Muller Martini

CLEVELAND—St. Ives/ Perlmuter Printing, having completed its name change to St. Ives, has broken ground on a $12 million expansion project. The expansion provides for 20 percent more space and will house a new web press and a state-of-the-art stitcher. Purchased three years ago by London-based St. Ives plc, Perlmuter officials say they were sensitive to changing their name in the local market. Established in 1917, the Perlmuter family provided a long legacy of printing services to customers in the Cleveland area, and nationally as well. "We are pleased to introduce the St. Ives organization to the Cleveland market," says Wayne R. Angstrom, president and CEO

TOKYO—Smaller than two years ago and with fewer visitors, IGAS 1999 nevertheless managed to attract genuine foreign printer-visitors this year. In previous years, foreign interest was shown primarily by dealers and distributors for Japanese equipment and materials, as well as area managers for overseas suppliers. Now, after many years of persistent efforts, the organizers of IGAS have at long last agreed to fit into the four-year cycle of the major international graphic arts shows: Drupa, Ipex and Print. Business in Japan is only beginning to come out of a severe recession. The buying and investment effects of a renewing confidence, though, will probably

Riding high on its belief of embracing technological innovation, The Hennegan Company, a four-generation heatset web and sheetfed commercial printer founded in 1886, meets modern-day quality demands by leaping into thermal CTP and cutting-edge digital proofing. BY MARIE RANOIA ALONSO Sixty minutes. That may not sound like much time, but when those 60 minutes are spent, in seclusion, dissecting a select grouping of printed samples produced at the century old Florence, KY-based Hennegan Company, now in its fourth generation, each minute amounts to time very well spent. It only takes one hour of concentrated scrutiny to detect the meticulous care that must

Las Vegas is the home of Creel Printing, a heatset web and sheetfed commercial printer that's betting heavily on the payoff of digital prepress. BY MARIE RANOIA ALONSO Las Vegas. The most infamous desert oasis. A city that never sleeps. Towering casinos, massive neon billboards, throngs of vacationers, glittering wedding chapels. Decadent, opulent—and a few other descriptive dents. No wonder legends played here: Sinatra, Elvis, Creel. What's that, not familiar with Creel? Creel Printing just happens to be one of the largest commercial printers in Nevada, operating in the shadows of Las Vegas' most famous casinos—Bally's, Harrah's, MGM Grand, Mandalay Bay, Circus Circus,

In an age of consolidation, Dome Printing—a $20 million, family run commercial printing operation servicing clients the caliber of Intel and Sutter Home—is a prime example of what good management, a clean production process and industrial-strength digital color proofing can do to retool a once-traditional printer. BY MARIE RANOIA ALONSO Perfection is one word that must be very near and dear to the Poole family at Dome Printing. Family patriarch and president of Dome Printing, Ray Poole, and his three sons, Tim, Andy and Robert, operate the Sacramento, CA-based commercial printing facility. What makes Dome Printing unique? For one thing, the plant is

In the early '70s, Marty Anson had a dream: Build a better bindery. Now, 25 years later, the $15 million bindery "kingpin" is at it again. This time, he's expanding with new satellite facilities. BY CHERYL ADAMS He wasn't sitting in the middle of a corn field, like Kevin Costner's character in a "Field of Dreams," but F. Martin "Marty" Anson had a vision just the same 25 years ago: "Build it and they will come." Anson wanted to build a better trade bindery—one that would be a solid performer, a state-of-the-art operation that could weather the fierce storm of competition—a storm that

BY ERIK CAGLE If you think it's not easy making a living in the postpress environment, consider the state of the equipment manufacturers. Finishing trends are causing manufacturers to respond almost as quickly as current turnaround demands. Issues abound: A lack of trained workers beget the call for increased automation. Value-added product enhancements are desired to help break away from a sea of finishing conformity. Commercial printers are being called upon to handle customers' projects in-house—from start to finish. When printers and trade finishers feel the pinch, they pass it on to the manufacturer, whose job it is to make life easier for them.

San Mateo, CA—High-end sheetfed printing specialists BOFORS, based here, announces it has been joined by Kohnke Printing, of San Francisco. The agreement gives BOFORS control of Kohnke Printing's accounts. Dave Kohnke, president of the Bay Area printer, liquidated its assets. Kohnke wanted to be linked with a printer the quality of employee-owned BOFORS, which generated revenues in excess of $18 million in 1998. "The 90 employee-owners at BOFORS take pride in their company and their work," Kohnke remarks. "We are proud to be associated with the BOFORS name." BOFORS President Vit Eckersdorf feels Kohnke, a general commercial printer, is a perfect fit with

CHICAGO—What were the odds that GRAPH EXPO 98 would be a Show of Shows—when the international spectacles that are IPEX and PRINT 97 captured the printing industry's collective practically within the same 12 month span, with IPEX in September and PRINT 97 the previous September? How about $108 million to one? If you're talking GRAPH EXPO and CONVERTING EXPO, that's not bad—that's the figure Heidelberg registered during GRAPH EXPO's four-day stay at McCormick Place here. Heidelberg's sales success was not singular. Scores of the show's more than 550 exhibitors reported GRAPH EXPO was a money maker. MAN Roland, for example, reported a

GRAPH EXPO 98 and CONVERTING EXPO 98 was a hot ticket—sales were robust, booth traffic was brisk, technology advancements fierce and cooperative announcements healthy. BY MARIE RANOIA ALONSO Question pondered: Could GRAPH EXPO 98 be a "Show of Shows," when the international spectacles that were IPEX 98 and PRINT 97 captured the printing industry's collective practically within the same 12-month span, with IPEX in September and PRINT 97 the previous September? Does $108 million answer that? That's the figure Heidelberg reported it registered during the show's four-day tour of Chicago's McCormick Place recently. Heidelberg's success was not singular. Scores of the show's more than