Route 1 Print’s litho stream produces long-run orders of flat and folded items
Holding its own
Said to date back to 1798 when discovered by Alois Senefelder, lithography didn’t become commercially popular until 1820. Fast forward 200 years and the historic printing method is still a tried and trusted favourite for many print houses despite the development of digital printing technologies.
According to the University of Oxford, lithography was used to produce prints of local views, notable people, and other prints such as illustrated bills.
For those unfamiliar, lithography is a mechanical process traditionally using stone which later evolved to plates made from zinc around 1830 and aluminium around 1890.
Designs were historically drawn or painted with greasy ink onto a stone plate moistened with water, with the application of oily ink meaning that it only adheres to areas of the plate with the drawing. The print is then produced in a scraper press with the paper run against the inked drawing surface.
In commercial printing today, offset litho is commonly used to produce products such as newspapers, magazines, books, brochures, posters, leaflets, and so on. This process was patented by John Strather in 1853 and differs from the original litho method as a printing machine is now used instead of the designs being hand drawn onto the surface of the metal plate.
The name offset was given due to the image being inked and transferred from a metal printing plate to a rubber blanket which then offsets the image onto paper.
Whilst the evolution of digital printing technologies caused some to query the future of litho printing, the method is still used by many print houses and although it has some limitations such as a time-consuming setup process due to the handling of plates, it is a favourite amongst many due to being ideal for high volume printing.
As offset and digital printing use different methods there is naturally going to be differences in the quality of output, albeit subtle to the untrained eye. Whilst colours may not appear as bright and vivid as that of a digital print, litho print tends to be more consistent, so this is something to consider when deciding the best method for the job.
Due to these differing specifications such as length of runs and the desired output, there are arguments for both digital and litho technologies and the more industry members we speak to, the more it becomes apparent that there is a space for both technologies to complement one another.
Workhorses of Litho
A name that pops up time and time again in the world of litho is the Heidelberg Speedmaster XL 106. The lastest in the manufacturer’s litho offering, the Speedmaster XL 106 offers consistent high quality with steady production speeds of 18,000 sheets per hour in straight printing or perfecting mode.
Features such as continuous process optimisation through artificial intelligence; fully automated air settings when changing substrates; and plate changing in under one minute with AutoPlate XL 3, makes this press a popular choice within the print industry.
Sheet-fed UV litho printer and print enhancement company, Oriel Printing Company, recently invested in a Heidelberg Speedmaster XL 106-7+LYYL (seven-colour offset raised press 75 x 106cm) with double coating system, double intermediate station, feeder, and delivery logistics and image control, along with Autoplate Pro.
The company says the decision to replace its CX102-7+L with a new press was part of a strategy to increase its print capacity.
Oriel Printing Company recently invested in a Heidelberg Speedmaster XL 106-7+LYYL with double coating system
“We’ve been running at full capacity for two years now,” says Richard Simms, managing director at Oriel Printing Company.
“With this, we expect at least 25% more press hours will be available. We will also have the ability to print two coatings in a single pass. We previously printed double-coat work in two passes.
“We can run water-based coatings in a single pass. We previously limited our speed to 10,000 sheets per hour because we didn’t have infrared dryers – we used UV dryers instead. The new machine has both infrared and UV dryers.”
With the new investment, Oriel is seeking to increase its client base and is targeting packaging companies that may have overspill or printing companies moving into packaging but need Oriel’s UV printing expertise for difficult substrates such as foil boards or microflute boards.
Another company that has recently invested in Heidelberg litho technology is Beamglow, producer of luxury packaging. The company has purchased an XL 106-7+LYY-1+L Heidelberg printing press which has replaced an older seven-colour double coat litho press.
Beamglow, producer of luxury packaging, has purchased an XL 106-7+LYY-1+L Heidelberg printing press
A significant moment in the evolution of Beamglow, the company’s strategy focuses on efficiency, flexibility, and maintaining the highest possible standards of quality and sustainability.
“The decision to replace the older seven-colour double coat litho press is part of our rolling machinery replacement policy,” explains James Griffin, projects director at Beamglow.
“Heidelberg has a long pedigree in press manufacture, compounded by both ongoing development and technical support. We expect to see an overall gain throughout the process, from raw material to finished product. We have taken a holistic approach including makeready times, sheets on the floor, downtime, and quality.”
Griffin adds: “This would impact on further processes. Our customers will benefit from the investment in a very highly spec’d packaging press, to maintain Beamglow’s reputation at the forefront of the industry.”
High Volumes, Reduced Prices
So, what do the print service providers using offset technology have to say about its benefits and limitations?
Founded in 1999, Solopress is an online print company serving the UK print market and is known for its sustainable print, fast turnarounds, excellent print quality, and customer service. Litho printing is used for a wide range of products at the company, mainly on medium to large print runs that aren’t cost effective to run on its digital presses.
The company recently made headlines for its investment of almost £5m in new premises and B1 litho capabilities which included purchasing a pre-loved B1 ten-colour Heidelberg Speedmaster XL 106 with coater to sit alongside its two Speedmaster XL75s. All three presses run 24 hours a day, six days a week.
“We use this litho capability in conjunction with an array of digital machines, including the HP Pagewide T250 web press and our HP Indigo 100k,” explains Jack Clifford, head of operations at Solopress. “We find this combination grants us the agility to respond to the broad variety of jobs that fly in each day.”
Jack Clifford, head of operations at Solopress
When asked what some of the main benefits of litho are for Solopress, Clifford says print speed is the main one.
“We can achieve up to 18,000 sheets per hour through our Heidelberg Speedmaster XL 106 and our move to B1 means we effectively are putting 36,000 sheets of our old format B2 on the floor per hour. Reliability is a huge benefit too. Our XL 106 is print ready and operational for 98% of the time.”
Another benefit Clifford highlights is the versatility in terms of the materials it can handle, as with litho, Solopress can print onto a broad range of paper stocks and weights.
“While inkjet is catching up in terms of the quality, many in the industry still feel that litho has the edge. Where litho is particularly dependable is when reproducing consistent colour throughout long print runs from the first sheet to the last.
“The durability of inks post-print is certainly better on litho-printed products. With newly digital printed products, we have to be diligent in how we handle jobs to ensure the print isn’t scuffed. With litho printed jobs, that’s not a worry, and the ink cost per sheet with litho is also significantly less than the digital or inkjet equivalent.”
Another company that uses litho in its production is trade printer Route 1 Print. The company dispatches over 8,500 jobs each week from its 100,000sq ft factory and offers a range of quality print products from flyers and business stationery to branded merchandise and luxury book binding.
The company also offers a range of trade-only services such as dedicated account managers, free 30-point artwork checks on all files, a range of unbranded and downloadable marketing collateral, and more.
Having worked in manufacturing for over 15 years and ten of those in the print industry, Phil Tasker is now head of Route 1 Print. Explaining the way Route 1 Print uses litho in its offering, Tasker says:
“With four industry-leading pieces of kit in our lithographic arsenal and a team that’s trained to the highest operating standards, we make light work of long runs.
Our litho stream is largely responsible for long-run orders of our flat and folded items including flyers, folded leaflets, posters, and business stationery. Plus, they’re even useful for producing long-run booklet and unfinished sheets!”
Tasker explains that for Route 1 the key is to keep its litho stream as efficient as possible in the way the company gangs up jobs. “Depending on size, we can group up to 20 pieces of artwork on one plate. Our specialist workflow software carefully monitors the orders that come through our system to find compatible jobs that make the most economical use of our resources.”
The benefit of this is that fewer plates go to waste which helps Route 1 Print to keep its prices low. As a company producing big jobs consisting of long runs, Tasker says litho presses still hold the title for printing efficiency.
However, as a small print business taking on huge orders could feel a little daunting, especially if they currently own a fleet of digital printing technology.
This is where Route 1 Print’s trade services come in. “Litho presses can be very expensive and we understand that most of our customers won’t own one unless they’re a larger commercial printer,” he explains.
“However, the benefits of outsourcing long run jobs to use means that they can make use of our machines, without having to pay for the expensive equipment or the floor space whilst still guaranteeing a quality product.”
The Big Debate
With any technology there are going to be pros and cons. For litho, Tasker explains that it isn’t the most sustainable printing option.
To tackle this, Route 1 Print is doing its bit to reduce its carbon footprint and impact on the environment, especially across its litho stream. By ganging jobs together, Route 1 is able to keep its jobs efficient, reduce plate waste, and keep prices low for customers. The company also recycles its aluminium plates after use so that they don’t end up in landfill.
Route 1 Print says it has the best of both worlds with its litho and digital technologies
Route 1 Print also only uses stocks certified by the FSC and all the machines in the factory run off 100% renewable electricity including all its Heidelbergs and plate benders in its litho stream.
“Understandably litho isn’t the quickest of printing processes due to the nature of applying the ink to the paper and drying time but we’ve never let factors like this hold us back,” Tasker says.
“We always make sure that we invest in the latest equipment like our Heidelberg Speedmaster XL 75. Since getting this machine we’ve been able to upgrade it to make it even more efficient.
Phil Tasker, head of Route 1 Print
“Our B2 press now uses LE UV inks like the B1 presses. These inks are cured after printing, making them touch dry in just seconds and saving us and our customers a significant amount of time.”
For Solopress, the time it takes to change over between jobs is also a limitation as with digital you can transition between jobs seamlessly with no stoppage time at all.
However, Clifford says that once the press is running, the marginal costs for that extra work diminish.
That’s why it’s fast and lower in cost for medium and long runs but impractical for short runs. The way you get around this of course is to have both methods available”
“That’s why it’s fast and lower in cost for medium and long runs but impractical for short runs. The way you get around this of course is to have both methods available!”
And this takes us onto the debate of litho vs digital, although the argument seems to be in favour of using both technologies in harmony together with both offering their own benefits.
“Admittedly litho is becoming less relevant with advances in digital technology,” argues Clifford. “Over the last three years, we’ve seen run lengths double on digital presses at a comparable quality, for a lower price. That means jobs with run lengths that would previously have been handled by our litho presses are now going through our digital machines.
“With regards to colour and quality, digital is catching up fast there too. We run a suite of HP Indigos which includes two 7.8Ks, two 10Ls and a 100K machine. The print image quality we achieve with these presses genuinely rivals what we see from our Heidelbergs.”
Clifford continues: “Ink costs do come into the equation, though. If inkjets were to drop significantly in price, then the odds might shift further in favour of digital. At current prices, though, ink costs are still a barrier for digital.”
With that said, Clifford says that as things currently stand, litho still has its place for medium to long run production and he says he sees this being the case for some years to come. “There’s a threshold above which litho wins across the board in terms of speed, quality, and cost,” he says. “While that’s the case, printers producing at those volumes will tend to favour litho.”
O Factoid: Litho printing evolved from stone plates to the use of plates made from zinc in 1830 and aluminium in 1890 O
And with Solopress having recently invested almost £5m in a new site, a Heidelberg Speedmaster XL 106 and plant machinery, it is fair to say the company’s investment in litho can’t be questioned.
For Route 1 Print, Tasker mirrors the stance of Clifford and says the company has “the best of both worlds” with its line-up including four Heidelberg litho presses and its digital technologies including the Landa S10P.
“Our industry knowledge and experience has allowed us to effectively make use of our factory and equipment by coming up with systems and routing practices to make sure our customer’s work makes it down the most suitable stream.
“For us, litho isn’t less relevant than digital printing, it still serves a purpose. It’s more about finding the right machine for the customer’s job requirements. Although digital can support us in ways that litho can’t, the quality, reliability, and flexibility that litho offers remains unmatched.”
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