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Volume 1 Issue 2 Summer 2017

illustrated

N O I T A M O T U A G N I R E T EN

E G A W E AN

INSIDE Color Ink’s ‘revolutionary’ J Press 720S Creative Printing meets tight turnaround times

print

VOL. 1, ISSUE 2 n SUMMER 2017

illustrated

IN THIS ISSUE 01 STATUS QUO

18

A letter from Todd Zimmerman

06 THE CHANGE AGENT

How Color Ink helped transform its business strategy with Fujifilm’s J Press 720S

08 DESIGNING DIGITAL

SIGN-UP FOR YOUR FREE SUBSCRIPTION TO PRINT ILLUSTRATED MAGAZINE! www.PrintIllustrated.com

02

AUTOMATION ENTERING A NEW AGE

Maximizing the value of an inkjet campaign

12 TIME WARRIORS

08

06

How the Acuity F is helping Creative Printing meet tight turnaround demands

14 PRODUCTIVITY BOOSTER

The Illumina LED Retrofit System is changing the game for flexo presses

16 SELLING PRINT IN A DIGITAL AGE

Printers share their thoughts on the evolving process

12

18 HIGH ROLLER

The Acuity LED 3200R is putting a (super) charge into printing productivity

20 TALE OF THE TAPE

The impact of print is greater than ever

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STATUS QUO A LETTER FROM TODD ZIMMERMAN

I often hear people saying that you need to challenge the “status quo,” but I’m not always sure if the phrase is intended as a positive or a negative. Although the term status quo is Latin for existing state, many people associate status quo with negative overtones, as if the status quo is somehow unacceptable.

Why is that?

I believe it’s because technology and ways of doing things are always changing.

We are challenged to do more with less to stay competitive. We feel compelled to find ways to automate, innovate, improve, and stay ahead of the competition. In reality, our own status quo is only defined and limited by our ability to think outside the box, do things differently, and accept change as the norm.

At Fujifilm our culture actually drives us to challenge the status quo and look for ways to improve. So whether we challenge ourselves, or our customers challenge us, we are always looking for ways to continuously improve our products and our processes to benefit the customers

we serve. It’s part of the DNA of who we are and how we go about doing business.

So, with a “not so subtle” segue, our cover feature, “Automation, Entering a New Age,” highlights where innovation and new technologies are being deployed to change the status quo of the way we work. We discuss how automating processes can eliminate redundancy, make processes more efficient, and support our goals of continuous improvement.

In our second feature, “Designing Digital – Maximizing the Value of an Inkjet Campaign,” we talk about what it takes to build a successful digital campaign. We showcase how today’s printers are challenging the status quo and changing

the dynamics of print by creating crosschannel brand consistency, embracing personalization, and leveraging data.

We are proud to be a part of this changing world of print, and hope that our passion and commitment comes through in this issue of print illustrated.

I hope it gets you to think about how you can challenge the status quo in your operation.

All the best,

TODD ZIMMERMAN Division President, FUJIFILM North America Corporation, Graphic Systems Division Corporate Vice President, FUJIFILM Global Graphic Systems

William Rongey

MAKING THE UNCOMFORTABLE COMFORTABLE We humans don’t like change because it makes us uncomfortable, especially if we don’t see a need to change. We like the comfort of the way things are because it’s what we know, and it’s what we’ve always done. It’s predictable.

But is it?

What if technology changes the game? All of a sudden the comfortable “this is the way we’ve always done it” is no longer competitive. Maybe the advancement made the product better, easier to use, or lowered the cost. Advances like these can actually make the status quo unsafe.

At Fujifilm we challenged the status quo when we led the transition from film to CTP. At the time it made our customers uncomfortable, but it improved the process and we helped our customers through the change. Today we are challenging the status quo with new inkjet technologies and new ways to produce commercial print, signs, displays and packaging. This too may make you feel uncomfortable since it’s a change, and a significant investment. But just as those who invested in CTP gained competitive advantage, those investing in inkjet today are also gaining a competitive edge and winning new business.

So don’t be surprised if our people challenge you to challenge the status quo, and in the process, make you feel uncomfortable. At Fujifilm, we challenge the status quo every day by helping make the uncomfortable, comfortable.

PAUL LYNAUGH Vice President, North American Sales FUJIFILM North America Corporation, Graphic Systems Division

EDITOR-IN-CHIEF wrongey@fujifilm.com print illustrated is published quarterly

by FUJIFILM North America Corporation, Graphic Systems Division Copyright 2017 All rights reserved

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Inks Outside covers: UV chrome silver, UV 4/c process Inside covers & body: Conventional 4/c process, Satin Aqueous Coating www.FujifilmGraphics.com print illustrated ❘ SUMMER 2017 ❘ 1

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Daron Acemoglu, an MIT economist, told the MIT Technology Review that political leaders are “totally unprepared” for automation and what it means for labor.

The International Federation of Robots estimates there are between 1.5 and 1.75 million robots in operation. The Boston Consulting Group predicts there could be four million to six million robots by 2025.

The anxiety is that, according to a 2013 Oxford Martin School study, 47 percent of U.S. employment, as we know it, is at risk in the next 10 years.

The challenges of Artificial Intelligence (AI) are worldwide, of course, not just in the United States. The South China Morning Post reported in 2016 that Foxconn, which makes parts for Samsung and Apple, reduced its labor pool from 110,000 to 50,000 by adding robots.

THERE ARE SOME ISSUES TO THINK ABOUT: 1. Companies are going to scour their processes for anything repeatable, because what is repeatable can be automated. Look at automobile manufacturing. Almost 40 percent of robotics and automation in the United States are in the central states and Midwest where we make cars.

2. Do not think robotics and doom. Think

cobotics, collaborative robots that work alongside humans. Using the auto industry again, there are customizable cars that need a degree of human proficiency paired with robotics.

3. There are more than a million tractor trailer drivers motoring up and down the highways. Long haul drivers are paid a premium wage.

There are driverless cars on the way and driverless trucks are being tested.

ONCE MORE, THESE WORDS GO TOGETHER: REPEATABLE AND REPLACEABLE. Robotics are no masquerade. Business is looking for efficiency in productivity and workers are being replaced. Some jobs disappeared because of offshoring, or globalization, but many more are disappearing because of automation.

Acemoglu and his colleague, Pascual Restrepo of Boston University, studied the

Esko’s automation innovations include robotic loading and unloading cutting tables for non-stop finishing production.

impact of robots on the economy between 1990 and 2007 and found that 670,000 jobs were lost. That’s not a big number, but it also was 10 years ago. The study concluded that adding one robot per 1,000 workers took away 5.6 jobs.

Again, that study period ended 10 years ago. We have a faster proliferation of robots these days.

But it’s not all gloom for the skilled worker. It is helpful to look at two divergent points of view in the same industry to help light the way. So let’s look at printing as it relates to automated workflow.

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QUICK, HERE THEY COME...

Paul Roscow is the National Support Manager for FUJIFILM North America Corporation, Graphic Systems Division. While he can look over his shoulder and see robots gaining jobs in printing, Roscow does not necessarily feel under siege. He’s certain there’s still a strong need for support staff in a varied industry like printing.

“The automation part, that everything is automatic, is not as easy as a lot of people would imagine because of all the things that can change,” Roscow says. “There are file types, there are so many versions (of software), there are different output devices. The whole operation from start to finish is so different every single time, even within one organization. It is very hard to get automation.”

It’s true that the market for industrial robots is going to grow 12 percent in 2017, but Roscow says human capital is still vital.

“From our point of view on the support side, and being ex-users in this industry, it’s not quite as easy as loading a cylinder and away you go. If we could control the creation of the file as a printer, that would eliminate a lot of problems and lead to a higher level of automation.”

Roscow says the problem is these files come in from hundreds of people, they all have different systems to create the files, and they all have different levels of knowledge on what they do.

Customization is not only present in printing, it is present in custom automobiles and the custom design of furniture, for instance. A custom-made car is not going to roll down an assembly line like it does in Detroit and get fitted by robots. Humans have to put some real skin in the game.

It is the same in the printing industry.

“We have a huge amount of guidance we have to give customers on, for instance, would you use a tif file instead of a jpeg,” Roscow says. “What would the resolution be here? Why is the imposition (arranging of pages) set up this way, instead of that way? And that all comes from people who have been in the industry for years.”

Roscow says one company made a million-dollar mistake because it relied on automation to proof, not human eyes.

That said, there are ways to standardize files and workflow to automate some print production processes. File submission to web-2-print systems is a good example.

Bryan Hughes is sensitive to the idea of jobs being replaced by automation, but he also sees the great gains in productivity, not to mention improvement in safety.

“Six months ago, I went to visit a client who is a printer and the facility was 100 percent automated,” says Hughes, Product Marketing Manager/Workflow Products for FUJIFILM North America Corporation, Graphic Systems Division. “That has reduced direct labor tremendously and unfortunately, I see that continuing. When I left manufacturing in 2000, I left a department of 50 people. In 10 years that department went to 15-17 people and produced twice the amount of pages. That’s all automation on the software side.”

Hughes says where robots typically work well is a high-volume environment, particularly moving printed material to the cutting device. “In the early to mid-90s, a lot of advancements were happening to allow web presses to run much faster. At the end of the press, a human called the “jogger” would literally take the product off the press and stack onto skids. As presses got so fast, the human could not keep up, and they went to robots.”

So are humans going to be made redundant by new technologies?

It will happen in some industries, but as the alarms go off, there will be adjustments in education and training. Robots still do not work well in non-controlled environments. For that reason, human labor can breathe easy.

“WHEN I LEFT MANUFACTURING IN 2000, I LEFT A DEPARTMENT OF 50 PEOPLE. IN 10 YEARS THAT DEPARTMENT WENT TO 15-17 PEOPLE AND PRODUCED TWICE THE AMOUNT OF PAGES. THAT’S ALL AUTOMATION ON THE SOFTWARE SIDE.” Handling systems like the fully automated Onset X3 with dual robotic automation maximizes throughput by minimizing media handling time.

– BRYAN HUGHES Product Marketing Manager/Workflow Products, FUJIFILM North America Corporation, Graphic Systems Division

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THE CHANGE AGENT

HOW COLOR INK HELPED TRANSFORM ITS BUSINESS STRATEGY WITH FUJIFILM’S J PRESS 720S

equipment portfolio.

In fact, the print services provider continues to change its approach to traditional print by expanding into new markets. The B2 size sheetfed production inkjet press is enabling the printer to do new and exciting things every day.

“We’re taking jobs off of the 40-inch litho Unbelievable. Productive. Faster. These press, as well as jobs from our wide format are some of the words that Todd Meissner press,” says Meissner, president of the uses to describe the way things are around his print shop these days. Meissner’s descrip- Sussex, Wis.-based printer. “We are moving more jobs over to the J Press 720S because tive prose comes on the heels of Color Ink’s decision to add Fujifilm’s J Press 720S into its it makes good economic sense. The inkjet

technology is unbelievable; it produces tremendous quality, and it’s a faster way to produce many of our jobs.”

With a 29.6-inch x 20.9-inch sheet and an output of 2,700 sheets per hour, Fujifilm’s second generation sheetfed J Press 720S is an ideal solution for printers like Color Ink. The J Press 720S offers the quality and robustness of an offset press, and the versatility to handle even the shortest of press runs.

The configuration at Color Ink is capable of printing 100-pound text weight to 18 point board stocks; while other configurations are available to run lighter weight stocks, as thin as 60 lb. text weight, and up to 24 point board stocks.

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Color Ink’s research into an inkjet press that could help fill their clients’ growing need for shorter runs and versioning culminated with a visit to the Fujifilm Americas Technology Center to experience the J Press 720S first hand. Its research included running a myriad of tests to prove that the technology could meet its needs.

“When we looked at other offerings before committing to the J Press 720S, we felt there wasn’t anything that was even close, in our opinion, to the cost of ownership, quality level and uptime,” Meissner says. “With the quality we are seeing on Fujifilm’s J Press 720S, it’s better than litho; it’s revolutionary, and just a better way to print.”

with very humble roots,” says Austin, the sales and sourcing manager. “It certainly means a lot to me being third generation at Color Ink. Having the opportunity to work with my father is just a great experience for me.”

Working from a solid base of loyal customers, Color Ink looked to expand its operations by taking advantage of some ripe opportunities. One of those areas was the folding carton market. The J Press 720S helps hit that mark.

“We understand that in the folding carton market, especially for the consumer market and brand awareness, hitting brand colors to their full integrity is so vital,” Austin says. “A portion of our

the last sheet, there is no variance in color.

I don’t even have to worry about consistency. And the ease of use goes from maintenance all the way through the ease of the interface. I basically load paper and print all day long; it just keeps running and running and running.”

PRINTING ON-DEMAND With shorter runs and versioning becoming more relevant for print buyers, printing on demand is key at Color Ink. For a lot of the retailers, their store accounts across the country may only be 1,000 stores or maybe a couple hundred stores.

“When we are producing graphics for each store, we’re talking about run lengths

“WITH THE QUALITY WE ARE SEEING ON FUJIFILM’S J PRESS 720S, IT’S BETTER THAN LITHO; IT’S REVOLUTIONARY, AND JUST A BETTER WAY TO PRINT.” – TODD MEISSNER, PRESIDENT, COLOR INK

Todd Meissner, left, president, Color Ink, proudly stands next to the J Press 720S, along with his son, Austin, Sales and Sourcing Manager, at their Sussex, Wisconsin facility.

ROOTED IN SUCCESS Jim Meissner, Todd’s father, started Color Ink in 1984 primarily as a commercial printer. Today, along with Todd’s son, Austin, the third-generation family owned and operated business runs things from a 100,000-square-foot facility within two buildings on suburban land that was once a family farm outside of Milwaukee.

The operation includes 75 full-time employees and 50 temporary employees who work up to three shifts a day, five days a week.

“My grandfather started the company

business, I’d say maybe 15 percent, caters to the consumer packaging group.”

With the J Press 720S, Color Ink is able to more closely match PMS colors that are always challenging to hit. “I think there’s a lot of opportunity for us to expand into that market in a way we’ve never been able to successfully do before,” Austin says.

“And we think there’s a really strong opportunity to do that with the configuration of the J Press we purchased.”

Because color consistency and tight project turnarounds always are on the minds of print service providers, the J Press 720S helps make it essentially a non-issue. “The color consistency is phenomenal,” says Mark Linski, Color Ink’s J Press 720S operator. “From sheet one to

of maybe 200 to 1,000 units, short runs,” Todd says. “That’s why the J Press 720S is such a great fit for us. We’re going from one job to another without stopping. It’s the same paper, it’s the same sheet size, but we’re literally printing 10 of this, 20 of this, 500 of that, nonstop, on the fly.”

Versioning has been a great ally for Color Ink on the J Press 720S, whereas if you think about what you’d have to do on a litho press with plate changes, it’s a big deal. Today, Color Ink is eliminating the need for customers to warehouse finished product and print on demand for not that much higher price per unit, compared to ordering 10,000 or 20,000 units at a time.

“Fujifilm always seems to come forward with very relevant solutions for our business,” Todd says. “Our experience with their equipment, consumables and people has been instrumental in transforming our business.”

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JEFF HERNANDEZ KNOWS THEY ARE SIMPLE QUESTIONS. BUT HE ALSO KNOWS THEY ARE THE TYPE OF QUESTIONS THAT MUST BE ASKED WHEN A PRINT SERVICE PROVIDER SITS DOWN WITH A CUSTOMER TO DISCUSS THE INNER WORKINGS OF A MARKETING AND COMMUNICATIONS CAMPAIGN. WHO IS YOUR TARGET AUDIENCE? HOW ARE YOU CURRENTLY REACHING THEM? AND HOW DO YOU WANT TO INCLUDE PRINT IN THE PROCESS?

DESIGNING

igita MAXIMIZING THE VALUE OF AN INKJET CAMPAIGN

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These questions are especially important when that campaign includes a digital component. Jeff Hernandez, VP of Classic, a high-end commercial print provider based in Broadview, Ill., says that honing in on the target audience and accurately capturing ROI are two of the biggest keys in a digital campaign.

“When people sit down to strategize a digital campaign, they start talking about how to utilize variable data,” Hernandez says. “But here’s the challenge – people don’t want to be talked at, they want to be talked to. So your whole campaign, any campaign, comes down to how you talk to your audience and how they respond. And everything starts with digital.”

The essential components of creating a successful digital campaign start – and lean – heavily on the use of all touch points, including print and social sites such as Facebook, Twitter, Instagram, etc. The key is in understanding these mediums.

“Your touch points are critical,” Hernandez says. “A person gets a piece in the mail that is personalized, something that sends him to some place else. A video. A personalized URL. A backend link. Understanding how to effectively use each piece of technology enables you to get the return you want. Where do you want to drive your customer and where are you driving them now? Those are the keys.”

In today’s hyper technological landscape, getting your message heard above the noise is something every brand strives for.

The question often comes down to, “Are you making noise or are you making things

“PRINT IS AMAZING. NOTHING INSTANTLY CREATES AN IMPRESSION, AN EXPERIENCE, LIKE GOOD PRINT.” TERRY MARKS, TMARKS DESIGN

happen?” With so much digital noise rumbling across cyberspace, the effort takes equal parts art and science.

“Today’s brand owners don’t own the brand, the consumers do,” Hernandez says. “That’s why today’s technology has to be personalized. You still hear a lot of people say that print is the old way of doing things. But print is able to personalize your experience with your customers better than anything else.”

LIVING IN THE AGE OF THE INKJET Barb Pellow could not have been clearer.

By the year 2020, 60 percent of all digital printing volume will be produced on production inkjet devices. Pellow, the group director of InfoTrends, made the proclamation during the recent “Inkjet Summit.”

It is a figure that has not gone unnoticed by today’s creative directors. That’s why highly noted creative designer Von Glitschka believes the inkjet revolution is something printing services providers and marketing service providers cannot afford to ignore anymore. The founder and creative director of Glitschka Studios says the digital audience is one you can continue to build if you engage it effectively.

Printers take note. By understanding how to incorporate digital strategies into your mix, you can pick your opportunities. “Sure, you can attempt to create your own campaign, but that’s drawing from

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a shallow creative pool for most printers,” Glitschka says. “Collaboration with a creative firm isn’t an expense, it’s an investment.”

The essence of this journey starts with developing the perfect inkjet campaign.

Where do you start? For inspiration, Glitschka recommends checking out social media sites such as Instagram (yes, printers can and should do that).

“I’ve personally picked up several ideas from being exposed to Instagram,” Glitschka says. “The same principles can apply to digital printing. Be genuine, authentic and don’t hesitate to poke fun at yourself. Everything people enjoy about other people they meet is how a brand should be personality wise.”

That sentiment is something that Terry Marks takes to heart. The creative stalwart who leads the TMarks Design firm is first and foremost a storyteller. For the past couple of decades, he has helped his clients craft messages that can attract and move people.

Press Marks a little on today’s digital revolution, and he’ll tell you that the key to success is to be in tune with what’s happening around you. In other words, the world is always changing, and if you don’t change with it, you’ll fall behind. “The company that doesn’t take stock in the change in the landscape around it becomes irrelevant,” he says. “It becomes an entity

that may get talked about – if it’s lucky.”

That’s why embracing and learning the ins and outs of digital is so critical. Unlucky is the company that believes it can wave a magic wand and instantly create understanding and connection, especially when it takes understanding how every touch point works with each other.

“The initiative you select to enforce your message has to matter in the landscape of your audience,” Marks says. “You have to help them differentiate from their competition. To do that, you have to understand your clients’ real needs – not their whims and flights of fancy.”

CONNECTING THE DOTS What are the key pieces? It starts with an understanding of how to use every touch point effectively. It starts with creating a targeted list of qualified people who fit the profile of those you are trying to reach.

The winners at creating impactful and succinct inkjet campaigns understand the value proposition that matters to the decision-maker. The campaigns that work offer a strategy that engages the digital media used by the decision maker and renders a campaign that leverages meaningful content in a way that stands out.

Conceptualized, finalized and delivered, all of this shouldn’t just create instant sales, but also the opportunity to have an inbound lead or a real conversation with

your audience.

And here’s the thing: Creating a structurally sound inkjet campaign should complement everything in your communications mix. “Employing digital and complementing it with a good print campaign, and by good, I mean distinctive, not the ‘I-see-it-everyday’ campaign, should be one that stands out both creatively and message wise,” Marks says. “It should crack the veil and make a difference.”

It’s no secret that consistent marketing that’s tied to the truth of the brand – consistent marketing that can capture your audience’s attention and rewards it – wins over time.

“The who, the core of the brand, has to be vanguarded,” Marks says. “The core value of your campaign has to be true and differentiate. Otherwise, it becomes advertising for no one or perhaps worse, marketing for the industry that doesn’t necessarily help the company. It must be true and distinctive in a way that matters to the audience.”

Classic’s Hernandez says that when you use all the touch points together and incorporate them effectively into one campaign, it will drive your customers where you want them to go. “You don’t want to be obsolete today. Everything centers on that question, ‘How am I doing, what am I doing today, and is it working?’ If you ask yourself that question, the answers will come.”

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TIME WARRIO Ask David Leavey what it means to be able to meet and exceed your customers expectations in a business climate that demands efficiency at every turn, and his answer is simple and to the point. It’s everything.

That’s why Leavey and his team at Creative Printing are committed to putting everything on the table when it comes to finding what works best and why in the highly competitive commercial print landscape.

Take its recent effort to expand the capabilities of its wide format business. Engaging in an exhaustive search for the right equipment, it finally settled on Fujifilm’s Acuity F, a superwide format printer designed to produce high quality display and exhibition graphics in the most cost-effective way. “We have been able to successfully deliver on any type of materials our clients have asked of us,” says Leavey, who

serves as VP of the Merriam, Kan.-based printer. “The Acuity F has transformed our wide format printing capabilities.”

Leavey says the Creative Printing team chose the Acuity F due to its versatility and speed. “Hands down, the Acuity F is the best machine I’ve seen,” he says. “It fits our needs perfectly, and has transformed our wide format printing capabilities. I don’t know what we would do without the Acuity F.” Founded in 1967 in Mission, Kan., the family owned, certified woman-owned print service provider operates out of a 58,000-square-foot manufacturing space in Merriam, where it moved in 1977. Over the past 40 years, the printer has earned a reputation as a supplier of high-quality printing and finishing services

HOW THE ACUITY F IS HELPING CREATIVE PRINTING MEET TIGHT TURNAROUND DEMANDS

on its way to becoming a major player in the graphic display and packaging markets.

The addition of this highly-productive press is just another clip in its tool belt.

“We now have one of the fastest presses in

Frank Leavey, David’s father, reviewing output at a litho print shop in the Kansas City, Missouri-area, circa 1947.

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RIORS

David Leavey, vice president, Creative Printing, alongside his highly-productive UV flatbed printer, the Acuity F, from Fujifilm.

our area,” Leavey says. “We are offering a high quality product at an affordable price, which enables us to capture more market share, positively affecting our bottom-line.”

MORE PRODUCTION, BETTER OUTPUT AND QUALITY One of the biggest benefits of the Acuity F has been Creative Printing’s ability to greatly enhance its business by increasing the amount of digital output it can offer.

As one of the most productive printers in the popular Acuity Series, the Acuity F combines seven years of market-leading image quality with cutting edge engineering and ink technology. The combination helps deliver a state-of-the-art platform capable of a wide range of print applications. With a maximum print speed of over 1,600 square feet per hour, it’s built for production.

“With the Acuity F we are now able to manage many more jobs,” Leavey says.

“We can run 20-plus sellable boards per hour, in quality mode. We have been able to successfully deliver on any type of materials our clients have asked of us.”

This UV flatbed allows PSPs like Creative Printing to select the right production speed and image quality to address a wide range of display applications. The addition of white ink further extends the application and media range to include clear and colored substrates. The Acuity F maintains all the advantages of the popular and successful Acuity platform, including nearphotographic image quality, versatility and

Sam Sowlaty stands next to his J Press 720S, at Acuprint’s Los Angeles, California facility.

“WITH THE ACUITY F WE ARE NOW ABLE TO MANAGE MANY MORE JOBS. WE HAVE BEEN ABLE TO SUCCESSFULLY DELIVER ON ANY TYPE OF MATERIALS OUR CLIENTS HAVE ASKED OF US.” – DAVID LEAVEY, VP, CREATIVE PRINTING ease of use, but has been optimized for the efficient and high speed production of rigid media applications.

Running two, 10 hour shifts, six days per week, Leavey and his team are able to produce high quality output with extremely tight turnarounds and run many different substrates on their highly productive workhorse, including styrene, foam, corrugate, and acrylics.

“We recently completed a job for a large

well-known trade show, which included 120 boards. Even more challenging, the job required a two-day turn from file receipt to delivery,” Leavey says. “The Acuity F enabled us to win that job. With our previous equipment, this would not have been an option. The quality and speed of the Acuity F, which are its most defining features, came through for us yet again.”

Throughout the years, Creative Printing has invested more than $1 million in developing one of the most complete digital printing and finishing departments in the Kansas City-area.

Its relationship with Fujifilm is well noted. The relationship goes back many years, with Fujifilm’s innovative solutions evident at every turn. Prior to upgrading to the Acuity F, Creative Printing experienced success with other flatbeds within the Acuity Series.

“We began our wide format journey with Fujifilm quite a while ago,” Leavey says.

“And we are still with Fujifilm, as they are a great partner providing amazing technology within all areas of our business, along with great service. Creative Printing and Fujifilm are great business partners. We can always depend on Fujifilm.”

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PRODUCTIVITY BO

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BOOSTER HOW THE ILLUMINA LED RETROFIT SYSTEM IS CHANGING THE GAME FOR FLEXO PRESSES he most powerful UV-LED curing system on the market. That’s what they’re saying about FUJIFILM North America Corp.’s Illumina LED Retrofit System. With the capability to boost productivity and reduce cost on any flexo press with UV-LED curing technology, Illumina quickly is becoming a “must-have” for today’s printers.

With Illumina, faster is better. Faster LED curing means you can run at faster press

speeds. How fast? Illumina sets a new standard for flexo printing speed on standard paper and film stock.

The retrofit is also fast and worry-free. Translation: It can be completed in half a day followed by ink and substrate testing. By the second day, you’ll be in full UV-LED production mode. The compact design of the Illumina system easily fits on most any flexo press at any width.

In addition, Illumina’s compact housing can be mounted on any flexo press without adding an extra roller, as required by other LED retrofit systems.

DRIVING DOWN COSTS Illumina’s UV-LED cure is an instant on/off process, dramatically lowering the energy usage and stress on bulbs experienced in conventional “always-on” UV mercury lamp curing.

UV-LED also eliminates the costs generated by cooling air blowers, ozone extraction and heat makeup systems.

Illumina employs additional patented and patent-pending technology to achieve even greater savings of 86 to 95 percent within your energy spend per year, resulting in $20,000+ per year depending on size and number of shifts. Retrofitting with Illumina also qualifies for a significant rebate from many utility providers as part of transitioning to energy saving solutions. Check with your local utility provider for more details.

The patented design produces less heat than competitive LED technologies and heat-dissipation is also much more effective. The small number of insulating layers used and a unique domed lens design enables cooling with room temperature distilled water. This eliminates condensation issues, as well as increases the lifetime of the water circulation system.

Illumina’s single piece extrusion design allows large cooling water channels to be located directly behind each LED module. This lengthens the cooling time from several seconds to several minutes if the chiller were to stop running.

Illumina’s UV-LED curing system is proven to work on heat-sensitive film applications, including high percent shrink film, without the use of chill rollers.

Illumina LED Retrofit System Advantages

Energy Savings Lamp Power for Warm-up Lamp Power for Cool-down Lamp Power for Printing Exhaust Fan Power Conditioned Make-up Air Power

Conventional UV-Arc Yes Yes Always On Yes Yes

LED Eliminated Eliminated Instant On/Off Eliminated Eliminated

Lower Maintenance Costs Lamp Replacement Schedule Lamp Shutters Reflectors Spare Parts and Repair Labor

Conventional UV-Arc 1,000 Hours Yes Yes Yes

LED 20,000+ Hours Eliminated Eliminated Reduced

Environmental Advantages Mercury in Lamps Ozone (VOC’s) Produced Exhaust Fan Noise

Conventional UV-Arc Yes Yes Yes

LED Eliminated Eliminated Eliminated

Other Advantages Thin/Heat-sensitive Substrates Time to Warm-up/Cool-down

Conventional UV-Arc Yes with Chill Rolls Yes

LED Yes, No Chill Rolls Eliminated

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ROUNDTABLE

he fourth industrial revolution. In a time when digital continues to rise, too many have waited for print’s demise. But it never came. Instead, it has been redefined, creating new and exciting opportunities for brands to reconnect with their customers and communities.

Print still has its place – the touch, the feel, the emotional connection people have when something tangibly sits in front of them, that cannot be replaced. You can find truth in the numbers, too.

For example, Smithers Pira estimates the global printing output will hit $980 billion by 2018. And InfoTrend’s “U.S. Digital Production Printing Application Forecast” shows that target markets like direct mail, book publishing and transaction printing (TransPromo) will be major areas of the inkjet game, with +37.6 billion pages (books), +14.4 billion pages (direct mail) and +13.4 billion pages (TransPromos), respectively, by 2019, the study says.

To get a feel for how some print service providers are selling print in the digital age, print illustrated sat down with several industry leaders, including Steve Zick, executive VP at Innomark (Fairfield, Ohio), Todd

Meissner, president of Color Ink (Sussex, Wis.), and David Gilson, president of Gilson Graphics (Grand Rapids, Mich.).

HOW HAS BUYING PRINT CHANGED OVER THE PAST FIVE YEARS? Steve Zick: The influence of buying A services and general shrinkage of the commercial printing market has resulted in more supply than demand and product commoditization in many categories. The role of the RFP has replaced relationships in many cases. Unfortunately, this mentality assumes all providers are equal in quality and service, so pricing is the only presumed differentiator. In reality, all suppliers are not equal, so overcoming this mindset is the new challenge.

Q

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David Gilson: Customers do not have time to see a salesperson, let alone interact with one on a regular basis. They want internet based solutions custom fit to their own order entry, proof approval, shipping and end reporting systems.

Todd Meissner: We are a major producer of in-store visual retail graphics, as well as direct mail for retail clients. Run lengths continue to get smaller and we see more targeted campaigns. As this trend has evolved, we have found that we are moving a significant amount of projects off of our litho sheet-fed presses and moving them over to inkjet digital presses. With the quality of inkjet significantly improved in recent years, there is a lot less resistance by customers regarding digital printing.

HOW MUCH EFFORT IS NEEDED IN PROVING THE VIABILITY OF DIGITAL PRINT? Zick: Digital print has become far A more widely accepted as print quality has improved. Since we offer a variety of production methods, we find that we can let the math do the talking and choose the most cost-effective production methods for each circumstance. It has become uncommon for the print method to be mandated or for digital print to be refused.

Q

Gilson: For static work, costs make this determination. For variable work, it has to be digital, at least one side anyway. With the right equipment, there is no difference.

Meissner: We try and build a case to integrate our print offerings within a client’s existing digital infrastructure. Although we do not provide digital graphics within our current mix, we can provide impactful visual solutions that might be a more economical alternative than digital graphics. Examples of this include: backlit soft signage (textiles), motion displays, LED lighting, dimensional displays and a mix of unique substrates.

“PRINT BUYERS WHO CAN PROPERLY NAVIGATE THE CURRENT INKJET DIGITAL TECHNOLOGY CAN BENEFIT GREATLY

BY TAKING ADVANTAGE OF ALL OF THE BENEFITS THAT DIGITAL PRINTING HAS TO OFFER.”

HOW HAS THE SELLING PROCESS CHANGED? Zick: It’s like I mentioned before. The A buying services’ influences and the way the market has minimized has created more supply than demand. From what we see, there is more product commoditization across many categories. A lot of roles and responsibilities have been replaced. The consumer cannot use price as the reason to select a provider. So much has changed in the way of quality and service. Like I said, all suppliers are not equal. The mindset has to change.

Gilson: To reach these clients, one has to

go where the client would go looking for solutions: User Group Meetings, Events, Shows, etc.

Meissner: We are finding that we spend less time selling print, and more time selling our customers on our overall value proposition. For example, we might not offer the lowest pricing on an individual print project; however, we sell solutions that help our customers reduce their overall print spend and make their job easier.

A great example of this is customized web portals for communicating inventory, project status, shipment tracking, and order history.

We often provide this service at no cost to our customer in exchange for a commitment to do business with us at an agreed level. We also provide a wide range of print solutions and services to minimize the need to subcontract for any other services.

By controlling all of the manufacturing inhouse, we can turn projects much quicker.

Often times, we are awarded projects purely on our ability to meet a customer’s deadline.

Q

SELLING PRINT IN A DIGITAL AGE

– TODD MEISSNER, PRESIDENT, COLOR INK

HAS THE SHINE COME OFF OF DIGITAL AT ALL? Zick: Quite the opposite. We see A digital print as a growing segment, and new technology and equipment have helped make that possible.

Gilson: No, if anything, because of increased quality and reduced cost, it continues to grow.

Meissner: A lot of print buyers still equate digital printing with the quality that was inherent to toner-based devices several years ago. The technology of inkjet today is far superior to conventional litho printing in many ways, yet the stigma of digital still remains. Print buyers who can properly navigate the current inkjet digital technology can benefit greatly by taking advantage of all of the benefits that digital printing has to offer.

Q

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HIGH ROL HOW THE ACUITY LED 3200R IS PUTTING A (SUPER) CHARGE INTO PRINTING PRODUCTIVITY

here’s the high quality factor.

The profitability factor. The inkjet technology. The low maintenance. Fast start-up capability.

And so much more.

Fujifilm’s Acuity LED 3200R allows today’s printers to produce high quality display and exhibition graphics in a cost-effective and efficient way. The superwide format printer features a full LED lamp curing system that’s precisely tuned to cure Uvijet ink. LED curing lamps fully cure the print,

which is ready to use right away. In addition, Fujifilm’s LED UV curing technology and ink chemistry work in conjunction to provide a profitable solution.

The Acuity LED 3200R quickly is becoming the go-to press for printers looking to increase their productivity in applications such as banners, window displays, wall graphics, backlits, and even customized wallpapers. Low heat output also allows the printing of thin-gauge media and PVC substitutes.

IT OFFERS PRINT SERVICE PROVIDERS THE OPPORTUNITY TO BENEFIT FROM: ❱❱ Instant print performance without a warm-up delay ❱❱ Minimal daily maintenance ❱❱ Lower utility bills with a 4.3kW maximum power consumption – a fraction of conventional curing systems ❱❱ Ability to fulfill heat sensitive media applications ❱❱ Little odor, making the Acuity LED 3200R suitable in most working environments without dedicated extraction These assets are making it possible for printers to be super efficient. The Acuity LED 3200R offers a number of choices, including static suppression option (removes the static electricity charge that can affect print quality on materials like PVC), soft media option (stable printing on thin or soft materials that could

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LLER tear or crease when moving through the printer) and a media lifter option (easily load and unload large rolls up to 128-inches wide).

One of the biggest benefits the Acuity LED 3200R offers today’s print service providers is the ability to enhance their business growth by increasing the amount of digital output they can offer.

By adding it to your portfolio, you will be able to manage more jobs, more efficiently, and with a higher return on your investment.

ONE OF THE BIGGEST BENEFITS FUJIFILM’S ACUITY LED 3200R OFFERS TODAY’S PRINT SERVICE PROVIDERS IS THE ABILITY TO ENHANCE THEIR BUSINESS GROWTH BY INCREASING THE AMOUNT OF DIGITAL OUTPUT THEY CAN OFFER.

5

REASONS THE ACUITY LED 3200R MAKES SENSE FOR YOUR PRINT SHOP

1 – EXCELLENT VALUE FOR MONEY If you’re producing any graphics over 63 inches (1.6m) wide, you can’t afford not to own the Acuity LED 3200R. The superwide printer’s cost is close to that of smaller format machines, so you get a lot for your money.

2 – GREAT RETURN ON INVESTMENT You don’t need high volumes to make this printer pay for itself, so if you’re thinking of expanding into superwide, this is the ideal machine for you.

3 – ULTRA-EFFICIENT AND LESS EXPENSIVE TO RUN LED UV technology uses less power and produces less heat than conventional UV curing and other processes. Compared to solvent-based printers, the output is very low odor and no dedicated extraction is required. Running costs are low.

4 – PRODUCE A WIDE RANGE OF APPLICATIONS With specially formulated Fujifilm Uvijet inks, you can print on a wide range of display materials. Even some specialty materials, like polyester textiles and heat sensitive media, print well due to no heat exposure during the LED UV curing process. Images are crisp and vibrant. Backlit images are stunning.

5 – LESS MAINTENANCE Acuity LED 3200R starts up quickly and is ready to run in minutes. Routine maintenance is minimal. Robust industrial grade printheads have a long service life and don’t need to be routinely replaced.

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TALE TAPE OF THE

THE IMPACT OF PRINT IS GREATER THAN EVER

Print or digital? It’s a question that gets asked a lot. Science shows print can be more impactful and memorable than digital, according to a Temple University study, “Print vs. Digital: Another Emotional Win for People.” The study says that physical material is more “real” to the brain – it has a meaning and a place. It also says that it’s better connected to our minds, because it engages with our memory. Therefore, printed material involves more emotional processing, which is critical to brand associations. Here’s a look at the outlooks of both by media type:

OUTCOMES BY MEDIA TYPE SUMMARY Attribute

Definition

Physical

Attention

A customer’s focused attention for a sustained period of time on key components of the ad

Review Time

The amount of time a customer spends with an ad

X

Engagement

The amount of information the customer processes or absorbs

X

Stimulation

An emotional reaction to an ad

X

Memory Retrieval Accuracy

Accurately remembering the advertising source and content

X

Memory Speed & Confidence

Quickly and confidently remember advertising source and content

X

Purchase & Willingness to Pay

Whether and how much the customer is willing to pay for a product

X

Desirability

A subconscious desire for the product or service

X

Valuation

The subconscious value a participant places on the product or service

X

Digital

X

X

X

X

Source: OIC analysis of study results

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