InterFace magazine #37
Transcription
InterFace magazine #37
:InterFACE magazine Floral artist DANIËL OST From floral haute couture to superior printing 1995 - 2000 - 2004 THREE MEMORABLE DRUPA YEARS :Apogee Media REVOLUTIONARY PUBLISHING TOOL Wide-format inkjet printing WORLDWIDE SUCCESS Manuel Mataré MASTER OF DRUPA Eija Ailasmaa THE POWER OF PRINT + NANOTECHNOLOGY ■ ECOPRINT ■ RELAXING IN DÜSSELDORF What is :Sublima technology? You’re looking at it! :InterFACE was printed with four colours using :Sublima screening technology in 340 lpi. :Sublima 240 lpi :Sublima 340 lpi Content :InterFACE 9 30 Düsseldorf by night The gadget of 2004 14 Daniël Ost about his book future past 4 Shortcuts past 6 This was ... 1995 - 2000 - 2004: Striking events from three drupa years 10 Interview Manuel Mataré, the man behind drupa 20 2 Shortcuts future 22 2 Nanotechnology: Marvellous microscopic subtlety present 12 Shortcuts present 14 Portrait Floral designer Daniël Ost 18 Interview Eija Ailasmaa, CEO Sanoma Magazines 24 :Apogee Suite: Integrated set of flexible publishing tools 26 Ecoprint 28 Trends in digital printing: Wide-format inkjet technology conquers the world 30 After work: eating, drinking and shopping in Düsseldorf :InterFACE 37 Editor in chief: Ronald Marien sæCoordinator: Ilse Joosen sæ Editorial committee: Peter Boodts, Sylvie Gibout, LaToya Hodge, Ilse Joosen, Tim Light, Johan Suetens, Rudolf Tippner sæEditors: Olivier Elen, Rod Hayes, Monika Kissing, Jan-Frans Lemmens, Johannes Maruschzik, Sophie Matthews-Paul, Yurek Onzia, Greetje Van Halewijck, Gareth Ward sæFinal editor: Jan De Raeymaecker sæThanks to: Garry Muratore, Hans Van Glabbeke, Susan Wittner Design, production and coordination: sqill, a unit of Sanoma Magazines Belgium Rudy Van Hoey en Anne-Marie Van Ouytsel, Agfa Graphics. s Editorial Manager: Chris Van Gils sæEditorial Accounts: Anouk Van Hoofstadt, Joël De Mesmaecker sæArt Director: Els Van Hauwaert sæLay-out: Barbara Degeyter, Yong Sik Delbecque Editor contact info: Agfa Graphics NV Septestraat 27, B-2640 Mortsel [email protected] All prepress was done with Agfa Graphics systems. :InterFACE was printed with :Thermostar P970 printing plates, produced on an :Avalon with :Sublima raster technology. Imposition and proofing were done with :Apogee SherpaProof. © Copyright 2008 Agfa Graphics NV. All rights reserved. Agfa and the Agfa rhombus are registered trademarks of Agfa-Gevaert AG. All other trademarks are certified. All product specifications can be changed without prior notification. For more information about Agfa Graphics products: www.agfa.com. NGROA UK 00200805 To receive :InterFACE via e-mail or post, go to www.agfa.com/interface. Dear reader, This edition of :InterFACE is a special one. In a drupa year it is logical for :InterFACE to adopt the theme of the mother of all graphic trade fairs. We look back at the past three drupas and examine which products and technologies came under the spotlight and how over the years Agfa Graphics repeatedly brought innovative prepress technologies onto the market that allowed our customers to stay ahead of their competitors. We also talk with the drupa project manager, Manuel Mataré, about developments in the graphic industry and their impact on the trade fair. In the second section (present), you read two fascinating testimonials about the unique power of print: the first through the eyes of the world’s most renowned flower arranger, the Belgian Daniël Ost, for whom wonderfully illustrated books are a medicine against transience; and the second from Eija Ailasmaa, the President and CEO of the Finnish magazine publisher Sanoma Magazines, who is absolutely convinced that print and digital media can continue to exist next to each other. We then also take a look at the future. You get to know :Apogee Media, Agfa Graphics’ latest software which integrates content, design, proof printing and input in one environment. You learn about what can be expected from nanotechnology, including in the graphics world. In view of the omnipresent debates and discussions on sustainability we take a close look at the life cycle of paper. Finally, we look at the possibilities that digital large format printing offers now and will offer in the future. Ronald Marien Global Marketing Communications Manager Agfa Graphics Shortcuts PLATE FACILITY AGFA GRAPHICS wins manufacturing excellence award In July 2007 Agfa Graphics’ printing plate factory in Leeds (UK) wins first prize in a national award competition from the prestigious Institute of Mechanical Engineers (IMechE) in the UK. The Leeds production plant is honoured for improving its treatment of waste by 98.5%. Agfa Graphics has found a method of production that virtually eliminates the amount of acidic waste produced in the making of the printing plates. IMechE now has around 78,000 members in 120 countries. It represents mechanical engineers involved in a diversity of fields. Visit www.imeche.org. MEDIAprint prints with AGFA GRAPHICS’ VIOLET CHEMISTRY-FREE PRINTING PLATES Austria’s largest privately-owned publishing company, MEDIAprint, becomes the first user of Agfa Graphics’ new violet chemistry-free digital plates. The printing plates, which do not contaminate the printing press and produce exceptionally strong image contrast, work with traditional lowpower, reliable violet diodes. Moreover, they eliminate the high-pH developers commonly used in platemaking, which is better for the environment, and offer the highest possible levels of consistency. The plate can print run lengths of 200,000 combined with excellent image quality. MEDIAprint has more than 2000 employees and prints a wide portfolio of newspapers, including four dailies, one of which has a circulation of over one million. Thomas Hofinger, Head of the print centre Inzersdorf of the MEDIAprint Zeitungsdruckerei: ‘With the new chemistry-free printing plate for newspaper production, Agfa Graphics once again underlines its commitment to strengthen the position of newspaper publishers and printers in their competition with the new digital media.’ :ENERGY ELITE PRINTING PLATE awarded In August 2007, Agfa Graphics’ :Energy Elite no-bake plate receives an InterTech™ Technology Award for its technical innovation. The award is an initiative of the Printing Industries of America/Graphic Arts Technical Foundation (PIA/GATF). :Energy Elite is a high speed, high quality aluminum thermal plate designed for long press runs without baking. The plate can provide up to 500,000 impressions without baking (up to a million with post-baking). It has excellent chemical resistance and delivers superb press performance with a wide variety of inks, including UV and hybrid inks. 2000 That is the number of CtP systems for newspapers that Agfa Graphics has installed worldwide. 4 :InterFACE 37 6 This was ... 1995 – 2000 – 2004 Outstanding moments from three drupa years 10 The man behind drupa: Manuel Mataré ‘Drupa’s goal is to offer the completest possible overview.’ The art of printing past interface special 5 Looking back in wonder November 1949. Representatives of the graphic, paper and print industry decide to set up a trade fair for print and paper. They opt for Düsseldorf as a location. They also have a name for the event: ‘International Trade Fair for Print and Paper’, or drupa for short in German. After one month of preparation, the first drupa in 1951 attracted 500 exhibitors and 190,000 visitors from around the world. A drupa fair has followed every three to five years, with the arrival of photosetting and lithographic printing important during the 1960s. drupa was held in the new Düsseldorf trade fair building for the first time in 1972. This and the following editions through the 1980s were mainly dominated by developments in the area of scanning and electronic retouching. After desktop publishing had also come under the spotlight during later drupas, digitisation made its entry into the world of printing. It has grown into the dominant topic since then. 6 :InterFACE 37 It was not just print and paper technology that evolved during these years. The number of trade fair visitors also expanded continuously. Also remarkable is the rising proportion of foreign visitors: from 20% in 1972 to 55% in 2004. Incidentally, drupa 2004 attracted no fewer than 400,000 interested participants and the 2008 edition will probably perform even better. The question is how it will enter history: as the ‘inkjet drupa’, the ‘environmentally friendly drupa’, the ‘automation drupa’, or…? However, let’s first look back in time at three outstanding drupas which will still be reasonably fresh in many people’s memories… Drupa NEW The PlayStation games console is being developed by Sony. The design is byy Ken Kutaragi and emerged from the unsuccesscessful cooperative venture with Nintendo. One of Sony’ss goals is to make gaming popular and win a place e for console gaming in day-to-day life. The PlayStation n can be bought in Europe from 29 September 1995. More than 100,000 consoles are already sold in the first weekend alone. Today, millions of gamers enjoy world famous game series such as Gran Turismo, Resident Evil, Final Fantasy, etc. Trend Britpop tops the European music charts! Almost twenty years after the Beatles’ last studio album, English groups are winning the hearts of thousands of music fans. The bands Blur and Oasis are particularly popular. The music style also has its influence on fashion. Lumberjack shirts and long hair disappear from the streetscape and are replaced by fashionable Mod clothing produced by Ben Sherman. The Beatles flat cap is also back in fashion. News Border controls disappear almost everywhere in Europe because of the Schengen Agreement. Many customs posts close their doors forever. Hundreds of customs officials protest, but tourists are happy. As are companies: from now on they can import and export without any obstacles. Only Switzerland and the United Kingdom do not sign the treaty. THE CtP DRUPA Pre-press is at its height. The debate is whether flatbed scanners can ever be as good as drum scanners, and whether Adobe’s new PDF format is ever going to be usable in the industry. However, the biggest debate is about digital printing. At Ipex two years earlier, the world’s first digital presses had appeared: the Indigo e-Print1000 and … the Agfa Chromapress! By the time of drupa, the interest has reached fever pitch and intermediate technologies appear where lasers on the press expose the raw plates loaded inside it. In the meantime, the new computer-to-plate technology (CtP) holds centre stage at all the stands. However, the products at the time bear little resemblance to the machines today: the plates are all based on silver halide technology. Thermal imaging is discussed as something for the future – perhaps. Nobody saw it then, but CtP would soon put an end to the golden period enjoyed by DTP companies. Instead of sending plates around the world, publishers and prepress operations could send their data directly to printing firms. The Internet (the perfect medium for data transport) is still in its infancy. 1995 NEW The Sharp J-SH04 is the first telephone with a built-in camera. The device is launched in Japan in November 2000 and has a 110,000 pixel CMOS image sensor with a colour screen for taking digital photos. Gadgets DIGITAL DRUPA Digital printing is the guiding thread of the most glorious, over the top drupa ever. Heidelberg and Xerox try to steal a march on each other with gigantic stands where they present their latest creations. As with any drupa, the more interesting stuff happens away from the limelight. There are the beginnings of inkjet printing for more than just labelling magazines and creating print proofs. Agfa has another of these innovations with the introduction of :Delano, the first tool to manage the interaction between the publisher and printer by allowing the customer to approve the pages. In the meantime CtP has come a long way. Products like Agfa’s user-friendly :Galileo can expose both silver halide plates and the new generation of thermal plates. On the printing press, automation has already evolved in the direction of open interfaces to take data from the prepress area to set up ink ducts on presses. This concept of using more production related data and taking this to finishing and beyond was developed further in what would become the Job Definition Format. After 12,000 telephone calls, 2,000 letters and 15,000 e-mails from disappointed customers, sports giant Nike puts the Air Pegasus back into production. The Pegasus had been the most popular running shoe ever, but was discontinued in 1998 and replaced by a different model. In 2000 the world of athletics was able to sleep soundly again, as the legendary sports shoe was back on store shelves. Also sporty and fashionable: Dirk Bikkembergs launches his sports line Bikkembergs Sport. The silhouette of a footballer appears in the logo. Entertainment After the Netherlands, Germany is the second country to start broadcasts of Big Brother, the first genuine reality programme on television. Psychologists, moral crusaders and custodians of good taste react with horror to the ‘scientifically based’ game show developed by John de Mol. But the public is wildly enthusiastic. The participants develop into modest public heroes and plunge into the world of media or fashion. The programme has been produced and broadcast in over 58 countries since 2000. Big Brother attracts millions of viewers, mainly in big countries such as Germany, the US or Great Britain. 2000 Drupa News In January, two unmanned space vehicles land on the planet Mars. The robot carts will carry out scientific research and take photographs. The information is sent to Earth via an antenna. NASA wants to investigate whether water (and life) are present on the Red Planet. NEW Apple launches the iPod mini, the really successful mini hard-disk mp3 player, in January. The compact device is equipped with a 4 GB hard disk and can be obtained in five different pastel colours. The iPod mini is operated with the famous click wheel, by pushing on the edge of the scroll wheel itself as a sort of click key. The iPod mini is replaced by the iPod nano in September of the following year. THE JDF DRUPA Gadget The traditional scooter no longer exists and roller skates are outdated. What is hip and trendy in the summer of 2004 is the Trikke, a new type of vehicle which is half-way between a scooter and a three-wheeler. The optimism of drupa 2000 that print would expand forever has gone. But there is progress towards changing the industry from a craft business into a properly accountable industry. The Innovation Parc area and JDF demonstrations (Job Definition Format) point the way to a future of seamlessly integrated steps in the print production chain. Agfa Graphics’ :Delano software is eagerly accepted by customers, and management information systems are beginning to be seen as the key to future prosperity. At the same time, inkjet is already omnipresent. Agfa Graphics proves that quality is possible with a single pass via its :Dotrix press and large format inkjet machines for low volume display printing. There are also the initial announcements and demonstrations of processless plate imaging to begin to make printers aware of their environmental responsibility. Agfa Graphics introduces its chemistry-free :Azura printing plate. The groundwork for drupa 2008 has been laid. 2004 :Interface interface drupa special 9 MANUEL MATARÉ sæ4ITLE drupa project manager sæ#AREER 21 years as a trade fair project manager sæ$ATEæANDæPLACE 23 June 1953 in Düsseldorf sæ-OTTOæ“If you fail to prepare, be prepared to fail.” ‘There is no better seismograph than drupa for recording demands on the print sector.’ A lot is involved in organising an event. This is certainly the case when a large-scale international trade fair like drupa is involved. And reason enough for a fascinating conversation with the drupa project manager, Manuel Mataré. !æMULTITUDEæOFæVISITORSæANDæEVERæMOREæEXHIBITORSæ$RUPAæISæCONTINUINGæTOæGROWæ(OWæDOæYOUæ EXPLAINæTHISæSUCCESS Manuel Mataré: ‘Despite the situation in the financial markets, the global economy is buoyant. This also has a positive influence on the print sector and the media. It is also supplemented by the fact that drupa is the only genuine international trade fair in its sector. Hundreds of thousands of specialists come to Düsseldorf from across the world every four years. What the Olympic games are for sports people, drupa is for the print media sector.’ 7HATæAREæTHEæMOSTæNOTICEABLEæCHANGESæTHISæYEARæINæTERMSæOFæ EXHIBITORSæANDæTHEæDIVISIONæOFæTHEæHALLS Manuel Mataré: ‘The goal is to make a visit to drupa as pleas- 10 :InterFACE 37 ant as possible by providing a clear, topic-oriented structure. The halls in which the ‘digital solutions’ are shown play a key function here. The number of these has increased substantially compared with drupa 2004. Hall 8a and the new hall 8b, and adjacent halls 5 and 9 accommodate the Xerox, HP-Indigo, Agfa Graphics, Fujifilm, Kodak, Konica Minolta and Ricoh stands.’ 9OUæREFERæTOæTHEæGROWTHæOFæDIGITALæTECHNOLOGIESæ)SæDRUPAæSTILLæ AæPRINTERSæTRADEæFAIR Manuel Mataré: ‘More is being printed now than ever before. Digital solutions cannot exist without traditional printing techniques. As the leading trade fair for the print and media industry, we present the synergy of technologies. We show the complete offering and the full value chain, from paste-up to the finished printed work. There is no better seismograph than drupa for recording the demands made on the print sector.’ Interview ‘The tangible aspect, emotional feel and value of a printed item offer a substantial competitive advantage over electronic media.’ (OWæDOæYOUæMANAGEæTOæSTAYæAWAREæOFæWHATæISæHAPPENINGæINæ THEæSECTORæBETWEENæTWOæDRUPAæEDITIONS Manuel Mataré: ‘We listen in the market, travel a lot to visit events, other trade fairs or congresses, and detect the latest trends across the world with the help of our scouts. Our goal is to give the most complete overview possible. Because, in any case, drupa is the outstanding meeting point and is the only genuine large trade fair in this sector. We show exactly what is ‘fashionable’ in the sector, from prepress to printing to finishing and marketing. Of course, to be up-to-date you have to meet people and develop contacts. However, the most important thing is – to be able to listen effectively.’ $RUPAæEMPHASISESæTHEæSTRONGæCOMPETITIVEæPOSITIONæOFæPRINTæ $OESæTHISæREmECTæTHEæREALITY Manuel Mataré: ‘drupa adopts a clear position: we are and remain a print and media trade fair and do not want to become a second Cebit (editor: the world’s biggest home/office IT and telecommunications solutions trade fair). IT only acts as the required infrastructure – and also frequently as a particle accelerator. Ultimately, however, the printed item in whatever form still holds centre stage. The tangible aspect, emotional feel and value of a printed item offer a substantial competitive advantage over electronic media – for example with point-of-sale applications, brand communication or personalised mail shots and large-format advertising panels. Moreover, digital printing and online communication are opening up new growth markets.’ 9OUæAREæALSOæADDRESSINGæCUSTOMERSæOFæTHEæPRINTæINDUSTRYæDIRECTLYæFORæTHEælRSTæTIMEæWITHæTHEæDRUPACUBEæ7HYæISæTHATæSOæ IMPORTANT Manuel Mataré: ‘In the drupacube we are not so much focusing attention on printing technology, but on the final printed product and its marketing-oriented applications. The goal of the drupacube is also to make interesting print communication opportunities available to parties that outsource printing, such as art directors or marketing specialists for example. We wish to boost demand for print with the drupacube.’ the only trade fair in the world where you can see a production flow on the latest equipment in action, with assistance from experts. Thus, for us it also means making contacts, exchanging theoretical and practical knowledge and learning new things. In fact, there is now a framework programme with several modules, which the drupa visitor can combine personally. ‘Highlight Tours’, guided tours on developments in ten specific print fields, are also organised.’ $ÔSSELDORFæBECOMESæ@DRUPAæCITYæDURINGæTHEæTRADEæFAIRæ(OWæ DOæYOUæINTENDæTOæMAKEæTHISæVISIBLEæFORæVISITORS Manuel Mataré: ‘Apart from expanding and improving the trade fair site infrastructure, the focus of our efforts is on service. Ultimately, Düsseldorf becomes the home port for two weeks for approximately 400,000 visitors, more than 1800 companies and their 30,000 stand employees, and 3,500 journalists from around the world. This is why we already began to develop a network many years ago with retailers, hotels, restaurants and taxi firms, for example. We want to be a good host. Exhib- ‘What the Olympic Games are for sports people, drupa is for the print media sector.’ itors and visitors must immediately feel at home in Düsseldorf. This is communicated visually with billboards, banners or red double-decker buses. The entire city is decorated in the drupa red fashion colour in May/June. Our international guests in particular feel good with an extra slice of service – simply that extra touch that they recognise from their own country. We achieve this, for example, by having multilingual signs in the station and metro, and in shops, restaurants and hotels. However, drupa visitors and exhibitors are just as happy with the uniform opening hours in the city centre, to say nothing of the ‘drupa drink’ or ‘drupa soup’!’. $RUPAæWANTSæTOæOFFERæVISITORSæSTIMULIæANDæHELPæTHROUGHæAæ WIDEæSPECIALITYRELATEDæFRINGEæPROGRAMMEæ)SæTHEæFAIRæTHEREFOREæALSOæACTINGæASæPROVIDERæOFæTRAININGæCOURSES Manuel Mataré: ‘drupa will certainly never become a congress trade fair. We are not keen just to exhibit ‘heavy metal’, simply machines, like a motor show. For example, drupa is :InterFACE 37 11 Shortcuts Agfa Graphics scores with :DOTRIX INKJET PRESS Noteworthy (New York) has been a manufacturer of custom printed promotional bags, presentation folders, notepads, coloring books and other promotional products since the mid 1950’s. Recently, Noteworthy acquired :Dotrix, Agfa Graphics’ wide-web, high-speed and cost-effective inkjet press. :Dotrix offers significant advancements in durability, reliability and quality on a wide range of substrates. This press allows Noteworthy to provide low minimums, faster turn-arounds and provides unparalleled print quality. To date, the response has been overwhelming. According to management, ‘every plastic bag is worthy of being framed as a work of art...truly amazing!’ Company president Carol Constantino stated, ‘our customers are in awe of the uncanny print quality that we are able to produce on plastic bags, with no limitations on graphics. This can and will revolutionize the advertising industry!’ :AZURA reduces water consumption Generally, water is a big problem in Australia, and most government departments are providing big incentives to save water. St. George Graphics, an Agfa Graphics customer in Sydney, introduced the chemistry-free printing plate :Azura. The consequences soon made themselves known: a ‘water audit’ revealed that the biggest consumers of water in the plant were… the tea and coffee making facilities for the staff. 94% This is the percentage of graphic arts professionals in the USA that work on print projects as part of their jobs. This figure can be found in the 45th Annual Print Design Survey, conducted by Graphic Design USA magazine and sponsored by Agfa Graphics. This result is up from 92 percent last year and is, surprisingly, actually the highest figure in five years. Print was followed, in order, by web design, point-of-purchase, package design, and broadcast graphics. Asked for the kinds of print projects that they had been working on in the past year, creative firms mentioned brochures/collateral, sales promotion, direct mail, print advertising and letterheads/ identity respectively. Thermal CtP series :AVALON N IN 8-UP AND VLF FORMATS The new, powerful, thermal :Avalon N CtP series of platesetters brings a new level of quality, flexibility and reliability to CtP. The engines are available in 8-up and VLF formats with a variety of plate sizes and plate-per-hour capabilities. The :Avalon N 8-up uses a new-generation imaging head featuring 1024 beams that is based on GLV (Grating Light Valve) technology, a technology that Agfa Graphics introduced in 2002; it is used in thousands of CtP system applications worldwide. The VLF version currently has three available engines, the :Avalon N16, N24 and N36. The entire :Avalon N range is fully compatible with Agfa Graphics’ :Apogee workflow and with its range of thermal digital plates and processors including the chemistry-free :Azura, low-chemistry :Amigo and no-bake, long-run :Energy Elite plates. 12 :InterFACE 37 14 Flower artist Daniël Ost ‘Physical hardship is the price I pay to take the life of the most beautiful creatures that exist.’ 18 CEO Sanoma Magazines Eija Ailasmaa ‘The general quality of printed media has improved incredibly.’ The art of printing present DANIËL OST sæ4ITLEæflower artistæsæ#AREERæ30 years sæ$ATEæANDæPLACEæOFæBIRTHæ8 May 1955 in Sint-Niklaas sæ&AVOURITEæmOWERæthe white lotus sæ-OTTOæ‘The nicest game becomes boring if it is played too often’. ‘The print quality of my most recent book is a thousand times better.’ The Belgian Daniël Ost is the world’s most renowned flower artist. His floral arrangements and sculptures are haute couture with nature as the most important element. He has succeeded in making a living from pictures of flowers, leaves, branches and fruits for the past thirty years. He creates absolute beauty by combining passion and mastery in his flower pieces and sculptures like no one else. Daniël Ost is a star in both the United States and Asia. He is more famous than anywhere else in the world in Japan, his second home. This is mainly due to the affinity between his work and Japanese flower arrangements, whose influences have been absorbed in a symbiotic way. But his countrymen also idolise him. He was already receiving commissions from the Belgian Royal Family barely a few years after opening his shop in Sint-Niklaas in 1985. Ost has been fascinated by flowers since his childhood. When he was three, his grandfather was barely able to rescue him from drowning in a cesspool where he ended up while plucking wild flowers. At the start of his career, he occasionally went cutting flowers secretly in the Sint-Niklaas municipal park, while his wife acted as a lookout. He now designs and creates sculptures 14 :InterFACE 37 with new varieties of flowers. But he still feels like ‘a child who continues to play’. Daniël Ost’s floral arrangements appeal to everyone’s imagination. They reveal a remarkable sensitivity to the shape, colour and structure of both the flowers and the object in which they are designed and built. He is keen on seasons, which form the guiding thread in his work. He does not find the fact that his flower art is transitory a problem. ‘Everyone is transitory, but I have two medicines against transience: my gardens and my books.’ To the extreme Depending on the project, Daniël Ost occasionally involves up to 500 staff in designing, organising and installing events togeth- © Daniël Ost Portrait STARS AND PRIZES $ANIÕLæ /STæ HASæ Aæ LOYALæ INTERNATIONALæ CUSTOMERæ BASEæ (EæOCCASIONALLYæADDSæLUSTREæTOæTHEæPRESENTATIONæOFæTHEæ /SCARSæ WITHæ HISæ mOWERæ ARRANGEMENTSæ THENæ HEæ HEADSæ OFFæTOæAæFAIRYTALEæWEDDINGæINæTHEæ*ORDANIANæDESERTæORæ HEæISæATæWORKæFORæTHEæ*APANESEæIMPERIALæFAMILYæ!CTRESSæ #ATHERINEæ$ENEUVEæANDæTHEæLEADINGæ&RENCHæINDUSTRIALISTæ&RANÀOISæ0INAULTæTHEæOWNERæOFæFASHIONæHOUSESæSUCHæ ASæ'UCCIæANDæ9VESæ3AINTæ,AURENTæAREæLOYALæCUSTOMERSæ (OWEVERæ/STæDOESæNOTæWANTæTOæmAUNTæHISæFAMEæ(EæISæ PROUDæ OFæ THEæ STATEMENTæ BYæ9UKIæ )KENOBOæ FROMæ THEæ RENOWNEDæ *APANESEæ )KENOBOæ mOWERæ ARRANGINGæ SCHOOLæ !TæONEæPOINTæSHEæCALLEDæHIMæ@MOREæ*APANESEæTHANæTHEæ *APANESE /STæHASæWONæPRIZESæCOUNTLESSæTIMESæWITHæHISæmOWERæARRANGINGæ.ONETHELESSæHEæCALLSæCONTESTSæMACHISMOæ ANDæ INVARIABLYæ REFUSESæ TOæ SITæ INæ Aæ JURYæ@(OWæ CANæ ARTæBEæEVALUATEDæAFTERæALLæBEAUTYæISæDIFFERENTæFORæ EVERYONEæ 'IVEæ YOUNGæ PEOPLEæ Aæ BUDGETæ ANDæ LETæ THEæVIEWERæENJOY © Daniël Ost ‘Everyone is transitory, but I have two medicines against transience: my gardens and my books.’ Portrait Transparant illustrates the power of print $ANIÕLæ/STSæSEVENTHæPHOTOGRAPHICæBOOK TransparantæAPPEAREDæ RECENTLYæ7ITHæ THISæ BOOKæ HEæ ISæ CELEBRATINGæ MOREæ THANæ TWOæ DECADESæ OFæ ANæ ENVELOPINGæ MARRIAGEæ OFæ HISæ ARTæ WITHæGLASSæARTæ!FTERæ/STæHADæSEENæTHEæSUPERIORæQUALITYæTHATæ COULDæBEæACHIEVEDæWITHæ!GFAæ'RAPHICSæPRINTINGæTECHNOLOGYæ HEæINSISTEDæTHATæITæBEæUSEDæFORæHISæLATESTæBOOK 4HEæ EXTREMEæ DETAILSæ INæ THEæ MATERIALæ THEæ SPECIALæ COLOURSæ ANDæ THEæ DEEPæ SHADOWæ SECTIONSæ PROMPTEDæ Aæ SPECIALæ APPROACHæ TOæ THEæ PICTURESæ4HEYæ WEREæ SCANNEDæ WITHæ Aæ MUCHæ HIGHERæ RESOLUTIONæ THANæ USUALæ SOæ THATæ THEæ PICTURESæ COULDæ BEæREPRODUCEDæINæMUCHæGREATERæDETAILæANDæADDITIONALæCOLOURæ GRADATIONSæ COULDæ BEæ REPRODUCEDæ /STæ ISæ EXTREMELYæ ENTHUSIASTICæ ABOUTæ HISæ LATESTæ BOOKæ Aæ PEARLæ THATæ DOESæ FULLæ JUSTICEæTOæHISæCREATIONSæ@)æHAVEæMADEæTHEæWRONGæBOOKSæFORæ YEARSæ)æHAVEæSEENæTHEæDIFFERENCEæMYSELFæTHEæPRINTæQUALITYæ OFæ MYæ MOSTæ RECENTæ BOOKæ ISæ Aæ THOUSANDæ TIMESæ BETTERæ -Yæ CUSTOMERSæWHOæAREæNONETHELESSæACCUSTOMEDæTOæTHISæAREæ ALSOæAMAZED Agfa Graphics innovation TransparantæWASæCREATEDæWITHæTHEæHELPæOFæ!GFAæ'RAPHICSæ :SublimaæRASTERæTECHNOLOGYæINææLINESæPERæINCHæWITHæAæ THERMALæ :Avalonæ PLATESETTERæ ANDæ :Thermostaræ 0æ PRINTINGæPLATESæ:SherpaProofæWASæUSEDæFORæTHEæIMPOSITIONæANDæTOæMAKEæTHEæCONTRACTæPROOFS ‘I want to dumbfound everyone again one more time. My latest work will show a totally different Ost.’ er with him. Ost creates tailored flower fantasies for his clients. He is not interested in trends. He finds the structure more important in everything that he does: ‘I am a collector of things that tell something about life.’ Nothing is too much for the flower arrangement artist when it comes to realising his creations. ‘When our king had his sixtieth birthday, I quickly ordered 6,000 extra ferns behind the back of the budget controller. I have never regretted it. I have already travelled over 1,000 kilometres to gather specific flowers. At a Japanese market I waited four hours per day for a week until I was able to buy two orchids that were actually reserved for someone else.’ exhausting from time to time, but Ost also has his own philosophy about this: ‘physical hardship is the price that I pay to take the life of the most beautiful creatures that exist.’ Surprising one more time Among other things, Daniël Ost hopes to be able to organise an exhibition in his native Belgium, as he has done several times in Japan, with an infinite feel for details and in sublime locations. Daniël Ost also dreams of realising one more project within two years. He has gained his inspiration for this from the mother of all gardens in Persia. ‘I want to dumbfound everyone again one more time. My latest work will show a totally different Ost.’ He also had to be brought to his hotel room after working for three days and nights without interruption. So his work is really :InterFACE 37 17 EIJA AILASMAA sæ4ITLEæCEO Sanoma Magazinesæsæ#AREERæ33 years sæ$ATEæANDæPLACEæOFæBIRTHæ12 September 1950, Rovaniemi sæ-OTTOæ“It’s important to have fun!” ‘Print and digital media will continue to exist alongside each other.’ Where is print media headed? And where are the frequently far-reaching (r)evolutions in technical printing processes leading? These are the hot questions Eija Ailasmaa, the Finnish head of Sanoma Magazines, is keen to answer for us. &ORæYEARSæWEæHAVEæBEENæHEARINGæTHATæPRINTæ ISæDEADæORæISæATæLEASTæWASTINGæAWAYæ$OæYOUæ AGREE Eija Ailasmaa: ‘You just have to look around to know this is nonsense. The publishing business is still growing, also in terms of net sales. New titles are constantly being added and people are reading more printed newspapers than 10 years ago. OK, many of these are free. But this only means that the publishing models are changing, not that printed media are condemned to death.’ 4ECHNICALæPRINTINGæPROCESSESæHAVEæEVOLVEDæEXTREMELYæRAPIDLYæINæTHEæPASTæDECADEæ7HATæREVOLUTIONSæCANæWEæSTILLæEXPECTæ INæTHEæCOMINGæYEARS Eija Ailasmaa: ‘The general quality of printed media has improved incredibly. That in my opinion is the biggest revolution. At the same time we are printing more efficiently and many more specialist options exist. Thanks to the introduction of new printing presses, high quality print is available at extremely costefficient prices. We also have an increasing number of possibili- 18 :InterFACE 37 ties for personalising our magazines, although this does not yet apply to titles with a large print run. For example, we can offer advertisers tailored solutions, such as inserts that are intended for a specific public, via selective binding. Technological progress now also allows us to include holograms in our magazines or ink that only becomes visible above a certain temperature. The use of different types of paper in the same magazine can also help to increase the attention value and to stimulate the reader’s senses or to surprise him or her. All of these technical developments offer us as magazine publishers a wide range of possibilities, without threatening our efficiency and budgets. But it is obvious that the quality of our magazines and their content remain the most important factors. This will always be the case and luckily so!’ .EWSPAPERæANDæMAGAZINEæSALESæHAVEæBEENæUNDERæPRESSUREæ FORæSOMEæTIMEæ$OæYOUæTHINKæTHATæREADERSæWILLæREMAINæLOYALæ TOæPRINTEDæMEDIA Eija Ailasmaa: ‘Each time a new media format appears, the prophets of doom are ready to announce that the existing media are finished. But TV did not replace radio. Similarly digital media will not mean the end of printed media. I don’t Interview ‘Nothing will ever replace the pleasure of reading lazily on your sofa, in bed or in an aeroplane.’ deny, however, that they will have a serious impact. We are feeling this already: business models are changing and we as publishers must fight harder to be relevant for our readers. But ultimately you will see that print and digital media will continue to exist alongside each other. Both forms of media have specific characteristics that ensure their relevance and continued existence.’ !REæYOUæSAYINGæTHATæTHEæDIGITALæMEDIAæHAVEæNOæVALUE Eija Ailasmaa: ‘Not at all. Of course, the digital media have their own strengths. Users can search for things actively and in a targeted way on the Internet. A multiplicity of information is available with a few mouse clicks, something that most magazines cannot offer. But in contrast, the content our magazines offer has been written and approved by our journalists with the greatest care, and therefore is more reliable.’ 3UCHæAS Eija Ailasmaa: ‘The unique feature of printed media is that you can read it wherever and whenever you want. After all, people don’t want to be shackled to the Internet 24 hours per day throughout the year! On the contrary, there is an ever greater need to kick back and relax. This is why nothing will ever replace the pleasure of reading lazily on your sofa, in bed or in an aeroplane. And you can only tear out pages with printed items you want to keep from your favourite magazine. You can make notes on it. You can also fold it; it will not break! And when you are finished, you simply hand it on or throw it away, because it is not expensive. The glossy sheen of nicely created pages is also unique and very attractive. A magazine is also a fast medium: you open it up, and the information is available to be taken in quickly or to be read quietly.’ -OREæOFæTHAT ‘The general quality of printed media has improved incredibly.’ 4HEæCONCLUSION Eija Ailasmaa: ‘I am convinced that print and digital media can be a good marriage, where both partners complement each other and live together happily. This is why we, Sanoma Magazines, believe in the power of our magazines more than ever and at the same time continue to develop our digital media platforms.’ Eija Ailasmaa: ‘A freshly printed magazine also smells so wonderful! Moreover, you can add inserts, so that users can test products themselves immediately: samples of perfumes and creams, but also bouillon cubes and tea bags. In Romania, we recently even published a magazine containing a glass bottle of perfume! This is impossible over the Internet, but is all possible with print.’ :InterFACE 37 19 Shortcuts Environmentally friendly :AZURA TS plate up to 50% faster With :Azura, Agfa Graphics has set the standard in chemistry-free printing plates. More than 2000 users all over the world are already enjoying the benefits of this plate. The new generation environmentally friendly :Azura TS thermal CtP plate system offers higher throughput - in some cases as much as 50%, amounting to as many as 100,000 impressions - and sharper contrast, which makes visual inspections much easier for users. :Azura TS uses Agfa Graphics’ exclusive ThermoFuse™ technology, which physically bonds images to the plate without any chemical processing. The result is highly stable and predictable imaging with no compromises on press. Unlike regular thermal plates, :Azura TS uses a simple gumming process that cleans the plate and gums it in one simple step, making it pressready without the need for chemical processing. Liquid consumption and waste are considerably reduced, and no chemical controls are needed. Also, the C95 and C125 clean-out units have low energy requirements and small footprints, providing further benefits for the low-to-medium-volume commercial printers who adopt the system. SYNAPS: new high-quality synthetic paper Synaps is a newly-developed, synthetic paper on a modified polyester base. It enables a print quality that distinguishes it from existing competitive media, even when used with standard offset inks. Synaps’ fast drying time also allows for the quick turnaround that printers strive for. As the new synthetic paper can be used with standard inks, it can be used on all offset printing presses, as well as UV inkjet printers. Synaps is available in a wide range of weights suitable for a wide variety of applications that have high demands on material robustness, or where the distinct nature of Synaps is valued. It can even be used in harsh outdoor environments since it is also resistant to water, tearing, and UV light. :DOTRIX MODULAR industrial inkjet press for flexible packaging The :Dotrix Modular press accommodates the needs of the flexible packaging market. The :Dotrix Modular is now the first digital press that can handle the media mix with sufficient adhesion that this market requires. Moreover, the :Dotrix Modular’s ability to print thin layers provides the look and feel the flexible packaging market demands. The :Dotrix Modular is among the most productive industrial full-colour UV inkjet presses available today. Its versatile engines print on many types of substrates, including the most common flexible packaging materials such as paper, multiwall, PE, PP, BOPP and PET, as well as folding cardboard and label materials such as heat-sensitive, pressure-sensitive and in-mould labels. This media mix makes the :Dotrix press a unique solution for the flexible packaging market segment. 20 :InterFACE 37 22 Nanotechnology Amazing microscopic finesse 24 :Apogee Media Integrated set of flexible publishing tools 26 Ecoprint 28 Trends in digital print No more chemicals Wide-format inkjet technology conquers the world The art of printing future Less is more Nanotechnology is a hot topic in various branches of science. Thanks to this strong piece of technical ingenuity, we can count on faster and smaller computers, better tennis balls, stain-free clothing, transparent and non-sticky sun cream, molecular sensors and new cancer treatments. Agfa Graphics also uses nanotechnology in the design of products for the graphics industry. The name nanotechnology is derived from the Greek word ‘nanos’, which means a dwarf. A very small dwarf, in this case. Because one nanometre is one billionth of a metre, one millionth of a millimetre, and one thousandth of a micrometre. Albert Einstein dealt with the subject in his doctoral thesis, in which among other things he wrote that he had calculated the scale of a sugar molecule: one ‘nanometre’ was his conclusion. Nano science is research on phenomena and processing of materials at atomic, molecular and macro-molecular scale. Nanotechnology is understood as the design, manufacturing and ap- 22 :InterFACE 37 plication of structures, instruments and systems by controlling the form and dimensions at the nanometre scale. This was the encyclopaedic explanation – now to practice. Thinking small In the past decades, scientists have developed and refined the possibility of ‘seeing’ individual atoms and molecules on the surface of materials and, for example, taking photographs of these. Today, they can even move atoms and molecules at the nano scale. Incidentally, this expertise is increasingly used in daily life. Nanotechnology ELIMINATE CANCER CELLS INDIVIDUALLY? The number one cause of death in Western countries, cancer, has been occupying medical science for many years. Known treatments such as radiation and chemotherapy fire a carpet bomb at the body. After all, they not only destroy malevolent cancer cells but also sound tissue and even vital organs. Nanotechnology should allow tumours to be detected much more precisely and to be treated locally. Today, tiny cameras that you swallow as a pill already exist. With these a doctor can look into someone’s body, even into the blood vessels. However, these wonderful devices are still too big to count as nanotechnology. At present, nanotechnology plates are being developed which recognise a tumour and take samples of it so its composition can be investigated. So-called aggressive medicines are encapsulated in glass beads via nano technology, so that they are harmless to the body. After they are absorbed very locally in the body, the location of the tumour is heated with infrared radiation until it bursts and the tumour is burnt away. DAY CREAM WITH PARTICLES OF GOLD Agfa Graphics goes nano Agfa Graphics uses nanodesigned materials to develop innovative products. Thus the ‘ThermofuseTM’ digital printing plate is made up of a 500 nm thin layer of nano latex beads. The diameter of each bead is 50 nm. On exposure with an 830 nm laser, the beads melt, which means that they can absorb ink. The nonexposed parts are hydrophile and can only absorb water. A 1000 nm aluminium oxide layer with nano pores that are between 10 and 40 nm thick is located under the nano latex layer. Thanks to this new technology, chemical development is no longer needed during the printing process. As a result, printers can save a lot of energy and produce hardly any waste. The aluminium substratum is fully recycled. Agfa Graphics have also implemented a great piece of design at ‘nanoscale’ in the newest colour inks for industrial inkjet printers. The basis for the inks is colour pigments which are made up of nano-crystals. Supra-molecular design techniques even allow the user to control the size of the nano pigments and the morphology of the crystals. As a result, these inks produce more strongly saturated colours than traditional silkscreen technology. Because they are dried with UV light, no harmful solvents are released during production and consequently they are also environmentally friendly. Is 500 euros for a pot of day cream pure snobbery? For a layman this appears very much to be the case. Maybe pure gold has been blended into the pot? Yes, indeed. Although the ingredient undoubtedly appeals to the imagination of sophistication-loving ladies, it is certainly not intended as an ornament. Active substances or even DNA are attached to the gold particles. After all, gold is the ideal substance for distributing active substances more effectively under the skin. Incidentally, golden nano particles are ruby red instead of yellow for use as a possible dye. How small is nano? s The full stop at the end of this sentence has a diameter of 300,000 nm. s Depending on the colour, a human hair is between 17,000 and 180,000 nm thick. s A red blood cell has a diameter of 6000 nm. s A finger nail grows by 5 to 10 nm every minute. s A typical germ is approximately 1000 nm. s A water molecule is smaller than a nanometre. sæShaquille O’Neal, the famous NBA basketball player, measures 2.16 m or 2,160,000,000 nanometres. :InterFACE 37 23 Integrated production from start to finish ‘With :Apogee Media, Agfa Graphics managed to develop a unique production platform for publishers. The way content management is integrated with layout and output for print is innovative to say the least. In addition, the architecture, based on industry standards, is designed to easily link to other output formats such as our web applications.’ Jean Lesage - CEO Virtual Paper, Canada 24 :InterFACE 37 Virtual Paper was developed in 2006 by Tree Technologies, a leader in IT, Web 2.0 and interactive media in Canada. Virtual Paper software makes it possible for paper content editors to transform their publications into an online magazines or web brochures and to publish them at low costs. :Apogee Suite automation Agfa Graphics continuously anticipates the rapidly changing needs of the print and publishing sectors, without evading the most difficult questions. This can also be seen in the launch of :Apogee Suite, a set of production tools which integrates all the content, proofing, output, connectivity and other elements into one working environment. The :Apogee Suite contains four clearly defined modules; :Apogee Publish, :Apogee Portal, :Apogee Prepress and :Apogee Color. Its development signals that the days are numbered when print buyers, content managers, designers, prepress and production managers need to work in an environment long on time-consuming manual intervention. Nowhere is this more in evidence than with :Apogee Media. This tool within :Apogee Publish is certain to have particular appeal to publishers; but anyone who has to manage input from a wide variety of sources is almost certain to be impressed with this page layout system with open standards and accessibility through a standard web browser. :Apogee Media indeed enables the acceptance of virtually any input from any source, in any form, from anywhere, and then incorporates them into an exceptionally flexible content management system. In addition :Apogee Media allows users to implement high levels of automation and adapt the system to suit the particular needs of quite specific working environments. ‘Revision and approval cycles of product brochures and datasheets in different languages are very time consuming. The nice thing about :Apogee Media is that it both simplifies and increases the efficiency of the collaboration with my print service provider.’ Dries Verdonck - Product Manager Würth, Belgium The core business of the Würth Group is the worldwide trade in fixing and assembly materials, including screws, screw accessories, dowels and plugs, chemical products, furniture and construction fittings, tools, and stock keeping and picking systems. al publications if necessary. :Apogee Media combines the openness of an XML-based content management solution with an extensive integration for printed publications using Adobe InDesign for layouts and Agfa Graphics’ :Apogee for pre-flight, proofing, colour management and automation. This control is not specific to one publication, but extends across any publication being worked on, regardless of what form its final output will take. Reducing the need for manual intervention not only speeds up production but lessens costly errors. Instead of storing files locally or in proprietary formats, all content is centrally managed and can be accessed and continually tracked as source material across sever- :InterFACE 37 25 1. Trees in the forest absorb CO2. 2. The trees are cut down. The trunks go to the sawmill. The undergrowth, crown and thinned out wood end up in the paper factory. The sawmill waste also ends up here. 6. Recycling 80% of magazines can be recycled seven times. 50% of European paper and cardboard is made up of old, recycled paper. Paper that is too dirty to be recycled is assigned a useful purpose: it is composted or converted into insulating material. Old paper can be used as fuel for incinerators. 5. Printing In the past, printing works stored their ink in drums. Today they opt for environmentally friendly solutions with less residual ink, such as pump silos or large ink capsules. The use of natural inks based on vegetable oils is also increasing. Lacquered paper is robust, water-resistant and attractive. But it contains polyethylene and is difficult to recycle. This is why most paper companies now opt for a waterproof coating. This does not contain any plastic, is biologically degradable and can be easily repulped or composted. Operating printing presses demands a lot of energy. Solar panels are extremely suitable for this: 1,200 photovoltaic cells produce 180,000 kWh of ‘green’ electricity annually. This reduces annual CO² emissions by over 150 tonnes. Cycle from the forest to printed 26 :InterFACE 37 Ecoprint AGFA GRAPHICS HELPS PRINTERS OPERATE MORE ENVIRONMENTALLY-FRIENDLY 3. In the paper factory Water clarification sludge is released during paper production. It contains a lot of organic substances and minerals. The sludge can be used as fertiliser. Many paper factories have their own energy plant nowadays. They burn tree bark and unusable tree residues and thus provide for a part of their own energy needs. The paper industry is investing heavily in environmentally friendly technologies and is trying to combat waste as much as possible via recycling. sæIn a very short space of time, the chemistry-free thermal printing plate :Azura has revolutionized the global printing market. That accounts for the great enthusiasm of the more than 2000 customers all over the world. :Azura uses Agfa Graphics’ Thermofuse™ technology. After exposure, the plate is washed out and gummed with a water-based gum. No caustic developer or rinsing water is used. The new violet-laser chemistry-free plates of Agfa Graphics also produce significantly less chemical waste. Because they do not need pre-washing, water consumption is also reduced. Read more about :Azura on pages 20 and 22. sæThe :Amigo printing plate, designed for longer press runs, also uses Thermofuse™ technology, leading to less chemical waste compared to traditional thermal plates. sæThanks to the :Energy Elite printing plate the press uses less alcohol, while the blanket requires less washing – two elements that reduce VOCs (volatile organic compounds). In addition, the developer increases bath life. And because :Energy Elite printing plates do not require baking, printers also save energy. Read more about :Energy Elite on page 4. sæ:Arkitex Afirma software checks every element of the plate production process. The result is highly consistent plate production, which means less waste. 4. Pre-press Pre-press was a very dirty step in the printing process fifteen years ago. The creation of printing films was very harsh on the environment in particular. Thanks to digital developments in imposition and photography, many harmful chemicals have already disappeared. Pre-press is also a lot more environmentally friendly with new chemical-free printing plates. paper Designers care for environment The 45th Annual Print Design Survey, conducted by Graphic Design USA magazine and sponsored by Agfa Graphics asked graphic designers what they look for in a commercial printer. As in past years, quality and price battle it out for the top spot, with customer service and trust not far behind. Environmentally-friendly practices leaped into fifth place, from virtually nowhere in the past. sæJDF (Job Definition Format) in workflow software links business processes and pre-press, and eliminates paper job jackets. sæ:Arkitex OptiInk (newspapers) and :Apogee InkSave (commercial printers) give printers the means to save up to 25% in ink consumption. The software requires less drying powder, shorter start-ups and more stable runs. :Arkitex AutoInk (newspapers) and :Apogee InkDrive (commercial printers) automatic ink adjustment software provides faster press start-ups and less paper waste. sæThe :Apogee softproofing tools eliminate hardcopy proofs and thus save on paper, ink and energy. When a hardcopy proof is essential, proofing software determines the optimum page position to minimize paper waste. sæThe uv-curable inks of Agfa Graphics, used in industrial inkjet systems, contain no VOCs (volatile organic compounds) and are therefore better for the environment and health. :InterFACE 37 27 Wide-format digital inkjet continues to gain worldwide market share Thanks to digital options, printing methods which were little more than a dream during the 1990s have now become daily reality, with the combination of quality and speed being easy to achieve without compromise. Wide-format inkjet production is now used universally by sign makers and screen printers as well as print service providers. © Sophie Matthews-Paul 28 :InterFACE 37 Trends digital printing The flexibility of wide-format is demonstrated in the vast range of applications which can now be produced economically, ranging from posters and signs, banners, billboards, vehicle wraps and liveries through to building wraps. The advantage of digital print has always been its suitability for one-offs and low volumes with minimal make-ready. However, with high speeds and versatility both on offer with digital machines, the break-point between inkjet and screen-printing remains variable. Similarly, the demand for streamlined and automatic finishing processes, such as contour cutting and creasing, has been fine-tuned to accommodate the rate of output of the printer and, thus, avoid bottlenecks. Wide-format digital print has unlocked creativity throughout the production chain but it is not a technology which necessarily is driven by high prices in terms of investment. This industry segment provides the means with which anyone, from photographers and fine artists, through sign-makers, print service providers and screen- and offset printers, can incorporate the ability to output just-in-time jobs. UV inks gain the upper hand The first to come to market, the main manufacturers of aqueous-based printers, are continuing to release systems offering a greater choice of widths and high quality output. This proves that this market sector is still thriving for displays as well as photography and fine art applications. Printing platforms which use eco-, low- and fullsolvent formulations have the advantage of being suitable for use on a broad range of coated and uncoated materials. They are complemented by their excellent colour vivacity and accuracy, and the fact that the inks themselves are relatively inexpensive. However, they cannot be used satisfactorily on rigid materials, and Forecasts show that it will be UV-curable ink technology which will continue to gain market share worldwide. The ability to print direct to rigid and flexible materials is becoming an essential service offered by display producers of all sizes. Environmental considerations, along with good durability, are also increasingly responsible for growing investments in this type of machine. The market for textile printers has grown during the past year with applications extending beyond sampling into the production of flags, banners, furnishings and soft signs. Dye sublimation is complemented by options available for printing direct to fabrics with acid, reactive and disperse dyes that are now enhancing capabilities beyond polyester based materials and enabling durable output onto natural fibres. Digital printing is growing The 45th Annual Print Design Survey, conducted by Graphic Design USA magazine and sponsored by Agfa Graphics, documents that creative firms are embracing digital printing as color and image quality has improved, as designers become educated about specific advantages of the technology, and as the service has become more accessible. Use of digital printing continues at a record level: up 5% from a record-breaking figure last year. Despite a feared economic slow-down, the next twelve months will see all areas of wide-format inkjet continue to grow. Increasingly, print providers need to extend the services they offer their clients. Investing sensibly in the most suitable type of ink technology will help many of these businesses survive in an increasingly competitive market. TAKING DIGITAL PRINTING TO GREATER HEIGHTS At drupa, Agfa Graphics debuted the newest additions to its family of highly reliable and cost-efficient inkjet printers: s The :Anapurna XLS (up to 250 cm) is designed to eliminate the need for users to compromise between speed and quality as it is specially designed to provide photographic quality at high production speeds. s The :Anapurna Mv (up to 160 cm) will offer the image quality of the popular :Anapurna M, but can additionally add a spot of flood varnish to further improve printed materials’ cosmetic appearance. s The :Anapurna M4f (up to 160 cm) also has the same robust design as the :Anapurna M. It has four CMYK printheads and is positioned as a rigid printer only with roll-to-roll as an option. The M4f is the entry level UV-ink printer of Agfa’s :Anapurna range. The addition of the XLS, Mv and M4f to the :Anapurna family, which includes the L, XL, XL2 and M models, gives Agfa Graphics one of the world’s widest ranges of wide-format UV printing engines in the professional inkjet marketplace today, and a clear leadership position in inkjet technology. The industrial inkjet line addresses nearly every possible segment-specific need in the digital press marketplace. The entire :Anapurna family delivers exceptional results for indoor and outdoor applications, both on uncoated rigid media, such as corrugated boards, rigid plastics, exhibition panels, stage graphics and advertising panels, and on roll media such as film, vinyl and paper, canvas and banners. All :Anapurna printers use Agfamade UV-curable ink. :InterFACE 37 29 a contributor to several specialist magazines worldwide and an associate consultant and analyst for InfoTrends. Fast and flexible they also carry environmental disadvantages in terms of VOCs and emissions. Sophie Matthews-Paul is an independent consultant concentrating on wide-format digital print and its use in industry today. She is also The wide-format digital printing sector is, and will continue to be, limited to an extent by the suitability of available print-head technologies to handle extensions to the standard range of ink types and extras, such as white and varnish. Nonetheless, developments are certain to continue with research and development in machines, inks and materials being carried across to different industries as well as within the graphic arts and display segments. After work Time-off in Düsseldorf ‘Düsseldorf is very beautiful’, the city’s most famous son, the poet Heinrich Heine, once said. But is there also something to do in the evening hours? We went to find out for you. HAVING A DRINK DELICIOUS CUISINE sæ"ENKAY is an elegant Japanese restaurant and a stopping point for many business people. The sushi, which Mick Jagger has tried, is of the very best quality. Of course, the menu includes other mouth-watering classics such as miso soup, tempura, shellfish and typical Japanese desserts. Benkay, Immermannstraße 41, Düsseldorf, 0211-834 26 20 13 minutes from the trade fair by taxi, 6.05 km sæ4HEæSMALLæ,OCANDAæ-INAæ"AR is fitted out in modern style. When the weather is nice it is lovely to stay on its terrace, which is completely cut off from the traffic. Both Italian cuisine and home-style dishes emerge from the kitchen: from squid carpaccio to linguine with orange sauce to wolf fish with crunchy vegetables: every dish here is equally appetising. The wine list offers great bottles at democratic prices. Locanda Mina Bar, Talstraße 2a, Düsseldorf, 0211-994 595 91. 15 minutes from the trade fair by taxi, 7.26 km sæ!NYONEæWHOæLIKESæ'REEKæCUISINEæABSOLUTELYæMUSTæVISITæ!SKITIS Everything is possible here from a business meeting to a family party. Do not think of getting copious dishes of gyros and tzaziki - you eat relNEDæ'REEKæFOODæHEREæVINEæLEAVESæSTUFFEDæWITHæOLIVESæALMONDæMOUSSEæ couscous salad with paprika and mint as a starter, grilled prime steak or squid risotto as a main course. Highly recommended! Askitis, Herderstraße 73, Düsseldorf, 0211-602 07 13. 15 minutes from the trade fair by taxi, 6.56 km 30 :InterFACE 37 sæ)Næ#AFEæDELæ3OL you can let the stress melt away with a drink and a wonderful view of the Rhine. The UFO-shaped building will remind you of a science fiction film from the 1950s. The atmosphere is so convivial that your hotel bed can wait just a little longer. Cafe del Sol, Niederkasseler Deich 285, Düsseldorf, 0172-507 39 24. 13 minutes from the trade fair by taxi, 6.39 km sæ#OCKTAILæENTHUSIASTSæGATHERæINæ"ARæ!LEXANDRAæWHEREæTHEæBOTTLESæSTANDæ in long rows against the large mirror. Try the ‘Black Velvet’, a cocktail with 'UINNESSæANDæCHAMPAGNEæINæPARTICULARæ!æHIGHQUALITYæCREATIVEæBAR Bar Alexandra, Merowingerstraße 18, Düsseldorf, 0211-31 33 66. 18 minutes from the trade fair by taxi, 9.02 km sæ,UNAæ.EGRA mainly attracts the over 30s set. It is a nice, somewhat dark bar, where people like to try several drinks. If you have taken just ONEæTOOæMANYæSOMEæTAPASæORæ!SIANæSNACKSæWILLæENSUREæTHATæYOUælNDæTHEæ way back to your hotel without difficulty. Luna Negra, Oberkasseler Straße 100, Düsseldorf, 0211-529 28 31. 16 minutes from the trade fair by taxi, 7.04 km sæ)Næ#IGARWORLD, you can enjoy the best cigars in heavy leather armCHAIRSæ!æGIGANTICæTEMPLEæOFæTOBACCOæFORæREALæFANS Cigarworld, Burghofstraße 28, Düsseldorf, 0211-157 63 10. 18 minutes from the trade fair by taxi, 8.33 km QUICK SHOPPING Forgotten something? Promised a gift? Düsseldorf is a fashionable city so everything can be arranged. You will find flagship stores alongside LUXURYæSHOPSæONæCHICæ+NIGSALLEEæ)FæITæISæRAININGæYOUæCANæALWAYSæVISITæAæ shopping centre such as +GALERIEæWITHææINTERNATIONALæANDæEXCLUsive brands. Everything is under one roof: accessories, fashion, leather goods, beauty, sports articles and decorations...You are sure to find what you fancy here! Kö-galerie, Königsallee 60E, Düsseldorf, 0211-862 07 60 14 minutes from the trade fair by taxi, 6.22 km 340 lpi :Sublima 175 lpi ABS 240 lpi :Sublima The :Sublima difference Looking for a stable, easy-to-use and extremely high-quality screening solution? Agfa Graphics’hybrid screening :Sublima allows photorealistic printing without compromise on press. It brings out details you didn’t even know were there. See the difference? Vorsprung durch Technik www.audi.be The Audi R8. Born of powerful ideas. The code R8 is taken from one of the most successful racing cars of all time – its pioneering victories and long-distance records earned it legendary status in motor racing. Today, another sports car bearing this name is on the starting grid. It is born of powerful ideas with which Audi has written motoring history. 70 years ago, a light aluminium construction changed the face of motor racing. And this is what’s behind the R8’s light yet rigid structure – an aluminium and magnesium chassis called the Audi Space Frame ASF. Embedded in this chassis is another idea which is still setting the pace in motor racing today – the mid-engine. In combination with FSI technology and quattro®, it makes up the powerhouse of the new Audi R8. The result is a sports car which embodies automotive perfection. Combined fuel consumption (l/100 km) : 13,6 - 14,6 / CO2 emissions (g/km): 325-349. Shown model with equipment’s. Environmental information (RD 19/03/2004) : www.audi.be 4588_PM_R8_297x210_UK.indd 1 25/04/08 11:26:21