Exceptional Solutions for Multi Colour Screen Lines

Atlanta, October 15th - 18th Clearstar Coatings Corp./Marabu, Booth 2123

Düsseldorf, October 21th - 25th Hall 12, Booth 12 B 55

Ultragraph

UVAR: Versatility

at its best !

Go towww.marabu-inks.com

The Klöckner Pentaplast Group has appointed Dr. Hans-Joachim Kogelnik as President and Chief Operating Officer (COO) in respect of its European operations. Kogelnik will assume the overall responsibility for all company activities, operations, and sales offices in the region, including numerous plants in Germany, Switzerland, Russia, UK, Spain, and Portugal and for sales offices in The Netherlands, France, Italy, Sweden, and Spain.

Prior to joining Klöckner Pentaplast, Kogelnik served as Advisory Board member for Ineos ABS, a joint venture between Lanxess and Ineos and was formerly Global Head of the business unit Lustran Polymers at Lanxess. He has over 20 years experience with Bayer AG and Lanxess

Océ has announced the nomination of Hans A. Kerkhoven to succeed Chief Financial Officer Jan van den Belt on the Board of Executive Directors. An extraordinary General Meeting of Shareholders will shortly be held to endorse his nomination. Van den Belt, 62, who was appointed as Chief Financial Officer in 2000, will be stepping down from the Board of Executive Directors, having reached his retirement age.

Following the successful merger of Esko and Artwork Systems, EskoArtwork has decided to make some changes at the Executive Management and Board level.

Guido Van der Schueren, currently Executive Management Board Member and Chief Commercial Officer, has been appointed non-executive Vice Chairman of the Board, reporting to EskoArtwork’s

Chairman, Jean-Claude Deschamps. Mr. Van der Schueren will relinquish his executive activities to concentrate on strategic projects and related Board matters.

Carsten Knudsen, President and CEO, remains Executive Board Member and assumes the leadership of EskoArtwork’s management team.

The Ghent Workgroup (GWG) is entering it seventh year with two newly elected officers; David van Driessche, of Enfocus has been elected Vice Chairman and is joined by Peter Kleinheider, of Callas Software as Documentation Officer. In addition, Vicki Blake. of Integrated Color Solutions; Andy Psarianos of PPA; Pascale Ginguené, of Screen Angel and Stephen Jaeggi of PDFX- have all been re-elected to serve as Executive Director, Treasurer, Marketing Officer and Technical Officer respectively.

It is expected that the process will be completed by the end of the year.

“Most of International Coatings’ ink line has been ‘phthalate compliant’ for some time,” said Stephen Kahane, President of International Coatings. “But we’ve decided that the most prudent approach now is to remove

any of the remaining proposed restricted phthalate plasticisers from our inks, whether their use falls under the new laws or not. That way, any uncertainty regarding compliance and safety is removed and printers can continue to use any International Coatings ink products without worry.”

In addition to its full line of “Phthalate Compliant” inks, International Coatings offers several eco-friendly ink lines that are either Phthalate-Free, or PVC and Phthalate-Free. These lines do not contain any of the other commonly restricted substances, such as heavy metals and formaldehyde.

No financial details have been disclosed.

MGE is the developer of the patented i-cut vision system. Its i-script workflow has become the de-facto international standard

through its integration into the RIPs of all major digital flatbed presses. MGE is also EskoArtwork’s distributor for the Kongsberg i-XL and i-XE digital converting tables into the US sign and display markets since 2004.

MGE’s operations will be organised as a strategic business unit within the EskoArtwork structure under the leadership of Steen Mikkelsen.

Entries are up by 30 percent on last year, in the opening month of the programme.

Ten ‘Ruban d’Honneur’ trophies are handed to winners in each of the Awards’ eleven categories. The European Business Awards is a showcase of Europe’s skills, achievements and innovations in the field

of business and also stands as a benchmark, which provides inspiration for others.

The deadline for entries is 12.00pm on October 31st, 2008 and the names of the winners will be revealed on Tuesday 7th April, 2009 at an Awards ceremony held in Munich, before 400 of Europe’s top politicians, business leaders, entrepreneurs, business commentators and media.

Atradius, RSM International and The Wall Street Journal Europe support the European Business Awards.

They are Inca Digital in respect of its Onset large format UV digital flat bed printer and Xaar, for its 1001 print head.

Nine of Inca’s Onset machines have been sold to companies worldwide and all are reporting exceptional speed and quality. Introduced at the end of April 2007, the Onset handles print sizes up to 3.2 x 1.5m at speeds of up to 600m2/hr, and using new bi-directional modes delivers an exceptional 125+ full bed sheets (or 375 + 0.90 x 1.5m posters), an hour. Edge-to-edge printing allows images to be printed to bleed on substrates up to 10 mm thick and up to 10 kg at full speed, providing enormous versatility in terms of what can be printed, as well as the ability to proof a job on the material on which it will finally be produced.

The Xaar 1001 is considered to be the ideal inkjet print head for commercial print and packaging. Designed for high-speed, single-pass applications,

its head is at the heart of a number of innovative UV inkjet presses. It delivers excellent drop formation and drop placement accuracy with outstanding operational durability.

The Intermesh Technology Awards were inaugurated in 1978 as a way to honour the development of technologies predicted to have a major impact in the graphic arts and related industries. PIA/GATF sponsors the awards in order to spotlight the wide range of technologies that contribute to the advancement of techniques and processes used in the graphic arts and they have become a solid indicator of significant trends in graphic arts technology, with over 80 percent of the technologies receiving an award experiencing continued commercial success in the marketplace.

Since its inception over six years ago, the GWG has designed, tested and published a number of specifications and best practice resources to benefit the graphic arts community.

The latest version of the website has been completely revamped to address the expanding population of GWG specification users and adopters. It is more user-friendly and graphically appealing than the previous format and enables visitors to find what they need in a matter of seconds. The site also features a new Forum,

where members and visitors alike can participate in discussions about current specifications, resources, needs, and developments. Visitors can simply sign up and join in general GWG discussions, as well as specific subcommittee topics, ranging from Specifications, Job Ticketing, Color Management, Packaging, Office Document, Process Control, to Compliancy.

Site users will also be able to quickly obtain the free specifications, free Ghent Workflow Test Suites, and access to the new XMP job tickets. In the Technical Specification section, there is more information on the Universal Proof of Preflight ticket, and in the Downloadable Education section, visitors can find white papers and other easy-to-understand, important information from the GWG.

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Based out of Netanya, Israel, Jettable’s product portfolio will add to the ever-expanding suite of inkjet solutions offered by EFI, including VUTEK super wide inkjet printers and Jetrion products, as well as investments in Kornit and Raster Printers.

Jettable, founded in 2003, offers a line of ceramic inks and unique ultra-fine ceramic pigments with distinct benefits that create a sustainable competitive advantage. EFI will provide equity capital toward the development of the next generation high-speed, single pass production inkjet printer for ceramic tiles. Jettable is currently working with Kornit to offer a modified platform for the specialty tile decoration market.

The inherent characteristics of ceramic composition inks create the need for a specialised flatbed inkjet printer with colour management tuned to the distinctive ceramic colours in order to generate the widest and most attractive colour gamut. Jettable has designed a modified print engine capable of high-quality printing onto numerous types of porous and non-porous ceramic surfaces.

This breakthrough digital print technology will replace current methods of printing such as screen and roller printing with their high levels of waste inks and is designed for both short-run and in-line production. The main advantages of the Jettable ceramic decoration technology are variable run length and non-contact printing with the ability to handle uneven surfaces.

Spühl will be using the occasion, which will take place

from November 12th to 14th, to unveil its new 5m roll to roll machine, which offers a maximum print speed of up to 300m2 per hour, depending on colour configuration. The machine can output on to materials of up to 5m wide, with a diameter of up to 500 mm and a weight of up to 700 kg. Various other options are available as required and the machine is described as being ‘very user-friendly’.

Visitors will also be able to see demonstrations on the full portfolio of Spühl printers and to test their efficacy when printing on to a wide variety of different materials.

The updated site features a new, even more user-friendly design and a much more clearly arranged structure, as well as a number of new functions.

Customers and other interested visitors can subscribe to the online Newsletter and, in addition to the detailed Product Information sheets, there are

also links to three Web demos, which visitors can use online and with their own data, to get a personal impression of the quality of the GMG products.

The Support area, which is specifically intended for GMG customers, has also changed and all information, profiles, etc. are stored in a database, enabling users to find them quickly with the help of an intelligent search function.

With top quality printing on both uncoated rigid and roll media, :Anapurna XLS printer is the driving force towards the next level of industrial wide-format inkjet printing. This fully Agfa made printer provides highly saturated top quality colours at resolutions up to 1440 dpi, using Agfa made UV curable inks.

:Anapurna XLS gets you top quality results on posters, billboards, fleet displays, POS & POP displays, exhibition panels, stage graphics, construction announcements, ad panels etc.

Agfa Graphics Septestraat 27 2640 Mortsel Belgium www.agfa.com

It, which is neither a self adhesive sticker nor a static film, requires no glue or bonding agent and there is no sticky residue when it is removed. The product has been named ‘Tako’, which means Octopus in Japanese, because the patented micro suction structure on its reverse side acts like an octopus skin.

Extremely easy to handle and apply, YUPOTako is also easy to dispose of, as it contains no PVC and is 100

In common with all Spartanics-Systec Fineprint technology, the Fineprint Cylinder Screen Printing Lines are custom-built for maximum efficiency and optimum yields. One of the many unique

percent recyclable. Distributed in Europe by YUPO Europe GmbH, it is suitable for use in applications such as floor graphics with lamination, wall banners, vending machine advertisements, labels for refrigerators and computers, fast food campaigns, childrens’ games and much more besides.

YUPOTako comes in four different formats to suit the requirements of different printing technologies, including sheet offset, silkscreen and UV digital, water based inkjet and eco solvent based inkjet. ●

features includes the ability to handle any pre-printed material from any printing process, such as flexo and digital. It also offers automatic compensation for screen stretch or shrink, to facilitate multiple print passes. The Fineprint can also accommodate ultra thin substrates and its rapid electronic controls replace time-consuming manual adjustments. ●

Able to display clear, sharp images in all colours, even matte black, the film delivers the highest colour gamut and colour density available. Quick drying time with Epson UltraChrome inks also helps to keep the production line moving, whilst the substrate’s inherent durability withstands the elements.

The film evenly distributes the backlight and

thus ensures that all display work or advertisements are as eye catching, and impactful as possible. Epson backlit film is suitable for use with Epson’s UltraChrome K3 inks, as used in the Stylus Pro 7800; UltraChrome K3 with Vivid Magenta, as used in the Stylus Pro 7880, 9880 and 11880 and the new fifth generation UltraChrome HDR (High Dynamic Range) ink, which features 11 colours and was launched with the Stylus Pro 7900 and 9900. ●

The 30” wide LEC-300 prints CMYK +white and clear coat, all in one device, a combination which can be used to create special effects and finishes, such as faux leather and crocodile skin, for luxurious, customised graphics.

It can also layer a clear coat for glossy area highlights, 3D Doming and even Braille, all in one seamless workflow. Long lasting LED lamps and Roland’s newest generation of UV inks make production with the LEC easy, clean and efficient.

The VersaUV LEC-300 can be used to print on to self-adhesive vinyls, paper, synthetic and genuine leathers, textiles, foils, BOPP, PE PET film and more. ●

The Colorgate RIP provides a central workflow solution, which is customised to drive single or multiple Inca printers. File management is optimised to allow simultaneous processing of multiple print jobs and output management across multiple Inca printers. Users can thus open, move and RIP several print jobs at the same time to achieve better efficiency.

Other features include: free definable scaling; job copies; job preview; automatic tiling and rotation of print jobs, plus cropping for the definition of image cut outs. Its JDF capability allows the RIP to integrate tightly within a company’s production environment and ‘communicate’ job production data directly from/to MIS and finishing systems if required.

The Inca ColorGATE solution will make its European debut on Inca distributor stands at the autumn print exhibitions and is available with all new European machine orders. It is compatible with all Inca Spyder, Turbo Plus and Onset UV flatbed printers. Customers interested in integrating the ColorGATE RIP should contact Inca Digital for more details. ●

ink supply system, known as BIS and also in 440 ml ink cassettes. They further enhance the Blizzard ink configuration possibilities enabling users to choose between CMYK Eco-Solvent Ultra inks or Mild Solvent inks in 220 and 440 ml cassettes.

The inks which are Cyclohexanone and NMP free, are attractively priced at

115 per litre. They offer a durability of up to three years

when used unlaminated and can be used in conjunction with a

wide range of budget priced self-adhesive media. Speed performance has

greatly increased, thanks to the inks’ optimised drying characteristics and dot gain control, in combination with Mutoh’s new HD 360 Intelligent Interweaving print modes. The inks’ high density means that when used in 360 dpi print modes, they offer a colour gamut that can easily compete with 540 x 720 dpi output.

Profiles made for Mutoh’s existing mild solvent inks remain usable and new profiling is only required for new print modes and for newly compatible media. ●

The new inks are designed to improve both the machine’s performance and the cost of output.

The new Mild Solvent Plus inks are available in one-litre bottles, for use in combination with Mutoh’s continuous

Precision components developed and perfected by Durst, such as the innovative Quadro Array printhead technology and the new print carriage concept, which includes a magnetic linear drive system, are important features of the Rho 320R. The unique and reliable high quality white printing option, the light colour option and the enhanced user software, with an integrated maintenance program, further support this new quality standard.

Another important feature is the environmentally friendly, low odour Rho Roll Ink which offers a wide colour gamut and

high colour density. It enables economic printing of offset quality, particularly for large format indoor applications. Thus demanding and profitable applications such as lightbox displays, illuminated posters, window graphics, POP displays and advertising textiles can be easily achieved.

The Rho 320R prints widths up to 320cm (10.5ft) on a wide range of coated and uncoated media. There is an option for printing two rolls side by side up to a width of 160cm each and a further option for perfectly registered doubled sided printing, which includes a media tracking facility. The high productivity of the Rho 320R means that it will print at up to 130m per hour. ●

The key differentiator of this fabric is its special coating. Conventional fabrics simply let the light shine through the material, causing colours to fade. However, the micro-porous coating of Mediatex Lightbox actually intensifies the brilliance of the colours.

When light reaches the fabric it initially gets absorbed and then diffused through to the other side. This results in more brilliant colours, while black remains truly black and does not turn grey.

The fabric is particularly suitable for use in department store systems, city lightboxes and all backlit showcases, in addition to the traditional exhibition stands. The flexible material is extremely easy to process and does not display any kinking or white brittle – a characteristic extremely important for backlits. MediatexLightbox is available in widths of up to two metres and can be printed with all solvent and UV inks. ●

The printer comes with four colours (CMYK) as standard, but the addition of a six colour option facilitates extra versatility. The GCC

StellarJET 183UVK prints at a true resolution of 720dpi with CMYK and apparent printing resolutions of up to 1440dpi when the two extra inks are added, to produce high-quality output which is suitable for both indoor and outdoor applications. ●

So much has happened within FESPA recently, that I have decided to use this column to update everyone and

to provide information on up and coming events too.

On 19th June, a very special event took place in Belgium, which involved all sectors of the Graphics Industry. Attended by some 600 people, the purpose of the event, which was described as ‘The night of the Graphics Industry’, was to provide a networking opportunity where the image of printing as ‘a dirty, old-fashioned industry’, could finally be dispelled and replaced with the more accurate image of a modern, high-tech sector, which offers lots of innovation and exciting opportunities for the people working within it, whilst also enthusiastically adopting green practices.

Directed at the Belgian and Dutch markets and supported by Febelgra, the evening was a resounding success. Armin Van der Linden, President of Febelgra, delivered an opening address, which was followed by presentations from two well known journalists, Herman Konings and Christian Laporte, who aired their views on current and future trends within the printing sector.

As a starting point for the future, all attendees agreed to take any appropriate

measures to slow climate change and to adopt sustainable production methods. It is the first time that such an agreement has been reached in Belgium, or indeed, anywhere else in Europe! The most important points of the agreement concern its support for the fight against illegal forestry; encouragement for recycling and the reduction of the industry’s carbon footprint.

One of the highlights of the evening was the unveiling of initiatives that seek to make children more aware of how they can use paper in a responsible way and to dispel the popularly held belief that the graphics sector is responsible for destroying forests, by highlighting the many ‘green’ activities of the paper manufacturers with regard to sustainability.

There was no admission fee to the event, but instead, guests donated ‘green’ gifts, which totalled 31,260. In return, they were able to enjoy a buffet, music and dancing, as well as the splendid networking opportunity.

According to Valerie Vercammen, Febelgra’s Economic Advisor, everybody attending felt that the event was: “Most worthwhile and a tremendous idea, which enabled the sector to come together.” Thanks to this enthusiastic response, it will be repeated in two years time.

Since I feel that those of us involved in the graphics sector do not network enough, I would like to suggest to all FESPA Associations that they consider arranging a similar event with the leading innovators in their own countries. Remember, by acting together, we really can make a difference!

We arrived quite late in Krakow, due to a long coach journey from Bratislava, but were met by Michal Kridel and Jacek Stencel, respectively the Secretary and President of the Polish Association, and enjoyed dinner with them, before bed.

The following morning we enjoyed a short tour around Krakow’s Kazimierz district, before visiting the Lynka Company, the largest and possibly best, T-shirt and promotional printer in Poland. We were warmly welcomed by Katarzyna Borek, after which President John Lynch gave us an overview of the company and the work it undertakes. The company is certainly at the cutting edge of T-shirt printing and John Lynch explained how it had grown from having just one small hand carousel in 1995,

Another first for FESPA was a visit to Eastern Europe by 14 printers and suppliers from TSGA in Thailand. The TSGA delegates were on a fact-finding visit to see how they could best develop business opportunities between Thai and European Association members. Our Associations, sietotlacovyzväz SR (Slovakia); Sítotiskov svaz R (Czech Republic) and PSSiDC (Poland) hosted a series of meetings so that the Thais could network, discover more about working practices in Eastern Europe and exchange ideas and information in a convivial and friendly atmosphere.

The Thais’ first meeting, which was held in Bratislava, was attended by a group of 17 printers from Slovakia and the Czech Republic, and provided everybody with the opportunity to talk about themselves and their companies. This was followed by a question and answer session, during which all of the attendees found out more about each other’s businesses. In true FESPA tradition, there was an exchange of gifts between all of the Associations and the evening concluded with a speech from FESPA Vice-President, Gyorgy Kovacs, who had driven from Hungary. He urged everyone to build upon this initiative, by sharing information and knowledge and furthering the cause of international trade. He also told everyone how proud he was to be involved, as he believes that this sort of international collaboration is the way forward for FESPA. The evening concluded with Gyorgy being presented with a beautiful china ornament by Pirach Thampipit, President of TSGA.

to recently adding a new 16 colour MHM carousel to its extensive equipment portfolio. With a customer base that includes Coca Cola, Microsoft, Shell, Sheraton and Kodak, to name but a few, Lynka clearly places quality at the top of its agenda and, since 1997, it has undertaken both printing and embroidery at its modern factory, whilst also winning more than 35 international prizes and awards.

Lynka is still growing rapidly and exports to over 20 European countries. It employs 130 people and operates a three-shift system to facilitate 24/7 production. With more than 3000 customers and 10,000 different products, it is obviously here to stay. We enjoyed a most interesting visit and were all made to feel very welcome.

After lunch it was time for our second meeting, this time with Polish printers, and once again, it proved to be a very worthwhile afternoon, with many discussions as to future business opportunities. It was very interesting to learn how other countries operate and I was so envious of my new friend, Suraaut Narongrit, who has a factory just 200 metres from a most beautiful beach in Hua Hin. I can imagine where his workers go for lunch! Once again, there were presents for everyone, including a bottle of Polish vodka, always a great and welcome gift!

The whole trip would not have been possible without the hard work and efforts of our three European Associations who organised such a fantastic programme for everybody, which allowed plenty of time for sightseeing. We all hope FESPA will organise more activities like this.

A more detailed report, with additional photos can be found on the FESPA website at: www.fespa.com under the projects button.

A marketing meeting for FESPA Associations took place in July and despite the peak holiday season, was attended by 22 secretaries of FESPA National Associations. We all participated in a brain storming session with regard to future FESPA strategy, the results of which were later considered by the FESPA Board and the General Assembly in Oslo. I will be providing further information about this in the next issue. We also received some interesting presentations on a range of marketing issues and a presentation on environmental accreditation through either EMAS or ISO 14001. We have circulated information to all FESPA secretaries on this, which includes two interesting case studies.

As we move towards a greener world, I believe that the time will soon come when, printers who don’t have “green approval”, will not get business from leading corporations or top brands. Thus, I would strongly urge all screen and digital printers (and certainly the members of FESPA National Associations) to seriously think about their environmental credentials, in order to win more business, whilst also saving time, money and the planet in the process!

FESPA has just updated its own Planet Friendly guide and this will soon be available to members in pdf format. You can find it in the FESPA Community area of the FESPA website. The guide, which has been produced for screen and digital FESPA members, is comprehensive, user friendly, easily updateable and an essential tool, if you are thinking seriously about environmental issues. The guide alone will not earn you accreditation, but by using it in conjunction with an Environmental Management System (either EMAS or ISO 14001) you will be able to use it to attract more business from current customers and hopefully, new business too. Remember, if you don’t become a green printer, others in your town or city will and they just might steal your customers!

4th International Screen Printing Seminar - Slovakia 10th - 11th OctoberMichel Caza will be the main speaker at this event, which will be held in Piestany in October and will commemorate the 15th anniversary of sietotlacovyzväz SR.

The final programme was being finalised as FESPA World went to press, but to find out more about the topics under discussion, visit: http://www.sietotlacovyzvaz.sk/ Places are limited to about 60, but I think with Michel visiting Slovakia for the first time in many years, they will soon be taken up, so please do book early to reserve your place.

SerpaThe Finnish Association has organized an event in Helsinki on 7th November and more information can be found on the website http://www.serpa.fi

WebsiteFinally, Mandy has continued to make the FESPA website more informative, vibrant, interactive and useful, with lots of exciting updates and additions. If you are not yet registered to enter the FESPA Community, you are missing out on a tremendous resource, which is only available in the members’ secure area. You should also join the Wide Network. Visit www.fespa.com and register today – I guarantee that you will be surprised by what you find there! ●

FESPA has launched The Wide Network, the industry’s first and only online networking community site for wide format digital print professionals. Those interested in sharing ideas and experiences, and discussing current issues, can now join the network at http://widenetwork.ning.com.

With more than 350 individuals already signed-up as members, the Wide Network is fast becoming a hub for the global digital print community. It provides users with a number of useful features, such as a digital events calendar, industry contacts, photos and videos, and a number of communication mediums to facilitate peer networking and interaction.

Each member also has their own individual profile page, and can interact with other members by email, instant messaging, blogs and discussion forums, the latter of which enable users to source valuable input from other print professionals and gain important industry knowledge and feedback. ●

Mr. Toshio Yamashiro, the Vice Chairman of the International Committee of the Japanese Screenprinters Association, died at his home in Nishinomiya, Hyogo, Japan, on Friday 25th July 2008, at the age of 82. He leaves a widow, Mrs. Junko Yamashiro.

As well as his activities for the Japanese Screenprinters Association, Mr. Yamashiro was also the Director

and President of Tanaka Chemical Industries, LTD. He devoted his life to building friendships between the Japanese Screen Printing Industries and ASGA, FESPA and SGIA and was especially noted for his great leadership qualities and his vigour, enthusiasm and tremendous energy. Anders Nilsson, President of FESPA commented: “Mr. Yamashiro was a very positive supporter of relations between FESPA and JSPA and was the key person within JSPA to initiate discussions. At the FESPA Director’s Summit in Bangkok earlier this year, I presented him with a gift in recognition of his efforts to bring FESPA and JSPA together and I am delighted that we were able to enjoy our time at this event. On behalf of FESPA, I would like to extend our sincere sympathy to Mrs. Yamashiro and to Mr. Yamashiro’s colleagues at JSPA and Tanaka Chemical. He will be greatly missed.” ●

Held at Thieme’s headquarters in Teningen, Germany, the two-day event, which included lectures and demonstrations, attracted a total of 44 Swedish screen specialists. During a visit to Thieme’s technical centre, the Swedish guests were able to see several printing lines in operation. These ranged from the THIEME 3020, a three quarter automatic machine, which offers options such as automatic screen cleaning and a dual anti-drip system for printing squeegee and flood bar, to the THIEME

5020, a single colour line and the THIEME 5070 XL, a multi-colour line for the production of large format graphics. Other machines on show were the THIEME 500 and THIEME 1000, two semi-automatic machines, as well as the THIEME TSC, a squeegee cutting machine. Another piece of equipment that attracted much interest was a fully-automated printing line for the coating of crystalline solar cells.

However, the event wasn’t simply restricted to Thieme’s machine offerings, as the company had also invited several of its partners to participate. Accordingly, the visitors were able to discuss every aspect of screenprinting, from colours, to screen preparation, through to the actual printing process itself, with representatives from Marabu/Spacio, Sefar; Grünig and Kiwo.

The Swedish screenprinting sector is characterised by many small family and mid-sized companies, who each employ an average of three to 50 people and who generally specialise in niche applications. Estimates reveal that more than 50 percent of Swedish print shops now operate within the industrial printing sector. Nadine Gabrysch, sales representative in the Graphic Printing Systems Division at Thieme, comments: “As a rule, smaller companies cannot afford a complete multi-colour line, but would still like to enjoy the added productivity these machines offer, in order to increase their competitiveness. For them, a THIEME 5000 print station, or perhaps one of our semi or three-quarter automatic machines, would enable them to significantly increase their productivity, whilst also being much more affordable.”

One company who has taken this route is Screen AB, who is located in Tingsryd (southern Sweden). Company owner Jörgen Ottosson and his employees have been using a three-quarter automatic THIEME 3020 for a long time. Ottosson explains: “Previously, we had Svecia machines, but we replaced them in the early 90s with a THIEME 3020.“ Pleased with its performance and impressed by the quality of the build, Screen AB has recently upgraded its equipment portfolio with the addition of another THIEME 3020, including dryer and squeegee cutting machine.

Like many screenprinters, Screen AB has changed direction in order to remain profitable. Ottoson adds: “In the 1980s, Sweden had many graphic screenprinters and we also offered graphic products, but in the 90s, the market became increasingly

competitive and we decided to specialise in the industrial sector instead.” Today Screen AB primarily prints on to coated metal surfaces and other more unusual screenprinting materials.

Karl Erik Asp, the President of the Swedish Screenprinting Association, who also works for Kelo, in Aengelholm, comments on the move away from graphic applications towards industrial ones. He says: “Since the early 1990’s, the focus has shifted to more specialised applications, while standard products have been adopted by digital and offset printing.” He feels that screenprinters will do better in the future if they specialise in the printing of materials such as plastic, metal, glass or wood, as well as offering special effects and electronic applications. As he remarks: “Who would have thought that foils for bicycle helmets or

photovoltaic modules could be manufactured as screenprints?” Asp goes on to say: “To ensure that screenprinting survives and remains profitable we must constantly look for new niche markets, where we can still make a reasonable profit.”

In addition to the “small” screenprinters such, as Screen AB, several large companies were also represented at the Open House - including SCA Packaging, which is the second largest European producer of corrugated board and employs more than 24,000 people. The company also has 300 subsidiaries in 30 countries. Its corrugated board is printed and made into cartons and packaging, as well as advertising and POP displays. “Corrugated board is a complex material for printing, since it is neither flat nor stable,” explains SCA Packaging Production Manager, Boerje Bjurstroe, who travelled from

Norrkoeping with his colleague Magnus Narveby. He adds: “At present we are using two older screenprinting multi-colour lines from Svecia, the first of which we purchased in 1995.” SCA Packaging is now evaluating production alternatives for its display printing, with Bjurstroe revealing that it currently uses digital printing for small runs of large format materials. However, he adds that he can see the possibilities that a THIEME multi-colour line would offer.

While SCA’s work can clearly be categorised as graphic screenprinting, Brand Factory, who employ 300 people in Scandinavia and the Baltics, focuses on industrial applications. It predominantly prints plastic foils, for street signs or promotional vehicle liveries. Marcus Katorp and Anders Ekhagen reports: “We work with both screen and digital

printing. For screenprinting we have been using single-colour machines, which is why we are interested in investigating other options. Everything we have seen here is of great interest to us, as we have been able to gain a good overview of the latest technologies.”

Lars Nilsson, Managing Director of Spacio, the Scandinavian subsidiary of Marabu, spoke for all of the attendees when he concluded: “It is great for screenprinters to see the Thieme machines in action, as this is an opportunity that is denied to us in Sweden. Many printers are now interested in printing on to special substrates, especially glass, as lots of Swedish printers are now specialising in work for the automotive industry. Thanks to this event everyone will go home with a vast store of knowledge, which can be used to ensure screenprinting’s future prosperity in Sweden.” ●

The new look is contemporary, clean and distinctive, while remaining true to the heritage of the FESPA brand. The corporate logo, which features the classic dark blue of the original, with a 100 percent cyan highlight colour, is now part of a suite of complementary logos for each of FESPA’s exhibitions and events, that now cover Europe, Asia-Pacific, India and Latin America.

The logo for the three-yearly global FESPA event, which will next be hosted from 22nd-26th June 2010, in Munich, Germany, reflects the corporate colours.

The regional exhibition logos use a vivid colour palette, reflecting colours that have a strong visual or cultural association with the event’s host country. For example, orange is the national colour of the Netherlands, home to the next FESPA Digital show in 2009, while magenta carries positive cultural associations in Thailand, the stage for FESPA Asia-Pacific.

The clear and consistent format of the logos makes it easy to identify the dates, destinations and web URLs for each individual show, while giving prominence to the FESPA brand within each logo, ensuring that each event is unmistakeable as a FESPA initiative.

FESPA’s Corporate Communications Director, Marcus Timson explains the rationale for the brand refreshment: “Over forty years on from its foundation, FESPA is a very different organisation, and is consistently evolving to anticipate and meet the current and future needs of screen and digital printers the world over.

“The environment in which FESPA operates and the markets it serves have changed radically and the time has come to modernise our corporate identity. The new logos have a stronger appeal for a new generation of print service providers, and reflect the dynamism that FESPA brings to its efforts to support national associations and their members. It is also important that our customers and exhibitors can easily understand what FESPA is doing and are able to recognise our products. In terms of presentation, FESPA is very much at the heart of a global imaging community, which is a highly creative and colourful market and it’s therefore vital that our visual identity reflects its vibrancy and creativity.”

The new logos will be rolled out across FESPA’s web site (www.fespa.com) and other communications collateral from September 2008, starting with the promotional campaign for FESPA Digital India. ●

With a predicted 2,000sq.m or more of exhibition space, the show is the ideal event for all of those wishing to source new products, ideas, solutions and techniques to improve business performance and profitability.

The Bombay Exhibition Centre in Mumbai, a preferred venue for both major international and domestic events, offers all of the facilities required by industry professionals who wish to take full advantage of the splendid

networking opportunities the exhibition offers.

For all printing professionals who are serious about extending the scope of their businesses, Digital Printing India is an unmissable event. ●

The competition is open to all printers in Europe, the Middle East and Africa, regardless of their choice of printer or substrate. Commenting on the evolution of the Awards, which were originally launched at the inaugural FESPA Digital exhibition in 2006, FESPA Chief Executive Nigel Steffens says: “The FESPA Digital Print Awards have rapidly gathered momentum, tripling the volume of entries from the first year to the next. This staggering increase is a measure of how digital technology is penetrating the market, and the extent to which printers are now using digital daily to deliver creative solutions to their clients’ briefs.”

For 2009, FESPA has consolidated the Award categories, ensuring that print service providers can easily identify the best category for their work. The six categories in the 2009 competition are: Vehicles: vehicle wraps, fleet graphics, truck curtains, etc. Interior: point of sale materials; indoor advertising; interior signage and graphics; glass panels or partitions. Exterior: outdoor advertising; exterior signage; building wraps; architectural glass; floor or wall graphics; decorative printing on glass, ceramic or wood. Packaging and Manufactured Goods: digital printing directly onto rigid or flexible materials enabling short-run POP applications for test marketing, product launches, promotional campaigns; creative packaging; 3D displays; automotive components; PCBs; white goods, electricals etc. Textiles: flags and banners; digitally printed apparel or fashion fabrics; interior textiles; decorative textiles, including soft furnishing and carpets. Fine Art: fine art reproduction on any substrate.

Entries can be submitted online via the dedicated FESPA Digital Print Awards web site, which is accessible direct via www.fespadpa.com, or through the link on the FESPA web site at www.fespa.com. Entrants just log on, select the most appropriate category for their work, complete a simple entry form per entry, and attach up to three high resolution images of the project. There is no need to submit physical samples of work, and entry is free of charge. The deadline for entries is Friday 30th January 2009.

All entries can be viewed and rated through the online Gallery on the web site. A jury of industry experts and editors will convene in February 2009 to select a winner in each category from all the entries, and to nominate one overall Platinum winner from the six category winners. Entries are judged on their creativity and the use of digital technology to deliver definable advantages to the client.

The winners’ work will be displayed at the third FESPA Digital exhibition, which takes place at the RAI exhibition centre in Amsterdam, Netherlands, from 12th to 14th May 2009. The winners will be presented with their awards at a VIP dinner event in Amsterdam during the exhibition. All winners will receive a flight to Amsterdam and one night’s accommodation as part of their prize, along with promotional support from FESPA.

François Martin, HP Graphic Arts Marketing Manager, comments: “HP is proud to continue its support for this initiative for the third year running. Our marketplace is being shaped by printers’ creativity and innovation, and the FESPA Digital Print Awards is an important showcase for their ideas, demonstrating what is achievable with digital, and offering a valuable source of inspiration for brand owners and marketing professionals. We’re excited by the prospect of reviewing another year’s portfolio of projects from mature and emerging markets, and seeing how print service providers continue to harness digital techniques to push the boundaries of their work.”

The 2008 FESPA Digital Print Awards winners, whose outstanding work was displayed at FESPA Digital 2008 in Geneva, were: Atelier Spektrum (Czech Republic); Erler + Pless (Germany); Monier 2000 (Tanzania); PK Media (Netherlands); Rako Etiketten (Germany); Tobex AB (Sweden); Typico Megaprints (Austria). ●

First established over 40 years ago in Cologne, Colormy is a long time supplier of media, hardware, ink, software and graphic display solutions, but in 1994, it made the decision to concentrate on the large format inkjet sector, becoming the first company in Germany to do so. Martin Schnor the company’s Managing Director and the son of the original founder, was also the architect of this scheme, which helped to propel Colormy’s turnover up to a cool 25 million in 2007 and to provide it with a 30 percent share of the German large format supply market. Martin describes the company as being ‘sales lead’, but it would probably be more accurate to describe it as ‘customer focussed’, because Colormy has elevated customer service to a whole new level.

“To be more successful than our competitors, I knew that we would have to offer all the things that they didn’t’, explains Martin, “including better service.

For example, for orders received before 8.30 pm, we can offer next day delivery before 12.00 pm, whilst orders received on Saturday are delivered on Monday.”

But even though this is far in excess of the current norm, Colormy’s customer service extends far beyond efficient delivery, to encapsulate market support, business training, application training and the dissemination of market information. In addition, it also supplies everything its customers need to add value to their printed output, in terms of finishing products, mounting materials and presentation systems.

However, Martin Schnor insists that it is Colormy’s staff, who are the most important part of the success equation. “People are key”, he says, adding that his 80-strong team are selected for their enthusiasm and willingness to learn. He says: “We look for people who are young at heart and who are disciplined and organised. They also have to appreciate that we work ‘with’ our customers rather than simply working ‘for’ them.” This, he feels, is an important differentiation. Martin continues: “If we think of ourselves as being in partnership with our customers and playing a vital role in their future success, we, in turn, stand to become more successful too. It is a win-win situation.”

To build upon the inherent talents of his sales people, Martin provides on-going training to further enhance their skills. As well as learning all about the company’s product range, they also receive a thorough grounding on all aspects of

the visual communications market. Most importantly, Martin encourages them to make mistakes. “Mistakes are all part of the learning curve”, he says, adding that it is inevitable that people will sometimes make bad decisions. He continues: “We want people who will use their initiative and be proactive and if they are continually worried about getting things wrong, it inhibits that process.”

Typically, Colormy’s customers are companies who provide print for pay and its database encompasses a diverse range of businesses, including signmakers, printshops, screenprinters, pre-press, photo labs, copy shops, exhibition specialists, photographers and advertising agencies.

Since Colormy doesn’t have a field sales team, all sales contact is by telephone, but, thanks to the assistance of a very clever piece of computer software called Aquisa, each telemarketer knows everything there is to know about his or her customers. There, on the computer screen, in front of them, is a detailed record of all previous purchases, buying patterns and information as to the size and future scope of the customer’s business. There is even a photo of the buying contact! Any new information gathered during a call is immediately keyed in, so that the record remains completely up to date. Thus when talking with a customer, Colormy’s sales people can recommend new products that are relevant to the customer’s area of application and suggest how these can be used effectively to add value. In addition, sales people also advise about the suitability of specific media, offer on-site application support and even flag up application

training opportunities. As Martin remarks: “Our customers get far more than just a product when they deal with us; they get all the help and support they need to make their businesses successful.”

This help also extends to providing marketing support for Colormy’s premier customers, who can send personalised mailers to customers featuring new products and inventive ways to use them, as well as clever ideas for nifty displays and promotional materials“. “Often our customers’ customers have no idea what is possible and the mailers are designed to pique their interest,” says Martin, whose definition of a premier customer also differs from that of his competitors. He explains: “Most companies regard the customers who spend the most as their best customers, but we look at it in a different way. We regard a customer who spends more with us than any other supplier, as a premier customer. Small companies may not spend a lot, but providing they are spending most of it with us, they are worth cultivating, because, when their business grows and they start spending more money, it will be to our benefit!”

Of course, even the best customer service in the world, wouldn’t make up for an indifferent product offering, which is why Colormy carefully select products that are designed to work well together. 80 percent of the company’s turnover comes through consumable sales, most of which are sold under the Euromedia brand, but it also sells a range of digital printers, that carry the Euromedia badge too and which have been chosen both for their reliability. The range includes both entry-level printers and the high-end production machines. A welcoming showroom, also serves as the entrance point to the Colormy headquarters.

Martin comments: “Customers can come here and test the machines for themselves, using all of the different materials that we sell. We also have hardware experts who can advise as to a machine’s suitability for specific applications. The whole process is very relaxed and often customers come back several times before they make a decision, which is as it should be.” Whilst in the showroom, customers can also see the wide range of display options that Colormy offers, all of which are designed to add value. There are also many different finishing options, an area that Martin feels passionate about. He says: “Anyone can produce a print, but if you laminate it and mount it, it immediately becomes more special and you can charge a higher price. End-users are busy people who often don’t always have a clear idea of what they want,

but if you can produce something that does the job and looks attractive, they are usually more than happy to accept it.”

In addition, Colormy also supplies a host of invaluable ancillary products, further justifying its claim of being a ‘one-stop-shop.’

In 2007 the company was acquired by Fujifilm Sericol, who was so impressed with the business that it has determined to establish the Colormy concept throughout Europe. The first Colormy inspired company, which will take the name Euromedia, will launch in the UK on 1st October and hopefully, there will also be a Euromedia company in both France and Spain by the end of 2009.

Commenting on this development. Martin says: “ As a single individual I feel that I had taken Colormy as far as it could go and I am therefore delighted that a company of the stature of Fujifilm Sericol are going to roll it out further.” Martin however, faces a new challenge. He will be masterminding the sales and marketing strategy for the Euromedia group and confesses that this is the part of the business from which he gains most satisfaction. There is no doubting his enthusiasm when he says: “I have so many ideas to help our customers and now I’ll be able to concentrate on them fulltime, without getting sidetracked by the day to day business demands. I am so looking forward to helping customers everywhere to make money – after all, it’s what I do best!”

I heard the producer of a piece of near-future, post-apocalyptic fiction, which was shortly to be aired in the form of a radio play, discussing his work with an interviewer on BBC radio recently. The producer explained how, for the purposes of the play, which had been recorded a year earlier, he had set the fictional future price of oil at just under one hundred US dollars a barrel. He added, rather sadly, that he had considered it a pretty frothy number at the time.

Shortly after I heard the interview, I was listening to my car radio, when the BBC News announced that here, in the real world, the price of oil had actually hit one hundred and forty seven US dollars a barrel. I looked out of the car window, just to check that the fictional apocalypse wasn’t upon us, but happily, the grass was still green and the sky was still blue. Not a smashed window or AK-47 toting zombie to be seen!

However, stellar oil prices, a throttled money supply and property prices in dizzying free-fall, do conspire to create a world that’s evidently knocking on desperation’s door. It’s pleading with us to believe that its economic engine hasn’t run out of fuel. But however you carve it, whatever you care to call it, whether you choose to believe it or not, things are, “slow” and the climate scary.

Despite this though, there are businesses close to our core markets that stubbornly seem to thrive, no matter what obstacles are put in their way. There’s arguably less work around generally and yet these businesses don’t seem to suffer from a lack of it. Margins are squeezed, seemingly, ‘til the pips come out’ and yet these enterprises turn a profit, continue to invest and appear to defy economic gravity. What makes them so special? What are they doing that other businesses aren’t? Why does the field always, in times good and bad, seem to be tilted in their favour?

I don’t know. And they’re not about to tell me.

I’d hazard a guess though, and it’s this - they’re doing something. They’re bending with the wind and mastering circumstances over which they exert no control, in order

to create the best of things. Please note though, “create” not “make.” “Making the best of things,” has a flavour of limp resignation about it, just sitting there and shivering, while the storm throws all it has in your world-weary face. On the other hand, “Creating the best of things,” means you’re on your feet and spitting back in defiance. You have a plan, and you’re putting it into action.

It’s clearly and manifestly obvious that there’s a significant financial dimension to operating in tighter times; it goes without saying that money supply out and in needs to be kept under the closest scrutiny, as do inventories and debtors and all the other drains on squeezed resources. However, if you apply the tourniquet too zealously, the limb to which it’s applied will drop off. Question every controllable expense and fixed cost of course, but do remember – that won’t actually generate any business for you. There has to be a bit of creative effort thrown at the issue too and all eyes are on the Boss, who usually has to provide it. I have some suggestions gleaned from people who’ve been here before and lived to fight on – maybe one of these suggestions could help your business too.

Recently I hope. Your website is a window through which the whole world can view your business. The impression it creates is a reflection of what you are. You have little idea who actually has you under the microscope or what their intentions are. There will be thousands who’ve found you by accident, maybe hundreds who know you and have just stopped by for

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If you don’t have a flexible, and powerful sales database you need one and urgently. This is a matter you simply can’t ignore. A properly run database doesn’t let anything, any little opportunity fall through the cracks. Every call you take gets registered; everyone who your company is supposed to follow up gets followed up. Databases produce business - it’s that simple. You can have a database working for you in a day or less. Take a look at www.salesforce.com This is a hosted service that delivers a total customer relationship management (CRM) capability to even the smallest company. A database is a bit difficult to begin with, but it soon turns to absolute gold dust. The hosted route is easy and affordable.

If there’s a good reason why your company doesn’t pursue certain types of business in good times, it’s most unlikely that it’s going to look any more attractive when times are tough. Going after marginal business takes your eye off what you already have. A game of football isn’t any more interesting with two balls on the pitch. Two leopards maybe, but not two balls. Focus on driving incremental sales that flex your muscles, don’t lose it trying to do things you normally wouldn’t.

It’s a costly business finding customers, so don’t underestimate the value of the ones that call you out of the blue. Make sure you can contact them again. It may even be an idea to register them in the new, hosted CRM package you’re going to subscribe to. You’ll have them forever; let them know you exist at reasonable intervals. One day, they’ll come to you with some work that might otherwise have gone to one of those competitors who always seems to manage – good times or bad.

Understand what a customer is worth. If customers for your business were

being sold in a shop down the road from your factory, it’s certain you’d go and buy some. Well, they are being sold, figuratively anyway, and the mechanism for buying them is called discounting. When the ‘phone’s not ringing as often as it usually does, there’s a temptation to pay more than you usually might, just to buy a job. That’s not good business practice however you measure it. Creative pricing strategies usually involve giving away something of marginal cost to you, but of high value to the customer. Money is money, no

more no less. How about something that’s conditional upon you getting the next job he needs doing? What about something that’s conditional on you increasing business levels with him and being paid retrospectively? You can take a provision against paying it. Avoid, at all costs, the temptation to strike any percentage off your invoice. What you do has a good perceived value: if you undermine it, you’ll become a hostage to fortune and the next job that comes your way, from the same client, will be worth no more.

With your experience, mine and that of our industry colleagues, we could fill a book with good old home-spun philosophy and prescriptive solutions to defeat that which puts a drag on our markets in slower times. Ultimately, we each have to hike our own hike and do what we feel will bring in the results. That’s okay, as long as we do something. There’s no universal elixir to prescribe, no panacea for all businesses, but a few well-intended suggestions might just resonate with a few readers and help to get a few more prospects in the sales database. The signs are that we might need them. We’ll soon be giving our wives petrol in little designer perfume bottles for Christmas, rather than throwing sixty litres of the stuff in the tanks of our cars!

Whatever you decide to do, if you do it now and do it with gusto, it could be that your company will be one of those that simply keeps chugging profitably on, come what may. Good luck! ●

a look-see. Who knows? There may even be a handful looking for someone to supply them digital print, design services, screenprinted satellite dishes or whatever.

What are you telling these people? What impression are you creating through this wide-open window into your world? Whatever it is, the world has access to it around the clock and around the world. Scary, isn’t it?

If your website radiates anything other than “I’m a master of this medium,” do something about it and urgently. We’re operating around the fringes of an image driven industry and if your website is a full frontal assault on the concept of creativity so, presumably, is the output you produce.

If your “news” section was last updated when the World-Wide-Web was still being spun, get something on there that’s current or even reasonably current. Dated news makes you look like a boarded-up shop; it doesn’t say you’re open and ready for business. Work that may have come your way, may not.

Cutting promotional activity is like cutting off a limb.

Whether you get a nicely bound set of management accounts on your desk every week, or you have to really dig to get your numbers, promotional spend really shrieks. It’s sat there, totally in your control, cut it and the saving goes right to the bottom line. Unfortunately though, the consequences soon go right to the top one.

A sale is the corollary to promotional activity. It’s a numbers game and you need to understand it and hammer it for all you are worth. If you get three jobs, out of say, fifty enquiries and the last time you undertook some kind of a promotional activity it made ten enquiries, you need to be doing more.

This is important. If you’ve recently found a way to help a customer out of a big hole with your creative muscle, your inventive streak or any other piece of your art, don’t just stand around slapping each other on the back - tell the world about it because its news and other people are interested. It doesn’t take long to get the basic outline of your success written down, a few pictures taken and submitted to the editor of a trade magazine whose readership it will relate to. It costs you nothing to be in the news, so, if you’re making news, make sure your world gets to know about it. Don’t keep good news or matters of interest to yourself. Oh, and you did put the news on your website, didn’t you?

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“Colour quality is the biggest challenge in the printing industry.” says Eddy Hagen, Managing Director and trend watcher of VIGC. “Graphic arts companies will try everything to produce the colours desired by the customer. Those customers will use it as the most important criterion to accept, or reject, a print job, which makes the devices used to measure colour quality vital. You would expect the quality of these devices to be top class. But, sadly, it isn’t.”

After having experienced some issues with different devices, VIGC started its first tests to compare multiple devices in the summer of 2007. “We saw some deviations between the different spectrophotometers that we use ourselves,” explains Fons Put, Senior Consultant with VIGC, “so we set up a procedure to check and compare different devices. As a reference, we used the GretagMacBeth NetProfiler test chart. This is a test chart which comes with a certificate stating the L*a*b*-values of the different patches, measured with a high-end spectrophotometer. The certificate is valid for 12 months only, so it needs to be renewed every year. And then we measured the 13 patches on the test chart with different spectrophotometers. For two patches we also measured the repeatability of the devices, meaning 10 measurements in a row.”

Over the past year, VIGC has tested over 20 different devices, most of which are used by the printing companies that it is working with. This is in direct contrast to similar, smaller studies that have been done in the past, which used devices they got directly from the vendors. VIGC tested devices that are out in the field and are used on a daily basis by companies in the industry. This gives it a very interesting overview of the capabilities of spectrophotometers in daily life and has lead it to conclude that those capabilities are not as good as people think. When a customer demands a maximum delta E of 2, which is often the case for quality print jobs in Belgium, he wants a device that measures the colour as accurately as possible. However, the VIGC study revealed deviations up to delta E = 3,77 for specific colours. On average, the deviation per instrument of all 13 patches is 1,56.

In the study, VIGC encountered multiple devices of the same type or the same brand. Is there a relation between the type, the brand and the accuracy? “That’s an interesting question,” says Put. “There was one general rule: the newer type of devices perform better. With devices that were a few years old, sometimes we got good results with the first one and bad results with the second one. Our own main spectrophotometer, which is calibrated regularly on that NetProfiler chart, was the best of them all. But another device, the same brand, the same type, more or less the same age, performed really badly.” When the measurements of all 13 patches were averaged per device, VIGC found deviations from the exact value ranging between delta E 0,45 for the best device and 2,74 for the worst one. This means that several devices showed, on average, higher deviations than the margins that customers expect from their printers for high quality print jobs.

The highest deviation for individual patches was a delta E of 3,77. Put continues: “Also interesting, or disturbing if you like, was that one brand had quite strong deviations in the red and orange. We found this on multiple devices of that specific brand.” Even within a certain type of device, VIGC found very big differences. The above graph shows the deviations from the absolute value for seven devices of the same brand and same type.

With the older devices, one major reason can be maintenance. “We know that some devices performed badly because the optics or the calibration tile were dirty,” explains Put. Spectrophotometers need regular calibration and also periodic cleaning. Another reason can be the light source used. Put adds: “No light source has a perfect ‘spectral power distribution’. And if you don’t have much power in certain wavelengths, less colour is reflected in that region, which limits the accuracy of detecting small variations. Further, an LED light source has a completely different spectral power distribution from a gas filled tungsten bulb and both are used in spectrophotometers.” The graph below shows the difference in composition of the light source used in two different spectrophotometers.

The big differences that were found can cause trouble: customers demand a delta E of 2, but their measurement device might be of a delta E of 3. A simple and valid solution for the industry would be to accept delta E 2000 as the formula to calculate colour differences. “When people talk about delta E, they usually refer to delta E*ab, also known as delta E 1976. This is also the formula that is mentioned in the relevant ISO standards. But this formula is very inaccurate when it comes to small colour differences,” says Hagen. “I can show you a pair of colours with colour difference of delta E 5, which is barely noticeable. Take a 100 percent and a 95 percent process yellow from ISOcoated. The deviation is just noticeable, but if you calculate it with delta E*ab, you get a figure of 5. Delta E* ab doesn’t really conform to the human perception of colour differences. The newer delta E 2000 does. Take the same yellow colour pair and you will get a delta E of approximately 1, which conforms to the initial idea of delta E: a delta E of 1 is the smallest noticeable colour difference.”

When measured this will give a very high delta E*ab, although the difference is barely visible.

deviations? I want accuracy in small colour deviations. That is where the battlefield is and why print jobs get rejected. Not because the colours look very different, but because the delta E formula states that they are different. The printing industry would benefit if the delta E 2000 formula was made the official formula for calculating colour differences, but all relevant ISO standards only seem to know delta E*ab. Even the ISO 13655 on colour measurement, which has just been rewritten, only talks about delta E*ab, which doesn’t do either printers or their customers any favours.”

because of colour differences should be about seeing differences, not just about measuring a certain number.

VIGC (Vlaams Innocatiecentrum voor Grafische Communicatie, Flemish Innovation Center for Graphic Communication) is a not for profit organisation, which supports graphic arts companies with innovation and the implementation of new technologies. It offers trend-watching services, training and consulting and one of its core competences is colour. VIGC is also one of the active members of the Ghent PDF Workgroup, where it performs the compliancy testing of preflight applications ●

First of all that the measurements from a spectrophotometer, at least the ones used in the graphic arts industry, are not absolute. There can be variations between different devices. Also, the devices need to be calibrated on a regular basis and need to be maintained in a proper state. Periodical cleaning by the vendor may seem expensive, but when measured against the cost of a perfect print job being rejected, due to the spectrophotometer showing a wrong figure, it’s a worthwhile investment.

The industry and the standard organisations need to consider using delta E 2000 as the standard to calculate colour differences when judging print quality. For small colour differences delta E 2000 conforms much better to human vision than delta E*ab. Rejecting jobs

When the test results of VIGC are recalculated, using the newer delta E 2000, the figures become much more realistic. The overall average of all devices on the 13 patches is a rather bad 1,56 when delta E*ab is used, but a very good 0,39 when calculated with the more recent delta E 2000.

Hagen continues: “The bizarre thing however, is that some experts don’t want to use delta E 2000, because it is not that good when it comes to rather large colour deviations. In those cases the old delta E*ab performs better. But who is interested in the accuracy of large colour

With 20,970 square metres of exhibition space and a predicted attendance of 15,000 visitors over its four-day duration, SGIA is a show that represents the full range of speciality imaging technology and offers something for everyone. The event, which this year boasts EFI VUTEk; Gandinnovations; 3M Graphics Market Center; Hewlett Packard and US Screen Print & Inkjet Technology as its platinum sponsors, and InteliCoat Technologies; Roland DGA Corporation and Sun Chemical-Specialty Inks Group as gold sponsors, will also encompass more than 50 educational sessions and a special Keynote Luncheon.

Scheduled for Wednesday 15th October at 12.00pm, the luncheon will feature two business growth specialists, who will be drawing on the content of their books, respectively ‘No Man’s Land’ and ‘Small Giants: Companies that Choose to Be Great Instead of Big’, to provide insightful advice on how businesses should handle the difficult transition period between being a small enterprise and a big company.

The educational sessions have been divided into three different sections, comprising Future Forums, Starter Sessions and Expert Presentations and there are also five different tracks, covering Business Management; Digital Graphics; Garment Decoration with hands-on workshops; Production Management and Screen Graphics. The Future Forums will concentrate on high production printing and will provide useful information on current and future trends as well as the latest high volume technology. The three

Starter Sessions, all of which are free, will be held between 9.30 am and 10.15 am on 15th October and will provide those attending with an introduction to digital printing, screenprinting basics and equipment funding. The Expert Presentations will cover every facet of screen and digital printing and cover topics as diverse as ‘The Changing role of Speciality Printing in Retail’ to ‘Markets and Developments in Industrial Inkjet Printing’. A full conference programme is available online at: http://www.sgia.org/events/current_expo/sgia08/planner/index.cfm

Many exhibitors will be using the show to launch their latest products to the American marketplace and visitors will be able to see the latest digital advancements from Agfa Graphics, EFI VUTEk, Durst, Gandinnovations, HP, Matan, Mutoh and Fujifil Sericol, as well a wide range of digital materials and ancillary products

Agfa Graphics will be introducing its new :Anapurna XLS, which is designed to provide photographic quality at high-production speeds. The XLS comes in a choice of speeds and produces top-quality printing with highly saturated, wide gamut colours in the medium, large and extra-large formats (up to 250 cm). It outputs photo quality images at resolutions of 1440 dpi enabling reproduction of very fine text and line art. The system also incorporates many unique design features for advanced operator support, automated maintenance, calibration and remote diagnostics. Durst will be showing its full printer portfolio, including the Rho 320R UV inkjet printer, which establishes a new quality standard for industrial roll-to-roll printing, whilst on the EFI VUTEk stand, visitors will be able to see the VUTEk DS Series, a new category of high-speed digital UV flatbed printers that deliver productivity, image quality and flexibility for indoor and outdoor signs and displays. Gandiinnovations will provide visitors with the opportunity to see its award winning Jeti 3324 Aquajet Direct to Fabric printer and Mutoh will

be showing its ValueJet line-up, which offer printing widths up to 102 inches and print speeds of 334 square feet per hour at 720 x 720 dpi. The latest addition to the range, the ValueJet 2606 includes a best in class, heavy-duty, media handling system that can accommodate a 220lb. roll of media, for unattended, overnight printing and can take on commercial outdoor jobs, with the quality and ease of an indoor printer.

Screenprinting manufacturers and suppliers, such as Kiwo, Sefar, McDermid Autotype and M & R will also be much in evidence with their latest releases.

Kiwo will be showing both its CTS equipment in the shape of the new Luesher Jetscreen DX, a laser Computer to Screen system and a host of new materials including capillary films, direct emulsions, screen cleaning chemicals and frame and screenprintable adhesives.

Sefar will be sharing its booth with its industry partners, SignTronic, AG and Grunig and will be featuring its StencilMaster 1612 digital imaging solution, integrated in-line with Grunig coating, drying and developing equipment.

Visitors intending to visit Atlanta, can reserve hotel accommodation through SGIA, on-line and a specially organised shuttle bus will provide transport from the Hartsfield-Jackson Atlanta International Airport, to all SGIA ’08 hotels in the downtown area. The one way journey costs a very reasonable $16.50 whilst a round trip will cost $29 per person. The SGIA Website also provides a wealth of useful information on the show and accompanying conference. ●

The well documented growth of the Asian economies continues to provide the basis for many news

stories and books on economics. GDP growth is, on average, set at six percent and in Thailand alone, the number of goods exported during the first half of this year increased by a whopping 20 percent, thus providing the country with the cash flow required for constructive economic growth.

The exhibition industry in Thailand and, more specifically in Bangkok, continues to outperform the more established business centres, such as Singapore. This is partly because it is a highly attractive visitor destination, but also because BITEC, the Bangkok International Trade and Exhibition Centre, which is currently celebrating its 10th anniversary, has established itself as the venue of choice for events in the Asia-Pacific Region. Thanks to its excellent facilities and easy access, BITEC already boasts a near 100 percent occupancy – a dream scenario for any exhibition venue.

FESPA is the world’s leading organiser of exhibitions for the visual communications sector and accordingly, FESPA Asia-Pacific will attract visitors from over 80 countries. FESPA also numbers the national associations from across the region as its members, and delegations from Australia, China, India, Japan and Korea have already registered to visit the show.

FESPA Asia-Pacific Event Director, Marcus Timson comments: “This exciting launch show is taking place against the backdrop of a market that is ripe for development and one which also offers abundant opportunities. We are delighted to have all of the leading brands exhibiting with us in Bangkok, especially as many of them are using the occasion to launch new products. Furthermore, since the FESPA community will be gathering in the Asia-Pacific region for the first time, the show promises to be a historic event.”

The huge production shift to the east has generated some compelling opportunities for screenprinting, which is still the technology of choice for most industrial printing applications. The fact that the manufacturing centres of Asia continue to make the majority of the world’s goods is great news for screenprinters. According to the US-based market research consultancy, Infotrends, screenprinting is predicted to grow by 4.6 percent, year on year, until 2012, in the Asia-Pacific region. This compares with a contraction in Europe of 4.5 percent every year – a swing of over 9 percent!

At FESPA Asia-Pacific 40 percent of the available space will be devoted to screenprinting products, compared to only 20 percent at FESPA’s last event in Berlin, in 2007. Textile printing is enjoying a period of growth too, with regional T-shirt and garment printing businesses benefiting from the thriving sportswear manufacturing markets in the ASEAN (Association (of) Southeast Asian Nations) regions, as well as the increasing demand for exports.

The digital printing sector is also growing at an amazing rate – with an average growth of 10.4 percent. Infotrends reports that some areas of wide format UV printing has witnessed growth of between 25-40 percent. The demand for western brands continues to thrive in Thailand and the wider Asian region, due to the growing middle class, together with the spiralling aspirations of all those living in the ASEAN region. In addition, digital printing is uniquely able to offer the flexibility required by both retailers and outdoor marketers.

The growth of the digital sector is also further enhanced by the fact that, as in Europe, many screenprinters in Asia are now adopting digital printing technology, in order to remain as competitive as possible.

The FESPA Asia-Pacific show is the very embodiment of the energy, enthusiasm and excitement that is currently prevalent in Asia and which is helping to create businesses that have a real vision for the future. TSGA and BITEC are both helping FESPA to deliver an exceptional event, which will showcase the best the region has to offer, combined with all of the latest offerings from the leading Western manufacturers and suppliers.

If you feel that it is time to discover what is going on in Asia, then this show is the best opportunity you are going to get. Don’t miss it! ●