Rob van den Braak
Last week I replaced my 5 year old iPad with the new Pro. A perfect replacement, not only is it superfast, but I, the old man that I am, can read the content without my reading glasses. I am however disappointed. Not because of the technology, but because of the quality and availability of the content. I cannot use my old Wired Magazine subscription and Apple News is very limited because of the Apple approved content suppliers. The content is also very repetitive. I received a news item about the introduction of the iPad Pro 8 times via different sources. This is confirmation of the fact that content distribution by non-publishers such as Apple, Google and Facebook lack a good editor who checks for relevance, truth and simple stuff like duplication of messages. A chance for real publishers who do this.
Another most annoying thing is the number of apps that are not yet suitable for the Pro and iOS9. For example Camera Awesome, in my opinion the perfect replacement for the Apple Camera app, doesn´t work yet and SmugMug for photo sharing needs to do a bit of work on its app. Also disappointing is the fact that the Apple Pen and Apple Smart Keyboard are not yet available. Although that does give me the time to look at alternatives as the first reviews of both quite expensive items are not exactly positive.
However, I do think that the Pro will be a winner this year. A larger tablet with laptop possibilities will suit many (semi)professional users and lead to the replacement of their old tablet or laptop. Microsoft with its Surface and the huge amount of Google Android tables will also profit from this trend. Which in turn will mean that online content and distribution will become more important, also for blokboek.net
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Vorige week verving ik mijn 5 jaar oude iPad voor de nieuwe Pro. Een perfecte vervanging, niet alleen supersnel, maar ik kan nu als oude man al mijn content lezen zonder bril. Toch is de aankoop een teleurstelling. Een teleurstelling die niet komt door techniek, maar door de kwaliteit en de beschikbaarheid van content. Zo kan ik nog steeds niet mijn oude Wired Magazine abonnement gebruiken en is Apple News een wel heel erg gesloten nieuwsbron van door Apple goedgekeurde contentleveranciers. Content die ook nog veel dezelfde berichten bevat. Zo kwam het bericht van de iPad Pro introductie 8 keer voor in verschillende bronnen. Weer een bewijs dat het bij contentdistributie door niet-uitgevers zoals Apple, Google en Facebook schort aan een eindredactie die let op relevantie, waarheid en simpele zaken zoals het twee keer plaatsen van een bericht. En dat is een kans voor ‘echte’ publicaties die daar wel op letten.
‘Profit for Purpose’ funds vocational print education in Turkey, addressing sector skills deficit.
As part of FESPA’s ‘Profit for Purpose’ programme, FESPA and its event partner ARED reinvested 50,000 Turkish Lire from revenues from the FESPA Eurasia exhibition into vocational training at the Izmir Konak Mersinli Mesleki ve Teknik Anadolu Lisesi (Mersinli Vocational and Technical Training Anatolian College).
The aim of the investment was to educate students and develop their expertise, to help towards resolving the issue of unskilled workforce in the Turkish print sector. The new course for advertising graphics opened in the 2014-2015 academic year, and has attracted large numbers of student enrolments. When the course started in 2014, 28 students were enrolled, who are now senior class students. In the 2015-2016 educational year, the number of students for this course has grown to 44.
Feedback from teachers, students and the college head reflects the positive progress of the course since 2014:
Ismet Uslu, Course Leader, explains the programme and the technology they have installed: “The funds enabled the creation of new laboratories at the college. We can teach our students one-to-one, giving them hands on experience of CorelDraw and Photoshop software used in digital print creation. Our students make digital print applications onto vinyl and canvas, working with digital printers and plotters donated by ARED members. Visiting experts give lectures on digital print and materials. At the moment, there are 26 computers for the student and teacher, a projector and screen, and a smart board.”
Senior class students receive occupational skills training three days a week at some of Izmir’s leading graphics producers and digital printing technology companies and are being given employment opportunities in these companies following graduation.
Uslu says: “We cannot underestimate the importance of the investment FESPA made and we would encourage future support from FESPA and other industry players to help us develop the programme and understand new technologies. We are giving our students a worthwhile education. They are all being trained as digital print experts along with experience they gain from placements within industry businesses.”
Course student Cansu Karaaslanoğlu explains the significance of the course for her: “I enrolled initially due to the high probability of gaining a job at the end of the course, plus I enjoy drawing and design. I believe that I will be a qualified print graphics technician after my education. Technology is continually developing and I need to enhance my skills in line with this, which the course allows me to achieve. I want to gain experience and learn more, then I plan to set up my own business in the future. I’m thankful to FESPA for their support.”
Fellow student, Bahadır Vedat Yıldız also comments: “The technology and materials available to us will contribute to our future as trained personnel. We look forward to receiving more support to maintain the course and technologies we have moving forward.”
College Head Enver Türkoğlu recalls how the development of the new programme was based on a proposal from the teachers: “Our school opened in 1982. Our teachers made a proposal saying ‘we need to move beyond stereotyped jobs’. I supported this perspective as I already knew that stepping into new areas is always useful.
“Through collaboration with another vocational college, we learned they had introduced this course to their subjects. We decided collectively to open a similar programme which has been possible in partnership with FESPA and ARED. We thank both organisations for providing us the funds to develop the course. The success of the programme will allow numerous students to enter the sector as expert personnel. We will be very proud when they do.”
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The Drupa Expert Article #5 is about sustainability and how our industry deals with this. The article lists the various measures print shops can take regarding sustainability and explains the rules and regulations.
The article is written by Laurel Brunner, journalist and consultant for digital prepress and digital production including printing. Laurel is better known for her work in different ISO working groups and her publications on sustainable entrepreneurship. Her articles regularly appear on the Blokboek.com articles page. You can download her Drupa Expert Article via our downloads page.
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Drupa Expert Artikel #5 gaat over duurzaamheid en hoe onze industrie daarmee omgaat. Het artikel geeft een opsomming van maatregelen die grafische ondernemingen kunnen nemen als het gaat om duurzaamheid en legt uit welke wettelijke maatregelen en standaards er zijn op dit gebied.
Journalist Jason Toon wants to show Americans (and others) what is happening in Europe on the design and print front. For 45US$ he will send you a box with 3 to 5 items which are, according to Toon, spectacular. There is also the option of a minibox with only one item for US$15. This is what you will find in this month´s box.
- The Magisso Cake Server, a slithering cake slicer by Finnish designers Laura Bougdanos and Vesa Jääskö which creates perfectly shaped wedges of cakes and pies in a whimsical and seemingly asymmetrical way. If M.C. Escher made cake cutters, this is what he’d make. It won a 2010 Red Dot Award.
- Four brightly colored Ekobo’s Biobu Gusto plates. It’s hard to put into words how nice these sustainable, brightly colored plates feel in your hand, especially considering the fact they’re all dishwasher safe.
- A jar of Rose Hip Jam by Podravaka, a Croatian condiment and spread maker in Croatia. Americans don’t really know what rose hips are, which is pretty much why Toon put them in his first Eucopia box. “In Eastern Europe, rose hips are pretty much ubiquitous,” he says. He wants to educate Americans on just how widespread this seemingly obscure fruit is.
- Two Happy Hippos, from Italian confectioner Kinder. They are hippopotamus-shaped vanilla cookies filled with hazelnut cream, from the makers of Kinder Eggs, which have been illegal in this country (because of their embedded toy surprises) since 1938. Happy Hippos might be the next best thing.
You can view the contents of the box via this link.
Eucopia is a great idea, but the contents will decide if it is a success or not. It is however good and effective promotion of European design.
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Journalist Jason Toon wil Amerikanen (en andere geïnteresseerden) laten zien wat er in Europa gebeurt op het gebied van ontwerp en druk. Voor 45 dollar stuurt de creatieve ondernemer elke maand een doos met 3 to 5 volgens hem baanbrekende producties. Er is ook een mini box met slechts een voorbeeld voor 15 dollar. Dit zat er deze maand in de box:
- The Magisso Cake Server, a slithering cake slicer by Finnish designers Laura Bougdanos and Vesa Jääskö which creates perfectly shaped wedges of cakes and pies in a whimsical and seemingly asymmetrical way. If M.C. Escher made cake cutters, this is what he’d make. It won a 2010 Red Dot Award.
- Four brightly colored Ekobo’s Biobu Gusto plates. It’s hard to put into words how nice these sustainable, brightly colored plates feel in your hand, especially considering the fact they’re all dishwasher safe.
- A jar of Rose Hip Jam by Podravaka, a Croatian condiment and spread maker in Croatia. Americans don’t really know what rose hips are, which is pretty much why Toon put them in his first Eucopia box. “In Eastern Europe, rose hips are pretty much ubiquitous,” he says. He wants to educate Americans on just how widespread this seemingly obscure fruit is.
- Two Happy Hippos, from Italian confectioner Kinder. They are hippopotamus-shaped vanilla cookies filled with hazelnut cream, from the makers of Kinder Eggs, which have been illegal in this country (because of their embedded toy surprises) since 1938. Happy Hippos might be the next best thing.
De inhoud kun je ook online bekijken via deze link.Eucopia is een leuk idee, dat staat of valt bij de inhoud, het is in ieder geval een goede en effectieve promotie van Europees Design.
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Als je ‘verslaafd’ bent aan typografie of gewoon geïnteresseerd bent in ontwerp dan is er nu een social netwerk dat je op de hoogte houdt van alle wereldwijde uitingen en trends in design. Fontli toont je dagelijks een selectie gemaakt door andere typoholics. Het groeiend aantal gebruikers staat in ieder geval garant voor inspirerende grafische uitingen. Laat je tijdens een verloren uurtje eens verrassen via deze link.
Paper is a versatile material for artists. Not just as a background for drawings and paintings, but also for the creation of infinite, beautiful shapes. Eric Standley, an artist from Virginia, knows how to make the most stunning creations out of paper. He cuts patterns out of big sheets of paper with a laser and glues them together into impressive 3D reliefs. Sometimes using more than 100 sheets he creates objects which are similar to woodwork or stained glass work. His work seems to be inspired by cathedrals and other complex buildings.It is nearly unbelievable that these works of art are made out of paper.
Lees verder....If you are ´addicted´ to typography or just interested in design there is social network which will keep you up-to-date on what is happening in the world of design. Fontli will give you a daily selection of work by other typoholics. The growing number of users guarantees some interesting output. Visit fontli via this link if you have a lost hour to spend.
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Laurel’s Verdigris blog gaat dit keer over de grip van de Europese overheid op het gebruik van chemicaliën. De EU wetgeving REACH, registratie, evaluatie, autorisatie en restrictie van chemicaliën, dreigt van diepdruk een verboden techniek te maken door de ban op CrO3, een kankerverwekkende stof. Hoe de Europese Rotagravure Associatie daarop reageert en of dat een goede zaak is lees je in Laurel’s blog op onze artikelenpagina.
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An ongoing European initiative linked to the Registration, Evaluation, Authorisation and Restriction of Chemicals (REACH) directive could spell the end of gravure printing in Europe. REACH requires that manufacturers and importers collect data on the characteristics of the chemicals they use, to be sure they can be safely handled. The European Chemicals Agency (ECHA), based in Helsinki, registers the information in a central database of chemical hazards that is available to the public.
ECHA is the heart of REACH and as part of ECHA’s community rolling action plan (CoRAP) asks companies to evaluate chemicals in terms of their impact on human health and the environment. One of the chemicals on the list is chromium trioxide (CrO3) used in gravure printing and other industries for electroplating. CrO3is also used in screen printing and photography, as well as the car and aviation industries. Once on the CoRAP list, a chemical’s industrial usage days may be numbered. In the case of CrO3, this could pose an existential threat to gravure printing.
The CoRAP list names nearly 300 chemicals being evaluated over a rolling three year period and it evolves in line with evaluations and input from European Union member states. Chemicals deemed safe can get dropped after the first year’s consideration, leaving space for new substances which may not be so safe. The CoRAP list is updated regularly and member states can ask the ECHA to prioritise chemicals they consider to be especially risky according to their national risk assessment guidelines.
Risks are obviously assessed according to the hazardousness of the chemical and the amounts used. Also considered are exposure data, ie the likelihood that the chemical will reach humans or the environment. The ECHA also looks at the aggregated tonnage of a substance, to assess its overall impact. This means that something really toxic but with very controlled exposure, will be less of a priority for banning than something less damaging that has a major exposure.
CrO3 is a very toxic compound. It’s highly corrosive and a known carcinogen, so it’s definitely a potential environmental and health hazard. But is it’s use in gravure printing so very dangerous? This has yet to be established but it is likely not, in that the use of CrO3 in gravure printing is very carefully controlled. This minimises, but does not necessarily remove, the risk that it will reach the environment or people.
The ECHA wants to hear from companies who manufacture, import or use it so that its risks can be identified and further evaluated. The good news is that the European Rotogravure Association is already on the case, working to ensure that CrO3 can continue to be used under properly controlled circumstances.
Laurel Brunner
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.
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