As one of the leading providers in the graphics sector, Neschen recognised the trend towards greater green awareness some time ago and consistently uses green production porcesses and materials.
For example, its Pro Nature product, which is subjected to the most stringent internal norms and checks, is a result of this, but as Neschen’s Frank Seemann, Head of Marketing and Communications Department at Neschen AG in Bückeburg, Germany points out: “Pro Nature is not just a label for the customer – the advertising materials for this line are made exclusively of environmentally and resource-friendly materials. One of these is cotton – a natural, fibre that is not just pleasantly warm and soft, but also kind of the skin. So it goes without saying that cotton is becoming more and more populat, particulary in interior graphic design”.
Corn is another new trend. As a result, Neschen also offers digital print media that is made entirely of cornstarch. Printed with eco inks – also made from cornstarch – this combination provides environmentally friendly advertising materials that are also completely biodegradable.
Since both corn and cotton are renewable natural materials, no finite fossil fuels are required. But even synthetic materials or plastics that are usually manufactured form oil can be produced sustainably. One example is the polyolefin group (PO). These include several wellknown materials, such as polypropylene (PP), which Neschen uses as a basic material in banner production.
The material used to make PP is a by-product of the petroleum industry, which is generated each day in the refineries and is also used in the food industry.
During combustion of the raw material or the PP film, only water (H20) and carbon dioxide (CO2) are emitted as reaction products. No other hazardous by-products are generated and modern cleaning and filter systems also further minimise emissions. This is a key difference when PP is compared to the majority of other synthetics and plastics that have to be specially disposed of and are often very harmful to the environment.
In addition to maintaining quality, Neschen is keen to save energy. As a result, it has fitted its own water filtering system that, after thorough purification, feeds the water from film production back into the public water supply. This revolutionary system decreases water consumption by several thousand cubic meters annually. Further, the company has implemented a highly efficient energy recovery system that has reduced the consumption of its manufacturing machinery to a minimum.
Frank Seemann comments: “In the final analysis, Neschen is not just a product trendsetter in its markets. It has also been a green pioneer and its continuing commitment to top-level research and development will ensure it continues to break new ground in the future.”
The brochure promoting the BAPC’s Conference over the weekend of 6th November at The Crown Plaza hotel, Marlow posed a number of questions relevant to the industry today and certainly the event provided many of the answers.
The weekend began with entertainment from the off-the-wall duo of Stewart Collins and “Harry” who really got the event off to a flying start particularly with their unusual rendition of Nessun Dorma and after an hour of music and fun they had the audience baying for more.
Saturday morning saw the beginning of the serious business and following an opening welcome and address by BAPC Chairman Sidney Bobb the host for the day Declan Curry took to the stage. Declan set the tone for the day and certainly kept things moving.
Nick Devine, the print coach was introduced and he clearly illustrated the issues facing businesses who have a desire to improve their sales and he provided a myriad of hints, tips and suggestions on how to add creativity into their businesses.
No sooner had participants absorbed Nick’s s words of wisdom and encouragement when industry stalwart Pete Lancaster took to the stage. He showed how technology has changed thorough the years and through some crystal ball gazing gave delegates an insight into the future highlighting the growing influence of social media. Time seemed to fly and following a well deserved break for lunch Declan introduced former ladies Rally champion Penny Mallory. Penny explained her background and showed the audience how to focus on achieving both personal business successes
It was now time for words of wisdom from international consultant Chris Jordan who demonstrated the importance of branding even for the most modest of businesses. He used a number of companies, large and small who had developed and changed their brand and explained that a brand was not just a fancy logo but was the key to the image and ethos of any business.
Throughout the day Beatles music was played in the background and when Mike Southon took to the stage the reason for this became clear. Mike opined that the most effective brand in the world was the Beatles and showed through their songs some important business messages. Apart from being highly entertaining delegates soon realised the seriousness of the message.
Those present were certainly ready for a break and the BAPC allowed everyone the opportunity to mix with each other at a free bar.
It was then time to freshen up and get ready for the Gala Dinner and Awards Ceremony and again Sidney Bobb welcomed all and thanked the many sponsors who had made the heavily subsidised event possible.
Following a fine meal the Awards Ceremony took place with Konica Minolta appointed as Supplier of the Year and Kodak’s Prinergy Evo Workflow System selected as Product of the Year. Both these awards were voted on by printers attending the conference.
Dale Wallis of the BPIF took to the stage as a judge for the next BAPC award. Dale explained that from the many entries for Environmental Printer of the Year there was one clear winner – Cambrian Printers and Carrick Wilkie form Cambrian graciously accepted the award.
Tony Kenton, Honorary Treasurer of the BAPC presented the award for Business of the Year and mentioned that despite the economic climate the BAPC had more entries in this section than ever before. Tony announced that the winner was Repropoint and presented the award to Alex North.
The Deputy Chairman of the BAPC Freddie Kienzler, announced that they were going to recognise an individual who had provided outstanding service not only to the BAPC but also to the Industry and, much to the delight of the audience, announced that Richard Senior Managing Director of Duraweld had been bestowed with Life Membership of the BAPC.
It was now time for some entertainment and the hilarious Brendan Healy took to the stage, he had the audience in the palm of his hand and many left the room with sides aching from laughter.
It was generally agreed that this was not only one of the most effective and relevant BAPC conferences ever held but was amongst the best events arranged for the UK print industry.
Tony Honnor, BAPC Association Director commented. “We had a feeling that the 2009 Conference would be good but had certainly not prepared ourselves for the extent of the praise and congratulations we have received from delegates of the industry. We certainly have set ourselves a major task if in 2010 we can equal this year’s achievement.”
Shigetaka Komori, president and CEO, FUJIFILM Holdings Corporation, has received the Order of the Rising Sun, Gold and Silver Star, in recognition of his accomplishments in industry and in furthering culture through his leadership roles at Fujifilm, Japan's Broadcasting Company—NHK, and a range of industry and cultural organisations.
The Order of the Rising Sun was the first national decoration awarded by the Japanese Government, and was created in 1875. The design of the badge and ribbon presented to signify the Order of the Rising Sun, Gold and Silver Star conveys the powerful energy of the sun and Japan's designation as the "Land of the Rising Sun."
During his tenure at Fujifilm, Komori has been instrumental in advancing the principles of corporate social responsibility throughout the global Fujifilm Group. Komori's most significant initiative has been the implementation of a series of far-reaching growth measures which have led to a dramatic transformation of the company's business structure through intensive investments in facilities, and research and development activities in new, high-growth business fields.
Komori serves as president of the Japan-German Society and the Japan-Netherlands Society. His contributions were recognized in 2004 when he was awarded the Medal with Blue Ribbon by His Majesty the Emperor of Japan. In 2006, the Photo Marketing Association International (PMA) awarded Komori the Hall of Fame award, its highest honour. Also in 2006, he received the Grand Cross of the Order of Merit of the Federal Republic of Germany from His Majesty the President of the Federal Republic of Germany.
A leading branding and event company has stepped in at the eleventh hour to help a cancer support group after thieves stole its banners on two occasions.
Hampshire firm GTMS designed, printed and installed a new banner for the Ovarian Cancer Support Group in Portsmouth which had teamed up with a local pub to hold a fundraising week for the Eve appeal in Partnership with Ovacome – a gynaecology and cancer research fund.
But two banners outside the pub promoting the event were both stolen and when Dominik Short, GTMS’ Director of GTMS read about the theft in the local newspaper, he acted immediately.
“We wanted to help despite time being tight so we offered to design and print a new banner free of charge,” said Dominik.
The new 3m x1.5m banner was ready and in place the day before the final event, a fundraising swinging 60s party, took place raising £2,000 for the charity.
“We are very used to working to very tight timescales – but at less than 12 hours this was probably the tightest yet!” said Dominik.
Ovarian Cancer survivor Dorothy Petty, who set up the local support group earlier this year, was delighted to receive GTMS’ offer.
“When GTMS called and said they could print a new banner, I was thrilled. We were shocked and disappointed when the original banners were stolen but GTMS’ generosity has really made up for it. It shows that there are people out there willing to help,” said Dorothy.
GTMS provides exceptional print services for large scale and complex projects, in addition to offering branding and event production. With 25 years’ experience under its belt and a wealth of prestigious clients – including the BBC, e-on, Bacardi, Marks & Spencer and Fat Face, GTMS takes care of every aspect from the initial design through to the production and installation by its expert team.
The forward-thinking team of 22 employees operates from under one roof – a 38,000 sq. ft purpose-built site complete with offices, workshops and warehouse.
Enter the architectural competition to design the new Tamayo Museum and impress the judges, not only by presenting a beautiful, functional, sustainable, and social design, but also by ensuring that the quality and innovativeness of the project presentation materials are motivating, clear, and reassuring.
The office recently installed the new HP Designjet T1120 SD-MFP Multi-Function Printer in addition to its existing HP Designjet T1100 Printer. Both machines use HP Vivera inks.
HP Premium Plus Satin Photo Paper
HP Super Heavyweight Plus Matte Paper
HP Translucent Bond Paper
HP Bright White Inkjet Paper
HP Web Jetadmin Software
Handcrafted additions to presentation material
Rojkind Arquitectos, in collaboration with Danish firm, BIG Architects, won the Tamayo Museum competition, being lauded not only on the project itself, but also on its presentation
Technology adoption by a wide range of industry professionals: Thanks to their multiple applications, with precision lines, accurate colours, and high image quality, the office’s HP printers are used by architects, photographers, graphic designers, and industrial designers
Projects stand out among the competition thanks to professional, high-quality concept drawings, printed on HP Premium Plus Satin Photo Paper for its good texture and lack of staining from greasy hands
Fast digital visualisation of plans thanks to a quicker design process using the new HP Designjet T1120 SD-MFP, whose scanner converts hand-drawn sketches into digital drawing files
Mexico’s Tamayo Museum of Contemporary Art—home to an important collection of both Mexican and international art and named after one of the country’s greatest painters of the twentieth century, Rufino Tamayo—recently organised an architectural competition to design a new building at Atizapán (in the State of Mexico), which would not only store the many works of art not currently on show but also include ample exhibition space of its own, effectively becoming a sister museum to the space-strapped original building in downtown Mexico City. Mexican architect Michel Rojkind, whose practice is based in the federal capital and has been rated among the top 10 design vanguard firms in the world, teamed up with Danish colleagues, BIG (Bjarke Ingels Group) Architects and won the competition with a design for a cantilevered building, the form of which when viewed from above is inescapably, and somewhat controversially, that of a cross—but more about the shape later.
Cemeteries, jails, and buildings with soul
For Rojkind, architecture is successful only when it produces buildings that have soul. We asked him how he goes about ensuring his creations are endowed with this ethereal quality. “If the project is done with enough research to be intelligent enough,” he said, “it already has a certain soul, a certain intuition of being. But then many things have to come together, not only the architect finishing his or her beautiful building, but the way in which people use it, how it ages over time, and the magic that is felt when working or moving inside the space. Buildings get filled with energy by people coming in and out and by the experiences they have there. We’ve all experienced certain energy when walking through a cemetery, and there’s also a definite energy in a jail. There are some buildings you enter, and it’s just magical; it’s magical because of how the light comes in, or because of the silence, or the way the sound bounces off the walls. I try to relate buildings to people: you meet some that are like dead men or women walking; they don’t seem to have any soul or even to be aware that they are alive. That happens also in architecture. You get something that was meant to look beautiful—the architect spent a lot of money on this façade—but it’s like the newest pair of sunglasses, there’s nothing behind it. He or she used a disguise so that people would immediately say, ‘Ah, it’s shiny!’ but it doesn’t go any deeper.”
Not your grandmother’s house
When working on residential houses, Rojkind personalises every design by getting to know his clients and capturing their individuality or the dynamics operating within a family. “You have the first approach by perhaps the husband or the wife who wants to do the house,” he said. “You sit down and talk, maybe have a cup of coffee, but then you want to meet the kids; you want to meet everybody who’s going to live in the house. Some clients used to come with books and point to pictures and say, ‘I want a house like this one,’ but the first thing I ask them is why they would want to live in something that looks like their grandmother’s house. If you’re a person living in 2009 or 2010, and you have your kids, and you want to educate them in a certain way, and you have a partner who lives in a certain way, why not let the house that you’re sharing with your family express its own way of how the family comes together? It’s a house for that specific family and should not be repeated, because there are no two families alike. I’ve had some clients say, ‘Oh, no, no, but I don’t want to get too emotional or too extroverted to tell you stories so that you can design our house. I’m going to another architect.’ And to me, it’s fine, because I would never do a house for one client and then repeat it for another. Now fortunately we are getting clients that know the architecture we are doing, and they are open to considering the things we propose to them.”
Symbolism of the Tamayo cross?
Why then, when the Tamayo Museum project came around, with the clients requesting a cross-shaped building, did Rojkind give them more or less exactly what they asked for? “Yes, they handed us a very thick binder,” he said, “with very strict, very specific instructions. It was like, ‘These are the diagrams, this is how the museum should work, and these are the floor plans.’ It was crazy, because they were inviting architects to enter a competition, and at the same time they were telling us all what to do. At the beginning we decided to go off in a different direction with the design, but then we stopped and said, ‘Why don’t we give them the original floor plan?’ Perhaps it was initially to be ironic, but we grabbed the binder, and when we superimposed the cross on the site, and it floated on the ground, it was beautiful.”
Some critics—some admiringly, others disparagingly—read religious symbolism into the shape of the building, and perhaps this was the intention of the clients when they went for a cross in their original plans. Rojkind disagrees. “I think that in their own naïve way of explaining how the museum should work best,” he said, “it just turned out to be that shape. It wasn’t a perfect cross, but it was almost that, and then we streamlined it. Of course, this is Mexico, where religion is a big thing, so, having a cross for a museum might be seen as having some great symbolism, and, looking at it on Google Earth, you are indeed going to see a cross on a hillside, but the shape was logically derived from the way the museum would operate. It was perfect for what the clients wanted, and I’m happy about that. In any case, this is a museum of contemporary art, which is supposed to get people talking. I don’t mind critics saying, ‘Ah, it’s a cross.’ A cross symbolises a lot of things. We could also call it the ‘T’ of ‘Tamayo,’ because it’s a Tamayo museum. We were not shy about presenting it as a cross, not at all.”
In fact the Dano-Mexican partnership presented its design to the competition’s organisers, not as a Christian cross, but as the cruciform of an opened-out cubic box. “I believe that what convinced them to give us the project was this idea of a box opening up,” said Rojkind. “The building’s initial purpose was to store different works of art on a rotational basis, but then the idea of being more transparent and democratic gained currency and was incorporated into the plans. We call it the open box because in Mexico it will be the first museum where the general public can visit the storage space. We decided to make the combined storage and exhibition space, an exhibition in itself, where people come in and see the trucks arriving with the art, the wooden crates being unpacked, photographs being taken, restoration being done, and pieces being installed on site. In Europe, that’s very common. The clients really liked the idea that everything becomes an exhibition space.”
Sustainable architectural features
Another factor that contributed to Rojkind and BIG being awarded the project was the sustainability features of their design. “First of all, for its size, the building intervenes as little as possible on the landscape,” said Rojkind. “Only two parts of the cross are touching the ground; the other two are cantilevered. So we’re not using too much of the ground. Then the terrace where people arrive at the museum—in fact, it’s on the rooftop—is a water-collecting space, which is important in this arid area. Also, the façade is perforated to avoid a build up of heat inside the building. The walls will be made of a very nice, glazed brick that’s done in Mexico by a Mexican company. Air will flow through this ventilated façade, so you’ll have a cool interior climate at the right temperature to protect the works of art. This natural ventilation means people will be able to walk around in a very comfortable environment, and it reduces the amount of mechanical equipment needed for air conditioning. We’re also using some hybrid lighting, half electric and half natural light, which is filtered upon entering the space. The only place that you have exposed glass is underneath the cross. The 90-meter (300-foot) cantilevers shade everything below them, so you never get the sun hitting the glass side.”
Blown away by the presentation quality
It goes without saying that the new Tamayo Museum design was presented spectacularly for the competition, Rojkind’s office being known for doing a good job in creating clear and attractive collateral to explain its plans. “We are aggressive in pushing not only the limits of architecture,” said the architect, “but also those of graphic design and project presentation. There are only 14 people working in our office, and we concentrate here on the research and design drive of the projects, the visual part of the buildings, and the visual experience. Technical consultants and other invited disciplines under our supervision help us get everything completed, so we can remain very flexible, but here we are very visually driven, creating and printing renderings and competition posters and other things that will get the clients motivated. We frequently work in multimedia too: we do Flash presentations, Director, QuickTime, always working on how best to ensure the clients understand the design. It’s the safest way to work. When your clients know exactly what you’re talking about, and they know that you know exactly what you’re talking about, then by the time you start to build something, everything goes really smoothly. With photo-realistic renderings and the highest image quality possible, they see that the wood is wood and the concrete is concrete. Before we got our current software and printing technology, we would have to explain that sort of thing to them, and we could end up with some awkward misunderstandings.”
In the early stages of every project, whether big or small, the office presents a professionally finished book of colourful renderings and plans to the clients. “Small details make up the big thing,” said Rojkind. “The clients realis`e that if you’re concerned about the detail of a book, you’re going to be concerned about the detail of the building being built. So it just makes them more comfortable in the process.” For the Tamayo Museum competition, the firm used its HP Designjet T1100 Printer, with HP Vivera inks, to print presentation material in-house. “The clients congratulated us not only on the project, but also on the way it was presented,” said Rojkind. “When they saw the quality of the renderings, they were blown away. Also, we are constantly working with graphic designers and collaborating with a lot of different creative people. We tried to think of as many innovative ways as possible to present the cross graphically. So we printed colourful placards whose supports at the back were in the shape of the building, and we printed books, each of which was contained in a box that opened up to form the cross shape. The cover of the box was done by a very nice local girl who specialises in handcrafts. She sewed everything up by hand, which added another nice touch to the finished presentation, because, although an architectural project can be very technical, in the end it has to be very human.”
High-quality prints for multiple specialists
The office has been using the HP Designjet T1100 Printer for over two years and recently installed the new HP Designjet T1120 SD-MFP Multi-Function Printer. “Even though we’re an architectural firm, a lot of other people visit our office,” said Rojkind. “The HP printers are very practical solutions, not only for architects, but for photographers, graphic designers, industrial designers, everybody that’s involved in our projects. It’s incredible to see. The industrial designer prints a 1:1-scale chair for a restaurant we are doing, then the graphic designer prints a booklet, and we print a rendering. Mercedes Benz shot two of our projects as backgrounds for their recent marketing campaign, and Porsche was also here to do another of our buildings for their new Panamera model. We printed out their images on the HP Designjet T1120 SD-MFP, using HP Vivera ink and HP Premium Plus Satin Photo Paper, and the quality is amazing. So, if somebody is looking for precision lines, we have them; if somebody is looking for precision colours and great image quality, we have those too.”
Clean prints, with a satin matte feel
HP Premium Plus Satin Photo Paper is the paper that Rojkind prefers to print on. “Since we’re very picky about the way we present,” he said, “we experiment with a lot with different papers, but from the time we first started working with HP papers a couple of years ago, we selected HP Premium Plus Satin Photo Paper as one of our best. I like the satin matte feel to it. When you handle it, you don’t get the grease of your hands on the images. It works great. We also do tests of image durability, and this is important because I imagine clients having the renderings up on the wall for a long time. I have some images hanging in my office that I printed on the HP Designjet T1100 Printer two years ago, and they’re still perfect; the colours are still the same.” There are also three other papers that the architect uses regularly: “HP Super Heavyweight Plus Matte Paper is another one that works perfectly for final printing of renderings,” he said, “while HP Translucent Bond Paper is excellent for final complete sets of large-scale technical drawings. The one we like for everyday reviews and writing comments on is HP Bright White Inkjet Paper.”
Quickly converting sketches to drawing files
Rojkind wishes his office had already had its new HP Designjet T1120 SD-MFP Multi-Function Printer when the Tamayo Museum project was being developed. “The new machine includes a scanner,” he said. “If we had had that at the time, things would have been even easier. It would have saved us time. Before, I would sketch something and give it to the team, and then they would redo it on the computer. Now they just scan it, and it’s converted to a .dxf or .dwg file. We’re getting the drawing files straight from the scanner, and the transformation makes it an incredibly fast process.” He also highlighted the ability to communicate with the HP printers though the Internet using HP Web Jetadmin software. “It’s something I really love,” he said. “You’re monitoring everything that is being printed: from which computer a file was sent, who printed what, at what time. Sometimes I go to one of the people in the office and say, ‘What about this? It was printed outside of office hours!’—just to see their reaction,” Rojkind smiled. “If I’m doing a lecture in some other country, I can obviously talk to my staff on the phone, but I can also see exactly what they were printing, which is a really nice feature to have.”
Financial crisis with a silver lining
The architect sees big changes taking place in the industry and suggests that the worldwide economic downturn is likely to bring about positive developments in the long-run. “Everybody talks about the crisis, and a lot of people who were investing in real estate are not doing so anymore. Clients are saving their money for other things. We’re going through a tough phase, but I think it will bring us back to reality. Buildings that are simply beautiful will no longer be built. They will need to have a lot of different things interweaved in them besides being just nice buildings. In the recent boom years, it was absurd, all this competition about who had the biggest building and the most expensive building and the most important museum in the world. Now we’re going to go back to basics, to the questions, ‘Is the building doing something social? Is it doing something sustainable? Is it doing something for the community?’ If these different aspects are all tied in, then the projects will go ahead. The architect needs to bring in the investors, government, environmentalists, sociologists. Architectural projects will need to pass tougher criteria before approval. Sustainability-wise, I’m thinking a step further: not only will buildings produce their own energy, they’ll also generate energy for the community around them. ‘What will a building be able to produce for others, besides the building?’ I think this is something we will be hearing in the near future and which will actually make a difference. It’s another element to make up the building’s soul.”
Comprehensive program of EskoArtwork product and technology sessions helps users to get more: more information, more value from their systems, more partnerships and more opportunity to influence the future of EskoArtwork applications
EskoArtwork has announced that, following last year’s success, its next EskoWorld worldwide conference will be held at the Marriott Tampa Waterside Hotel and Marina, from April 18-21, 2010. EskoArtwork plans to broaden the program for the upcoming event to offer more valuable content to more users, in more markets, with more partners and for more applications.
EskoWorld Mission: Share ideas and knowledge
EskoWorld brings together customers, EskoArtwork partners, product specialists and support staff into an environment that encourages the exchange of ideas and product knowledge. To support the event, EskoArtwork assembles a large number of staff for conference program presentations and demonstrations and to ensure that they have ample time to listen to all the customer input and to provide feedback. EskoArtwork partners are also on-hand to provide answers to questions on how workflows can be extended and integrated.
“During EskoWorld, users participate in training sessions, roundtable discussions, seminars and hands-on labs, designed for novice, journeyman, and advanced users. Attendees often discuss product use and best practices tips among themselves, allowing them to return home with actionable ideas that can add even more value to their EskoArtwork solutions,” explains Simon James, EskoArtwork SVP Marketing. “Most important, EskoWorld allows us to share product plans with our users and to listen carefully to their feedback. Attendees have had an active role in offering suggestions for improvements to EskoArtwork solutions. Their views about our technology, service and support provide critical input for future product and business planning.”
The organization of the event and preparation of relevant content is always a collaborative process between EskoArtwork and the EskoArtwork Users Group International (EUGI) leadership. “The conference continues to grow in scope and usefulness. Many attendees find EskoWorld very helpful because they can receive in-depth insight into their use of their products and solutions—not just from EskoArtwork but from other users, too. Attendees can choose to attend seminars, or view demos, all in the same place, any time they want,” observes Greg Wishon of Temple Inland, and EUGI Board Member. “We expect that EskoWorld 2010 will extend offerings from more third party vendors, as well as provide more hands-on workflow training sessions from EskoArtwork. It’s an invaluable resource for all users.”
Global representation from the complete spectrum of packaging and print providers
While based in the U.S., EskoWorld draws strong worldwide interest. For 2010, EskoArtwork expects more of its attendees to arrive from overseas, adding to the substantial growth in attendance. “Our primary goal is to attract attendees from the complete spectrum of the many thousands of EskoArtwork users worldwide: packaging and graphic arts companies such as converters, commercial printers, publishers, sign and display firms, to packaging designers and brand owners,” adds Simon James. “In this global economy, we believe our users benefit significantly from interacting with others from around the world.”
High praise from 2009 attendees
Even during the difficult economy in 2009, the user conference was a resounding success, with strong attendance and a complete program that was appreciated by users. “The sessions I attended were very informative, and useful,” commented Jonathan Peace of nVIUS Graphics, Inc. “The speakers did an excellent job answering and explaining all questions asked. I was very pleased with the conference and how everything turned out.” “The conference was better than I even thought it would be,” added Suzanne Fontana, of Pamco Label. “Since attending, my company has experienced even more value from our system. The wealth of information and the networking is a great benefit.”
Exceptional networking event with EskoArtwork partners
EskoWorld also benefits EskoArtwork industry and technology partners, with a dedicated exhibition area that allows them to offer attendees ready access to demos and helpful information, along with opportunities to make presentations to the group. “The 2009 event was a great opportunity for us to introduce our company and solutions to an exclusive audience. For us, the event was much more efficient than any tradeshow,” explains Michael Lauterbach, head of customer relations and business development, Dr. Lauterbach & Partner GmbH, SAP Business Partner and supplier of ERP solutions for the packaging industry. “I thank EskoArtwork and their user group for the professional event management and great support. We will definitely participate in the 2010 event.”
Information and registration
EskoArtwork users can register for the conference by visiting www.esko.com/eskoworld. The site also operates as a central communications platform and will be frequently updated with latest information, agenda details, speaker backgrounds, and more. More information about the venue is available at http://www.marriott.com/hotels/travel/tpamc-tampa-marriott-waterside-hotel-and-marina/. An ‘early bird’ fee is available for those who register before March 19. Customers from EMEALA and ASP who register by the end of 2009 are also eligible to enter a drawing for a series of free flights.
Large Format Review provides daily breaking news on digital printer technology as used for commercial production of print for wide-format sign and display, dye-sublimation textile and fabric printing, packaging and industrial applications. We also cover 3D print and additive manufacturing.