Digital Finishing -- Making a Stitch in TimeFebruary 2009 By Mark Smith
Given Mimeo.com’s focus on “super efficiency” and the fact that it’s an all-digital operation, it may come as somewhat of a surprise that the company has almost exclusively taken the off-line approach to meet its finishing needs. From its headquarters in New York City, John Delbridge, COO, overseas the operations of the company’s original production facility in Memphis (140,000 square feet) and a newly completed, second plant in Newark, NJ (80,000 square feet).
“We build facilities that are more like a manufacturing operation. The bulk of the print engines are separated out from the finishing machines, and we use conveyors and other means to get materials to the right finishing stations,” Delbridge explains. “We’ve built a proprietary routing system that extends from the order being submitted, all the way through to the shipping department.”
The system uses job tickets and barcodes that feed information to proprietary software for tracking where a job is in the plant and where it needs to go. Algorithms prioritize what job gets worked on next at each station to meet delivery times.
“Since an order will get routed to the appropriate finishing station automatically, distance is not really a relevant measure for us,” says the COO. “We don’t put the bindery equipment right next to the (digital) press because we have specific binding areas.”
Mimeo.com has set up different finishing cells that are configured for producing a specific type of product. It has a photo cell, for example, with all of the cutting, binding, gluing and other equipment required to produce its photo products clustered together in a self-contained work area. Punching and binding equipment for twin-loop, spiral and three-ring binding are also tied together in similar cells.
The company has standardized on Kodak Nexpress print engines for its color work, and has about a dozen machines across the two facilities. There’s also a degree of standardization in the types of pieces being produced because its primary focus is bound business documents—presentations, RFPs, training books and the like.
The specifics of a job can vary greatly, though. Orders can range from a quantity of one to thousands, specify different types of bindings, and include a variety of components, such as color or black-and-white pages, tabs, slip sheets, etc.
“Given the variability of our work and the quantities, it makes less sense for us to have a lot of in-line capabilities,” he explains. “It’s not like we are doing program print jobs with large volumes of the same piece. You need the volume to keep an in-line solution working 24 hours a day.” Mimeo.com does utilize some of the more standard finishing options that come with a digital press, including stapling and tape binding, Delbridge adds.
No Digital-Offset Divide
Capitol City Press, in Tumwater, WA, has a production scenario that’s more akin to the average industry shop. Its digital department has a Xerox iGen3 color press and a DocuTech 6180 black-and-white machine. The workhorses of its sheetfed offset arsenal are two six-color (40? and 28?) Komori Lithrone presses. All press work is fed to a common bindery department.
The shop’s digital work tends to be one-off and smaller jobs that mostly need just cutting and folding, reports Mel Caldwell, bindery manager. Postcards, brochures, posters and raffle/dance tickets are typical applications. A fair share of the work includes variable data, particularly jobs for the casinos in the area. Unlike the previously mentioned companies, Capitol uses simple, manual checking to ensure that those pieces are kept in the right order through cutting and on out to the post office.
Offset and digital sheets flow into a common bindery area, which makes it a completely off-line operation. Caldwell says the company selects equipment with an eye toward supporting the needs of both sides and “getting the most bang for the buck, rather than just helping with one area.”
Its latest acquisition, a TR Die-Score system from Rollem International, may end up having a bigger payoff for digital work. Cracking and static are still the biggest challenges his department faces with finishing digital sheets. Small scoring and perfing jobs that had been tying up its MBO folders can now be offloaded to the dedicated scoring unit, he reports, and Capitol City can keep more work in-house.
Scheduling digital and offset jobs through one bindery isn’t a problem because all of the shop’s work is completed with a one- or two-day turnaround. “It’s not uncommon for us to proof an offset job in the morning and deliver the finished pieces that afternoon,” Caldwell says. “There’s not a whole lot of competing scheduling issues because (digital and offset) jobs just fall into the same workflow.”
Offset and digital finishing capabilities are also shared for the most part at CGX facilities, but some equipment is dedicated to specific work, reports Ude. With an initial digital press install, it makes sense to leverage as much existing finishing as possible. Then, as volumes grow and more presses are added, making digital-specific equipment purchases becomes a viable option, he advises.
Even though Mimeo.com is an all-digital operation, Delbridge says he looks for more heavy-duty finishing equipment that is suitable for offset work in order to get the productivity and durability needed for the volume of work produced at its facilities. “Since our jobs can vary greatly in run length, we try to find equipment that is very quick to change over,” notes the COO. Some of the work has sufficient volume to justify going a step further by installing multiple machines, such as saddlestitchers, and designating a format size for each.
Checking Your Coat
So far, none of the three executives has seen any significant trend toward customers expanding the range of their finishing services requests, even as they buy more digital printing and as the market matures. Coating may qualify as “what’s hot,” nonetheless, with vendors introducing new solutions for UV spot and flood coating.
Delbridge reports that Mimeo.com has looked at UV options, but has found its customers are happy with the coating capabilities provided by the intelligent coating solution in the fifth imaging unit of its Kodak Nexpress machines and the near-line Nexpress glossing unit. Its work generally doesn’t end up being mailed, though.
CGX is already using near-line solutions for UV coating with some of its HP Indigo presses and is now working with the manufacturer on implementing its in-line option, as well, according to Ude. It has also looked at the in-line UV option for the Xerox iGen3, but hasn’t moved forward because both the coater and the organization’s existing in-line bookletmakers can’t be installed at the same time, he notes.
Which is yet one more wrinkle that can figure into the in-, near- or off-line buying decision. Printing companies like to say they are unique in their marketing materials but, when it comes to determining the best approach to digital finishing, there’s a good deal more truth in that statement. PI