Rob van den Braak

Laurel Brunner: Gathering Carbon Footprint Data

24 apr 2016
Categorie:

recycle-symbol-iso-circular-sign-is-1289At HP’s recent pre-drupa press conference in Israel a colleague asked how we can trust the accuracy of carbon footprint calculations. We were discussing HP’s commitment to doing full Life Cycle Analyses (LCA) for its Indigo digital presses, so that the associated CO2 can be offset. How far can you trust the numbers? Where does a company start with its CO2 calculations?

Fair questions and ones that many people will be inclined to ask, because without a doubt this is tricky stuff. The whole idea of making every single bit of a machine accountable in some way is mind boggling. This may be why the thought of doing CO2 calculations is offputting for all but the most dedicated environmentalist. Most of us are not trained environmental scientists, but rather care about the environment because we understand that without it there isn’t much else.

Fortunately the people who are trained in environmental science are gainfully employed, coming up with tools that the rest of us can use making a difficult task marginally less so. This is how HP and other companies such as Ricoh have come up with accountable numbers for their carbon calculations. They use reputable reference databases as the source of footprinting data for components such as steel and aluminium or plastics.

There are many reference databases specialised for different industry sectors, and useful for manufacturers of graphics systems. Environmental Product Declarations (EPD) are another source of carbon footprint data. An EPD provides the data necessary for LCA studies providing values for the embodied carbon. This is the lifecycle greenhouse gas emissions of a material expressed as carbon dioxide equivalents: CO2e. The value takes into account the manufacture and transport of a material from mining the raw material through to its end-of-life. In the case of materials that are readily recycled such as steel or aluminium, this doesn’t happen soon so the impact is relatively low.

The good news is that there is an answer to the question of how we know or how we can trust a digital press’s LCA and associated carbon footprint value. The bad news is that doing an LCA is extremely complicated for the common man and few companies have the resources or the inclination to do an LCA for a press.

But they should because an LCA provides the data necessary for benchmarking a device’s environmental impact. This gives manufacturers a starting point for improvements, such as reducing waste during production. Saving materials saves costs for end users, so doing an LCA on a printing press benefits all of us as well as the planet.

Laurel Brunner

 

Verdigris_logo

This blog has been made possible by: Agfa Graphics (www.agfa.com), Digital Dots (http://digitaldots.org), drupa (www.drupa.com), EFI (www.efi.com), Fespa (www.fespa.com), Heidelberg (www.uk.heidelberg.com), Kodak (www.kodak.com/go/sustainability), Mondi (www.mondigroup.com/products), Pragati Offset (www.pragati.com), Ricoh (www.ricoh.com), Shimizu Printing (www.shzpp.co.jp), Splash PR (www.splashpr.co.uk), Unity Publishing (http://unity-publishing.co.uk) and Xeikon (www.xeikon.com).
Blokboek.com is the Dutch media partner of Verdrigris, a non-profit initiative which aims to realistically chart the real footprint of printing and which helps companies and organisations to lower that footprint. More information about Verdrigris can be found via this link.


 

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Eversify Classic/Hybride/Interactive: digital publishing via a tailored solution

24 apr 2016
Categorie: ,,

Schermafbeelding 2016-04-24 om 07.37.20

Digital publishing is a tailored job – every publisher and process
requires a dedicated approach. Eversify from Agfa Graphics does not just
simplify the digital publishing progress, it also allows users to opt
for a tailored solution. Eversify Classic allows users to automatically
publish PDFs to all known computer devices and operating systems and to
sort out subscriptions and payments. Eversify Hybrid enables users to
import XML/HTML and provides access to the extended Google Analytics
data. Eversify Interactive also adds extra social media possibilities,
games and puzzles, push notification and HTML5 browser rendering. Check
out here the different options.


 

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NASA 1970 Graphics Manual: how to apply and sell a house style

23 apr 2016
Categorie: ,

Nasa Graphics Manual 1970Graphic designers count the NASA 1970 Graphics Manual as the benchmark, and regularly used example, of how a house style should be applied and possibly sold.

There were only 40 copies of this manual at the time which are now worth a fortune. Thanks to designers Jesse Reed and Hamish Smyth, who collected nearly a million dollars via Kickstarter, a replica of the manual is now available for $79. A free PDF is also available from our downloads page. A must-read if you are looking for inspiration, or after a good example of what a graphics standard manual should look like.


 

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PDF Actuell: the new PDF export functions of InDesign

23 apr 2016
Categorie:

PDF Aktuell 2016Adobe InDesign 2015.3 has two  new options to export PDFs. This is the main subject of the new PDF Aktuell Newsletter. The newsletter also features the PDF Days Europe which will be held on 14 and 15 June in Berlin, and more news from PDF expert Stephan Jaeggi. Read this very interesting newsletter via this link.


 

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Elitron met automatische materiaal laders en snijtafels op drupa

22 apr 2016
Categorie:
Elitron DrupaDe Italiaanse specialist in snijtafel en automatische laad/ontlaad systemen Elitron toont op drupa zijn complete lijn systemen zoals de Kombo TAV een laad/ontlaad systeem dat je ook kunt vinden op stands van digitale printer fabrikanten. Lees meer over Elitron in onderstaand persbericht.

Monte Urano (Italy) – 11th April 2016 – Elitron will unveil new solutions for the Packaging and Digital Printing Industries at the upcoming Drupa, to change the existing concept of industrial automation.

Their existing high-performance cutting system, along with the automatic loading-unloading system creates a fully automated production workflow – however Elitron have now taken this one-step further. This Superplotter with two cutting heads, and two all-Italian automation patents on board, marks once again the turning point towards full automation.

Elitron launched the Kombo TAV for the first time in 2011, and since then the system has undergone several technological upgrades to meet the ever-changing needs of the industry. The fully automated Kombo TAV, equipped with the new, cutting-edge handling system, can be seamlessly integrated into existing production workflows. This modular, totally flexible, logistic system is designed ad hoc for each productive site in order to speed up the overall production cycle. Flexible enough to manage short and complex production runs, and facilitating full 24/7 production.

Kombo TAV is increasingly sought-after by the largest north European companies, as it represents the new concept of automated production specifically for the packaging industry. It is the most productive choice to create signage, POS displays, boxes and packaging – all completely die-less.

Those who have already invested in the unique, fully automatic Kombo TAV, couldn’t be more satisfied with the results of their new integrated workflow.

You now just have to wait for Drupa in order to touch this productive, industrial automation evolution first-hand, and see the other digital finishing innovations and news from Elitron.

Drupa – Hall 6 / D42


Lees verder....

Elitron at drupa with automatic loading-unloading systems and cutting systems

22 apr 2016
Categorie:

Elitron DrupaElitron, the Italian specialist in cutting systems and automatic loading-unloading systems will show its complete series of systems at drupa. One example is the Kombo TAV, a load-unload system which can also be found on the stands of various digital printer manufacturers.
More about Elitron in the press release below.


Monte Urano (Italy) – 11th April 2016 – Elitron will unveil new solutions for the Packaging and Digital Printing Industries at the upcoming Drupa, to change the existing concept of industrial automation.

Their existing high-performance cutting system, along with the automatic loading-unloading system creates a fully automated production workflow – however Elitron have now taken this one-step further. This Superplotter with two cutting heads, and two all-Italian automation patents on board, marks once again the turning point towards full automation.

Elitron launched the Kombo TAV for the first time in 2011, and since then the system has undergone several technological upgrades to meet the ever-changing needs of the industry. The fully automated Kombo TAV, equipped with the new, cutting-edge handling system, can be seamlessly integrated into existing production workflows. This modular, totally flexible, logistic system is designed ad hoc for each productive site in order to speed up the overall production cycle. Flexible enough to manage short and complex production runs, and facilitating full 24/7 production.

Kombo TAV is increasingly sought-after by the largest north European companies, as it represents the new concept of automated production specifically for the packaging industry. It is the most productive choice to create signage, POS displays, boxes and packaging – all completely die-less.

Those who have already invested in the unique, fully automatic Kombo TAV, couldn’t be more satisfied with the results of their new integrated workflow.

You now just have to wait for Drupa in order to touch this productive, industrial automation evolution first-hand, and see the other digital finishing innovations and news from Elitron.

Drupa – Hall 6 / D42

Lees verder....

FESPA Column: The future of wide format printing

22 apr 2016
Categorie:

For the occasion of their 10th anniversary FESPA published their vision for the future of wide format printing.  According to Roz McGuinness, Divisional Director FESPA this future is bright. Thanks to technological innovations wide format digital printers are suitable for more and more applications and for any volume.

Read about FESPA´s vision in the editorial below.


What’s next for wide format digital print?

Roz McGuinness, Divisional DirectorBy-lined to Roz McGuinness, Divisional Director, FESPA

As we celebrated the 10th anniversary of FESPA Digital in Amsterdam recently, it was clear that the growth in digital wide format printing we anticipated when we set up the show has indeed turned out to be explosive, enabling new applications and creating opportunities. However, with digital print still accounting for less than 20% of the overall global print market today, the scope for further growth is enormous.

Certainly, while walking around the show floor at what was our largest ever digital event, it was clear that when it comes to opening up new markets, we’ve only seen the beginning of what wide format digital print can do. Visitors and exhibitors alike had stories to tell about how they’re developing new applications and business models that have the short-run, print-on-demand and variability capabilities of digital print at their core.

Print your world

Whether you were looking at wallpaper printed with photography, intricately patterned ceramics or furniture that corrects acoustics, one theme pervaded the RAI exhibition centre throughout the four days of FESPA Digital 2016 – wide format digital print technology is no longer just for visual communication applications; it is now having a real impact in industry and in both commercial and home environments.

The boundaries between application and customer segments are blurring and wide format digital print today is integrated throughout a broad spread of different sectors. Throughout the show there were examples of manufacturers and print service providers working creatively to find new ways to use print. It’s clear that the future is one of endless possibilities.

Industrial innovation

Many of the innovative applications we saw at FESPA Digital this year could be classified as ‘industrial print’. From a bamboo-effect bicycle and customised clothing to kitchenware, paper furniture and photo-quality flooring, digital print is rapidly becoming an essential part of the manufacturing process.

It has a strong appeal for industrial applications, with its suitability for just-in-time production making it ideal both for reacting to trends in real time and managing stock levels through print-on-demand. This is one of the reasons that industrial print is tipped to be one of the big growth areas for wide format digital print over the coming decade. Projections suggest that the market will be valued at over $100 billion within the next two years, more than double its 2013 value. Certainly, the volume of specialised substrates, inks and software solutions that we saw showcased at FESPA Digital reflected industrial print’s growing importance in the market.

Reflecting design trends

Many applications that fall under the ‘industrial printing’ umbrella are growing in popularity for corporate, hospitality and home interiors, something that was clear to see from the tremendous visitor interest in Printeriors at FESPA Digital 2016. In the Printeriors Café we saw the walls of an art gallery transposed onto the floor using digital print across a variety of substrates, while photographs printed on the walls of the café gave people the chance to enjoy a ‘window’ view of the city of Amsterdam from inside the RAI.

One of the goals of Printeriors is for the wide format digital print community to build bridges with the design community. From the way that current design trends were reflected in the printed rooms throughout the show, I think that this is certainly happening. Reflecting the popular ‘rough luxe’ trend, for example, there were numerous applications in which printed effects mimicked a raw material so well that people actually felt the need to walk up and touch it, just to check it wasn’t really the marble or wood that their eyes told them it was. There were also numerous examples of the seamless gradations between colours and patterns that are achievable with digital print, while custom-printed furniture and wallpaper reflected the growing consumer demand for customisation.

Fast production of short runs

Whether you were looking at interiors, signage, textile, industrial or garment printing applications at FESPA Digital 2016, it was clear that the ability to quickly adapt to changing trends is a big driving force behind digital print’s increasing prominence. Wherever you looked, equipment manufacturers were highlighting the appeal of digital production for fast and high quality printing of short runs, enabling production of one-off items or making it possible to produce small quantities to avoid overproduction. There was also a lot of emphasis on automating workflows, something that we saw in everything from software solutions and digital cutting through to full end-to-end equipment line-ups. Both point to a growing move toward more agile business and production models.

Enabling diversification and inspiring creativity

Diversification has become something of a watchword for the wide format digital print sector and I think that this was visible at FESPA Digital this year in everything from product launches to the spectrum of different industries from which our visitors came. We saw exhibitors showcasing software solutions, substrates and inks developed for specific applications, while equipment manufacturers expanded their entry-level offerings to open doors for print businesses that have previously not been able to offer textile printing, direct-to-garment printing or thermoforming.

However, while technological innovation is one of the factors driving diversification, it’s the creativity of the wide format digital print community that turns technological innovation into real-world applications. Based on what we saw at FESPA Digital 2016, I believe that the combination of diversification and creativity will shape the future of the industry over the next ten years. I am certainly looking forward to seeing how much growth areas such as textiles and interiors have developed by the time we host our Global Expo, FESPA 2017 in Hamburg (8 – 12 May 2017) – based on current growth rates I expect that FESPA Textile and Printeriors at that event will be very exciting indeed.

Lees verder....

FESPA Column: De toekomst van groot formaat printing

22 apr 2016
Categorie:

Ter gelegenheid van haar 10 jarig bestaan publiceerde FESPA haar visie op de toekomst van groot formaat printing. Die is volgens Roz McGuinness, divisie directeur van FESPA, rooskleurig. Dankzij technische innovaties kunnen groot formaat digitale printers ingezet worden in steeds meer toepassingen en in elke oplaaggrootte. Lees de visie van FESPA in de onderstaand column.


What’s next for wide format digital print?

Roz McGuinness, Divisional DirectorBy-lined to Roz McGuinness, Divisional Director, FESPA

As we celebrated the 10th anniversary of FESPA Digital in Amsterdam recently, it was clear that the growth in digital wide format printing we anticipated when we set up the show has indeed turned out to be explosive, enabling new applications and creating opportunities. However, with digital print still accounting for less than 20% of the overall global print market today, the scope for further growth is enormous.

Certainly, while walking around the show floor at what was our largest ever digital event, it was clear that when it comes to opening up new markets, we’ve only seen the beginning of what wide format digital print can do. Visitors and exhibitors alike had stories to tell about how they’re developing new applications and business models that have the short-run, print-on-demand and variability capabilities of digital print at their core.

Print your world

Whether you were looking at wallpaper printed with photography, intricately patterned ceramics or furniture that corrects acoustics, one theme pervaded the RAI exhibition centre throughout the four days of FESPA Digital 2016 – wide format digital print technology is no longer just for visual communication applications; it is now having a real impact in industry and in both commercial and home environments.

The boundaries between application and customer segments are blurring and wide format digital print today is integrated throughout a broad spread of different sectors. Throughout the show there were examples of manufacturers and print service providers working creatively to find new ways to use print. It’s clear that the future is one of endless possibilities.

Industrial innovation

Many of the innovative applications we saw at FESPA Digital this year could be classified as ‘industrial print’. From a bamboo-effect bicycle and customised clothing to kitchenware, paper furniture and photo-quality flooring, digital print is rapidly becoming an essential part of the manufacturing process.

It has a strong appeal for industrial applications, with its suitability for just-in-time production making it ideal both for reacting to trends in real time and managing stock levels through print-on-demand. This is one of the reasons that industrial print is tipped to be one of the big growth areas for wide format digital print over the coming decade. Projections suggest that the market will be valued at over $100 billion within the next two years, more than double its 2013 value. Certainly, the volume of specialised substrates, inks and software solutions that we saw showcased at FESPA Digital reflected industrial print’s growing importance in the market.

Reflecting design trends

Many applications that fall under the ‘industrial printing’ umbrella are growing in popularity for corporate, hospitality and home interiors, something that was clear to see from the tremendous visitor interest in Printeriors at FESPA Digital 2016. In the Printeriors Café we saw the walls of an art gallery transposed onto the floor using digital print across a variety of substrates, while photographs printed on the walls of the café gave people the chance to enjoy a ‘window’ view of the city of Amsterdam from inside the RAI.

One of the goals of Printeriors is for the wide format digital print community to build bridges with the design community. From the way that current design trends were reflected in the printed rooms throughout the show, I think that this is certainly happening. Reflecting the popular ‘rough luxe’ trend, for example, there were numerous applications in which printed effects mimicked a raw material so well that people actually felt the need to walk up and touch it, just to check it wasn’t really the marble or wood that their eyes told them it was. There were also numerous examples of the seamless gradations between colours and patterns that are achievable with digital print, while custom-printed furniture and wallpaper reflected the growing consumer demand for customisation.

Fast production of short runs

Whether you were looking at interiors, signage, textile, industrial or garment printing applications at FESPA Digital 2016, it was clear that the ability to quickly adapt to changing trends is a big driving force behind digital print’s increasing prominence. Wherever you looked, equipment manufacturers were highlighting the appeal of digital production for fast and high quality printing of short runs, enabling production of one-off items or making it possible to produce small quantities to avoid overproduction. There was also a lot of emphasis on automating workflows, something that we saw in everything from software solutions and digital cutting through to full end-to-end equipment line-ups. Both point to a growing move toward more agile business and production models.

Enabling diversification and inspiring creativity

Diversification has become something of a watchword for the wide format digital print sector and I think that this was visible at FESPA Digital this year in everything from product launches to the spectrum of different industries from which our visitors came. We saw exhibitors showcasing software solutions, substrates and inks developed for specific applications, while equipment manufacturers expanded their entry-level offerings to open doors for print businesses that have previously not been able to offer textile printing, direct-to-garment printing or thermoforming.

However, while technological innovation is one of the factors driving diversification, it’s the creativity of the wide format digital print community that turns technological innovation into real-world applications. Based on what we saw at FESPA Digital 2016, I believe that the combination of diversification and creativity will shape the future of the industry over the next ten years. I am certainly looking forward to seeing how much growth areas such as textiles and interiors have developed by the time we host our Global Expo, FESPA 2017 in Hamburg (8 – 12 May 2017) – based on current growth rates I expect that FESPA Textile and Printeriors at that event will be very exciting indeed.

 

Lees verder....

#8/11: Automatisering van de afwerking op drupa 2000 versus de hybride productiesystemen op drupa 2016

22 apr 2016
Categorie:

Geranium 8Op drupa 2000 zagen we de eerste volledig geautomatiseerde afwerkingsystemen die de data van digitale prepress workflows konden gebruiken om insteltijden te bekorten en foutkansen te verminderen. Finishing was nog de laatste schakel in het grafisch productieproces die deze belangrijke stap niet gemaakt had. Drijvende kracht achter deze vernieuwing was niet alleen de toen ook al noodzakelijke kostenbesparing, maar ook de trend naar steeds kleinere oplagen en de vraag van opdrachtgevers naar steeds kortere levertijden. Van zwart/wit printers met een inline bookletmaker tot complete bindstraten stonden op drupa 2000 volop in de belangstelling. Lees in #8 van onze Drupa Achter de Geraniums serie welke gigantische veranderingen afwerking heeft door gemaakt en wat ons op drupa 2016 te wachten staat.


 

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Automatisering van de afwerking op drupa 2000 versus de hybride productiesystemen op drupa 2016

21 apr 2016
Categorie:

Muller Martini PrestoOp drupa 2000 zagen we de eerste volledig geautomatiseerde afwerkingsystemen die de data van digitale prepress workflows konden gebruiken om insteltijden te bekorten en foutkansen te verminderen. Finishing was nog de laatste schakel in het grafisch productieproces die deze belangrijke stap niet gemaakt had. Drijvende kracht achter deze vernieuwing was niet alleen de toen ook al noodzakelijke kostenbesparing, maar ook de trend naar steeds kleinere oplagen en de vraag van opdrachtgevers naar steeds kortere levertijden. Van zwart/wit printers met een inline bookletmaker tot complete bindstraten stonden op drupa 2000 volop in de belangstelling. Automatisering van de afwerking was geen eenvoudige stap. De veelvoud aan papiersoorten, afwerkingsopties en het verschil in benodigde productietijd tussen afdruk- en afwerksystemen vragen het uiterste van ontwerpers en fabrikanten van deze oplossingen. Daarbij kwam en komt dat de meestal zelfstandige afwerkingsbedrijven voor een veelvoud aan opdrachtgevers werken en hun prijzen altijd onder druk staan, wat subtantiele investeringen niet makkelijker maakt. Afwerkers die zelf gingen printen en printing on demand bedrijven die het hele proces in huis wilden hebben waren de eerste klanten voor geautomatiseerde afwerkingsystemen van fabrikanten als Muller Martini, C.P. Bourg en Horizon.

Digital printing vraagt om inline finishing
Xerox iGen Booklet MakerDe opkomst van Printing on Demand in 2000 betekende dat de laatste schakel in het grafische productieproces meer aandacht kreeg van fabrikanten. En dat waren niet alleen de traditionele afwerkapparatuurbouwers. Ook persenbouwers zoals Heidelberg en GOS ontwikkelde zelf afwerksystemen of gingen partnerovereenkomsten aan met die traditionele afwerkapparatuurbouwers. Een pure noodzaak omdat het ontwikkelen van softwarekoppelingen tussen drukpersen en afwerkapparatuur nog complexer is dan de hardwarematig interface tussen die pers en het afwerksysteem. Samenwerking was ook geboden in de koppeling van workflowsystemen, van Web2Print, digitale prepress tot management informatie systemen moeten om een optimale automatisering te bereiken met elkaar kunnen praten. Op drupa 2000 zagen we daar de eerste stappen, gestimuleerd door standaards zoals het Adobe Portabele Job Format. Het was nog een lange weg tot wat we op drupa 2016 kunnen zien. Niet alleen bij de grote fabrikanten zoals EFI, Agfa, HP, Heidelberg en Fuji, maar ook bij de kleinere automatiseringspecialisten die je in het DIP paviljoen kunt vinden.

Drupa 2016: 1024 finishing stands
KERN-3000Op drupa 2016 zijn er maar liefst 1024 stands waar je afwerkingoplossingen kunt zien. En de meeste ervan tonen geautomatiseerde systemen, van snijstraten tot complete boekproductielijnen kun je in werking zien. Imposant is ook de koppeling van direct mail en industriele printoplossingen van fabrikanten zoals Kern en Domino. Bij DM is kostprijs, snelheid en piekcapaciteit geoptimaliseerd door verregaande automatisering. Automatisering die er ook voor zorgt dat de Big Data correct omgezet wordt in grafische producties waarbij afdruktechnieken en afwerkingsmogelijkheden ingezet worden om consumenten tot aankopen te verleiden.

 


 

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Eversify Blog: alles over multi channel publishing met een click

21 apr 2016
Categorie:

Eversify PlaatjeAgfa Eversify is één van de slimste multi channel oplossingen die je op drupa 2016 live in actie kunt zien. Met een paar clicks kan een papieren publicatie omgezet worden in een e-pub en die kan als app gedistribueerd worden. Daarmee kunnen uitgevers een extra inkomstenstroom genereren en lezers van gedrukte informatie een extra service aangeboden worden. Wil je op de hoogte blijven van alle ontwikkelingen rond Agfa Eversify neem dan een kijkje op het Eversify blog via deze link.


 

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Xitron focust op samenwerking en komt met nieuwe rip interfaces naar drupa

21 apr 2016
Categorie:

Xitron Harlequen RIP ScreenOp meer dan 12 stands kun je straks op drupa Xitron rips in werking zien bij Xitron partners zoals Glunz & Jensen, Presstek en Krause. De Navigator rip krijgt op de drupa ook een nieuwe interfacemogelijkheid, met SCSI kunnen nu ook gebruikers van een Creo Trendsetter en CtP systemen uit de Fuji VX serie ge-update worden naar de nieuwste mogelijkheden op snellere computers. Lees meer Xitron drupa nieuws in het onderstaande persbericht.


Exhibiting in 15 stands throughout the show, as well as their own in the USA Pavilion

Ann Arbor, Michigan – April 18, 2016 – Xitron, the leading independent developer of RIP and workflow products for commercial, digital, and high-speed inkjet printing announced plans to showcase their latest product developments during Drupa, the world’s largest trade show for print and cross- media solutions. Most of the new products will be prominently featured in the stands of more than a dozen partners who are also exhibiting at the show in Dusseldorf, Germany.

“People in the industry are often surprised to learn that Xitron is the name behind so many of the RIP and workflow products offered by leading vendors,” said Karen Crews, President of Xitron. “Our growing list of OEM partners reads like the ‘Who’s Who’ of high-speed inkjet and traditional commercial prepress.”

On display during the show will be workflow products designed for Colordyne (5-C24), Glunz & Jensen (05-C38), CST (05-C03), Presstek (15-D29), Ohio Gravure (16-D10), Krause (07-D28), Trojanlabel (3- B31), Luscher (16-C07), International Graphic Systems (3-B58), and PrePress Boulevard (13-G78), just to name a few.

Exhibiting on their own stand in Hall 15/C54-4, Xitron will formally introduce a new CTP interface designed to drive SCSI-based platesetters such as Creo Trendsetters and the Fuji VX series. This patent-pending technology is the first of its kind, promising a new option for users whose equipment had reached end-of-life due to a lack of compatible SCSI interaction with modern operating systems.

“This was an extremely important development in interface technology,” said Crews. “Because newer RIPs and workflows could no longer communicate with them through the SCSI bus, owners of these expensive platesetters were being forced to buy all new equipment costing tens of thousands of dollars.

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Xitron’s USB/SCSI interface can be configured with a Raster Blaster TIFF catcher to work with any workflow product from vendors such as Kodak, Fuji, and Agfa, or driven directly with Xitron’s own Navigator RIP and Workflow.”

In addition, Xitron will be demonstrating new RIP and workflow versions. Featured prominently will be Navigator 11, the latest Harlequin RIP release, which includes several speed, memory, and live transparency improvements. Navigator 11 is the core RIP product in Xitron’s Navigator Northstar and Navigator OKI workflows, which include color matching software for use with Memjet Northstar printers from AstroJet, Colordyne, and Neopost as well as OKI 900 series printers.

According to Crews, more product announcements will be forthcoming in the weeks leading up to Drupa.

Lees verder....

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