Heidelberg

BY ERIK CAGLE It cannot be said that Terry A. Tevis ever sat around wondering when that one opportunity—which would give meaning to his professional career and validate his place in the commercial printing industry—would fall in his lap. Tevis, a 1999 Printing Impressions/RIT Printing Industry Hall of Fame inductee, decided that instead of waiting for opportunity to come knocking at his door, he'd kick a few down. He was satisfied with carving a niche for himself at one company, where he could settle in for the long haul in a comfortable position. Even as Tevis prepares to accept the Hall of Fame honor

You say your shop wants to improve reproduction quality to land more high-end work, but you're not sure you can afford it? Well, the people at Beechmont Press, a mid-sized, Louisville, KY-based printer, say you probably can't afford not to. After making a firm commitment to quality improvement, Beechmont put its production methods and materials under the microscope, and managed, quite profitably, to capture its own high-end slice of the market. Beginning with the obvious, Beechmont management focused on equipment. They installed a five-color, 40˝ Speedmaster, and they gave their conventional prepress an electronic makeover. But along with high-performance equipment purchases, they developed a simple theory:

BY CHERYL A. ADAMS "If you want to know where you're going, you have to know where you've been," says Frank Defino Sr., president and CEO of Tukaiz Communications—a man who is not only aware of his company's history, but has been instrumental in its making. Having been at the helm of the Tukaiz ship for the past 36 years, Defino has guided the firm through a sea of transition—from traditional prepress services to full-service, digital and commercial printing. However, Defino prefers that the Franklin Park, IL-based Tukaiz be called a "digital media communications company" or an "electronic digital media specialist." He also emphasizes

The team at Fontana/Affiliated had already incorporated waterless offset printing and moved to a new facility. The next logical step was waterless CTP. BY CHRISTOPHER CORNELL Waterless? The team at Cheverly, MD-based Fontana Lithograph/Affiliated Graphics knows a number of different meanings for the word "waterless." That word could be used to describe just one of the problems the printer had to overcome as it built its new facility here. Through a revitalization project with the state of Maryland in December 1997, Fontana/Affiliated took ownership of a condemned property, which was nothing more than a slab with a leaking roof and three walls, that had

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

The latest digital imposition tools are object-independent, page rotating, PDF imposing signature refiners—automating even further the territory once governed by the meticulous manual stripper. BY MARIE RANOIA ALONSO Manual stripping. One day—perhaps today—the task of manual stripping will seem as foreign a concept to the seasoned graphic arts professional as does the nearly lost art of photo engraving. Current imposition tools perform a flexible and varied set of clever tasks: Digitally imposing signatures that can be output on a variety of PostScript-compatible devices, from the digital press to a platesetter to an imagesetter; Rotating and viewing any object on any signature; Creating complete, precise impositions in

Lake County Press, a $38 million sheetfed printer, pulled beta duty for Prinergy—a new Adobe PDF, PostScript Extreme digital workflow. The results? BY MARIE RANOIA ALONSO The mission statement of Lake County Press, a three-decade-old, $38 million high-end commercial printer based in Waukegan, IL, says it all: Lake County Press (LCP) is committed to the pursuit of excellence and fairness, and will fulfill its customers' graphic communication needs by being an innovative resource relying on the expertise of dedicated, highly skilled employees, utilizing the finest equipment and the latest technology. The latest technology. Most recently, LCP served as a beta site for Prinergy, the new workflow

With automation reaching or nearing its peak, manufacturers look for ways to bring prepress and the pressroom closer together. BY ERIK CAGLE Want to see all of the neat, new sheetfed offset press models that will be unveiled at DRUPA 2000? If the answer is yes, go renew your passport because we're not going to show you. Sorry, we'd show you if we could, but Germany will be the place to be next May, as the printing industry's top manufacturers will use the exhibition to wage a battle of one-upsmanship in the sheetfed press division. Building the better mousetrap is becoming increasingly more difficult;

MONTATAIRE, FRANCE—Heidelberg Web Systems welcomed more than 150 printers from Europe and the United States to its European headquarters here recently for a one-day program centered around the company's new Sunday 4000 press system. Included in the program were presentations on market trends as well as live demonstrations of the Sunday 4000 press. Printers were divided according to country in order to facilitate communication and to focus on market requirements in individual countries. The Sunday 4000, the first 48-page Sunday Press, is designed for printing high pagination jobs for a wide range of run lengths, officials told the group. It has a top rated speed

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