: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

 :InterFACE :InterFACE 37
Editor in chief: Ronald Marien
sæCoordinator: Ilse Joosen sæ
Editorial committee: Peter
Boodts, Sylvie Gibout, LaToya

Content
Hodge, Ilse Joosen, Tim Light,
Johan Suetens, Rudolf Tippner
sæEditors: Olivier Elen, Rod Hayes,
Monika Kissing, Jan-Frans

30
Lemmens, Johannes Maruschzik,
Sophie Matthews-Paul, Yurek

9
Onzia, Greetje Van Halewijck,
Gareth Ward sæFinal editor: Jan De
Düsseldorf by night Raeymaecker sæThanks to: Garry
The gadget of 2004 Muratore, Hans Van Glabbeke,
Susan Wittner

14
Daniël Ost about his book
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

future sæArt Director: Els Van Hauwaert

sæLay-out: Barbara Degeyter,
Yong Sik Delbecque

Editor contact info:

20
2 Shortcuts future Agfa Graphics NV
Septestraat 27, B-2640 Mortsel
22
2 Nanotechnology: stay.ahead@agfa.com
Marvellous
present
All prepress was done with Agfa
microscopic subtlety Graphics systems. :InterFACE was
printed with :Thermostar P970
printing plates, produced on an

past 12 Shortcuts present

24 :Apogee Suite:
Integrated set of
:Avalon with :Sublima raster
technology. Imposition and
proofing were done with :Apogee
14 Portrait flexible publishing SherpaProof.
4 Shortcuts past tools
Floral designer © Copyright 2008 Agfa Graphics
NV. All rights reserved. Agfa and
6 This was ... Daniël Ost the Agfa rhombus are registered
26 Ecoprint trademarks of Agfa-Gevaert AG.
1995 - 2000 - 2004: All other trademarks are certified.
Striking events 18 Interview 28 Trends in digital All product specifications can be
from three drupa Eija Ailasmaa, printing: Wide-format
changed without prior notification.
For more information about
years CEO Sanoma inkjet technology Agfa Graphics products:
www.agfa.com.
Magazines conquers the world
10 Interview NGROA UK 00200805
Manuel Mataré, 30 After work: eating,
the man behind drupa drinking and shopping To receive :InterFACE via
e-mail or post, go to
in Düsseldorf 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 Engi-
neers (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 low-
power, reliable violet diodes. Moreover, they eliminate the high-pH developers commonly used in plate-
making, 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 Inter-
Tech™ 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 with-
out 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 news-
papers that Agfa
Graphics has instal-
led 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.
It was not just print and paper technology that evolved during
these years. The number of trade fair visitors also expanded con-
tinuously. Also remarkable is the rising proportion of foreign visi-
tors: from 20% in 1972 to 55% in 2004.
Incidentally, drupa 2004 attracted no fewer than 400,000 inter-
ested participants and the 2008 edition will probably perform
even better. The question is how it will enter history: as the ‘ink-
jet drupa’, the ‘environmentally friendly drupa’, the ‘automation
drupa’, or…?

After desktop publishing had also come under the spotlight dur- However, let’s first look back in time at three outstanding drupas
ing later drupas, digitisation made its entry into the world of print- which will still be reasonably fresh in many people’s memories…
ing. It has grown into the dominant topic since then.

6 ˜:InterFACE 37
 Drupa

NEW
The PlayStation games console is being
developed by Sony. The design is byy
Ken Kutaragi and emerged from the unsuccess-cess-
ful 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 THE CtP DRUPA

Britpop tops the European music charts! Almost twen-
ty 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. Lum-
berjack shirts and long hair disappear from the street-
scape 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 cus-
toms officials protest, but tourists are happy. As are
companies: from now on they can import and ex-
port without any obstacles. Only Switzerland and
the United Kingdom do not sign the treaty.
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
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

DIGITAL DRUPA was back on store shelves. Also sporty and fashionable: Dirk
Bikkembergs launches his sports line Bikkembergs Sport.
Digital printing is the guiding thread of the most glorious,
The silhouette of a footballer appears in the logo.
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 Entertainment
magazines and creating print proofs. Agfa has another of
After the Netherlands, Germany is the second country
these innovations with the introduction of :Delano, the first
to start broadcasts of Big Brother, the first genuine real-
tool to manage the interaction between the publisher and
ity programme on television. Psychologists, moral cru-
printer by allowing the customer to approve the pages.
saders and custodians of good taste react with horror to
In the meantime CtP has come a long way. Products like
the ‘scientifically based’ game show developed by John
Agfa’s user-friendly :Galileo can expose both silver halide
de Mol. But the public is wildly enthusiastic. The partic-
plates and the new generation of thermal plates. On the
ipants develop into modest public heroes and plunge
printing press, automation has already evolved in the
into the world of media or fashion. The programme has
direction of open interfaces to take data from the prepress
been produced and broadcast in over 58 countries
area to set up ink ducts on presses. This concept of using
since 2000. Big Brother attracts millions of view-
more production related data and taking this to finishing
ers, mainly in big countries such as Germany, the
and beyond was developed further in what would become
US or Great Britain.
the Job Definition Format.

2000
 Drupa

News
In January, two unmanned space vehicles land on
the planet Mars. The robot carts will carry out sci-
entific research and take photographs. The in-
formation 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

The optimism of drupa 2000 that print would expand forever
has gone. But there is progress towards changing the indus-
try 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

Gadget integrated steps in the print production chain. Agfa Graphics’

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.
: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 announce-
ments and demonstrations of processless plate imaging to
begin to make printers aware of their environmental respon-
sibility. Agfa Graphics introduces its chemistry-free :Azura
printing plate. The groundwork for drupa 2008 has been laid.

2004 :Interface drupa special

interface ˜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 record-
ing 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.

!æMULTITUDEæOFæVISITORS æANDæEVERæMOREæEXHIBI- ant as possible by providing a clear, topic-oriented structure. The

TORSæ$RUPAæISæCONTINUINGæTOæGROWæ(OWæDOæYOUæ halls in which the ‘digital solutions’ are shown play a key function
EXPLAINæTHISæSUCCESS here. The number of these has increased substantially compared
Manuel Mataré: ‘Despite the situation in the with drupa 2004. Hall 8a and the new hall 8b, and adjacent halls
financial markets, the global economy is buoy- 5 and 9 accommodate the Xerox, HP-Indigo, Agfa Graphics, Fuji-
ant. This also has a positive influence on the print film, Kodak, Konica Minolta and Ricoh stands.’
sector and the media. It is also supplemented by
the fact that drupa is the only genuine internation- 9OUæREFERæTOæTHEæGROWTHæOFæDIGITALæTECHNOLOGIESæ)SæDRUPAæSTILLæ
al trade fair in its sector. Hundreds of thousands of specialists AæPRINTERSæTRADEæFAIR
come to Düsseldorf from across the world every four years. Manuel Mataré: ‘More is being printed now than ever be-
What the Olympic games are for sports people, drupa is for the fore. Digital solutions cannot exist without traditional printing
print media sector.’ techniques. As the leading trade fair for the print and media in-
dustry, we present the synergy of technologies. We show the
7HATæAREæTHEæMOSTæNOTICEABLEæCHANGESæTHISæYEARæINæTERMSæOFæ complete offering and the full value chain, from paste-up to the
EXHIBITORSæANDæTHEæDIVISIONæOFæTHEæHALLS finished printed work. There is no better seismograph than drupa
Manuel Mataré: ‘The goal is to make a visit to drupa as pleas- for recording the demands made on the print sector.’

10 ˜:InterFACE 37
 Interview

‘The tangible aspect, emotional feel and value of a printed

item offer a substantial competitive advantage over
electronic media.’

(OWæDOæYOUæMANAGEæTOæSTAYæAWAREæOFæWHATæISæHAPPENINGæINæ
THEæSECTORæBETWEENæTWOæDRUPAæEDITIONS perts. Thus, for us it also means making contacts, exchanging
Manuel Mataré: ‘We listen in the market, travel a lot to vis-
it 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 gen-
uine large trade fair in this sector. We show exactly what is ‘fash-
ionable’ 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 panies and their 30,000 stand employees, and 3,500 journalists
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 tele-
communications solutions trade fair). IT only acts as the required
infrastructure – and also frequently as a particle accelerator. Ul-
timately, 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 elec-
tronic media – for example with point-of-sale applications, brand
communication or personalised mail shots and large-format ad-
vertising panels. Moreover, digital printing and online communi-
cation are opening up new growth markets.’
the only trade fair in the world where you can see a production
flow on the latest equipment in action, with assistance from ex-
theoretical and practical knowledge and learning new things. In
fact, there is now a framework programme with several mod-
ules, 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 ser-
vice. Ultimately, Düsseldorf becomes the home port for two
weeks for approximately 400,000 visitors, more than 1800 com-
from around the world. This is why we already began to devel-
op 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.’

9OUæAREæALSOæADDRESSINGæCUSTOMERSæOFæTHEæPRINTæINDUSTRYæDI- itors and visitors must immediately feel at home in Düsseldorf.

RECTLYæFORæTHEælRSTæTIMEæWITHæTHEæDRUPACUBEæ7HYæISæTHATæSOæ This is communicated visually with billboards, banners or red
IMPORTANT double-decker buses. The entire city is decorated in the drupa
Manuel Mataré: ‘In the drupacube we are not so much fo- red fashion colour in May/June. Our international guests in par-
cusing attention on printing technology, but on the final printed ticular feel good with an extra slice of service – simply that ex-
product and its marketing-oriented applications. The goal of the tra touch that they recognise from their own country. We achieve
drupacube is also to make interesting print communication op- this, for example, by having multilingual signs in the station and
portunities available to parties that outsource printing, such as art metro, and in shops, restaurants and hotels. However, drupa vis-
directors or marketing specialists for example. We wish to boost itors and exhibitors are just as happy with the uniform opening
demand for print with the drupacube.’ hours in the city centre, to say nothing of the ‘drupa drink’ or
‘drupa soup’!’.
$RUPAæWANTSæTOæOFFERæVISITORSæSTIMULIæANDæHELPæTHROUGHæAæ
WIDEæSPECIALITY RELATEDæFRINGEæPROGRAMMEæ)SæTHEæFAIRæTHERE-
FOREæALSOæACTINGæASæPROVIDERæOFæTRAININGæCOURSES
Manuel Mataré: ‘drupa will certainly never become a con-
gress trade fair. We are not keen just to exhibit ‘heavy met-
al’, 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 pro-
motional 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 qual-

ity 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 wor-
thy 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 revo-
lutionize the advertising industry!’

:AZURA
reduces water consumption 94%
This is the percentage of graphic arts professionals in
Generally, water is a the USA that work on print projects as part of their
big problem in Aus- jobs. This figure can be found in the 45th Annual Print
tralia, and most gov- Design Survey, conducted by Graphic Design USA ma-
ernment departments gazine and sponsored by Agfa Graphics.
are providing big in- This result is up from 92 percent last year and is, sur-
centives to save wa- prisingly, actually the highest figure in five years. Print
ter. St. George Graph- was followed, in order, by web design, point-of-pur-
ics, an Agfa Graphics chase, package design, and broadcast graphics.
customer in Sydney, in- Asked for the kinds of print projects that they had been
troduced the chemis- working on in the past year, creative firms men-
try-free printing plate :Azura. The consequences soon made tioned brochures/collateral, sales promotion,
themselves known: a ‘water audit’ revealed that the biggest direct mail, print advertising and letterheads/
consumers of water in the plant were… the tea and coffee identity respectively.
making facilities for the staff.

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 sculp-
tures 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 al-
ready receiving commissions from the Belgian Royal Family bare-
ly 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 cut-
ting flowers secretly in the Sint-Niklaas municipal park, while his
wife acted as a lookout. He now designs and creates sculptures
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 imagina-
tion. They reveal a remarkable sensitivity to the shape, colour and
structure of both the flowers and the object in which they are de-
signed 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 med-
icines 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-

14 ˜:InterFACE 37
 Portrait

© Daniël Ost

STARS AND PRIZES

$ANIÕLæ /STæ HASæ Aæ LOYALæ INTERNATIONALæ CUSTOMERæ BASEæ
(EæOCCASIONALLYæADDSæLUSTREæTOæTHEæPRESENTATIONæOFæTHEæ
/SCARSæ WITHæ HISæ mOWERæ ARRANGEMENTS æ THENæ HEæ HEADSæ
OFFæTOæAæFAIRYTALEæWEDDINGæINæTHEæ*ORDANIANæDESERT æORæ
HEæISæATæWORKæFORæTHEæ*APANESEæIMPERIALæFAMILYæ!CTRESSæ
#ATHERINEæ$ENEUVEæANDæTHEæLEADINGæ&RENCHæINDUSTRIAL-
ISTæ&RANÀOISæ0INAULT æTHEæOWNERæOFæFASHIONæHOUSESæSUCHæ
ASæ'UCCIæANDæ9VESæ3AINTæ,AURENT æAREæLOYALæCUSTOMERSæ
(OWEVER æ/STæDOESæNOTæWANTæTOæmAUNTæHISæFAMEæ(EæISæ
PROUDæ OFæ THEæ STATEMENTæ BYæ9UKIæ )KENOBOæ FROMæ THEæ RE-
NOWNEDæ *APANESEæ )KENOBOæ mOWERæ ARRANGINGæ SCHOOLæ
!TæONEæPOINTæSHEæCALLEDæHIMæ@MOREæ*APANESEæTHANæTHEæ
*APANESE

/STæHASæWONæPRIZESæCOUNTLESSæTIMESæWITHæHISæmOWERæAR-
RANGINGæ.ONETHELESSæHEæCALLSæCONTESTSæMACHISMOæ
ANDæ INVARIABLYæ REFUSESæ TOæ SITæ INæ Aæ JURYæ@(OWæ CANæ
ARTæBEæEVALUATEDæAFTERæALLæBEAUTYæISæDIFFERENTæFORæ
EVERYONEæ 'IVEæ YOUNGæ PEOPLEæ Aæ BUDGETæ ANDæ LETæ
THEæVIEWERæENJOY
 ‘Everyone is transitory, but I have two medicines
against transience: my gardens and my books.’
© Daniël Ost

Transparant illustrates
the power of print
$ANIÕLæ/STSæSEVENTHæPHOTOGRAPHICæBOOK Transparant æAP-
PEAREDæ RECENTLYæ7ITHæ THISæ BOOKæ HEæ ISæ CELEBRATINGæ MOREæ
THANæ TWOæ DECADESæ OFæ ANæ ENVELOPINGæ MARRIAGEæ OFæ HISæ ARTæ
WITHæGLASSæARTæ!FTERæ/STæHADæSEENæTHEæSUPERIORæQUALITYæTHATæ
COULDæBEæACHIEVEDæWITHæ!GFAæ'RAPHICSæPRINTINGæTECHNOLOGY æ
HEæINSISTEDæTHATæITæBEæUSEDæFORæHISæLATESTæBOOK
4HEæ EXTREMEæ DETAILSæ INæ THEæ MATERIAL æ THEæ SPECIALæ COLOURSæ
ANDæ THEæ DEEPæ SHADOWæ SECTIONSæ PROMPTEDæ Aæ SPECIALæ AP-
PROACHæ TOæ THEæ PICTURESæ4HEYæ WEREæ SCANNEDæ WITHæ Aæ MUCHæ
HIGHERæ RESOLUTIONæ THANæ USUAL æ SOæ THATæ THEæ PICTURESæ COULDæ
BEæREPRODUCEDæINæMUCHæGREATERæDETAILæANDæADDITIONALæCO-
LOURæ GRADATIONSæ COULDæ BEæ REPRODUCEDæ /STæ ISæ EXTREMELYæ
‘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 im-
portant 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 sixti-
eth 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.’
He also had to be brought to his hotel room after working for
three days and nights without interruption. So his work is really
Portrait
ENTHUSIASTICæ ABOUTæ HISæ LATESTæ BOOK æ Aæ PEARLæ THATæ DOESæ FULLæ
JUSTICEæTOæHISæCREATIONSæ@)æHAVEæMADEæTHEæWRONGæBOOKSæFORæ
YEARSæ)æHAVEæSEENæTHEæDIFFERENCEæMYSELFæTHEæPRINTæQUALITYæ
OFæ MYæ MOSTæ RECENTæ BOOKæ ISæ Aæ THOUSANDæ TIMESæ BETTERæ -Yæ
CUSTOMERS æWHOæAREæNONETHELESSæACCUSTOMEDæTOæTHIS æAREæ
ALSOæAMAZED
Agfa Graphics innovation
TransparantæWASæCREATEDæWITHæTHEæHELPæOFæ!GFAæ'RAPHICSæ
:SublimaæRASTERæTECHNOLOGYæINææLINESæPERæINCH æWITHæAæ
THERMALæ :Avalonæ PLATESETTERæ ANDæ :Thermostaræ 0æ
PRINTINGæPLATESæ:SherpaProofæWASæUSEDæFORæTHEæIM-
POSITIONæANDæTOæMAKEæTHEæCONTRACTæPROOFS
exhausting from time to time, but Ost also has his own philos-
ophy 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.’
: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 techni-
cal printing processes leading? These are the hot questions Eija Ailasmaa, the Finnish head of
Sanoma Magazines, is keen to answer for us.

&ORæYEARSæWEæHAVEæBEENæHEARINGæTHATæPRINTæ
ISæDEAD æORæISæATæLEASTæWASTINGæAWAYæ$OæYOUæ
AGREE advertisers tailored solutions, such as inserts that are intended
Eija Ailasmaa: ‘You just have to look around to
know this is nonsense. The publishing business is
still growing, also in terms of net sales. New titles
are constantly being added and people are reading
more printed newspapers than 10 years ago. OK,
many of these are free. But this only means that the publishing
models are changing, not that printed media are condemned to
death.’
4ECHNICALæPRINTINGæPROCESSESæHAVEæEVOLVEDæEXTREMELYæRAPID-
LYæINæTHEæPASTæDECADEæ7HATæR EVOLUTIONSæCANæWEæSTILLæEXPECTæ
INæTHEæCOMINGæYEARS .EWSPAPERæANDæMAGAZINEæSALESæHAVEæBEENæUNDERæPRESSUREæ
Eija Ailasmaa: ‘The general quality of printed media has im-
proved incredibly. That in my opinion is the biggest revolution.
At the same time we are printing more efficiently and many
more specialist options exist. Thanks to the introduction of new
printing presses, high quality print is available at extremely cost-
efficient prices. We also have an increasing number of possibili-
ties for personalising our magazines, although this does not yet
apply to titles with a large print run. For example, we can offer
for a specific public, via selective binding. Technological progress
now also allows us to include holograms in our magazines or ink
that only becomes visible above a certain temperature. The use
of different types of paper in the same magazine can also help to
increase the attention value and to stimulate the reader’s senses
or to surprise him or her. All of these technical developments of-
fer us as magazine publishers a wide range of possibilities, with-
out threatening our efficiency and budgets. But it is obvious that
the quality of our magazines and their content remain the most
important factors. This will always be the case and luckily so!’
FORæSOMEæTIMEæ$OæYOUæTHINKæTHATæREADERSæWILLæREMAINæLOYALæ
TOæPRINTEDæMEDIA
Eija Ailasmaa: ‘Each time a new media format appears,
the prophets of doom are ready to announce that the exist-
ing media are finished. But TV did not replace radio. Similar-
ly digital media will not mean the end of printed media. I don’t

18 ˜:InterFACE 37
 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 feel- !REæYOUæSAYINGæTHATæTHEæDIGITALæMEDIAæHAVEæNOæVALUE
ing this already: business models are changing and we as pub- Eija Ailasmaa: ‘Not at all. Of course, the digital media have
lishers must fight harder to be relevant for our readers. But ul- their own strengths. Users can search for things actively and in a
timately you will see that print and digital media will continue targeted way on the Internet. A multiplicity of information is avail-
to exist alongside each other. Both forms of media have spe- able with a few mouse clicks, something that most magazines
cific characteristics that ensure their relevance and continued cannot offer. But in contrast, the content our magazines offer has
existence.’ 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, peo-
ple don’t want to be shackled to the Internet 24 hours per day ‘The general quality of
throughout the year! On the contrary, there is an ever greater
need to kick back and relax. This is why nothing will ever replace printed media has
the pleasure of reading lazily on your sofa, in bed or in an aero- improved incredibly.’
plane. 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 fin-
ished, you simply hand it on or throw it away, because it is not ex- 4HEæCONCLUSION
pensive. The glossy sheen of nicely created pages is also unique Eija Ailasmaa: ‘I am convinced that print and digital media
and very attractive. A magazine is also a fast medium: you open can be a good marriage, where both partners complement each
it up, and the information is available to be taken in quickly or to other and live together happily. This is why we, Sanoma Mag-
be read quietly.’ azines, believe in the power of our magazines more than ever
and at the same time continue to develop our digital media plat-
-OREæOFæTHAT
forms.’
Eija Ailasmaa: ‘A freshly printed magazine also smells so won-
derful! Moreover, you can add inserts, so that users can test prod-
ucts 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%, amount-
ing 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 pro-
cess that cleans the plate and gums it in one simple step, making it press-
ready 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 val-
ued. 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
No more chemicals

28 Trends in digital print

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 nanome-
tre 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 doc-
toral thesis, in which among other things he wrote
that he had calculated the scale of a sugar molecule: one ‘nano-
metre’ was his conclusion.
Nano science is research on phenomena and processing of ma-
terials at atomic, molecular and macro-molecular scale. Nano-
technology is understood as the design, manufacturing and ap-
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 sur-
face 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.

22 ˜:InterFACE 37

Agfa Graphics goes nano
Agfa Graphics uses nanodesigned materials to develop innova-
tive products. Thus the ‘ThermofuseTM’ digital printing plate is
made up of a 500 nm thin layer of nano latex beads. The diam-
eter of each bead is 50 nm. On exposure with an 830 nm laser,
the beads melt, which means that they can absorb ink. The non-
exposed 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 substra-
tum is fully recycled.
Agfa Graphics have also implemented a great piece of design at
‘nanoscale’ in the newest colour inks for industrial inkjet print-
ers. 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 mor-
phology of the crystals. As a result, these inks produce more
strongly saturated colours than traditional silkscreen technolo-
gy. Because they are dried with UV light, no harmful solvents
are released during production and consequently they are also
environmentally friendly.
Nanotechnology
ELIMINATE CANCER CELLS
INDIVIDUALLY?
The number one cause of death in Western countries, can-
cer, 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 lo-
cally. 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 composi-
tion 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 ab-
sorbed 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
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 ef-
fectively 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 Technolo-
gies, a leader in IT, Web 2.0
and interactive media in Can-
ada. Virtual Paper software
makes it possible for paper
content editors to transform
their publications into an on-
line magazines or web bro-
chures 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,
‘Revision and approval cycles of
product brochures and datasheets in
different languages are very time con-
suming. The nice thing about :Apogee
Media is that it both simplifies and
The core business of the
Würth Group is the world-
wide trade in fixing and as-
sembly materials, including
screws, screw accessories,
dowels and plugs, chemical

content managers, designers, pre-
press and production managers
need to work in an environment
long on time-consuming manual
intervention.
increases the efficiency of the collabo-
ration with my print service provider.’
Dries Verdonck - Product
Manager Würth, Belgium
products, furniture and con-
struction fittings, tools, and
stock keeping and picking
systems.

Nowhere is this more in evidence

than with :Apogee Media. This tool
within :Apogee Publish is certain
to have particular appeal to publish-
ers; but anyone who has to man-
age input from a wide variety of
sources is almost certain to be im-
pressed with this page layout sys-
tem with open standards and ac-
cessibility through a standard web
browser. :Apogee Media indeed
enables the acceptance of virtual-
ly any input from any source, in any
form, from anywhere, and then in-
corporates them into an exception-
ally flexible content management
system. In addition :Apogee Me-
dia allows users to implement high
levels of automation and adapt the
system to suit the particular needs
of quite specific working environ-
ments.
al publications if necessary. :Apo-
gee Media combines the open-
ness of an XML-based content
management solution with an ex-
tensive integration for printed pub-
lications using Adobe InDesign for
layouts and Agfa Graphics’ :Apo-
gee for pre-flight, proofing, colour
management and automation. This
control is not specific to one pub-
lication, but extends across any
publication being worked on, re-
gardless of what form its final out-
put will take.

Reducing the need for manual in-

tervention not only speeds up pro-
duction 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 compos-

ted 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 recy-
cle. 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’ elec-
tricity annually. This reduces annual CO² emissions by over 150 tonnes.

Cycle from
the forest to printed
26 ˜:InterFACE 37

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 technol-
ogies and is trying to combat waste as much as possible via recycling.
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 partic-
ular. Thanks to digital developments
in imposition and photography, many
harmful chemicals have already dis-
appeared. 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. Envi-
ronmentally-friendly practices
leaped into fifth place, from
virtually nowhere in the
past.
Ecoprint
AGFA GRAPHICS HELPS
PRINTERS OPERATE MORE
ENVIRONMENTALLY-FRIENDLY
sæIn a very short space of time, the chemistry-free ther-
mal printing plate :Azura has revolutionized the glob-
al printing market. That accounts for the great enthusi-
asm 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 Graph-
ics also produce significantly less chemical waste.
Because they do not need pre-washing, water consump-
tion 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 com-
pounds). 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.
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 industri-
al inkjet systems, contain no VOCs (volatile organic com-
pounds) 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

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 var-
nish. 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.
Fast and flexible
The flexibility of wide-format is demonstrat-
ed 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 digi-
tal machines, the break-point between inkjet
and screen-printing remains variable. Similarly,
the demand for streamlined and automatic fin-
ishing 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 creativi-
ty throughout the production chain but it is not
a technology which necessarily is driven by
high prices in terms of investment. This indus-
try 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 manufac-
turers 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 full-
solvent formulations have the advantage of be-
ing suitable for use on a broad range of coated
and uncoated materials. They are complement-
ed by their excellent colour vivacity and accu-
racy, and the fact that the inks themselves are
relatively inexpensive. However, they cannot
be used satisfactorily on rigid materials, and
they also carry environmental disadvantages in
terms of VOCs and emissions.
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 es-
sential service offered by display producers of
all sizes. Environmental considerations, along
with good durability, are also increasingly re-
sponsible for growing investments in this type
of machine.
The market for textile printers has grown dur-
ing the past year with applications extending be-
yond sampling into the production of flags, ban-
ners, furnishings and soft signs. Dye sublima-
tion is complemented by options available for
printing direct to fabrics with acid, reactive and
disperse dyes that are now enhancing capabil-
ities beyond polyester based materials and en-
abling durable output onto natural fibres.
Despite a feared economic slow-down, the next
twelve months will see all areas of wide-for-
mat inkjet continue to grow. Increasingly,
print providers need to extend the ser-
vices 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 new-
est 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 photo-
graphic 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.
Trends digital printing
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 technol-
ogy, and as the service has become
more accessible. Use of digital print-
ing continues at a record level:
up 5% from a record-breaking
figure last year.
Sophie Matthews-Paul is an independent consultant concentrating on wide-format digital print and its use in industry today. She is also
a contributor to several specialist magazines worldwide and an associate consultant and analyst for InfoTrends.
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 ink-
jet 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 Agfa-
made UV-curable ink.
:InterFACE 37 ˜ 29
 After work
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.
DELICIOUS CUISINE
sæ"ENKAY is an elegant Japanese restaurant and a stop-
ping 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 Japa-
nese 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 Every-
thing is possible here from a business meeting to a family party. Do
not think of getting copious dishes of gyros and tzaziki - you eat re-
lNEDæ'REEKæFOODæHEREæVINEæLEAVESæSTUFFEDæWITHæOLIVES æALMONDæMOUSSE æ
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
Time-off in
HAVING A DRINK
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!LEXANDRA æWHEREæTHEæBOTTLESæSTANDæ
in long rows against the large mirror. Try the ‘Black Velvet’, a cocktail with
'UINNESSæANDæCHAMPAGNE æINæPARTICULARæ!æHIGH QUALITY æCREATIVEæBAR

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
ONEæTOOæMANY æSOMEæTAPASæORæ!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 arm-
CHAIRSæ!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+šNIGSALLEEæ)FæITæISæRAINING æYOUæCANæALWAYSæVISITæAæ
shopping centre such as +š GALERIE æWITHææINTERNATIONALæANDæEXCLU-
sive brands. Everything is under one roof: accessories, fashion, leath-
er 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