Archive for November, 2006

  • Jobs of the week: Customer Service Coordinator

    Liaising between customers and the plant, using a computerized estimating system for job costing, facilitating a smooth flow of work through the plant and analysing forecasts from major customers to aid production planning are the central aspects of this role.

    Candidates with 2-3 yrs customer service experience are encouraged to apply. Experience gained in the graphic arts industry would be an advantage.

    Impresstik offers excellent salary and a highly supportive working environment.

    Please send your application and resume to:

    Human Resources Manager,

    Impresstik Pty Ltd,

    P. O. Box 3634, Rhodes, NSW 2138.

    email: jobs@impresstik.com.au with reference CSC.

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    To view more printing and graphic arts career positions click here for Print21 Online employment section.

  • Jobs of the week: Paper Merchant – Customer Service Representative

    An exceptional opportunity exists for a competent, pro-active and enthusiastic person to join a large privately owned Paper Merchanting Company. The successful applicant will be required to work amidst a close team environment and will possess excellent telephone and customer relations techniques. Duties include order taking, order processing, dealing with customer enquiries and pro-active selling techniques along with an interest to develop product knowledge. Paper Merchanting experience preferred. Please reply in writing:

    Mr. Simon Doggett

    C/- K.W.Doggett Fine Paper

    PO Box 8219

    Preston Vic 3072

    email: sdoggett@kwdoggett.com.au with reference CSC.

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    To view more printing and graphic arts career positions click here for Print21 Online employment section.

  • Book of week:

    A new edition of Pocket Pal is always an event in the printing and graphic arts industry. First published in 1934, this indispensable reference work has long been the authoritative introduction to the graphic arts for artists, designers, publishers, advertisers, students and buyers of printing. It has also proved to be a handy reference guide for printing professionals.

    Pocket Pal is the ultimate argument solver, jam packed with facts, figures, diagrams and illustrations of all major imaging processes. It provides concise and detailed information on prepress, press and post press, with individual sections on paper and a graphic arts glossary. Readers will find information on types and typographies, including proofreading, type, colour charts and digital prepress.

    The 19th Edition is edited by Frank Romano, RIT School of Print Media (Michael Riordan, RIT, Assistant Editor) and builds on the millennium edition’s initiative to bring digital printing into the mainstream of the industry’s reference. The result is a thoroughly up to the minute reference work that also retains the solid background knowledge that has made it such a favourite for generations.

    Pocket Pal is easy to read, an inexhaustible resource, and provides printing and graphic arts professionals with the wherewithal to fully understand all facets of their industry.

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    To buy Pocket Pal: Graphic Arts Production – New 19th Edition and to browse the Print21Online Graphic Arts Library click here.

  • Wot’s on this week . . . industry events . . . don’t miss it . . . dates for your diary

    The silly season is upon us! So while the industry gets into the mood, the organised calendar slows down. But there’s still a few chances to wet those lips.

  • Printing Industries Victorian Christmas Party will be held on December 7th.

    The Kooyong Lawn Tennis club will host this festive end of year party for the Victorian graphic arts industry. See the calendar for more information.

  • The ADMA NSW 2006 Christmas Lunchcalendar for more information.
  • A Fuji Xerox Direct Marketing Seminar is on this week.

    Head to the Fuji Xerox Epicenter on December 7th to learn where the market is going and how you can stay ahead. See the calendar for more information.

  • The AGDA NSW Christmas Party will take over the Rooftop Bar on Palmer Street in East Sydney on December 8th.

    Open to AGDA members and the design community, it will be a fun night oof networking and celebrating the end of the year. See the calendar for more information.

    If you have an industry event that needs to be added to the Print21 calendar, email me at Shaun Hellyer.

  • Quark loosens up its licensing laws

    Quark has introduced platform-independent licenses for its flagship software program, meaning a single licence will ensure a copy will work on both MAC and PC. Jürgen Kurz, senior vice president of desktop products at Quark, says the move is part of the company’s aim to provide customers with the most efficient and effective way to use QuarkXPress.

    “Creative minds should be free to design and innovate on any platform, and Quark is continuing to provide that freedom with our creative tools,” says Kurz.

    Individual QuarkXPress users can now double-activate one license on different platforms at no additional cost, and customers can use the same QuarkXPress 7 license on both the Windows and Mac OS. In addition, previous versions of QuarkXPress can run under the same license when users are upgrading to QuarkXPress 7.

    In connection with the change, separate part numbers for the Mac OS and Windows versions of QuarkXPress 7 and the part codes for platform cross-grades – changing from one platform to another – are no longer required and will be phased out. All orders will be fulfilled using a platform-independent validation code.

    Visit www.quark.com for more details.

  • Dupont draws together digital print divisions

    Dupont is a multinational science company involved in a diverse variety of areas including nutrition, health care, electronics and transportation among others. It has a significant presence in graphic arts sector and has decided to shake up of its business structure, hiring new staff and merging the different printing divisions as part of a plan to increase market coverage.

    Dupont has confirmed that its inkjet business division will be integrated with its other imaging technologies to form Digital Printing Systems. “A lot of commonality between the two businesses meant pulling them together would improve efficiency,” claims a spokesman for the company.

    The division will take responsibility for the Dupont Artistri 2020 and 3320 large-format inkjet systems, which are used for direct-to-textile work.?? The Cromaprint 18UV 22UV machines will also be marketed by the team, which has also taken on a range of new staff members to handle the load.

  • New ‘invisible ink’ paper puts office waste in the crossfire

    Fuji Xerox describes the technology as in a “preliminary state”, but when completed will allow paper to be used again and again and lead to a significant reduction in office paper usage. The media is intended to replace printed pages that are used for a brief time before being discarded, with estimates showing that as many as two out of five pages printed in the office are for ‘daily’ use, reference materials printed for a single viewing only.

    Paul Smith, manager of Fuji Xerox’s research centre in Canada, claims that in spite of our reliance on computers to share and process information, there is still a strong dependence on the printed page for absorbing information.

    “Of course, we’d all like to use less paper, but we know from talking with customers that many people still prefer to work with information on paper,” he says. “Self-erasing documents for short-term use offers the best of both worlds.”

    Xerox has filed for patents on the technology that it has labelled ‘erasable paper’, with the research currently part of a laboratory project that focuses on the concept of future dynamic documents. In developing the paper the research team was searching for ways to create temporary images, and discovered certain compounds that change colour when they absorb a certain wavelength of light but then will gradually disappear. In its present version, the paper self-erases in about 16-24 hours and can be used multiple times.

    While the team will continue to work on the chemistry of the technology, Fuji Xerox will also investigate ways to build a device that could write the image onto the special paper. Researchers have developed a prototype ‘printer’ that creates the image on the paper using a light bar that provides a specific wavelength of light as a writing source. The written image fades naturally over time or can be immediately erased by exposing it to heat.

    While interest has already been shown in the ‘transient’ documents, Fuji Xerox insists there is much work to be done before the technology reaches the market. “This will remain a research project for some time,’ says Eric Shrader, researcher at Fuji Xerox. “Our experiments prove that it can be done, and that is the first step, but not the only one, to developing a system that is commercially viable.”

    Xerox points to its research into temporary documents as part of its ongoing investment in sustainable innovation that deliver measurable benefits to the environment.

  • GASAA national wage and employment survey

    The survey includes business employment intentions over the next period.

    The survey can be completed online at www.gasaa.asn.au/survey/survey06/nov/wagesurvey.asp A link is also on the GASAA home page at www.gasaa.asn.au

    The findings of the study will be made available to owners and managers on a confidential basis. Only aggregate information is published. Individual returns remain confidential to the GASAA office.

    Your assistance in completing this important management tool is most appreciated.

    Garry Knespal
    garry@gasaa.asn.au

    Executive Officer

    Graphic Arts Services Association of Australia

  • Getting it right… e-marketing tips! magazine article

    Never before has a media been so readily accepted by the general public, yet so appallingly abused by marketers, that laws have been created to prohibit marketers using it… and so it is with e-mail.”

    I started making this statement a few years ago and it now looks like the same will apply to telemarketing. It is a sad reflection on the lack of understanding by marketers of the power of personal media such as e-mail, telephones, mail and the like.

    Recently I spoke at the IMAT conference in Sydney on the topic of; “Perfect e-mail marketing execution.” The headline was given to me by the conference organiser, so I created content to suit.

    Much of the audience were looking for technical tricks and magic cures to get more people to open and read their messages. They gained nothing of the sort from my session, but they did leave with some ideas they could use.
    Before I share these ideas, I’d like you to consider the following questions.

    why buy a dog and bark yourself?

    How do Rupert Murdoch and James Packer make most of their money? They’re publishers. How many of Rupert and James’ articles have you read recently? I suspect your answer is ‘none’.

    Who do they get to write the content of their publications? Professional copywriters of course—and they help to make a tidy income for both Rupert and James.

    Does your organisation publish an e-mail newsletter or other e-mail messages? Do you or one of your staff write the content for it?
    If the very wealthy publishers use professionals to produce the content for their publications, why do so many companies use amateurs to write their newsletter and e-mail message content, yet expect professional results?

    The real reason most of the e-mail messages filling in-boxes around the world don’t get read, lies with the people who write them. They are not professional writers. All they know is how to use words to create sentences via an electronic keyboard—they don’t write copy that is easy to read.

    Nathaniel Hawthorne, a novelist from the first half of the 19th century said “Easy reading is damn hard writing.” Conversely, the same applies when stated; “Easy writing is damn hard reading.”

    There’s a simple reason for this. It has to do with the way we learn to write.

    And tell Santa Claus

    Let’s ask and answer a few more questions. What was the first thing you learned to write? Most likely it was your name. And to whom did you write? Most people wrote first to their parents, but some claim it was to Santa Claus.
    And what did you write about —you, yourself and your day?

    What did your parents do when you wrote to them? I’ll bet they gushed and fussed and encouraged you write some more. They probably stuck your masterpiece on the fridge?

    Well guess what? That’s the last time in your life anyone gave a toss about you writing to them about yourself.

    But now you’re in the workforce. And one of your tasks is to write the newsletter content, despite your lack of calling. So you go to town using words like “I, me, my, our, us” over and over again and words like “you and yours” very few times.

    You don’t realise you’re doing it—because you are interested in the subject and you have a deadline to meet. And after all, it’s much easier to write about a topic in a way that is of interest to you, rather than of interest to your reader.

    Why is it that we won’t pay professionals to write the copy for the hardest thing to write in marketing—personal messages—but we pay professionals to write copy for the easiest things to write in marketing; messages to be broadcast via television, radio, press, print or websites?

    E-mail marketing is not a cheap way to replace your direct mail, or telemarketing. It is a personal communication for which you have to obtain permission to deliver. It must be well crafted, personalised and relevant to the individual who receives it. You want the individual to do what you want them to do once they read it—not what they were planning to do before they opened it.

    This requires the specialist writing skills of an investigative journalist or a copywriter trained in the discipline of direct marketing. If you allow people who know how to type sentences, rather than to write copy, you’ll fail—and damage your brand in the process.

    Pay the professional pipers

    Rupert and James make a tidy living paying professionals to deliver professional and profitable results. Why pay amateurs to write some of your most important marketing communications and expect professional results? If you are going to publish, do what the successful publishers do—pay professionals.

    After all, marketers pay professionals to write advertising to the masses in the form of broadcast or press advertisements, so why not for more personalised advertising? If you don’t want to use a direct marketing agency, then approach a journalist from your industry’s trade press—they’re usually underpaid but know how to write copy that engages an audience.

    So let’s now assume you have employed pros to write for you, what other things need to be considered for successful e-mail campaigns?

    Two reasons people open e-mail

    There are only two reasons people open e-mail:
    1. They know who is sending the message.
    2. They are interested in the content in the Subject Line

    If a person doesn’t know the sender of the message they are extremely unlikely to open the message, thanks to spam and the sheer volume of messages in in-boxes. If they do know the sender, then they’ll look at the Subject Line to determine if the content is relevant to them.

    If the content isn’t relevant, then they are highly unlikely to open your message. And they certainly won’t scroll down your message to check if there is something of interest—they don’t have the time or the inclination.
    Once you have built your email database, there are a number of options open to you—but the temptation is to contact people every time you have something to say about yourself.

    The key questions you should always ask yourself before sending emails should be; “is this relevant to my relationship with this customer or prospect?” and then; “will it enhance the relationship in a positive way?”

    Above-the-fold summary

    Just like the lead story in a newspaper is above-the-fold, so the contents of your newsletter or message must be summarised ‘above-the-fold;’ that is, within the first screen.

    This allows people to quickly review your content for relevance or interest and make a decision on continuing reading or deleting your message. You can use a headline such as; “In this issue,” with bullet points that link readers to the key topics, or publish a table of contents at the start of your message to serve the same purpose.

    There is a complete industry dedicated to distribution of
    e-mails. The suppliers have best practice technology to ensure the best possible chance your message will get through spam filters, firewalls and the like. Creating a message yourself and sending it from your Outlook is the fast way to failure. You have no idea if your message even reaches your recipients.

    If you install internal e-mail distribution software, you have to train your personnel, invest in hardware and dedicated lines to distribute messages, invest in R&D to ensure your system can navigate the daily changes and developments that occur in e-mail systems and ISPs, or hope that your software supplier can provide regular upgrades.

    Quite frankly, you have to be sending millions of messages to make it worthwhile.

    Why guess…when you can know?

    One of the key principles for direct marketing success is testing. That’s because direct marketing is the art of losing money in very small amounts now, so you can make it in large amounts later. You test and learn, test and learn, ad infinitum. After all, why guess your results when you can know what they’ll be?

    E-mail is one of the easiest things to test. Given that at least 40 percent of your response usually occurs in the first few hours after you send a message, you can gain a reliable result with your tests. In fact you can conduct a couple of tests in a single day if you know what you’re doing.

    I’ve seen some research that suggests that 65 percent of all messages are opened between Tuesday morning and Thursday afternoon. You’ll also find that open rates and time of opening differ for free e-mail domains versus business or paid domains.

    You can even test distributors—split your distribution between a couple of distributors and see who gets better results for you, or with whom you are more comfortable working.

    Don’t abuse your subscribers
    E-mail is one of the cheapest ways to do major damage to your brand if you get it wrong. So you cannot afford to abuse the people on your list. If they opt-in for a monthly newsletter, don’t send them weekly sales offers.

    Invite content from your readers via surveys, pools, forums, blogs, etc. Why sit around wondering what to brief your creative team to write about when your readers will happily forward you opinions and information you can use—and this is usually more interesting to them than what you might have to say?

    There are also a bunch of legal requirements regarding the Spam Act and Privacy that you must comply with as well, but I won’t go into those here.

    Suffice to say marketers have done enormous damage to the power of e-mail because they ignored basic courtesies and commonsense—they abused the privilege their customers gave them through permission to communicate via personalised messages.

    Respect your customer and they’ll respect you—and you’ll probably discover your e-mail campaigns become a key part of your marketing activity.

    Malcolm Auld is director of Malcolm Auld Direct (MAD) Malcolm@madmail.com.au

  • Movement at the station department…

    Frolov has extensive prepress experience in the graphic arts industry, specialising in digital solutions in areas like colour management and proofing, primarily for the packaging sector.

    “I have a trade background in analogue processes but my expertise is in digital processes, working with clients to manage their prepress requirements,” says. “I’m looking forward to meeting clients and sharing my experience in digital prepress. I’m always keen to learn new things and I enjoy customer relations. That’s the prime reason for what I do.”

    In his new role at Ferag, Frolov will represent the entire range of Ferag prepress consumables and equipment including Konica Minolta film and plates, proofing software, hardware and CTP systems. A key focus will be digital proofing solutions, an area in which where Frolov’s existing expertise will ensure that customers get the solutions they need.

    “Lots of places can sell you colour management software but they don’t always tell you how to get the most out of it. Part of my role is to get the word out and educate people about the positives of colour management and digital proofing solutions,” he said.

    Before joining Ferag Australia, Frolov worked with digital prepress consultants The Connection as national technical manager, responsible for developing and implementing digital processes and workflows. Prior to that he worked in production roles in areas such as litho plate making, camera operation, film combining, scanning and digital prepress.

  • drops by for WorkChoices advice

    The on-site visits are available across all states and aim to assist employers in ensuring they comply with the new requirements. Employers that either missed out on the seminars, or are simply seeking more in-depth information, can arrange for a visit from a Printing Industries employee relations specialist to help them understand the changes.

    Ken Stenner, national employee relations and OHS manager, claims the recent seminars were well received in the industry with many attendees surprised at the wide-ranging effects the new laws have on their business.

    “Many employers at the seminars did not realise the complexity of the new provisions and were relieved to learn about what they need do to ensure they comply with the obligations and avoid prosecution for breaches,” says Stenner. “Others were pleased to discover the opportunities now available to them in making effective arrangements to suit both their business and their employees.”

    The on-site visits are open to all organisations, and Stenner claims businesses should also encourage their employees to take part in the on site visits to gain a better understanding of any changes which may occur in the workplace.

  • Queensland Picas pack ‘em in

    Queensland Complete Printing Services of Nambour not only won the same award in its category (11 to 30 employees) but also won the Judges Choice for technical excellence. The Sticker Company, Harvey Bay, took out the final Queensland Government Business Excellence & Innovation Award (up to 10 employees).

    “It was a great night with almost 600 people there, a good spread across the industry,” said Neal McLary, Queensland manager Printing Industries. “We lost a few to the Ashes, but not too many. Entries were up this year with the digital categories fiercely competed for. Litho was also good, although screen printing was a little disappointing.”

    Highlight of the night were the business awards, now in their second year. These are judged on the whole of business performance, including such parameters as financial results, management policies, succession planning and infrastructure. There were also the traditional quality printing awards where everyone gets to have a go.

    “The awards are very well supported and the night itself is pretty much an end of year party for the industry here,” said McLary.

    Stand out winner on the night, Platypus Graphics, picked up a total of 26 print quality awards including seven gold as well as winning the business excellence award.

    Gold medal winners

  • Platypus Graphics 7
  • Scanlon Printing 5
  • Qld Complete Printing 3
  • Octane Digital 3
  • Fine Print 3
  • IPG Print 2
  • Colorcorp 2
  • Colourwise 1
  • Magnascan 1
  • Inprint 1
  • D & D Colour 1
  • Greenridge Press 1
  • Lloyd Grey Design 1
  • Flexpack 1
  • First Print 1
  • Jammin’ Handprints 1
  • Hally Labels 1
  • Silver medal winners

  • Platypus Graphics 7
  • Scanlon Printing 3
  • Qld Complete Printing 1
  • Octane Digital 4
  • Fine Print 2
  • IPG Print 3
  • Colourwise 1
  • Magnascan 1
  • Inprint 2
  • D & D Colour 4
  • Greenridge Press 2
  • Lloyd Grey Design 1
  • Printpoint 3
  • PMP 1
  • Westminster Printing 1
  • ABC Printing 1
  • Liveworm Studios 1
  • K W Doggett 1
  • QLM 1
  • Salmat 1
  • Snap F Valley 1
  • Bronze medal winners

  • Platypus Graphics 12
  • Scanlon Printing 5
  • Qld Complete Printing 3
  • Octane Digital 1
  • Fine Print 5
  • IPG Print 1
  • Colorcorp 1
  • D & D Colour 3
  • Lloyd Grey Design 1
  • Flexpack 2
  • First Print 1
  • Printpoint 4
  • PMP 1
  • Westminster Printing 1
  • ABC Printing 1
  • Liveworm Studios 1
  • K W Doggett 1
  • Heaneys P in P 3
  • Bayfield Printing 2
  • Commprint 1
  • Creartive 1
  • Mr Labels 1
  • The Buckner Group 1
  • Avon Graphics 1
  • Think Creative 1
  • Print Systems 1
  • Print One 1
  • Kiwi print giant rationalises Sydney business

    A major realignment of production capacity will follow as Ron Hoolahan’s former business moves from its Lewisham factory. It is expected that much of the company’s printing capacity will be disposed of with the remainder, mainly finishing kit, transferred to the Agency site at Seven Hills.

    The decision makes sense with Agency having the more up to date kit, including two large Heidelberg perfectors, the latest installed this year. Its production facility has been described as the most automated in Australia.

    No one from PPG was available to confirm the details at time of going to press.
    It is not know what will happen to the approximately 145 staff at Graphic World.

    Graphic World Printing was the first Australian company purchased by PPG in 2004 when it commenced its build-up in Australia. The Kiwi giant has since gone on to have a major presence in both Sydney and Melbourne (Impact Printing), specialising in buying high-production sheetfed printing companies with the latest Heidelberg equipment.

    It is now the largest trans-Tasman sheetfed-printing group.

  • German-Australian ticket axis gets Sydney on the move

    Tcard is a new ‘smart’ ticketing system being developed for public transport across Sydney. Trials of the system are expected to begin before Christmas and when it is eventually introduced, will provide a single payment card for travel on all trains, buses, ferries, light rail and monorail.

    Technology company ERG is responsible for development of the transport system and has given the printing contract to ACG, a German-based international supplier to the smart card and RFID markets. ACG has a sales office in Sydney and Tony Hilder, country sales manager for ACG in Australia and New Zealand, says it was his company’s global presence and experience in producing smartcards that gave it the edge in the tendering process.

    Leigh Mardon is one of Australia’s leading suppliers of secure transaction products, with offices in every major state along and a presence across New Zealand. The company is responsible for personalising and processing the printed cards at its facility in Ingleburn, Sydney. Mike Gray, general manager of business development at Leigh Mardon, says his company is working closely with ERG in the lead up to the launch of the transport card.

    “We have the capability to print the contactless cards at our Christchurch facility, which we acquired through our acquisition of Security Plastics this year,” says Gray. “We are certainly as an organisation working to develop our technologies.”

    Placard gets Federal Government ‘access’

    Sparking hot debate in the media this year, the Federal Government is also getting in on the ‘smart card’ action with its plans to introduce by 2008 single card to access Medicare, veterans services and all welfare payments.

    Local plastic card manufacturer Placard is already responsible for the trial of the service in Tasmania and is hoping to get a slice of the action when the plan is rolled out across the country in 2008 to the cost of $1.2 billion. Ganesh Ganeshalingham, managing director of Placard, says his company has been producing Medicare cards for over 15 years, and he is hoping its success with the Tasmanian trial will mean the Government will look favourably upon his company when it comes to the national tender.

    “It poses a huge security risk if such a card is manufactured overseas, and considering that a bank accepts a Medicare card as a form of ID, only a handful need to go missing before a problem arises,” says Ganeshalingham.

    “It’s a highly secure environment at Placard, which was another reason why we won the initial contract. We certainly lead the country in terms of design, service and manufacturing.”

  • Winners of Fuji Xerox 2002 ‘Perfect Image’ D-Print Campaign

    Digital print prowess helped to make an art gallery exhibition for “unhung heroes” a raging success and gave a graphic designer the opportunity to show some “bare-faced cheek” to his client. These were just a few of the many stories that were sent to the organisers of the 2002 Fuji Xerox D-Print “Perfect Image” Campaign.

    The prize for best entry – an $8,900 Bang & Olufsen BeoVision 3 wide-screen TV – was won by Anne Watson, (pictured right) owner of Made from Australia Galleries in Deakin, ACT.

    The campaign is a collaborative program with Fuji Xerox printer clients to grow digital print market opportunities by encouraging the creative community to “give digital a go.”

    This year’s winners were chosen based on the originality of their written entries about the benefits of Xerox digital printing. They also had to submit a sample of digitally printed work to be considered for a prize.

    Watson wrote that Xerox digital printing made it possible for her to quickly print invitations for a hastily arranged (less than 10 days to organise) mini exhibition to display some local Archibald entries that didn’t make it onto the walls of the Art Gallery of NSW. “There are over 700 entries and only 30 or so are hung, so we thought, why not create an exhibition to celebrate some of the very worthy unhung heroes?” explained Watson.

    Watson’s husband, Steve, quickly whipped up a colourful invitation that featured three of the 11 works to be displayed at the event. Then Watson took the invitations on disk to her local printer “Trendsetting” who were able to turn the invitations around in less than a day thanks to their in-house Xerox DocuColor 2060.

    The result? A record 250 people attended the opening because they received their invitations in good time. “Digital printing was cost effective, picture perfect and brought maximum benefit for minimal cost,” said Watson.

    “Anne’s entry showed a tangible benefit that was impressive. Hers was a real-life business application that scored a direct result,” added Henryk Kraszewski, 2002 D-Print Campaign organiser.

    And the runners up were. . .

    First runner up, graphic designer Wayne Vinten of Vinten-Browning, (pictured right) was lauded for his “cheeky” poster for the Perth Art Directors Club (PADC). His entry (shown over suitably appropriate artwork) featured the memorable headline: “Most of the time I’m kissing the client’s a**, but when I present my ideas printed on a Xerox digital printer, they kiss mine.”

    Vinten noticed the call for D-Print Campaign entries at his local print shop and decided it was an “exciting opportunity” for his firm, so he had his poster printed on a Xerox DocuColor 2060. “The reproduction quality was fantastic. You couldn’t tell the difference between digital and offset,” he said. For his efforts, he will take home a $690 BeoCom 6000 cordless digital phone.

    The other two runners-up were Paul Anich of Print Assistance, Tanah Merah, Queensland, who walked away with Bang & Olufsen A8 earphones, worth $195 and Adrian Brierley, ADI Moorabban, Victoria, who gets a weekend bed and breakfast voucher.

    Designed to encourage creatives to experiment with digital print, D-Print campaign submissions this year included artwork, portfolios, calendars, brochures, direct marketing pieces, business cards and the odd digital book. “The quality was stellar this year,” said Kraszewski.

    Traditionally oriented to graphic designers, Fuji Xerox also encouraged photographers, creative directors and marketing personnel to try their luck in the 2002 D-Print Campaign.

    “These groups of people are also responsible for choosing how work will be printed and are potential purchasers of digital print. With this year’s campaign, we aimed to encourage more people to experiment with digital print and experience the benefits,” said Kraszewski.

    Double number of participating printers

    Several participating printers across Australia were also rewarded with executive bed and breakfast packages for their efforts to promote the campaign among their clients. 111 printers took part in this year’s program, up from 54 in 200l.

    Andrew Hingeley, director of print firm Trendsetting which printed Anne Watson’s winning entry, won a B&B voucher for his efforts to promote the campaign. He said the calibre of work submitted was high and he was happy to participate in the D-Print Campaign for the second year running, noting it is “one of the ways Fuji Xerox is helping to fuel awareness and demand for digital print.”

    Further information:
    Henryk Kraszewski
    Fuji Xerox Australia

    Henryk.Kraszewski@aus.xerox.com

    Ph: (02) 9856 5000

  • Quote & Print takes it around Australia

    All of the readers of Print 21 will know about all the virtues of the Quote & Print Software as a business management solution, both in house and business-to-business. But any system is only as good as the people that are behind it, both at the coalface and behind the scenes.

    (Right: Phil Hayes and Leith Freyer from Orelia Management Systems, Western Australian distributors of Quote and Print)

    Quote & Print is sold and supported by a nationwide distributor network, which collectively can supply its customers with well over one hundred years of knowledge and experience from within the printing industry.

    I have always found it interesting that no matter how many printers I visit, they all seem to have the same types of problems and issues, with which they are trying to find their own unique solutions. Because Quote & Print supplies software to such a large cross section of the printing industry through its dealer network, it is perfectly positioned to provide the solutions without requiring the printer to go through the expense and inconvenience of developing their own – because they believe that the problem is a unique one.

    For example, I was at a printing company the other day and one of the sales reps was complaining to the production manager. “We have printed this job 3 or 4 times before, why do we always get the ink colour wrong!” he said.

    The production manager’s response was, “The correct ink colour was recorded on the very first job bag and no one checked and they just grabbed the last job bag for the reprint.”

    Of course, if you combine the Quote & Print software with the knowledge of our training teams, we can easily demonstrate how this can be avoided to ensure that it never happens in the future. The above is a very simple example, but there are others that are far more complex.

    My advice for anyone planning to purchase management software, or for users experiencing problems within their business, then contact your Quote & Print distributor and run it past them. They may not be able to give you an instant solution, but they can tap into the nationwide network from which there is sure to be an answer. Remember, it is not the software on its own that makes a great system – it is the people driving it and behind the scenes.

    Phil Hayes
    Quote & Print Western Australia Distributor

  • Oris Colour Tuner on Canon printers wins SWOP certification

    CGS Publishing Technologies International notches another first for its industry-leading proofing system.

    SWOP, Inc., the USA-based organization which promotes the consistency and quality of advertising materials used in publications through its Specifications for Web Offset Printing, has granted SWOP certification to CGS Publishing Technologies for the ORIS ColorTuner system using Canon’s new low-cost, six-color wide format engines. The A3+ sheetfed W2200 inkjet boasts 2400dpi resolution and is amazingly fast.

    The W7250 (610mm roll width) and 7200 (914mm roll width) continuous feed inkjets operate at 1200dpi and can deliver an A1 proof at highest resolution in around 7 minutes and A2 proofs in around three minutes.

    According to Michael Laird, Managing Director of CyraChrome, CGS Australian agent, (pictured right), the Canon/CGS technical alliance is producing, “some very good proofs. I’m extremely impressed, not only by the quality and consistency of the ORIS Colour Tuner in conjunction with the Canon engines, but also by the speed of output. This combination allows us to address an even wider sector of the industry with consistent, high quality proofing solutions” he said.

    SWOP Proofing Certification means that if users follow the instructions in the ORIS Application Data Sheet then proofs can be consistently reproduced at the level of quality intended by the advertiser or publisher. For example, the data sheet requires the use of Canon inks and genuine CGS proof media. CGS has already achieved SWOP certification for its proofing software running Epson printers.

    To qualify for SWOP certification, manufacturers of off-press proofing systems submit the Application Data Sheet along with representative proofs to SWOP Inc. The SWOP Technical Committee then visually checks and gathers color data on how closely the proof matches a SWOP-certified press proof.

    In Australia, SWOP is not as widely used but the fact that ORIS ColorTuner 5.0 with Canon printers has quickly achieved certification in the US bodes well for 3DAP approval here. Printers changing to CtP must have some kind of digital proofing and the addition of Canon with ColorTuner is a welcome move for those wanting higher-productivity.

    Canon printers use thermal inkjet heads but these heads are long-lasting and avoid the regular re-profiling necessary with other thermal printheads when they are changed regularly. CGS Publishing Technologies, represented in Australia by CyraChrome, continues its strong alliance with Epson piezo printers but considers the new Canon machines as adding choice and differentiation to the proofing market.

    Proof quality and stability is superb and printing speed is almost twice as fast as other inkjet printers. On the 7200, high capacity 300ml ink bottles, rather than cartridges, reduce ink costs and maximise usage due to the gravity-feed. Another operational advantage is that all access is from the front of the machine, including paper roll loading and unloading.

    O.R.I.S ColorTuner version 5.0 is the enabling proof RIP that turns the new Canon printers into proofers, just as previous versions of ColorTuner opened up contract proofing for Epson piezo machines. ColorTuner 5.0 has three significantly new developments.

    Automatic Calibration allows several proofers to be easily calibrated to proof identically. Considerable time savings result from the fact that the print color match file has to be created only once. A common standard reference calibration is all tat needs to be corrected when matching different presses, changing paper or print processes.

    Spot Colour Management introduces fine tuning of individual spot, Pantone and special colours in the same way as CMYK colours have been finetunable in previous versions of ColorTuner. CMYK colours are not affected by changes made to spot colour gradation curves.

    Poster Tiling is a new feature enabling users to produce oversize print-outs perfectly tiled for either butt-fit mounting or hanging as strips.

    Canon is one of the most recognized brands in the imaging world. Together with CGS and CyraChrome, Canon now looks set to take a slice of the inkjet contract proofing market in 2003.

    CyraChome will be submitting the new combination to the Australian 3DAP committee for ratification to regional standards at the first opportunity.

    About CGS

    CGS Publishing Technologies International GmbH, Hainburg, Germany, established in 1985, develops productivity and colour management systems for the professional graphics arts market. Headquartered near Frankfurt, CGS has operations in the U.S. and Canada and sales partners in all major countries. Further information can be found on the CGS web site,
    www.cgsusa.com.