Rob van den Braak
Screen Europe will use next year’s FESPA show, Amsterdam, 8th – 11th March 2016, to unveil further developments to its Truepress Jet 3200UV flatbed printer. While the exhibition will be the first public out for the enhancements, the new upgraded printer is available now and can be seen in action at Screen’s demonstration facilities in the UK and Amsterdam.
Visitors to the Screen stand (K40 in Hall 4 at the RAI Exhibition Centre) will also be able to see demonstrations of the machines existing capabilities including Multilayer Spot Silk, Day/night, backlit and relief printing and experience the powerful white.
Notably, FESPA visitors will see the flexibility of the Truepress Jet operating in both roll to roll and in flatbed modes on a range of flexible and rigid substrates. The options delivering high speed productivity and accurate double sided registration.
The Roll2Roll system is able to accommodate rolls up to 3.2m (126 inches) wide, with the unit controlling the tension as well as the suction area and strength of the vacuum system according to the length and condition of the printing material. This enables consistently stable printing of any roll media, providing continuous high-speed, high-precision output.
The easy-to-use Roll2Roll system can be purchased as a factory-installed option on a new Truepress Jet W3200UV HS or Truepress Jet W3200UV ST or retrofitted to an existing model in the field. Once the flatbed table is locked, the printer effectively converts into roll-fed mode.
The flexibility of the machine is part of its commercial attraction with it being able to go from a Super Fine Photo mode which is ideal for high-definition promotional tools, to Billboard Print mode, which is a new high-speed print mode using five-pass, bidirectional printing. The Billboard mode significantly cuts turnaround time for outdoor advertising and other materials intended to be viewed at a distance of more than five metres (1600 feet).
The Truepress Jet is also capable of carrying loads of up to 75 kg allowing print providers to take on heavier wood, stone and glass substrates while improving safety, print quality and job flexibility at the same time.
The maintenance and cleaning system for the Truepress Jet also ensures the press experiences the minimum down time. The press features automatic cleaning which saves 10-15% on annual ink costs and cuts down operator intervention. It is supported by an intelligent nozzle mapping system which ensures maximum uptime.
Maintenance logs for the printing system can be viewed on the touch panel monitor by day, week or month. These maintenance logs can be shared between different operators. This facilitates the planning of upcoming maintenance and contributes to the design of process schedules that ensure maximum operability.
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Upgrading of printing such as with foil, embossing or stickers are reasons for books to become best sellers. That is according to research by BE Printers Inc. The research shows that of all books on the New York Times best seller list, 87% has been upgraded in some form or other. According to the research not only does draw the customer´s attention, it also encourages people to buy the book. Since the extra costs are, according to the research, on average only 0,046$, upgrading is a good investment.Lees verder....
FESPA China 2015, which took place from 21- 23 October in partnership with CSGIA at the Shanghai New International Expo Centre, Shanghai proved to be yet another success for FESPA, with 9,447 unique visitors attending over the three day period. Visitor data showed that nearly 50% of those who attended were the main decision-maker for their business, demonstrating the high calibre of attendee that the event attracts.
With 357 exhibitors, this year’s event was 14% bigger than the inaugural FESPA China 2013 in Shanghai, with new products and technology across digital, screen and textile wide format printing on show. 10% of attendees returned on multiple days, with significant interest shown by overseas visitors as well as Chinese PSPs. 12% of visitors came from outside mainland China, including Taiwan, Hong Kong, Australia, New Zealand, Russia, Turkey, Korea, India, Japan, Thailand and Malaysia among others, with 81 countries in total represented.
The post show survey highlighted that 54% of respondents in the region are involved in textile printing. This was backed up by the level of interest shown in the ‘Opportunity and New Dream’ forum and textile-focused conference sessions which took place on 22 October in both Chinese and English. Visitors attended session to hear from businesses such as Ningbo Shenzhou Knitting Co. Ltd, Southtec Fine Chemical and Watts Polyurethane.
Highlighting opportunities for expansion and diversification as key to business success is high on FESPA’s agenda, and Ole Solskin, World Wrap Masters Judge held popular demonstrations on the potential of vehicle wrap as a lucrative new opportunity for PSPs in this region. In addition, the T-shirt screen printing workshops run by President of Taublieb Consulting and screen print guru, Charlie Taublieb brought in large numbers of visitors wanting to learn the latest techniques and screen print their own T-shirt designs.
Roz McGuinness, FESPA Divisional Director comments: “FESPA China 2015 was our third event in China and second in Shanghai and was once again a vibrant, buzzing exhibition showcasing the latest technologies and solutions, and providing an excellent business platform for local and international companies. The feedback we’ve had so far from exhibitors and visitors alike has been extremely positive, particularly the many opportunities for knowledge sharing. We always endeavour to meet the requirements of today’s printers and inspire them with opportunities for growth and diversification, and are delighted that we have achieved this once again.”
FESPA China 2015 show highlights are available for viewing here. For more information on FESPA, visit www.fespa.com.
Exhibitor testimonials
William Barker, Sales Manager, Watts Urethane Products Ltd comments: “As we expected, FESPA China & CSGIA 2015 was a real success. It pulled in many international visitors from around the world, and we had the opportunity to meet with current customers as well as generating new business. We will certainly be back!”
Benoit Lombard, Director for Asia-Pacific, Chemic comments: “Fespa Shanghai has been a great success for us with many international visitors and potential distributors, exactly what we were looking for.”
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Volgens The Daily Pulse worden video, curating en content marketing de trends van 2016. Voor lezers van Blokboek.com is deze trend al begonnen: curating, het verzamelen en van commentaar voorzien van relevante berichten is iets wat we graag voor jou als lezer doen; onze video pagina is één van de best bekeken pagina´s van Blokboek.com en content marketing doen we voor steeds meer bedrijven en organisaties. Voor die bedrijven zorgen we dat hun content bij een groeiend aantal lezers komt, content die we voor steeds meer klanten ook creëren en van goed beeldmateriaal voorzien. Als je geïnteresseerd bent in deze Blokboek.com diensten neem dan snel contact op met Marco den Engelsman, marco@blokboek.com of +31 6 18883969.Lees verder....
According to The Daily Pulse, video, curating and content marketing will be main trends in 2016. Blokboek.com readers have already seen this trend emerging: curating, content gathering and commenting, is something we feel is useful for the reader. Our video page is the page most viewed on Blokboek.com and we are increasingly helping companies in their content marketing. We offer content creation, dissemination amongst a growing number of readers as well as complimentary images. For more information about our services, please contact Marco den Engelsman, via email marco@blokboek.com or via phone +31 618 88 3969.
The print industry has no CO2 data or goals and that is a missed chance according to Laurel Brunner. Especially now that it seems that the COP21 meeting in Paris has led to concrete agreements on CO2 emissions. Read her blog on our articles page about why it is so important to have data and goals as soon as possible.
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Some very large industry associations are arguing for carbon markets at the COP21 meeting in Paris. The reasons for a global carbon market are compelling, however they tend to be based on a somewhat fragile premise: accountability, according to universal principles.
A global carbon pricing model generally assumes that a conventional cap and trade model works and that industries can be managed according to emissions expectations. For the graphics industry, as for many others, capturing emissions data specific to the sector and deciding how to allocate permits requires an enormous effort. And who would take responsibility for that work?
Cap and trade works along pretty simple lines. Governments of countries who signed up to the Kyoto agreement agreed to limit national emissions. In order to meet their caps, governments sell permits to companies who by the nature of their businesses have to pollute. This includes coal fired power stations, oil refineries and the like. The companies who need to pollute more than their allocation, can buy permits for excess emissions from the companies who find they do not need to pollute so much. The idea is that capping emissions will encourage more environmentally friendly production, creating a market for carbon permits. The market develops so that the price of permits varies as companies become more energy and waste efficient, and so more environmentally friendly. The European Union Emissions Trading Scheme founded in 2005 isn’t working too well, but is still the world’s biggest and most developed carbon market.
The problem is that it is all so very complicated. Governments undertake emissions reduction targets, set up permit schemes and trust big industry to be accountable. But change will come only when small businesses are also involved, since most businesses, such as printing and publishing, employ less than twenty people. These are the companies who should be encouraged to cut their carbon footprints.
However in the graphic arts industry we have no formal body responsible for collecting carbon footprinting data. Worse still is the lack of recognition, even ignorance that prevails in some of the biggest graphics markets. Some industry associations, such as Japan’s, are outstanding because of how much they do. Others, such as the UK’s are take a neanderthal position and, worse still, distance themselves from taking responsibility for helping fix the problem. This is a disservice and short-sighted, because carbon footprint reduction measures improve business efficiency and profits as well as environmental impact.
Carbon markets are necessary if countries are to be able to fulfil their carbon footprint reduction commitments. But as an industry we must have a mechanism for accounting for our emissions. The graphics industry needs its associations to keep their members informed and aware of where the green debate is heading and about how to participate in the conversation.
This blog has been made possible by: Agfa Graphics (www.agfa.com), Digital Dots (http://digitaldots.org), drupa (www.drupa.com), EFI (www.efi.com), Fespa (www.fespa.com), Heidelberg (www.uk.heidelberg.com), Kodak (www.kodak.com/go/sustainability), Mondi (www.mondigroup.com/products), Pragati Offset (www.pragati.com), Ricoh (www.ricoh.com), Shimizu Printing (www.shzpp.co.jp), Splash PR (www.splashpr.co.uk), Unity Publishing (http://unity-publishing.co.uk) and Xeikon (www.xeikon.com).
Blokboek.com is the Dutch media partner of Verdrigris, a non-profit initiative which aims to realistically chart the real footprint of printing and which helps companies and organisations to lower that footprint. More information about Verdrigris can be found via this link.
Lees verder....De grafische industrie heeft geen CO2 data of doelstelling en dat is volgens Laurel Brunner een gemiste kans. Zeker nu het lijkt dat de COP21 meeting in Parijs tot concrete afspraken gaat leiden om onze CO2 voetafdruk de komende jaren te verminderen. Lees in haar blog op onze artikel pagina waarom het belangrijk is dat we die data zo snel mogelijk hebben.Some very large industry associations were arguing for carbon markets at the COP21 meeting in Paris. The reasons for a global carbon market are compelling, however they tend to be based on a somewhat fragile premise: accountability, according to universal principles.
A global carbon pricing model generally assumes that a conventional cap and trade model works and that industries can be managed according to emissions expectations. For the graphics industry, as for many others, capturing emissions data specific to the sector and deciding how to allocate permits requires an enormous effort. And who would take responsibility for that work?
Cap and trade works along pretty simple lines. Governments of countries who signed up to the Kyoto agreement agreed to limit national emissions. In order to meet their caps, governments sell permits to companies who by the nature of their businesses have to pollute. This includes coal fired power stations, oil refineries and the like. The companies who need to pollute more than their allocation, can buy permits for excess emissions from the companies who find they do not need to pollute so much. The idea is that capping emissions will encourage more environmentally friendly production, creating a market for carbon permits. The market develops so that the price of permits varies as companies become more energy and waste efficient, and so more environmentally friendly. The European Union Emissions Trading Scheme founded in 2005 isn’t working too well, but is still the world’s biggest and most developed carbon market.
The problem is that it is all so very complicated. Governments undertake emissions reduction targets, set up permit schemes and trust big industry to be accountable. But change will come only when small businesses are also involved, since most businesses, such as printing and publishing, employ less than twenty people. These are the companies who should be encouraged to cut their carbon footprints.
However in the graphic arts industry we have no formal body responsible for collecting carbon footprinting data. Worse still is the lack of recognition, even ignorance that prevails in some of the biggest graphics markets. Some industry associations, such as Japan’s, are outstanding because of how much they do. Others, such as the UK’s are take a neanderthal position and, worse still, distance themselves from taking responsibility for helping fix the problem. This is a disservice and short-sighted, because carbon footprint reduction measures improve business efficiency and profits as well as environmental impact.
Carbon markets are necessary if countries are to be able to fulfil their carbon footprint reduction commitments. But as an industry we must have a mechanism for accounting for our emissions. The graphics industry needs its associations to keep their members informed and aware of where the green debate is heading and about how to participate in the conversation.
Laurel Brunner
Dit blog wordt mogelijk gemaakt dankzij de bijdrage van: Agfa Graphics (www.agfa.com), Digital Dots (http://digitaldots.org), drupa (www.drupa.com), EFI (www.efi.com), Fespa (www.fespa.com), Heidelberg (www.uk.heidelberg.com), Kodak (www.kodak.com/go/sustainability), Mondi (www.mondigroup.com/products), Pragati Offset (www.pragati.com), Ricoh (www.ricoh.com), Shimizu Printing (www.shzpp.co.jp), Splash PR (www.splashpr.co.uk), Unity Publishing (http://unity-publishing.co.uk) and Xeikon (www.xeikon.com).
BlokBoek.com is de Nederlandse media-partner van Verdigris, een non-profit initiatief dat de werkelijke voetprint van druk- en printwerk die drukwerk achterlaat eerlijk in kaart wil brengen en dat bedrijven en organisatie steunt om die voetprint te verlagen.
Meer informatie over Verdigris vindt je via deze link.
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Kodak has presented Amsterdam-based customer, Drukkerij de Bij, with the prestigious KODAK SONORA Plate Green Leaf Award for Europe. It is the first time that the award, which is only awarded to those customers that show outstanding efforts to reduce environmental impact, has gone to a Dutch printing company.
Drukkerij de Bij has implemented several initiatives to reduce energy, water and waste, in addition to using Kodak Sonora plates. The company uses energy efficient equipment and renewable energy and monitors energy usage and greenhouse gas emissions. It also monitors water usage and extensively recycles paper, cardboard, packaging, aluminium plates, batteries and electronic components. In addition, Drukkerij de Bij uses bio inks, alcohol-free solvents and FSC certified and recycled paper during the printing process. The company proudly promotes its sustainable practices to customers and vendors as a unique differentiator.
Expressing his delight at winning the award, Norbert van Schie, owner of Drukkerij de Bij, said: “I had not expected this. To be presented with this award is such a special recognition for our company. AtéCé, our KODAK SONORA Plates supplier, recommended we submit an entry for the award and being on the shortlist of three firms in Europe was quite something, but actually winning the award is testament to our efforts to reduce waste and drive down our environmental impact.”
Pim Nijenhof, Director of Kodak Benelux, added: “Drukkerij de Bij are leaders in sustainable printing. Of course, we sincerely hope that giving them this award acts as an incentive for other printers to join De Bij’s example in pursuing a policy of sustainability.”
Picture: (left to right) Remco Smit (AtéCé), Pim Nijenhof (Kodak), Norbert van Schie (Drukkerij de Bij), Patrick Hoeve (AtéCé) and Niek Holtus (Kodak)
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Kodak heeft Drukkerij de Bij uit Amsterdam de prestigieuze 2015 KODAK SONORA Plate Green Leaf Award voor Europa toegekend. Het is de eerste keer dat deze prijs, die alleen toegekend wordt aan Kodak gebruikers die zich inzetten voor het verbeteren van het milieu, aan een Nederlands bedrijf wordt toegekend.
Op de foto van links naar rechts: Remco Smit (AtéCé), Pim Nijenhof (Kodak), Norbert van Schie (Drukkerij de Bij), Patrick Hoeve (AtéCé) en Niek Holtus (Kodak).
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Agfa traditionally produces a yearly calendar for their relations, this year the theme is Print meets Digital. It is another unique calendar. On the video on our videos page you can see how the calendar was produced.
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VIGC BOPE 2025: Redefining print. Success in a digital world. Met o.a. Peter Luit als gesprekleider binnen het panelgesprek ‘Platformeconomie, kansen voor grafimedia bedrijven?’
Kandidaten gezocht
De trainingen voor 2022 staan gereed. Kijk voor het volledige online aanbod van bestaande- en nieuwe trainingen op de website.
BLOKBOEK.COM EN PRINTMEDIANIEUWS: HET OPTIMALE DOELGROEP BEREIK