Portfolio - New Technology

Reporting on the new technologies set to make an impact

TecHNology ● ● ● e pApeR

32 | January 2009 | www.printmediamag.co.uk

The future is nowE paper has been heralded as the ‘next big thing’ for a few years now, and with the technology beginning to be used in a variety of traditional print applications, that day may have come a step closer. Laura Blows reports.

Walking into a newsagents

in the USA last September,

consumers may have been

surprised to see the front cover of

esquire magazine lighting up with the

message ‘The 21st century begins now’.

True to the forward-looking theme of

the issue, the magazine was the first to

include an electronic paper display, or

‘e paper’, a display technology that gives

the viewer the experience of reading

from paper while the content changes.

production of this world-first cover

began in summer 2007. esquire and its

parent company Hearst contracted e Ink,

a supplier of electronic paper display

technologies, to use its Ink In Motion

electronic flashing display within the

magazine, featuring flashing words and

images.

David granger, editor in chief for

the US edition of esquire, explains:

“This cover is both a breakthrough for

magazines and an expression of the

theme of our anniversary issue. We’ve

spent 16 months making this happen

as one of the ways we’re demonstrating

that the 21st century begins this fall.”

esquire had researched the use of

e paper within the magazine for many

years, but making the circuit boards,

power requirements and cost small

enough for a magazine was not feasible

until now, the company says.

The US edition of Esquire was the first magazine to feature e paper on the cover

The october 2008 75th anniversary issue of US

esquire magazine featured an e paper display

within the front cover, flashing the message “The

21st century begins now”. Inside the front cover,

the double page advertisement for Ford Flex also

utilises e paper to give the impression of the car

in motion at night.

To create this, esquire used e Ink’s Ink In

Motion flashing electronic display technology,

with its power coming from coin-sized batteries

so the application would flash for at least 90

days. e Ink worked with manufacturing partner

Nicobar group in Shanghai to produce circuitry

thin and flexible enough to be placed on the

cover.

once the display screen, electronics and

batteries were assembled, they were flown to

Dallas, where they were taken by refrigerated

truck (in order to preserve battery life) to Mexico.

The covers were then assembled by hand and

the completed covers shipped to RR Donnelley’s

Kentucky site. Using a rig specially created for

this issue, RR Donnelly bound the covers to the

rest of the magazine, which was then shipped to

newsstands. According to esquire, the magazine

can still be recycled as the display can be placed

within household plastic recycling.

The cover was in development for over a year

and required a supply chain stretching over 7,000

miles. esquire produced 100,000 copies of the

magazine featuring the display, with a cover price

of $5.99 instead of the usual $3.99.

Esquire magazine

This may be the first magazine to

implement an electronic display within

the printed cover, but Sean Briggs, group

publishing systems manager at The

National Magazine company, itself part

of Hearst corp, is not so sure it is the

future of magazines.

He says: “It was a special edition of

the magazine so esquire wanted to make

it eye catching. It was a nice experiment,

but I am not sure animated covers would

bring any additional value, as there are

other ways to make a cover stand out,

using colour for example.

“We may see e paper used in this

way for specialised magazines where

readers are prepared to pay more

for the cover, but for the majority of

consumers the increased cover price

it requires is just too expensive. There

are also environmental issues, in terms

of the travel involved in producing the

magazine, and recycling the magazine

itself. However, it’s an interesting

example of how e paper is changing the

industry.”

step closer. Laura Blows reports.

e-paper.indd 1 20/1/09 14:51:11

Instead Briggs notes that the use

of e paper within portable reading

devices (‘e books’) which enable users

to download and store content, such as

the Sony Reader or Amazon’s Kindle,

is already making waves within the

publishing industry.

He says: “This year will be a telling

year as the success of Amazon’s Kindle

product has opened eyes. I think the

take up of e books will start in the USA

this year and by 2010 it will occur here.

“At the moment, e book displays are

mainly black and white making it more

suitable for books and newspapers. It

will have a major impact for newspapers

as the e book is a good compromise, it’s

immediate like the web, and it is suitable

for travelling like a printed newspaper.

“The readership would have to be

subscription based, so if newspapers

and books get this right then take up

will increase as e books become more

affordable. With the subscription model,

the e books may eventually be given

away like mobile contracts.

“With consumer magazines it’s all

about colour and quality, which the

devices cannot provide yet, and probably

will not be able to for a couple of years.

However, my team and I have spent the

past 18 months researching NatMags’

ability to provide magazines available for

download onto e books.”

www.printmediamag.co.uk | January 2009 | 33

TecHNology ● ● ● e pApeR

E book readers like the Amazon Kindle (below) are predicted to transform the way people receive and read books, newspapers and magazines

e paper is not only affecting the

publishing industry, there are many other

areas within print that are being shaken

up by the technology. For instance, paper

manufacturer UpM is currently in the

pilot stage of providing e paper options

to its customers requiring store labels

and banners.

Its ella Store labels product range

“combines the optical properties of

paper and the benefits of electronic price

displays, making it easier for retailers to

keep up to date”, the company claims.

UpM’s ventures manager, Jukka enarvi,

explains: “Around five years ago we

started looking at new technologies

for flexible displays. After studying the

technology we found retail labels to be

the most suitable area for application.

“With a low power consumption and

high quality optical properties, e paper

removed retailers’ previous concerns

when using displays in store. It also

allows retailers to change prices with

less effort, as they no longer need to do

time-consuming manual changes, but

can adapt prices on the tags straight

away through ella’s integration with a

retailer’s IT system. It is still in the pilot

stage but the retailers we have spoken to

are pleased to see such a good looking

solution that matches their needs.”

While paper and publishing

companies are testing the water with e

paper, outdoor advertising company cBS

outdoor experimented with the

technology years ago. Spike

Hallissey, head of production

for cBS outdoor, says: “cBS

outdoor is responsible for

around 95% of advertising on

buses in the UK, so we tried

using e paper for bus advertising

many years ago, when the

technology first

came out.

“We

experienced

problems

with the

units

blowing because of exposure to water

when it rains. It was also very expensive

using e paper as the panels required

for bus advertising are so large. With

e paper’s need for a transmitter, we

cannot currently use it for Underground

advertising either, because the new

lightboxes we recently placed in the

Underground are streamlined and could

not accommodate the size of e paper.”

Despite these setbacks, Hallissey

feels e paper will have a bright future

within outdoor advertising. He explains:

“I think e paper is a wonderful thing and

we are keen to explore it again soon.

With advertising, people are attracted by

movement, so lighting up and changing

different sections of an advert is eye

catching. I don’t believe there have been

any e paper posters implemented yet, but

I think it would be a great opportunity

to have e paper at a premier outdoor

advertising site.”

While there may be optimism in

outdoor advertising for the future,

Duncan Stokes, group creative service

director for advertising agency ogilvy,

does not think that the same can be said

for e paper’s use in direct marketing.

He explains: “We are aware of e

paper, but we are not actively using it

or selling it to our clients. For single use

-which defeats the object anyway - the

technology is too expensive and not that

environmentally friendly at this stage, for

instance recharging content to the page

is time consuming and unwieldy, if even

at all possible. However, we are keeping

a close eye on developments and will

react when appropriate.”

As Stokes says, e paper currently

has higher costs to contend with

compared to standard print, along with

environmental concerns. However,

according to e paper manufacturer e Ink,

these concerns are not well-founded.

Though his comments may be

unpopular for those in the print trade,

Sriram peruvemba, Vp of marketing for

e Ink claims that e paper actually has a

lower long term cost and is a greener

alternative than standard paper. He

says: “In terms of cost/environmental

concerns, the true cost of paper based

traditional media is a lot higher than

• Continued on page 54

e-paper.indd 2 20/1/09 14:51:30

what is popularly assumed.

“Roughly 550lbs of pulp based

paper is delivered per subscriber per

newspaper each year in the USA. After

use, the paper goes into the trash within

24 hours traditionally and a lot of it is

not recycled. less than 5% of books are

made from recycled paper. The situation

is not going to get better as literacy

levels rise in developing countries.

“electronic paper is seen as a better

alternative to traditional paper. Today

we chop down trees and replenish by

planting saplings and in some cases

have to wait 20 years to re-grow them

into mature trees that can absorb carbon

from the atmosphere. An alternative

would be to save 20 trees in the next

20 minutes by switching to electronic

paper.”

later this year flexible matrix

displays will be implemented by e Ink

customers, peruvemba says, and colour

e Ink displays will be available in the

future. So with hundreds of thousands

of books, newspapers and magazines

available for download to e book devices,

e paper suppliers working to iron out

any limitations with their current devices

and a variety of industries exploring the

potential of e paper, the big question for

some is: Will e paper eventually replace

paper?

peruvemba’s prediction is that a

co-existence of paper and e paper,

instead of replacement, will occur. He

says: “We believe that e paper will

complement traditional paper for printed

documents, books, newspapers and

text books in the near term. In the long

term, electronic paper could replace

some segments of the market currently

occupied by traditional paper. please

remember that paper has been around

for thousands of years and continues to

serve a variety of needs. We do however

see a path where electronic paper will

make major inroads in various markets.”

paper manufacturers should,

TecHNology ● ● ● e pApeR

54 | January 2009 | www.printmediamag.co.uk

An electronic paper Display (e paper) is described

by manufacturer e Ink as a display possessing

a paper-like high contrast appearance, ultra

low power consumption and a thin light form. It

gives the viewer the experience of reading from

paper, and content shown on the display can be

changed to give the appearance of movement or

flashing words/images, or to enable users to read

a variety of documents, such as newspapers and

books, on one display.

e paper is enabled by electronic ink, which

carries a charge enabling it to be updated

through electronics. electronic ink requires no

front or back light, and is viewable under a wide

range of lighting conditions, including direct

sunlight. It requires no power to maintain an

image.

The principal components of electronic

ink are millions of tiny microcapsules. each

microcapsule contains positively charged white

particles and negatively charged black particles

suspended in a clear fluid. When a negative

electric field is applied, the white particles rise to

the top and become visible to the user, while an

opposite charge makes the black particles rise to

the top. The ink is printed onto a sheet of plastic

film that is laminated to a layer of circuitry. The

circuitry forms a pattern of pixels that can then be

controlled by a display driver.

According to e Ink, as the microcapsules are

suspended in a liquid carrier medium they can be

printed using existing screen printing processes

onto virtually any surface, including glass, plastic,

fabric and paper.

E Paper and electronic ink

in theory, have the most cause for

concern, but UpM is not worried, as

enarvi explains: “paper will still exist in

the future as new technology makes it

possible to use electronic displays in

ways they could not be used before. So

instead of replacing paper, the displays

will occur in new places and products.”

Sean Briggs of NatMags is also

positive about the impact e paper will

have. He says: “e paper and e books are

another way for our readers to access

• Continued from page 33

The future is now

us, and it will target different readers, so

it will widen our readership instead of

killing it off. Just like podcasting did not

kill off the radio, e paper will not kill off

the printed product. If anything it should

benefit us.”

• www.cbsoutdoor.co.uk

• www.eink.com

• www.esquire.com

• www.natmags.co.uk

• www.ogilvy.co.uk

• www.upmkymmene.com

The use of e paper for store labelling “allows retailers to change prices with less effort”, UPM says

e-paper.indd 3 20/1/09 14:51:43

DIGITAL ● ● ● PEN AND PAPER

Digital pen and paper technology

will not replace standard paper,

nor will it eliminate printers,

that is the message the founder and

CEO of digital pen and paper company

Destiny, Edward Belgeonne is keen

to promote. Belgeonne says: “We are

currently working with printers who are

thinking about processing technologies

which seek to elongate the use of paper,

while making paper more efficient.”

Formed four years ago, Destiny

implements Swedish company Anoto’s

technology to instantly transfer forms

filled in by hand onto the user’s

computer system. It has since been

utilised by a wide variety of companies

who need to keep high volumes of

paperwork forms, including Jackson Lifts

Group, which uses the technology for its

engineers to send forms straight to the

server, instead of having to return to the

office, allowing users to instantly see the

current status of work.

Debt management company Equita

has also adopted this software for its

20,000 client visits conducted every week,

allowing the 250 staff to upload forms

via Bluetooth instead of manually. Equita

has predicted that this will produce

savings of £100,000 a year, and is looking

into replacing manual procedures in its

payment notification process.

No special paper is required for

digital pen and paper to work. The

technology uses a unique dot pattern

that is specially created by Destiny for

each client’s forms, which is then printed

onto standard paper.

Around 12 printers in the UK have

received accreditation to print the dot

patterns, with print management firm

Communisis also being an accredited

partner and reseller.

The pen used on this paper features

a normal ink cartridge with an infrared

camera, Bluetooth facility, battery and

memory. The battery life of the pen is 12

weeks with the cap on, five weeks with

the cap off and it can write for three

26 | July 2007 | www.printmediamag.co.uk

possible. Destiny also uses Handwriting

Recognition (HWR) software and if there

are still problems, Destiny speaks to the

user or takes samples of handwriting. It

can also send the interpretation of the

word onto the user’s Bluetooth device for

the user to check.

Other products include Destiny on

Demand, allowing users to design their

own forms on their computer and print

them onto the dot patterned paper using

their printers. A GPS service is available,

which navigates users to their next job,

and users can take pictures on a mobile

phone and send them across at the same

time as the form.

This has resulted in 2007 Q1 sales

of £1 million, a fourfold increase since

2004. Destiny now has around 400

active applications and 250 customers,

with 50,000 forms processed a week.

Accredited printers collectively receive

£100,000 worth of print a month, and

Destiny adds around 20 new customers

a month, with a further 15 re-ordering

every month.

Belgeonne credits these results to

combining the best between traditional

communication methods and the growth

in technology, making them easy to

use and easy to fit into a company’s

workflow. This helps to save processing

time and costs, through eliminating the

need for multiple paper copies of a form,

and reducing the time taken for forms to

enter the system.

Explaining the opportunities this

can provide for the printing industry,

Belgeonne says: “Our 12 printers are

the tip of the iceberg compared to all

of the UK’s printers, but they have a

unique facility to offer their customers.

This technology means less paper, but

the paper created is used in a more

intelligent manner. We are advocating the

use of paper, and recognising that paper

and pen is the oldest technology we

have got, and should be preserved within

digital technology.”

• www.destinywireless.co.uk

Paper faces its DestinyWith debate continuing about the impact digital paper and ezines will have on traditional print, digital pen and paper company Destiny claims to offer the best of both worlds.

continuous hours.

The camera takes 100 pictures a

second of where the pen strokes are in

relation to the dot pattern on the page,

which Belgeonne says offers improved

quality compared to scans that take one

picture of the whole image.

The file is bluetoothed into the

user’s mobile phone outbox, sending it

by GPS across to Destiny’s server, which

automatically fills the pen strokes back

onto the form held on the server and

creates an image of the form. This is

transferred into ACSII text, which Destiny

sends to the user as an XML file, along

with the original image file through email

or FTP sites.

If the user does not use a Bluetooth

device, up to 120 forms can be saved on

the pen’s memory. The user places the

pen into a device resembling an ink well,

which is linked to a computer via a USB

cable.

To overcome any difficulties

interpreting handwriting, Destiny

redesigns its customer’s forms using

“design intelligence”, which clarifies the

form by using as many tick boxes as

“This technology means less paper, but the paper created is used in a more intelligent manner.”

Anoto technology enables the swift transfer of written content from paper to computer

Paper.indd 1Paper.indd 1 6/7/07 11:00:596/7/07 11:00:59

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48 | September 2007 | brand management

Advertising in Monkey magazine

takes advantage of ‘page fl ipping’

technology Website advertising in the form of ban-

ner ads is a well established, and pop-

ular, form of marketing. However, the

recent emergence of online magazines

has created a different opportunity to target consum-

ers online. Sophie Strickland, product development ad-

vertising manager for online lad’s mag, Monkey, says:

“People are recognising that the market is changing. We

know that website advertising is still a big marketing

tool, so we cannot be negative about it, but a digital

magazine offers a more targeted and logical format for

ads to be placed.”

Monkey is the weekly digital magazine for men,

produced by Dennis Publishing. The average age of it’s

audience is 28 years old. When launched in November

2006, it was sent out to the half a million people on the

Maxim database, Dennis Publishing’s well established

printed magazine for men. It was aiming for an average

circulation of 100,000 but its ABCe circulation fi gures

have recorded an average of over 209,000 readers.

Usually Monkey has fi ve or six advertising pages

per issue, with nine to ten adverts the maximum capac-

ity each issue can take. Strickland says the number of

the adverts per issue is limited because Dennis likes to

ensure that the brands work with the targeted market,

meaning that on occasion Dennis has turned advertis-

ers away.

When Monkey began, it was entertainment com-

panies such as 20th Century Fox and Sony Pictures

which initially advertised, as they were easily able to

send trailers to be showcased in the magazine. After

this, gaming companies like Rockstar and Codemasters

Monkey leading the evolution of website advertisingAs the internet has evolved into Web 2.0, online marketing has had to adapt to keep engaging potential customers. Laura Blows considers the benefi ts of advertising within Monkey, a digital magazine.

‘

‘

Digital magazines harness the positive aspects of both online and print

began to advertise as well. As Monkey has continued to

grow in popularity, major consumer brands have begun

to see the benefi ts of advertising in a digital magazine,

with Ben Sherman, Snickers, Lucozade, Gillette, Wilkin-

son Sword, Lynx and Microsoft just some of the big

name companies which have recently taken space.

There are a variety of adverts which can be created

for digital magazines. The cheapest advertisement in

Monkey magazine is a full-page standard static advert,

with a rate card price of £3,000. A full-page advertise-

ment with rich media content, such as audio or video

content will cost £6,000. There is also fl ash media ad-

vertising available, where an advert can be animated

for a £5,000 price tag. As well as full-page advertise-

ments, companies can place their advert at the begin-

ning or end of video content within the editorial pages

of Monkey, called pre- or post-role, for a rate card price

of £5,000.

While Strickland found that the entertainment and

gaming industries embraced these methods of adver-

tising straight away, other types of brands sometimes

have diffi culty knowing how to utilise the technology

for advertising purposes. Strickland says: “We have a

service where for a minimal charge we will help a com-

pany create an advert which will generate the best re-

sponse. It is particularly new clients, such as those in

the fashion and toiletries industry, which we are help-

ing.”

In order for companies to know how well their ad-

vert is being received, Dennis has a tracking facility to

keep a record of how many people have viewed a par-

ticular advertisement. Alternatively, the advertiser can

Monkey.indd 2Monkey.indd 2 7/8/07 16:11:457/8/07 16:11:45

50 | September 2007 | brand management

FEATURE MONKEY

■ Launched in November 2006, Monkey is a weekly digital only magazine aimed at 16 to 30 year-old men, with no print version available. It features “page turning” technology, where the on-screen magazine appears to look like a printed version, with the viewer able to click to turn the page. It is delivered by email, with readers clicking on a link to access the magazine.

■ While Monkey follows its printed predecessors in format, it has also stayed

true to the lads mag editorial convention of women, technology, cars and humour. Yet because it is a digital magazine, this content can be enhanced through animation, fi lm and audio footage.

■ The weekly magazine consists of approximately 50 pages, and has an ABCe circulation fi gure of 209,612 readers. It also has an unlimited shelf life, as viewers can go back and view old issues by clicking on the email link they originally received. Dennis Publishing has reported

that viewers spend around 45 minutes reading each issue. It has also found that the average audience is affl uent, earning £28,000 a year, with 65 percent of readers not reading another men’s magazine.

■ Monkey is not the only digital magazine on the market. Publisher NatMags recently launched Jellyfi sh, a digital magazine originally aimed at teenage girls, offering a “click it, have it” philosophy, with links to buy products, watch video clips, and listen to music.

implement their own tracking device. Strickland says

that the ability to know exactly how many people an

advert is reaching is a very popular element of adver-

tising in a digital magazine.

She adds that it is hard to put a fi gure on the aver-

age click rate per advert as it varies so much, and can

be anywhere between 100 and 6,000 clicks per advert.

“Adverts with fi lm trailers in have a high click rate”,

she says, “especially if they feature a link to websites

like play.com, which provides the viewer with a link to

buy the product. Funny adverts also do well and have a

high response rate.”

Strickland cites Wilkinson Sword (above) as an ex-

ample of successful online advertising. As part of its

promotion for a new razor, Wilkinson Sword wanted

to give away 100,000 razors costing around £8 each,

and launched an “extreme shaving” campaign, which

encouraged consumers to upload video clips of their

extreme shaving. A microsite was created for viewers

to vote for the video clips, with the winner receiving

£10,000. The fi rst 100,000 viewers who fi lled in their de-

tails received a razor, with all 100,000 being given away

within nine days of the issue being released.

Wilkinson Sword is not the only advertiser pleased

with the results of advertising within Monkey maga-

zine. Strickland describes the advertisers’ response

to this kind of advertising as “very positive and well

received” with Monkey now receiving repeat business

from many advertisers for their new campaigns. She

adds: “We know that there is a high level of crossover

in the men’s weekly market between titles such as Nuts

and Zoo, so we are trying to encourage advertisers to

extend this crossover online as well.” The number of

advertisers wanting to work with Monkey magazine is

increasing, with the amount of advertisements booked

in for August and September 2007 the highest to date,

particularly from the entertainment and gaming mar-

ket. Monkey is expecting all its issues to reach the full

capacity of nine to ten adverts by the next quarter.

A main reason for companies to advertise within

digital magazines is the opportunity to harness the

positive aspects of both online and print advertising.

A digital magazine provides the advertiser with the op-

portunities the internet presents to enhance its advert,

with video, audio and animated content, but unlike

websites, a digital magazine provides the viewer with

a focused method of receiving the advert.

Strickland says: “With websites, the viewer may

not stay on the page for very long, before becoming

distracted by other links, which only allows them to

view a website advert for a short time. In contrast, our

digital magazine has a start, middle and end, enabling

viewers to spend a much longer amount of time engag-

ing with it, and we encourage readers to pass it around.

The reason why Monkey magazine has become so suc-

cessful with readers and advertisers alike is because it

is quirky and stands out, with people excited and talk-

ing about it.”

Monkey Magazine

Monkey.indd 3Monkey.indd 3 7/8/07 16:12:087/8/07 16:12:08

Pantone ● ● ● Goe

A new colour specification guide,

called Goe, has been released

by colour reference company

Pantone for the first time since the

release of the Pantone Matching System

45 years ago.

Pantone, which was acquired by

colour measurement and management

specialist X-Rite for $180 million in

august 2007, first unveiled its new Goe

system in September 2007 (see PMM

September 2007), featuring almost

double the number of colours in the

Pantone Matching Guide.

the decision to launch a new colour

guide system came after research

conducted by Pantone a few years ago.

Paul Graham, regional sales

manager for Pantone europe, says: “Print

technology has changed beyond all

recognition from the 1960s. Since the

1960s pigment and colour technology

has changed. Unlike then, colour

management is a now a part of

everyday life.

“the artwork process has also

36 | May 2008 | www.printmediamag.co.uk

Goe for colour gloryPantone has released a new colour reference guide, Goe, as an alternative to its original Pantone Matching System. Laura Blows looks at what the new system has to offer.

changed quite dramatically, it has moved

from cardboard to phototype to digital.”

Following this research into the

changing nature of print design, Pantone

spoke to designers to ask what they

would like from a new and improved

Pantone Matching Guide. More colours

and clearer colour communication was

the resounding cry.

While Pantone stresses that it has no

plans to replace the Pantone Matching

System with Goe, and that the Pantone

Matching System and inks will still

be available, it does expect to

see a rapid take up of the

new system.

Pantone has

good reason to

be optimistic of

Goe’s success,

having listened

to the needs of its customers. the

system features 2058 colours, compared

to 1114 colours in the Pantone Matching

System. around 60% of colours in the

Pantone Matching System are also in the

Goe system.

“the colour gamut in the Goe system

is much more evenly spread compared

to the Pantone Matching System,

particularly with regards to reds and

blues,” says Graham.

Within the 2058 colours there are

165 colour families. all the colours are

made from 10 base colours, plus Pantone

Clear. In contrast, the colours in the

Pantone Matching System require 14

base colours.

the colours are featured in a Goe

Guide, a booklet that highlights the

wealth of colours available along with

their data. Graham adds that the colours

are easy to find, as they are arranged in

chromatic order with the full strength

colour at the end of the strip, gradually

getting lighter as it reaches the top.

Lab values for each colour are

included in the guide, along with RGB

data and colour mixing percentages,

instead of the colour mixing parts that

appear in the Pantone Matching System.

the 294-page Goe guide is printed

on what Graham calls “standard print job

paper”, a 148gsm woodfree coated paper

that is “the number one selling paper

in america”. this is to help users of the

guide get an accurate idea of what the

colours will look like on print.

along with the guide, Goe Sticks are

available for designers. this chip format

has an adhesive backing on each chip

to place the chips with the design work,

allowing “easier communication between

clients, designers and printers”.

Pantone also offers myPantone

Palettes Software included within the

Goe system. Suitable for use with both

Goe and the Pantone Matching System,

myPantone allows users to place colours

into the system, creating their own

custom palettes, and then export it into

other software programmes.

Images can be loaded into the

software and the dominant colours

selected for the palette, and myPantone

can also blend two colours together. the

customised palettes can be shared online

through myPantone.com.

one company that has been granted

a licence to produce Pantone Goe inks is

Sun Chemical.

Kevin Purdey, product and

technical manager for Sun Chemical’s

UK commercial offset, says that the

company’s research has found the

Goe inks to have an improved pigment

resistance, making the colours less likely

to fade and bleed.

He adds that the colours are more

stable and therefore more suitable for

coating, varnishing and lamination.

Graham says that the ink film is

1.3 gsm, “making it more similar to ISo

standard CMYK printing”. Purdey adds

that this will give the colours more

brightness, with faster ink drying and

improved mechanical resistance.

• www.pantone.co.uk

Pantone’s Goe colour reference guide offers

more colours and clearer communication

Pantone.indd 1 7/5/08 11:14:06