwide, with 1,500 installations.

“At Canon, we are focused on investing in our production inkjet product portfolio to offer our customers solutions that help them to improve efficiencies, expand their application possibilities, meet customer demands, and grow their business,” said Francis A. McMahon, Executive VP of Production Print Solutions at Canon Solutions America.

Francis A. McMahon

GRAPHIC ARTS MAGAZINE | May 2021 | 9

Print Industry News

Pollard Banknote signs 10-year contract with OLG Ontario Lottery and Gaming Corporation (OLG) has continued its partnership with Pollard Banknote (Winnipeg), signing a 10-year contract to print Instant lottery tickets. The agreement (which also included a five-year option to extend the partnership to 2037) will see OLG order more than two billion tickets over the term of the agreement. OLG's previous contract with Pollard Banknote resulted in the establishment of a ticketfinishing plant in Sault Ste. Marie, Ontario with a commitment of hiring 100 full-time employees. The services provided by Pollard Banknote have enabled OLG to nearly double the revenue of its ‘Instant’ business since becoming its primary printer in 2007.

“Pollard Banknote is very proud of our long-standing partnership with OLG,” said Doug Pollard, Co-CEO. “We’ve worked hard to help OLG increase sales and offer an expanding selection of innovative products and services to Doug Pollard meet players' evolving preferences.”

Epson SurePress reaches milestone of 2 million square feet in a month A single Epson SurePress L-6534VW Digital Label Press has produced the following commercial print volumes in one installation: 1.99 million sq. ft. in one month, 5.5 million sq. ft. in one quarter and 13.8 million sq. ft. over a period of nine months, since it was installed. The OEM was able to track this data with its Remote Management System, digital monitoring technology that tracks usage data. Third-party research from IT Strategies noted that the average monthly print volume for large digital presses is 215,000-430,000 sq. ft. The SurePress L-6534VW showed production that’s four times the average. The workflow of the press was driven by the Wasatch RIP designed to streamline orders, minimize production errors, increase productivity, and run Epson SurePress L-6534VW print production more Digital Label Press efficiently.

Empire L.A. is first in Canada to receive Esko Best-in-Class Certification Empire L.A. (Ville Mont-Royal, Québec) has become the first digital prepress and flexographic plate specialist in Canada to receive Best-in-Class Certification under the new XPS Crystal Program from Esko. The program was developed specifically to recognize platemaking shops that consistently produce superior flexo plates. “Achieving certification under

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the Esko program is such great news,” said Mike Sheppard, VP of Operations at Empire L.A. “We are very proud of the work we do here, and through our success with the Esko XPS Crystal and our commitment to technology and quality, we are Mike Sheppard (left) and some of continuing to grow our the Empire L.A. team with their Esko Certificate. business.” Certification also enabled Empire to promote an extra level of print quality and consistency to its customers.

ePac to open second Canadian facility in Mississauga ePac Flexible Packaging (Austin, TX), an all-digital packaging company, plans to open a second Canadian production facility in Mississauga, Ontario. The company has already begun accepting orders, with fulfillment handled by ePac Vancouver until the Mississauga facility opens in June of 2021. CEO Jack Knott added: “ePac Toronto will become our 19th plant to become operational across the U.S., Canada, Europe and Indonesia. In each market we see the same dynamic unfold – small and medium-sized businesses are growing at double digits, and our partnerships with them can and do help accelerate their growth.”

Joining ePac Toronto as GM will be Hila Frish, who’ll bring over 18 years of experience to her new position. Jack Knott

ND Graphics is Fastsigns’ first Canadian Vendor of the Year Fastsigns International (Carrollton, TX), with more than 750 locations in nine countries, presented the Canadian Vendor of the Year Award to wide-format equipment and supplies specialist ND Graphics during Fastsigns’ recent 2021 Virtual Convention. ND Graphics has 10 locations across Canada.

The U.S. Vendor of the Year Award went to Grimco. The Vendor of the Year is selected

by Fastsigns’ franchisees and is based on the integrity of business practices, product quality, and having a long-term commitment to the Fastsigns network. This marks the inaugural year for recognizing the Canadian Vendor of the Year – and the 6th consecutive year that Grimco ND Graphics production facility in has received this recognition. Concord, Ontario

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Cover Story

Print finishing and embellishments: The WOW factors There are actually several WOW factors in digital print finishing and embellishment.

The most talked about are the stunning, visual and tactile beauty that such effects bring to a printed piece. But there are others. Today, digital print embellishment can enhance even short-run projects through the addition of die-cutting, embossed effects, foil stamping, spotUV coating, raised 3D effects and more.

One landmark study used eye-tracking devices to measure the impact of embellished versus non-embellished packaging. Embellished packaging was identified 45% faster and held a shopper’s attention 18% longer.

in designing printed pieces replete with the visual and tactile effects mentioned above. Evolving print technology now allows for fast, inexpensive prototyping – especially in the realm of packaging.

But print embellishments also represent tremendous value for brand owners. In another study, a ‘made-up brand’ of coffee competed against well-known brands like Maxwell House, Eight O’Clock and Green Mountain. Researchers tested the effects of both embellished and nonembellished packaging on nearly 200 participants. The result? Non-embellished packaging for the ‘made-up brand’ was one of the least-purchased, while the embellished packaging for the made-up brand saw purchase rates as high as the others, and even higher than Eight O’Clock!

applications and more special effects!

A 2016 study conducted by Keypoint Intelligence-InfoTrends predicted that the volume of digital enhancement printing should reach 25 billion pages worldwide some time in late 2020. The study also found that profit margins on digitally embellished print could range from 50% to 400%! Plus, the average print buyer is willing to pay up to 89% more for digital enhancements – but only once he or she has personally experienced them. While there are countless printembellishment technologies out there for just about every industry sector imaginable, for purposes of this article we’re going to showcase some major players and more recent technology.

The next WOW factor involves designers and advertising agencies. You can imagine the creative flexibility inherent

@graphicarts

WOW – you can actually charge more!

The most compelling WOW factor is that printers can change much more for these value-added special effects. Let’s say you charge $30 for 100 full-colour business cards. By adding spot varnish, you can double the price to $60. Add spot varnish and foil, and you can triple the price to $90 or more. Imagine what you can charge for larger runs with other

Scodix Israel-based Scodix is a leader in the adoption of digital print enhancement as an in-house, mainstream process.

The company brings printers and converters involved in commercial print, web-to-print, publishing, folding carton, photo, tags, trade finishers and more, proprietary digital enhancement technology in the form of nine application-specific presses.

The OEM was first to market with a digital enhancement press at IPEX 2010, has over 300 installations worldwide, and more than 40 global partners. Scodix Ultra presses are the only digital enhancement

Scodix Crystals technology yields colourful, tactile 3D sparkle effects.

presses that can print up to nine different applications and combinations of these applications on one press.

These include: Scodix Sense for raised glossy embossing and textures; Scodix Foil to print real foil without the need for dies and molds; Scodix Spot for selective spot varnish without the set-up time; Scodix Cast & Cure for high-impact 3D-holographic effects; Scodix Crystals for colourful 3D sparkle effects; Scodix Metallic for metallic CMYK colouring; Scodix Glitter with the look and the feel of real glitter; Scodix VDE digital enhancement with personalized, customized text and graphics; and Scodix

GRAPHIC ARTS MAGAZINE | May 2021 | 11

Cover Story Braille for the blind and visually impaired.

Last Fall, Scodix even launched an expanded digital enhancement portfolio of six new presses tailored specifically to specific market segments. Aimed at the web-2-print market are the Scodix Ultra 3000 and Ultra 4000 presses. The Ultra 3000 focuses on Web2Print, while the Ultra 4000 (allowing larger format substrates and pallet feeders and stackers), is aimed at Web2Pack printers. For commercial and specialty print, the Scodix Ultra 1000 and 2000 can handle a much wider number of applications.

The Ultra 1000 delivers accessible digital enhancement, while the Ultra 2000 offers all Scodix applications on one platform. For packaging printers, the Scodix Ultra 5000 and 6000 both allow thicker substrates required for packaging applications (up to 2 mm) and incorporate industrial pallet feeders and stackers. While the Ultra 6000 offers a larger format, it comes with a simplified range of enhancements. The six new presses in the series succeed the Ultra 101 and 202, while the Scodix E106 press is still available for B1 folding-carton applications.

Konica Minolta/MGI Konica Minolta Business Solutions (Canada) brought the first MGI JETvarnish 3DS and iFoil System to Canada in June of 2016.

The first Canadian installation of MGI’s JETvarnish 3DS and iFoil System was at Print Panther in Oakville, Ontario. Using MGI’s patented inkjet and hot-foil stamping processes, the JETvarnish 3DS and inline iFoil provide digital spot UV coating in plain 2D and 3D formats, plus embossed and foil textured effects – all in a single pass. Key highlights include digital spot UV coating that’s 100% variable-data capable, integrated UV curing that dries sheets instantly without solvents, inline digital hot foil and embossing, and a varnish application process that handles sheets up to 52 × 105 cm from 135 to 600 gsm. Ultra-precise piezo drop-ondemand print heads allow for lines as small as 0.3 mm, and fast start-ups (without plates, screens or waste), running up to 2,298 A3 pages per hour. Popular applications, which were previously unattainable due to high price points, now include

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custom packaging, pocket folders, custom binders, wine labels, shopping bags, Braille, business cards, brochures and many more.

Inline spot UV coating with hot-foil stamping – from Konica Minolta’s MGI JETvarnish 3DS and iFOIL S.

In February of 2020, Konica launched the more compact MGI JETvarnish 3D One Digital Print Enrichment Press. It brought affordable digital special effects to mainstream commercial printers and packaging printers. The press utilized an intelligent and adaptive AIS SmartScanner registration system and was designed as a cost-effective entry-level solution.

Its small footprint allowed for in-house, full-production and prototyping without screens, dies or plates. Its varnish formula allowed both flat 2D spot UV highlighting, as well as sculptured 3D raised special effects on a wide range of substrates and weights. The JETvarnish 3D One created profitable embellishments for booklets, brochures, business cards, mailing pieces, book covers, sheetfed labels, small folding cartons, retail display signs, posters and more – all in a single pass.

In March of 2021, Konica Minolta launched a new, ultra-compact desktop embellishing system. The AccurioShine 101 offers specialized embellishment finishing and several multi-coating functions.

Foils include gold, silver, white and other colours. The 101 also offers lamination, spot-gloss and dry-coating capabilities.

The foils, available from third-party suppliers, are suitable for foiling over toner.

The new desktop solution has a simple and quick job set-up process, making embellishment available in-house “at a printer’s fingertips,” said the OEM.

Hazen Holography The Hazen Paper Company in Holyoke, Massachusetts recently pioneered twosided, sub-micron custom holography.

To demonstrate its more sustainable holographic technology, its team designed a stunning, two-sided promotional flyer to showcase specific visual effects using nano-holography that delivered even more dramatic 3D effects than lenticular printing. The flyer’s front featured a firebreathing dragon with minutely detailed glittering scales. The effect of a blast of moving flames was achieved with registered, custom colour-motion and multi-channel holography. On the back, a shimless random repeat custom hologram burst created a moving, three-dimensional flash backdrop for a flock of butterflies.

Originated entirely within Hazen’s holographic lab, the promotion was created on Hazen Envirofoil, an environmentally friendly product. Plus, sub-micron transfer-metallized Envirofoil used less than 1% of the aluminum of traditional foil laminates and a recycled film carrier. It was also re-pulpable as paper after deinking. The promotion was offset-printed using UV-curable inks. But perhaps its most unusual aspect was that it’s two-sided custom holography, transfer-metallized on both sides. “It hasn’t been done

This 2020 yearbook cover for the Naismith Memorial Basketball Hall of Fame used Hazen custom holography.

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Cover Story before,” said Hazen President John Hazen. “The ability to transfer-metallize a lightweight stock on two sides with custom holography opens up the potential for use in many applications where consumer impact is key.”

Hazen’s most recent creation was a real stunner – a 2020 yearbook cover for the Springfield, Massachusetts Naismith Memorial Basketball Hall of Fame. It commemorated a legendary event at which Michael Jordan inducted Kobe Bryant into the Hall of Fame. The 2020 cover featured dominant three-dimensional imagery of the Hall of Fame’s iconic dome and spire, and its panoramic interior juxtaposed with a collage of the year’s inductees in action. The back cover was a holographic treatment of Mohegan Sun in Connecticut, where the enshrinement ceremony was held. Produced in Hazen’s Holographic Laser Lab, the custom hologram was micro-embossed and ultimately transfermetallized onto 12-point WestRock Tango C2S using Hazen’s environmentally friendly Envirofoil process. The limitededition yearbook cover was designed by agency GO of Hartford, Connecticut, printed and individually numbered on an HP Indigo 5500 Press.

Color-Logic Though not strictly a post-press finishing process, Color-Logic remains one of the world’s first colour communication systems for printing on foil and reflective substrates, when using white ink and CMYK. The prepress system empowers printers and their designers to print

metallic embellishments at a fraction of the cost typically associated with metallic printing. Color-Logic is compatible with offset, inkjet, flexography, digital, screen and gravure printing, and is ideal for (but not limited to) packaging, pouches, direct mail, POP, signage, post cards, booklets, labels, shrink sleeves, calendars and more! Special plug-ins enable designers to add hundreds of metallic colours and special print finishes to their artwork.

How does it actually work?

Smartpress Digital Sleeking

In the past, integrating metallic inks into four-colour printing was very expensive – especially if more than one metallic colour was required. With Color-Logic’s Process Metallic Color System, only five inks need to be used for a single print run to consistently produce 250 different metallic colours (yes, 250) at a fraction of the cost of traditional metallic printing.

The system works by printing silver ink underneath the process CMYK inks. This gives printers and designers access to literally hundreds of metallic colours to create unique and stunning special effects. Color-Logic Design Suite software consists of a Photoshop plug-in, graphic styles for Illustrator, and swatch libraries for Photoshop, Illustrator, InDesign and QuarkXpress. The 250 swatches and graphic style library are available in the complete suite. Color-Logic also certifies both designers and printers.

Certified Color-Logic printers can print their own metallic colour charts, and Color-Logic’s website lists those printers and designers that have completed their certification.

U.S.-based online printer Smartpress. com just introduced printed foil products in gold, silver and holographic, created through a new digital ‘Sleeking’ process that’s “more flexible and vibrant than traditional foil stamping,” said the company. Smartpress is launching an assortment of Digital Sleeking products with “more lustre and shine than that of traditional foil stamping.” Basically, digital sleeking sticks foil to the ink, not the substrate – so it adheres to even the finest, most complex design. The new process also provides more creative flexibility, reduces costs and yields faster turnaround times, said the company. It also gives users the ability to foil much finer detail – but, ironically, the technology is also ideal for large, solid areas. Sleeking also maintains a stock's flat surface without indenting it.

Digital Sleeking sticks foil to the ink, not the substrate.

There are so many wonderful, cuttingedge finishing and embellishment technologies and equipment out there.

And while investigating them and their value to your operation is important, it’s equally important to convey their actual existence to each and every one of your customers. The best way to do this is to access samples, let your clients see, touch and feel them – then watch the smiles grow on their faces.

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

Example of Color-Logic’s Image-FX metallic technology.

@graphicarts

GRAPHIC ARTS MAGAZINE | May 2021 | 13

Installations

Cameron Advertising installs first Jeti Tauro H3300 UHS in North America Cameron Advertising (Scarborough, ON), one of Canada’s leading large-format, digital and screen-printing visual communications specialists, and a leader in end-to-end visual communications, has purchased North America’s first Agfa Jeti Tauro H3300 UHS (Ultra High Speed) wide-format flatbed inkjet printer from Agfa Canada (Mississauga, ON). The OEM’s fastest UV LED hybrid printer to date, and the newest member of the award-winning Jeti Tauro H3300 family, combines industry-leading print quality with versatility, productivity and cutting-edge automation – at speeds up to 30% faster than previous models “The productivity level of the Jeti Tauro H3300 UHS is going to help us continue to grow our business,” said Dan Deveau, President of Cameron Advertising. “This addition gives us more ammunition to be more competitive in an already competitive world.”

Cameron provides print for the retail, healthcare, sports, automotive, restaurant, food and beverage, and outdoor signage markets. “The Jeti Tauro H3300 UHS LED will continue to set us apart,” Deveau added. “We’ve built a proven reputation on delivering projects that exceed expectations and meet deadlines. We are passionate about what we do and we’re dedicated to our customers. The capabilities of this new press will enhance our innovations and increase our flexibility to get more jobs out the door.” Agfa’s latest Jeti Tauro H3300 UHS UV LED inkjet engine can print on media up to 3.3 metres wide in four or six colours at speeds up to 600 m2/hr (6,458 ft 2/hr). Built for 24/7 heavy-duty workloads, it can accommodate rigid and roll media “with the lowest ink consumption.”

Its extended vacuum zones and media guides also make it ideal for corrugated printing.

The Cameron Advertising production team with its new Agfa Jeti Tauro H3300 UHS.

Impression Paragraph installs first HP Indigo 12000 Press with 15K Value Pack in Quebec Impression Paragraph (Ville Saint-Laurent, QC), one of the largest printing companies in the province, is expanding its digital printing capacity and folding-carton application range with a new 29” HP Indigo 12000 Digital Press. The press also includes the new HP Indigo 15K Value Pack featuring thicksubstrate support up to 24-pt and premium white ink – making it the first of its kind installed in eastern Canada. Impression Paragraph is one of the most respected integrated printing, document management and digital-media companies in Canada.

It delivers print products and services to customers in the financial, manufacturing, health, pharmaceutical, cosmetics, education and retail sectors. “We’ll utilize thick substrates to deliver the high-quality, short-run, folding-carton and other creative applications that have fostered our reputation as a partner rather than a supplier to our customers,” said Martin Lépine, Impression Paragraph’s President and owner. “We are eager to embrace the 20” x 29” sheet size, white ink and thick-substrate capabilities for our customers, who expect high quality and innovation.”

new press will work in tandem with Paragraph’s new foldingcarton subsidiary, Dumaine. “The press and the 15K Value Pack are raising the bar for B2-format printing with new highdefinition print modes, support for thicker substrates, and new high-value, high-impact inks such as premium white and security inks,” said HP.

The HP Indigo 12000 features a fifth ink station for white ink and brand spot colours. Paragraph also installed a coater from Kompac to create a unique production line for short-run folding cartons for the cosmetics and pharmaceutical markets. The

From left are Impression Paragraph’s President and owner Martin Lépine, Press Operators Martin Bourget and Sébastien Morin, and HP Business Manager for Eastern Canada (HP Indigo & PWI), Steve Daigle.

14 | May 2021 | GRAPHIC ARTS MAGAZINE

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Project Gutenberg and the birth of digital publishing Michael Hart is the founder of Project Gutenberg, inventor of the eBook, and the father of digital publishing. Project Gutenberg is the Internet’s oldest digital library of free electronic books (eBooks).

According to the website, there are currently over 60,000 free eBooks available to download or read within their online database, and this number continues to grow. The goal of the non-profit organization has remained the same since its conception – to make texts available in a file format that can be accessed by the largest audience possible. The importance of this value is summed up perfectly in Hart’s quote: “I dare you to find a computerand-program combination that won’t read our books.”

The beginning According to the Project Gutenberg website, the project began in 1971 when Michael Hart was given a once-in-alifetime opportunity. He was given the equivalent to $100,000,000 in computer time at the University of Illinois. It took Hart all of an hour and 47 minutes to come to a conclusion. He believed that the greatest value computers had to offer would not be in computing, but instead would be in the storage, retrieval and searching of what was stored within our digital libraries. Hart realized that a file in a digital library could be reproduced an infinite number of times, and knew that this would be the beginning of something much larger.

Hart’s lifelong endeavour of digitizing

16 | May 2021 | GRAPHIC ARTS MAGAZINE

books began shortly after. The first electronic text to be digitized and published was the Declaration of Independence.

According to an Encyclopaedia Britannica article, this was soon followed by the addition of works from William Shakespeare and the Bible. In the early 1990s, Hart set an ambitious goal. According to a ScienceDirect article from 2012, he wanted to make 10,000 books available for free online. At this time, Hart’s library had little more than 10 titles, but he had a vision for the future of Project Gutenberg.

It took some time, but Hart’s goal was finally reached in 2003.

The project continued to grow as hundreds and then thousands of volunteers from around the world began to help. According to an Encyclopaedia Britannica article, Distributed Proofreaders was founded

by Charles Franks in 2000. This program was developed to assist with the proofreading of eBooks for Project Gutenberg.

Two years after its conception, the program became an official part of Project Gutenberg. By 2009, about half of the eBooks in the library had been proofread by Distributed Proofreaders. Hart passed away in 2011, but his work will live on forever. At the time of his death, Project Gutenberg contained around 25,000 eBooks. Today that number is well over 60,000.

The digitizing process Due to copyright restrictions, Project Gutenberg is limited to publishing works within the public domain. This includes

older titles where the United States copyright has expired, as well as government documents. After an eBook has been selected, thousands of volunteers are responsible for the digitization and proofreading of the texts. Once the text has been either typed or scanned, one or more rounds of proofreading occur before publishing. According to an article from the Project Gutenberg website published in 2019, all eBooks in the archive strive to be at least 99% accurate.

After publishing, improvements are ongoing, with most error reports being submitted by readers.

The Gutenberg difference Although Project Gutenberg was the first free eBook library, it’s far from being the largest. Google Books and The Internet Archive are examples of large-scale digitization projects. Although Project Gutenberg offers far fewer titles than these other websites, there’s an important distinction to be made. Project Gutenberg has a proofreading, formatting and mark-up process, while these other projects are primarily involved with scanning.

Project Gutenberg strives for a higher quality reading experience, and that’s only made possible by the rigorous process every eBook goes through. This personal touch is what makes Project Gutenberg unique. I think Michael Hart would be proud to see that not only is his project alive and well, but that it never lost sight of its initial goal – to make texts available to the largest audience possible.

Megan Knoblauch is a first-year Graphic Communications Management (GCM) student at Ryerson University. She is passionate about design and the outdoors.

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Podcasting for Printers: Part 2 In Part 1 of this series, we explored reasons why printing companies might want to start a podcast, including the value they can offer in an audio format. Welcome to Part 2, where we’ll tackle the key questions of what, where and when to podcast. service makes setting up this process simple. Finally, you may wish to create a website to house your podcast’s information, including a description of what it’s about, the faces behind the voices and each episode’s show notes that contain summaries and links. While a website isn’t necessary, it’s common in podcasting. I chose a simple Wix template where I populate each episode’s notes as if they were blog posts.

What should your podcast be about?

This is the million dollar question. There are so many ideas, formats and strategies to create content and there’s definitely no one-size-fits-all formula – so it’s time to get creative. Below are three examples of companies who’ve successfully created podcasts that work alongside their brands.

Culture Amp is a leading People & Culture Platform. Their podcast, Culture First, is focused on “stories for a better world of work.” ZipRecruiter is rated the number #1 hiring service in the U.S. Its podcast, Rise and Grind, is hosted by ABC’s Shark Tank entrepreneur Daymond John, who interviews successful entrepreneurs to uncover how they approach obstacles and find opportunities for success. The General Electric Company’s podcast The Message, is a journalistic sci-fi podcast where “scientists work to decode extraterrestrial messages using real technology developed and sold by General Electric.”

From energizing to enterprising to eclectic, there are no rules when it comes to what your podcast can be about, other than compelling stories that resonate with listeners. So what would your first

18 | May 2021 | GRAPHIC ARTS MAGAZINE

three episodes be about? What’s your specific point of view? What type of content are you looking to create: a highly-polished show educating listeners, an off-the-cuff interview-style show with eccentric guests, or something in-between? An exercise that may prove helpful is to describe your podcast in 10 words or less. It should accurately and compellingly describe your podcast in a unique way.

Where do you host your podcast? One of my steepest learning curves was figuring out how to get my audio out into the world. There are so many choices – from Apple Podcasts, to Spotify, Stitcher and more. I quickly learned that while podcasts are accessed by listeners via these outlets, they aren’t actually ‘hosted’ there. These sites and apps are simply podcast directories (aggregators) that link back to a single source where your podcast lives (Buzzsprout, Podbean, etc.). But how is each episode connected to the podcast directories? That’s where RSS (Really Simple Syndication) feeds play a key role. They instruct the directories to collect information about each podcast episode (title, description, keyword tags, etc.) and make available the audio file itself. In most cases, the podcast hosting

When should you release new podcast episodes? While releasing a new episode each week is common, it’s not written in stone. Sometimes I’ll release a couple in the same week or even on the same day, and then I won’t release any for weeks or months after that. Similarly, there are no hard rules about how long each podcast episode should be. For example, 60-Second Science podcast episodes are as short as two minutes, while Dan Carlin’s Hardcore History podcasts can last up to five hours! In a 2019 article for Medium titled What time should you publish your podcast?, it’s argued that podcasts are more likely to be downloaded on weekdays rather than weekends. Furthermore, releasing them early in the morning yields the best chance for listeners to scroll through podcast apps and download episodes.

When distilled to its core, a podcast is a vehicle for storytelling. Stories are uniquely human and connect us to the traditions of our ancestors. Tell a great story and you’ll find a great audience.

Stay tuned for the final Part 3 when we’ll tackle how 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 in Toronto. She also hosts a podcast called Talk Paper Scissors. www.talkpaperscissors.info

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Feature Print Industry Profile: Huge Paper

Huge Paper Ideas: Creating change through innovative ideas for digital substrate applications A new, leading-edge online resource for brand owners, designers, agencies and printers to benefit the entire industry.

A new website (www.hugepaperideas.com) from Huge Paper’s Creative Director Karen Ng-Hem (RGD), marries refreshing design ideas and stunning printed samples to showcase the vast, untapped potential of combining high-quality digital substrates with the latest digital printing technology. Her unique insight on how the market is changing was the starting point for this bold new initiative. Backed by a 20-year marketing career in architecture, engineering, construction and industrial/product design, she focused on how good design can drive future business.

“Design must work on more than one level, serve more than one audience, and solve more than one problem,” she insisted.

This philosophy spawned the first-of-its kind site replete with creative print-and-paper options. “In architecture for example, in-house creative departments that craft proposals are always asking what’s new and innovative (especially for digital short runs), to make their proposals stand out. We can help printers, designers, brand owners and agencies make the best decisions when it comes to substrate selection.”

Jeff Tapping, President of Huge Paper, added: “Our new site is unlike any in our segment.” Tapping recently sent an e-blast to 1,500 contacts in the design and advertising fields about the new site. “The e-mail solicited an unprecedented 50% open rate and a click-through rate of 30%.” Showcased on the site are high-end print products from leading fashion, architecture, beauty and food brands, plus an Inspirational

Gallery with beautiful examples that present inspiration from creatives – and the latest digital printing technology with a vast selection of print, packaging and signage substrates from Huge and its partners. “We’re really creatives who love great ideas,” he said. “Does your paper really complement your brand? We can help.”

For more information email: Karen Ng-Hem karen@hugepaperideas.com, call Jeff Tapping (416) 578-8848, or visit www.hugepaperideas.com.

Seven business card trends for 2021 If you print a lot of business cards and want to provide your customers with unique card designs, here are some trends you should watch for this year, according to web-to-print software specialist Brush Your Ideas.

• Painted-edge cards have coloured ink on their edges, giving them a compelling look that subtly highlights the information on the front of the card. These cards have been trending for a long time, yet are still in high demand.

• Transparent cards are still quite unique. Fonts, graphics, design or anything printed on them can appear subtle, eyecatching or even voluminous. Ask your clients if they want fully transparent or partially transparent stock.

• Paint-dipped cards. Each card is dipped into one or more shades of paint – mostly in acrylic, dyes or watercolours – resulting in a different opacity on every card. This makes every card individually unique and will surely impress your clients and their customers.

• QR-code-engraved cards. Business cards with QR codes give cardholders the convenience of simply scanning code and discovering all about a specific business online – rather than typing an entire URL address.

• Botanical cards are for those who want to show their respect for nature and commitment to sustainability. They’re made of recycled waste (giving them a rustic look) and can even have embedded seedlings. So users can tear them into pieces, bury them and watch them bloom!

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• Big-typography cards use large, bold letters to highlight key points or names. Big and bold uppercase fonts usually cover the card’s entire space, and part of the type may even be cropped at the edges – but without affecting readability.

• Glow cards glow in the dark and may even highlight specific details. If your customers are involved in the entertainment business or even work at night, they’ll definitely get noticed – and will likely bring a smile to any recipient’s face.

GRAPHIC ARTS MAGAZINE | May 2021 | 19

Installations

Lowe-Martin adds two new Kodak Nexfinity Digital Presses Lowe-Martin, one of North America’s leading print providers, with two facilities in Mississauga and one in Ottawa, is upgrading its operations by adding two new Kodak Nexfinity Digital Presses. Lowe-Martin’s services include marketing, prepress services, lithographic printing, large-format digital, retail displays, direct mail, secure print, e-commerce and fulfilment, bindery, web solutions, packaging and much more.

By adding two Kodak Nexfinity Digital Presses, Lowe-Martin will boost its uptime and achieve higher output while expanding its overall capabilities – allowing them to pursue new markets and serve a much larger number of customers. “As a long-time user of the Kodak Nexpress, the migration to the Nexfinity was an easy decision,” said Ward Griffin, CEO of Lowe-Martin. “Nexpress has been a reliable workhorse for us, and we’re looking forward to the speed, quality, versatility and cost efficiency offered by Nexfinity to further cement our position as a key supplier for our retail and commercial printing customers.”

The Nexfinity Digital Press features production speeds of up to 152 A4 pages per minute and operates with same-edge perfecting, which ensures precise front-to-back and side-toside registration. The press supports an extremely wide range of substrates, thicknesses and sheet sizes – without the need for expensive surface treatments. Kodak’s Nexfinity also

accommodates standard commercial offset papers. By eliminating the need for special and more costly digital papers, users can cut paper costs by up to 10%, said Kodak. The press also provides “an unmatched range of digital print-embellishment options'' via its fifth imaging unit. In fact, Nexfinity owners such as Lowe-Martin can choose from 13 standard, fifth-imaging units for inline digital print enhancements – including specialty inks, custom spot colours, matte finishes and gloss finishes.

Lowe-Martin’s Kodak Nexfinity Digital Press

Media Graph installs new EFI VUTEk h5 Printer The recent investment in a new EFI VUTEk h5 UV LED hybrid flatbed/roll-to-roll printer from EFI will help Media Graph (Saint-Laurent, QC) expand its client base, “opening up the possibility to offer clients a whole new range of products and solutions in retail, hospitality and office space,” said Media Graph President David Sellam. Adding the advanced, 126” wide, high-volume production printer for premium-quality display graphics addressed a number of key applications for the company – which specializes in high-end digital printing, fabric frames, surface lighting and light boxes with a large client base of retail and architecture companies. The printer provides superior efficiency and quality in eight colours plus white, and up to nine-layer print capability. With a resolution of up to 1,200 DPI, the printer’s eight ink channels can be used in a faster CMYK x 2 mode capable of producing up to 109 boards per hour. Media Graph’s printer runs with an EFI Fiery proServer DFE, combining faster RIPing with enhanced colour management and screening features.

Sellam added that “the advantages we bring to the market are based on a few elements, including our in-house capabilities as a print shop, metal shop and lighting division, which is very unique here. So we can combine and provide for our clients a one-stop shop and quality control in managing and

20 | May 2021 | GRAPHIC ARTS MAGAZINE

distributing complete campaigns.” Media Graph is one of the first few businesses in Quebec to adopt this advanced superwide-format platform. The printer’s ‘cool cure’ UV LED technology cures prints at lower temperatures, giving Media Graph the ability to print on thin or challenging substrates.

The VUTEk h5 can also print on almost any substrate – including Sintra, cardboard, adhesive vinyl, plexiglass and more.

EFI’s VUTEk h5 Flatbed Printer

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Creative and Design

San Francisco Design Week to go virtual June 7 – 13 The 15th edition of San Francisco Design Week (SFDW), which typically attracts 60,000 visitors annually from around the world, will take place June 7-13, 2021 online only, celebrating the dynamic theme “Power Is” that will lead creative conversations, workshops and virtual tours. Power Is everywhere, event organizers pointed out. There’s power in the food we eat, the music we make, and the ideas we share. Power Is a seat at the table, a movement, a path forward and a new beginning.”

SFDW is inviting the worldwide design community to reconsider the way we think about power – and how we can use our collective abilities to help distribute it more equitably.

Highlights will include talks, webinars, web conferences and virtual tours with designer leaders – from user experience, interactive design, VR experiences and virtual art, to branding, architecture, interior design and fashion. SFDW Executive Director Dawn Zidonis added: “By sharing resources, amplifying marginalized voices, and celebrating our differences, we’re reinventing and re-distributing the power we hold. We can use our voices to create change.”

For more information visit the SFDW website.

Pixlr makes major design-focused updates to its photo-editing suite Pixlr – a free AI-powered, cloud-based set of imaging and photo-editing tools – has released Pixlr 2021. The new version now includes improvements for easier editing, premium designer fonts, stunning visual effects, and much more. Since its debut in 2008, billions of images have been created and edited on the free platform, which was re-launched in 2020 in HTML5. Its two free editors – Pixlr X and Pixlr E – include tools that “turn formerly painstaking work into push-button fun.” Both help users modify their images more easily – with effects from cutouts, to crops, to auto-exposures. Among the new tools is Pixlr’s AI Background Remover tool that precisely eliminates backgrounds with one mouse click. A large online image library, Stock by Pixlr, is also free. “We wanted to give our customers not only the changes they requested, but also improvements they hadn’t even imagined,” said Ola Sevanderrson, Pixlr’s founder. “Other comparable suites would keep these new tools as part of expensive subscription packages. But we remain committed to bring the ability to create professional-looking visuals to everyone.”

Ola Sevanderrson

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DRC launches sustainability initiative for packaged goods The Design Resource Center (DRC – Naperville, Illinois), a brand strategy and design consultancy, has unveiled a new sustainability initiative. Responsible Design helps guide brands during their sustainable packaging journey. The launch comes after DRC noticed a change in consumer behaviour, with shoppers investing more and more in brands focusing on the people and planet, while major retailers are now developing comprehensive sustainability strategies. DRC Founding Partner John Norman added: “Many companies want to do the right thing, but they don’t know where to start, or have the internal resources. That’s where we can help. We not only look at how a package design’s visual and verbal language communicates sustainability, but we make strategic recommendations around packaging size, substrates, reusability, the supply chain and other aspects that can make packaging more eco-friendly.”

DRC observes that consumers are also more aware of terms such as sustainability, zero-waste, ethical sourcing and carbon footprint. DRC also identified simple, intermediate and complex sustainability principles that they apply to each project.

X-Rite releases updated Pantora technology X-Rite and Pantone (Grand Rapids, Michigan), global leaders in colour science and technology, have upgraded its Pantora desktop app for the management of colour in digital design and production workflows. Pantora now connects with the Ci7000 Series, MA-T12, and MetaVue VS3200 spectrophotometers, enabling quick capture or import of spectral and appearance data to create virtual material samples for paints, plastics, metals, fabrics and meshes. Pantora users can store, edit and share digital material files using Appearance Exchange Format (AxF) files across Product Lifecycle Management (PLM), CAD and 3D-rendering software. “The latest release of Pantora makes digital material scanning accessible to a broader audience by allowing brands and suppliers to leverage their existing colour data and measurement devices,” said Matthew Adby, Appearance Product Portfolio Manager at X-Rite. “The ability to easily and affordably transform physical materials into digital samples minimizes the need to ship them around the globe, allowing for more innovation while accelerating the design-to-manufacturing process.”

Matthew Adby

GRAPHIC ARTS MAGAZINE | May 2021 | 21

Column

Businesses can receive up to 100% of salaries for college and university interns The federal government has just launched its Student Work Placement Program (SWPP). Through SWPP, businesses are able to hire co-op college or university students. College and university co-op programs require that students get practical experience in their field of study to complete their degree. Paid internships are a win-win situation – the students get valuable work experience and receive credits from the college or university for their work placement, while the employer gets the assistance they need at a reduced cost. If your company is looking for any technical assistance, or would like to start building its future workforce, you should consider hiring through SWPP for a 16-week work period. Here are answers to common questions: What types of co-op students can I hire?

SWPP is open to students in the following fields of study: AI, engineering, IT, marketing, mathematics and the sciences. SWPP students can fill a variety of key roles within a company – from IT and tech support, to website development, internet marketing, SEO, quality control, engineering support, sales support and branding.

How do I find a student? Not every college or university intern qualifies for funding. If you find an intern that you’re interested in hiring, you should contact the college or university they attend to make sure that you’ll receive funding for paying the student during the internship. If students qualify for funding once they begin their internship, they’ll provide you with a “Letter of Certification” that you’ll need to support your claim. The Letter of Certification must contain the name of the student, employer and educational institution, the start date and the end date of their work placement, and the name/discipline of the qualifying co-operative education program.

If you’re looking to hire a college or university co-op student in Ontario, here’s a list of some of the colleges and universities in Ontario that offer Internships that qualify for funding:

22 | May 2021 | GRAPHIC ARTS MAGAZINE

Colleges – Centennial, Fanshawe, Humber, Niagara and Seneca. Universities – Brock, Carlton, McMaster, University of Ottawa, Queens, Ryerson, University of Toronto, Waterloo, Western and Wilfred Laurier.

Employment requirements. In order for the placement to qualify for funding, it must meet all of the following conditions: the student must perform employment duties related to their field of study; the work placement must be pre-approved by the student’s school; placement must be for a period of 16 weeks; the company must agree to supervise and evaluate the job performance of the student; the school must monitor the student's performance in the placement; the school must certify the placement as a qualifying work placement; and the student must be paid for the work performed.

What amount of government funding do I qualify for? SWPP students qualify for two types of funding.

1. SWPP funding is 50% of the student’s salary to a maximum of $5,000. The subsidy is increased to 70% to a maximum of $7,000 for employers hiring students from under-represented groups. These include women studying science, technology, engineering, mathematics (STEM) or business, indigenous students, visible minorities, recent immigrants (within five years), persons with disabilities, students in their first year of study, or students on their first work-term (relevant to their field of study).

2. Co-op salary refunds. A refundable tax credit up to $3,000 is available per co-op student per work term (refundable three years). A company can hire multiple co-op students at one time, and qualify for funding for each placement.

Total cost to the employer. The total outof-pocket costs for employers when hiring a student for SWPP and receiving the maximum amount of funding is: Co-op student wages (16 weeks x 40 hours/week x $16/hour) = $ 10,240 • SWPP funding =

$ 7,000

• Co-op salary refund =

$ 3,000

• Employer’s cost: =

$ 240

Work Placement Terms. If you’re interested in hiring a co-op student through SWPP, the student work periods are: Winter (January – April), Summer (May – August), and Fall (September – December). Students can be employed full-time or part-time, and you can apply for consecutive placement periods with the student. Students must be employed as a fixed-term employee and cannot be hired as a freelancer or a consultant.

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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Large-format printers for the CAD market

The Jeti Tauro H3300 UHS LED is Agfa’s newest flagship wide-format inkjet printer for the high-end sign and display market. It can print on media up to 3.3 m wide in four or six colours at speeds up to 600 m²/hr, and combines “industryleading print quality with all-round versatility, extreme productivity and cutting-edge automation – yet is up to 30% faster.” The hybrid flatbed can handle boards, sheets and flexible materials in different configurations. Built for 24/7 use, every component of the new ultra-high-speed (UHS) press is geared towards sustaining highly productive, reliable print operations with low maintenance requirements and high uptime. Examples include the high-speed autoloader for fast media processing and the large ink tanks for greater autonomy.

Due to its extended vacuum zones and media guides, the UHS is also well suited for corrugated cardboard printing. The master roll-to-roll configuration can handle single and dual-roll printing, and features an optional camera for double sided printing of block- out media.

Agfa Jeti Tauro H3300 UHS Printer

Canon U.S.A.’s imagePrograf TZ-30000 and imagePrograf TZ-30000 Multifunction Printer (MFP) Z36 offer high-speed printing, security features and advanced media handling.

They’re designed for production CAD markets including architecture, engineering, government and manufacturing, at a low acquisition cost. The imagePrograf TZ-30000 delivers high-speed printing, exemplified by its ability to produce a D-sized print in as fast as 14 seconds, and up to 236 D-sized prints per hour. An integrated Top Output Stacker can stack up to 100 A0-size sheets facedown, while an advanced airflow system reduces paper jams. After the user loads the paper, sensor technology detects the width, length and media type while also feeding the media, allowing the user to perform other necessary tasks.

The TZ-30000 is also available as a scan-tocopy/file system that allows the user to scan and print at the same time. The imagePrograf TZ-30000 MFP Z36 version includes a new Z36 Scanner and an updated system controller with a new, intuitive user Canon TZ-30000 MFP Z36 interface.

DTG printing on multiple items at once The wide-format Shima Seiki SIP-160F3L direct-to-garment (DTG) printer from American Print Consultants (APC) is a new flatbed for printing directly on a variety of finished items – including the ability to print multiple items at once across its full bed. The head carriage can be raised or lowered according to the thickness of the item up to 50 mm (1.96”). This allows for printing on fabrics with three-dimensional textures as well as directly on completed products, including whole-garment knitwear. The new printer is available in two sizes with the option of three different ink types: textile pigment, acid and reactive. The textile pigment configuration can include white.

The printer is also ideal for any shop that currently does directto-garment printing and needs to increase volume, or wants to print on a wider variety of items and sizes. APC will be offering full-package bundles of the Shima Seiki SIP-160F3 with a pre-treatment unit, dryer and steam chamber.

OEM’s first RTR resin signage printers Epson’s 64” SureColor R5070 and SureColor R5070L leverage 6-colour resin ink to deliver prints on a variety of substrates with consistent, repeatable colour. The new roll-to-roll (RTR) printers deliver output ready for immediate lamination at speeds up to 290 ft2/hr. Both feature 1.5 litre ink packs, while the SureColor R5070L has a 3-litre-per-colour, bulk-ink system with hot-swap technology for uninterrupted printing. These new models are the first of their kind to feature multi-purpose resin ink to consistently deliver quality printing on wallpaper, fabrics, uncoated papers, traditional signage and more.

UltraChrome RS resin ink also delivers instant-dry, scratchresistant output at a lower cost per mL. With new 2.6” user-replaceable PrecisionCore Micro TFP print heads, the printers can handle multiple panels with consistent, repeatable colour. In addition, a new Quality Print Mode creates a stable base layer for high-quality output with outstanding details.

The SureColor R5070L also features a hot-swappable ink system that automatically switches from an empty ink pack to a new ink pack mid-print.

Epson SureColor R5070

Shima Seiki SIP-160F3L

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Product Innovations

More flexible entry-level label presses

Textile printer with inline sublimation

Xeikon’s CX30 and CX50 Digital Label Presses were developed to suit any label printer operating on ‘middle capacity’ – that is, 20,000-40,000 m2 or 30,000-55,000 MSI in all end-use segments. The CX30 and CX50 are ideal for printers and converters looking to add digital for the first time, with plans to expand. The presses are ideal for the pharmaceutical, food and wine/spirits label sectors. Part of Xeikon’s flexible equipment strategy is to make certain that every user has several options to purchase the specific Xeikon press that can best help them drive future growth. Xeikon’s Cheetah 2.0 platform offers competitive running costs, and is based on the OEM’s scalable press architecture that includes 5 print stations and a full rotary process with variable repeat lengths.

Each station utilizes Xeikon’s dry-toner technology. Print widths are up to 512 mm (20.3”) while dpi reaches 1,200 x 3,600. For higher speeds, both presses can be upgraded on-site from 20 mpm (65 ft/min) to 30 mpm (98 ft/min). Xeikon CX30

Durst’s new P5 TEX iSUB Dye-Sublimation Printer (iSUB stands for inline sublimation) for the soft signage and fabrics markets eliminates individual work steps resulting in a significant increase in both quality and productivity. The result is a printer with inline fixation for one-step, direct-to-fabric printing. However, the printer isn’t limited to just direct printing.

Transfer papers can also be used and further processed in the usual way. Other user benefits include cost efficiency in logistics and low ink consumption, as well as faster project implementation on a wider range of applications – including polyester materials such as light box and decorative fabrics.

More difficult media such as black-back and flags can also be accommodated. Durst’s new generation of dye-sub ink (called P5 Sublifix) provides optimum performance for a wide range of applications. The new model also features 800 x 600 dpi resolution, four light-colour channels, maximum printing width of 3.3 m (130”), and productivity up to 4,200 ft2/hr depending on the project.

High-speed model of popular digital press Fujifilm North America’s J Press 750S HS (High Speed) model, features “the industry’s fastest sheetfed digital inkjet press” (as of April 2021 in B2 digital inkjet printers) with output speeds of 5,400 B2 sheets per hour (sph). The actual rollout is expected this fall. In addition to all the benefits offered by its high image quality, colour consistency certified by Idealliance, and 90%-plus uptime, this new model retains all the industryleading features of the current J Press 750S for commercial and folding-carton package printing. Major features include high image quality utilizing advanced ultra-high-density and high-precision Samba print heads and aqueous pigment Vividia ink that result in printed output “equal to or better than offset,” flexible print modes that increase efficiency (highquality mode is 3,600 sph and high-performance mode is 5,400 sph), a lower total cost of ownership (users can transfer a wider range of offset jobs to digital), and efficient upgrading on-site for new and current J Press 750S owners.

Fujifilm J Press 750S HS

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Durst P5 TEX iSUB

Higher ROI sheetfed offset presses Komori’s new Lithrone GX44RP and G44 Advance models have been added to its current Lithrone GX/G Advance series of sheetfed offset presses. The new 44” models deliver high productivity and print quality, with ease of operation. Based on the OEM’s connected automation concept, optimization between processes, and high-levels of automation with presets, productivity improvements throughout the entire printing process can be achieved. The Lithrone G44 Advance models capitalize on a unique format size to offer high production for the packaging print market. The 44” size doesn’t require additional labour since it’s similar to a 40” press. It’s also extremely well suited for multiple impositions. With doublesided, one-pass printing built around a stable sheet transport, the Lithrone GX44RP Advance also achieves high production for both light and heavy stocks. Both models (as well as the Komori Lithrone G37P Advance) offer better ROI via one-pass printing built around a compact, high-speed perfecting mechanism.

Komori Lithrone G44

GRAPHIC ARTS MAGAZINE | May 2021 | 25

Product Innovations

Expanded fashion and apparel print applications

Flexo platemaking reduces operator time up to 90%

Kornit Digital’s new Atlas MAX Printer “surpasses industry norms for retail quality on multiple fabric types,” said the OEM. It also breaks new ground regarding versatility with previously unattainable print applications that will significantly expand the reach of digital on-demand textile production “into the centre of mainstream fashion and apparel.” An important new technology built into the Atlas MAX Printer is XDi, which delivers “revolutionary 3D capabilities” for high-density graphic decoration that can simulate embroidery, vinyl and heat transfer, in a single, waste-free digital process. XDi allows users and brands to expand their services to include new-tomarket, innovative decorations without the inefficiencies and higher costs of operating analogue technologies. The printer’s carbon-neutral, industrial-scale DTG (direct-to-garment) production system combines retail quality, exceptional colour-matching, and a wide and vivid colour gamut with exceptional durability.

An upgrade to current Kornit Atlas systems will be available during the first quarter of 2022, the Kornit Atlas MAX company added.

Esko has collaborated with Asahi Photoproducts to deliver CrystalCleanConnect (CCC) – a fully automated, more sustainable, end-to-end platemaking process that reduces the number of steps in the flexo-platemaking process from 12 to just one! This equates to an average reduction from 36 minutes in platemaking and plate cutting, to just 2.5 minutes of operator time to complete all processing steps – an immediate 90% reduction. Quality is assured through Asahi and Esko technologies working in harmony, and the combination delivers an average increase of 25% in press OEE (Overall Equipment Effectiveness). The technology can also create new business opportunities and positively transform into a printing technology that’s in balance with the environment, said the companies.

This breakthrough innovation is a holistic approach to connecting technologies, upstream and downstream of the prepress value chain, using intelligent automation. CCC delivers a mount-ready plate in addition to being the first automated production solution without needing VOC-based washout solvents in the platemaking process.

A faster, more powerful RTR printer SwissQprint’s new Karibu S (S stands for Speed), the speedy version of its Karibu large-format UV roll-to-roll printer, features increased productivity combined with “astonishingly good” print quality. Both the Karibu and Karibu S are capable of automatic, double-sided printing due to a camera system and QR codes. Created specifically for printers who run multiple shifts to produce large volumes of items such as banners, non-durable poster prints and XL billboards, the Karibu S combines an output of up to 330 m²/hr with “impressively sharp images and edges.” The Karibu S features a defined print head configuration – four print heads are in operation for each process colour, explaining its high throughput rate.

In addition, all swissQprint large-format printers have nine dual-configurable colour channels, so one channel is left free.

Typically, this channel is configured with white to print on items such as transparent films and more. Both models feature the same robust design “ensuring lifespans well above the average with their low operating costs.”

SwissQprint Karibu S

26 | May 2021 | GRAPHIC ARTS MAGAZINE

Esko/Asahi CrystalCleanConnect Platemaking System

Faster, more efficient colour scanners Paradigm Imaging Group’s new Colortrac SmartLF SCi scanners are available in 25”, 36” or 42” models as monochrome, colour or enhanced models. SmartLF SCi technology delivers high image quality and speed for everyday scanning tasks, and increases productivity with scanner speeds of 13 ips mono and up to 12 ips RGB. This allows for batch scanning of ISO A0/Arch E-size documents at 375 documents per hour in portrait format at 200 dpi. SuperSpeed data transfer provides fast, high quality scans or copies of wide-format maps, site plans, engineering drawings, blueprints, architectural renderings, posters, photos and more. Dynamic Document Feed technology ensures that fragile media such as newspaper pages and old blueprints can be safely and accurately scanned. Single Sensor Technology combines CIS elements and LEDs in a single line for maximum scan accuracy and optimal illumination. Other features include SuperSpeed USB 3.0 data-transfer rates up to 85 MB per second, ScanOnce Efficient scanning and copying workflow software, and more.

Colortrac SmartLF SCi Scanner

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Installations

Reproart Imaging installs Agfa Jeti Tauro H2500 LED from Agfa Graphics Canada Reproart Imaging recently installed an Agfa Jeti Tauro H2500 LED at their state-of-the-art production facility in Toronto.

“Reproart Imaging has been working closely with its clients by providing innovative solutions and the highest quality of printing services,” said President Zohrab Tatikian. “Reproart continues to evolve by investing in the latest technologies to ensure that our customers receive the best service at the lowest costs.” ReproArt Imaging is a reliable industry resource offering services such as large-format printing, signage, POP displays, floor graphics, banners, backlit prints, specialty printing, mounting and lamination, bindery and more. With on-demand printing and quick turnarounds, the company also provides small-format digital printing, producing high-quality prints on an extensive range of paper types and thicknesses.

Other popular applications include business cards, postcards, newsletters, invitations, booklets, brochures, manuals, presentation folders, etc.

The hybrid Jeti Tauro H2500 LED relies on UV LED curing to produce vivid 6-colour (plus white or white and primer) prints, exceptional productivity and cutting-edge automation. A robust hybrid UV inkjet printer with an integrated roll-to-roll system, the ‘workhorse’ printer features continuous and automated feeding of rigid and flexible media. Its possibilities for high-end sign and display printing are almost endless – UV LED curing with prints of up to 2.54 metres wide, print speeds

up to 275 m2/hr., and a huge range of applications. The master roll-to-roll (RTR) option is ideal for long-run RTR jobs. The printer can also be used for roll-to-sheet printing with “hardly any material waste.” Gloss and satin modes are available for an even larger colour gamut, as well as enhanced spot-colour reproduction without loss of image quality or extra ink usage.

From left are Reproart’s Zohrab Tatikian (President), with Lee Santos and Hrair Izmirian.

Battlefield Press to install new Koenig & Bauer Omega Allpro 70 Folder/Gluer To handle the growing demand for high-end specialty work, Battlefield Press (Burlington, ON), will be installing a new Koenig & Bauer Omega Allpro 70 Folder/Gluer this summer that’ll provide higher production speeds and increased output.

Battlefield has had a long-standing relationship with Koenig & Bauer and great success with its current Koenig & Bauer Optima 106 Die Cutter. “The market remains highly competitive and customer demands are only increasing,” said Jerry Theoret, President and CEO of Battlefield Press. “It was the consistent and increased growth in our folding-carton business that ultimately resulted in this investment.” Theoret noted that the new folder/gluer’s overall faster speeds will be a welcome addition to its gluing efficiencies – and the increased capacity will allow Battlefield to better schedule its mixed-product range.

The Allpro 70 can handle a wide variety of substrates – from carton board to corrugated – and is capable of producing the most complex range of carton styles, thus minimizing makereadies and maximizing productivity and profitability. Available in nine sizes (from 35 to 185 cm widths), Allpro folder/gluers can produce straight line, double wall, crash lock and optional four and six corner, with a single-finger servo back-fold system as well as inner partition, Z-fold, conical crash lock and CD

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boxes, at a maximum belt speed of 400 m/min. Allpro folder/ gluers can be equipped with Omega Turnpro, Nick Breaker, Ejection Section and Omega Pre-Feeder and Pack Station.

They can also be customized to meet the requirements of specific projects.

From left are: Aleks Lajtman, Koenig & Bauer Regional Sales Manager for Canada; Battlefield Press’ Peter Aston, Executive VP; Matt Theoret, VP of Manufacturing; and Jerry Theoret, President and CEO.

GRAPHIC ARTS MAGAZINE | May 2021 | 27

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Imagesetter and Processor with spare imagesetter and processor. Being used presently however converting to CTP. $750.00 ONO. Contact Tony at Print Shop Ltd. (709) 368-2561.

High Water Python 74-BV30-IEC Computerto-Plate Equipment with MIPR512 Computer System; S/N: PY612; Year 2009; Asking $2,500 • Tel.: (855) 729-0029

EMPLOYMENT OPPORTUNITY Printer’s Parts & Equipment, established 1973, is looking for a results-driven sales representative to actively seek out and engage customer prospects. PP&E has an extensive product line that makes it easy for representatives to perform and maximize revenues. Industry experience, and car is required to visit prospects and customers.

Please apply in confidence to info@printersparts.com.

Printing Company For Sale Established in 1991, this established company is located in Northern BC. It serves its loyal client base by offering both offset and digital services. Business has low overhead and a huge potential for growth. Only reason for sale is due to the death of a part owner. For serious inquiries, please give us a call at 250-261-2469.

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FOR SALE Printing Company for Sale This established company is located in North Bay, Ontario.

It serves a loyal client base by offering both 4 colour offset and digital services. Building and equipment included for a reasonable price. Staff would like to continue employment. Business has low overhead and the potential for growth. Reason for sale is owner retirement. Business has been in operation for over 50 years.

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Column

The subscription evolution Today, subscription-based newsletters and services are proving increasingly valuable to companies looking to build strong direct relationships with their community of prospects, customers, partners and influencers, while reenforcing their brand. “Opting in” to receive updates, offers, news, products – and newsletters – keeps subscribers up-to-date and connected with your company and community.

The evolution of the opt-in subscription.

‘Opt In/Subscribe Now’ experiences actually started as pesky, massive popups that you could never quite get rid of. What was meant to help build your subscriber base actually hurt it, from the poor user experience and high bounce rates, forcing a ‘pop-up evolution.’ Soon, in-post Calls To Action (CTAs) emerged.

A small ‘sign-up here’ box located somewhere on a content post became common.

Then splash pages emerged – a small pop-up box that overlays on the corner of a visitor’s screen when visiting a site for the first time. Most will agree that pop-ups are annoying, no matter the form. So many websites now deliver a non-obtrusive, user-friendly subscribe/ sign-up button or box located on the main navigation bar or footer.

The newsletter. One of the most common opt-in subscriptions used to engage new customers is the newsletter. Whether digital or printed, newsletters serve many purposes – from driving website traffic, to deepening customer relationships. By analyzing data about who opened, who clicked, and who did nothing, companies can determine what kind of messaging offers and content generate traffic, leads and sales. The newsletter dates back to the 18th century, when Benjamin Franklin used one to promote his business. The trend exploded in the 20th century, was revolutionized with the advent of the internet, and monetized today by a subscription-fuelled mindset.

Substack, a service that enables writers to draft, edit and send e-mail newsletters to subscribers, allows writers to collect subscription income without

30 | May 2021 | GRAPHIC ARTS MAGAZINE

leaving the website. Writers can choose whether subscriptions are free or paid.

The minimum charge for paid subscriptions is $5 a month or $30 a year, and Substack takes 10% of all revenue. (https://www.newyorker.com/magazine/ 2021/01/04/is-substack-the-mediafuture-we-want). Building a newsletter that resonates with your subscribers, that drives traffic and brings in leads, depends on some basic factors: Balanced content. No one likes being bombarded by promotions in a newsletter. The purpose of a newsletter is to build a sense of connection with your business. That’s why it’s important to make the majority of your newsletter content informative, educational and/or entertaining. Include a bit of promotional content, of course, but keep it minimal.

with a “special edition” printed version creates a more memorable and physical brand experience.

CTA. What do you want your subscriber to do next? Tell them with a compelling call to action (CTA). Ultimately, your CTA should drive readers back to a landing page on your website, encourage them to pick up the phone, send you an email, read a blog, follow you on social media, or whatever else moves them further along the customer journey.

Hit subscribe. Subscriptions are a source of value for many people – be it new trends, tips and tricks, forecasts and predictions, or sense of community.

Whether you’re looking to be educated, informed, entertained or incentivized, go ahead – fill in your email address and subscribe!

Subject lines. Your newsletter’s subjectline is as important as an envelope is to direct mail – they both need to be opened.

Be creative! Think of subject lines that will capture and engage the recipient’s attention so that they click “open” – instead of “delete.”

If you’re looking for ways to stretch your marketing dollars to drive awareness, engagement and growth, please subscribe to Joanne Gore Communications (JGC): www.joannegorecommunications.com/ about/subscribe/.

Look and feel. Logos, fonts, colours and images all contribute to the customer experience. Is the look and feel consistent with your brand? How does it compare to your website? Is the content engaging – and more importantly, relevant – to the subscriber? How about the experience?

Complementing the digital newsletter

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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Column

What will the internet look like in 2050?

A new report by UK-based Fasthosts has uncovered what the internet will likely look like by the year 2050. Fasthosts has been a leading technology provider since 1999, offering secure data centres, 24/7 tech support, a successful reseller channel, domains, web hosting, business-class email, dedicated servers and a next-generation cloud platform. The company recently teamed up with two world-leading futurologists – Dr. James Bellini and Andrew Grill – to reveal how the internet will change over the next 30 years. Immersive virtual reality, over-eye ‘implants’ to view our digital world and predictive algorithms are just a few of the advancements to come, said the report.

Here’s a glimpse of what’s in store for us according to these two experts, and how that evolution will impact our lives:

Social Networks: An over-eye ‘implant’ to view our social media feeds • It’s apparently only a matter of time before consumers seize control of their own data, brokered by AI agents through personal clouds.

• The next generation of social networkers will be impacted by the acceleration in digital innovation, including the development of hyper-augmented reality and brain-tocomputer interfaces.

Design: 3D printing will replace old ways of shopping • The prominence of the 3D printer will continue rising significantly.

• By 2040, all homes will have access to a device, laying the foundations for the DIY economy. A trip to the hardware store will be a thing of the past, in favour of simply ‘printing’ your desired appliance.

Security: Improving AI could spell disaster for our security

• By 2050, there’ll be ‘implants’ placed over our eyes to access our digital and social media world – without the need for a display!

• Cybercriminals are the third most significant threat to humanity, after natural accidents and pandemics. Access to increasingly sophisticated technology could spell disaster.

Virtual Reality and Artificial Intelligence

• While extreme computing does bring countless benefits, it could also trigger a major concern. As we become ever more connected, those who intend to break through encryption barriers could use super-fast computers to do so in an instant, and take an immediate hold over the lives of millions.

• Virtual reality (VR) and artificial intelligence (AI) will pave the way for a more streamlined online experience – whether for e-commerce, entertainment or business.

• Due to rapid developments in the field of brain-computer interface technology, by 2040 users will be able to send information and commands through mere brain signals.

• By 2050, it’s expected that consumers will be able to plug ‘nanobots’ directly into the brain for full-immersion virtual reality that directly influences the nervous system.

• We’ll soon see VR developments across a broader spectrum of senses to simulate smell and taste – as current technology does for sight.

Data: Virtual clouds will replace hardware data storage • The cloud will be able to accommodate further personal assets that would otherwise have demanded local storage.

• For increasing the capacity and capabilities of the cloud, green web hosting is set to be used universally by 2050.

With this technology, companies will dramatically cut down on the size of their data centres in favour of cloud-based technology, and thus reduce their environmental impact.

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Payment: A cashless society is coming • The demise of cash has been long predicted, and a total reduction of printed money and coins is predicted before the turn of the next decade. Currently, 60% of UK adults expect a completely cashless society by 2030.

Customer Service: Algorithms that predict our needs • As the world shifts towards digital platforms, customer service will follow suit. In-person customer service will be a thing of the past, with digital advisors placed to address concerns and queries – unless a situation requires complex human involvement or interaction.

• As early as the next five to seven years, we’ll begin to see a rise in digital agents. As these agents evolve, they’ll begin to think for us, renew our insurance for us, screen advertise messages for us and more.

For more information, please visit the Fasthosts website.

GRAPHIC ARTS MAGAZINE | May 2021 | 31

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