With NexPress 2100 unveiled, Heidelberg ready for the Xerox challenge, Indigo and Xeikon bolstered, Screen showing intent, Presstek enabling on-press imaging for Adast, Ryobi, Sakurai and soon Didde—and more manufacturers, not the least of which is MAN Roland, targeting full-production digital—there is a new zest to digital printing. It ain't just about on-demand any more . . . BY MARIE RANOIA ALONSO Say goodbye to on-demand digital printing—at least the on-demand part. It is now June 2000, the much hyped DRUPA 2000 is over and the digital production color press is an emerging force to be taken very seriously by even the most
Digital printing is finally well beyond concept acceptance, as On Demand proved last month. New moves in on-press imaging and color server technologies—and the Internet—are delivering on the promise of digital printing. BY MARIE RANOIA ALONSO Given the impossible-to-ignore high velocity of the Internet as it targets multiple areas of the print production process lately, it is no surprise that the Internet is also targeting the time-sensitive profit center that is on-demand digital printing. True to current form, the dotcom emphasis at On Demand in New York was staggering, but not surprising—new online solutions for on-demand document fulfillment, new Internet tools for
BOSTON—As the new year began, the war of words between Waltham, MA-based Harlequin and Foster City, CA-based Electronics for Imaging (EFI), heated up. On the same day that Harlequin filed a lawsuit in United States District Court here claiming that EFI has violated a federal law that governs false advertising, the U.S. District Court in San Francisco ruled in EFI's favor in its patent infringement lawsuit against Harlequin. The San Francisco court ruled for EFI on all 17 issues raised by Harlequin. EFI officials say the San Francisco court's rulings pave the way for EFI to fully press its infringement case against Harlequin.
When Seybold closed the doors to its 1999 San Francisco expo last month, three technology trends stood dominant: the Internet, PDF and the quest for the all-digital workflow. BY MARIE RANOIA ALONSO If one potent word could sum up the energy, enthusiasm and very direction of Seybold San Francisco, held for the final time this century at the Moscone Center last month, it could easily be: Internet. The Internet, the World Wide Web. Seybold San Francisco was a virtual debutante's ball for the global gateway that is the Internet. New companies emerged as major players for the commercial printing market—all gearing to harness the
Next-generation power workstations (HINT: like Apple's new G4) are catapulting prepress productivity to new heights—with help from the ever-omnipotent server. BY MARIE RANOIA ALONSO More power. More memory. More speed. More storage. More flexibility. More performance. What prepress professionals wouldn't want more in the way of productivity from their power workstations? After all, the key word is power, isn't it? Otherwise, it's just a workstation—and doesn't that sound boring? Up until the recent Seybold San Francisco show, the two most power-packed power workstations gaining graphic arts attention were Apple's 400MHz Power Macintosh G3 and SGI's Intel-powered 320 and 540 visual workstations, which sport a
Adobe. Agfa. BARCO Graphics. EFI. Epson. IBM. Indigo. Heidelberg. PageFlex. Scitex. Splash. Varis. Xeikon. Xerox. The movers and shakers of on-demand got together recently in the Big Apple to promote everything from variable-data software to wide-format output to the latest initiatives in PDF functionality, servers and digital cameras. BY MARIE RANOIA ALONSO Between the digital prepress performances of Seybold Boston and Seybold San Francisco, the greats of the on-demand digital printing industry hit the Big Apple with the latest in digital color presses, variable data software, digital cameras—everything and anything designed to boost the short-run performance standards of the on-demand digital printing market.
No longer a small niche consideration, large-format printing is elevating POP and outdoor graphics display markets to new heights, allowing commercial printers to break through new profit ceilings. BY MARIE RANOIA ALONSO The bigger, the better. Wider is better. Big is beautiful. If for nothing else, wide-format printing is an attention grabber. And why not? How can any other form of print convey sheer opulence, tender sensitivity, true magnitude and obvious grandeur with the same, well, monumental proportions as do the wide-format wonders driving new trends in outdoor display graphics, point-of-purchase designs and an array of larger-than-life banners, posters and signage? Why should the
Developments in variable data are pushing on-demand print production to new levels of customization. What are the hot new technologies to see at the On-Demand Show? The answer, pun intended, varies. BY MARIE RANOIA ALONSO Talk about getting a little too up close and personal: Bitstream's PageFlex, Agfa's Personalizer-X and BARCO Graphics' VIPLine variable data software solutions, VariScript from Varis and Indigo's Yours Truly, Scitex's Darwin and Xeikon's PrintStreamer, EFI's FreeForm and Xerox's DigiPath—all are striking, almost surreal, examples of the power of variable data in printing. Talk about Big Brother. Imagine getting a customized postcard from a travel agency. A picture
With PostScript 3, PDF and PostScript Extreme delivering on their promises to facilitate faster print production, visionaries at Adobe are casting their view to PDF refinements—and uncovering the next great print production performer. BY MARIE RANOIA ALONSO The introduction of PostScript placed Adobe Systems at the center of a growing web of desktop publishing solution providers. With the launch of Adobe's PostScript Extreme architecture and the rise of PDF, now, more than ever, Adobe is standing at center stage. What are Adobe's star qualities? Originally designed to demonstrate that PostScript could be imaged at or above engine speeds, Adobe PostScript Extreme expanded its
As more digital color presses hit the market, traditional offset operations, like Dallas-based Harper House, are going on-demand. BY MARIE RANOIA ALONSO Is investing in a digital color press the right move for progressive, commercial offset printing operations? Buy now, buy later? Buy what? Buy from whom? Why buy at all? The pressure to purchase a digital color printing device or full-force digital color press is only going to get more intense, as more digital color output products—conceptualized and marketed specifically to bolster today's offset printing operation—hit the market. It seems obvious that today's typical offset printing operation—often rooted in tradition and craftsmanship, and rigidly opposed to