Home' FLEXO Magazine : December 2015 Contents The Rossini Scholarship was awarded to two promising future
flexographers. The first place, $13,000 award went to Jason Cagle of
Clemson University. Second place, receiving $9,500, was given to
Bilge Altay from Western Michigan University.
FTA’s President, Mark Cisternino, gave his namesake award to
two very familiar faces in FTA’s circles. Jennye Scott, VP of creative
services at Berry Plastics Corp., worked as prepress chair on FIRST
5.0 and co chair of the 2015 and 2016 Forums. Richard Black, director
of digital solutions at APR, was also instrumental in FIRST 5.0’s de-
velopment as well as both the 2014 and 2015 FLEXO Magazine cover
For its marrying of flexo’s print qualities and digital technology,
Nuova GIDUE—now rebranded as Bobst Firenze—was awarded the
Technical Innovation Award. With Digital Flexo Excellence, work-
flow aspects such as setup, calibration and other manual processes are
automated, leading to efficiencies across production.
Advance Packaging Corp.’s unobstructed focus on environmental
preservation and sustainability, which manifested in the careful
planning and construction of its facility in Grand Rapids, MI, won it
the Sustainability Excellence Award. The 425,000 sq. ft . headquarters
was designed from its inception to minimize its environmental im-
pact, use less natural gas and improve the wetlands area upon which
it was built.
Forum and INFO*FLEX set new benchmarks in attendance and
satisfaction. Nearly 2,000 flexographers made the trip to Nashville, TN
for the events, held May 3-6 at the Omni Nashville Hotel and Music
City Center. Returning from a successful stint in 2014, Anderson &
Vreeland’s Jessica Harrell served as co chair, along with Berry Plastics
Corp.’s Jennye Scott.
“Itis somewhat humorous now to remember
that standard equipment meant there were
ashtrays attached to the unwind and rewind
sections of each press. ‘Quality control’ was
important but usually focused on checks
and inspections after a master roll was
completed. All data was recorded manually
in process logs inside the quality control lab
and at press side.
—Ma rk Parrish
40 Years in Flexo
Two Veteran Flexographers Look Back at Advancements &
Evolutions in Their Storied Careers
arlier this year, Cyber Graphics celebrated an impressive milestone for two of its veteran employees:
Forty years of service with the Bryce Corp. family of companies. Over their careers, Mark Parrish
and Edwin Woods have seen massive changes come to the flexographic printing industry, and have
personally worked their way through many of the challenges that made flexo what it is today.
Here they share someoftheir wisdom about the industry, and what it takes to build and growwith a company over such a long career. These
interviews were conducted and compiled by Erica Morrison, marketing coordinator at Cyber Graphics in Memphis, TN.
Current Role: Director of Customer ServiceatCyber Graphics in
First Role: Roll Wrapper at Bryce Corp. in Memphis, TN
Erica Morrison: What was flexolike when you first came into the
industry? Whatchallenges did you face?
MarkParrish: In 1975, our press department consisted ofthree
Kidder presses thatwere “two roll inking systems” with no doctor
blades.Ink roll metering was faster for job changes and carrying up
high volumes ofink, butrequired constantpampering, grinding and
replacing. The ink rolls were prone to small defects and streaks that
would showup in the print.Metering for linescreens above 85was
This system was not created for printing high linescreen process
images. All settings were manual, meaning thepress operator relied
on handles, knobs,switches and “touch” toaccomplish registration,
inkimpression, inksettings and speed. Ink viscosities were checked
manually with a No. 2Zahn cup and a stop clock.Less than 5 percent
of all flexible printing had process images and those that did were
simple 85 linescreen.
Because 100 percentof our printing plates were rubber and not poly-
mer, low spots, registration, smudging, dirty printand plate lifts were
common issues thathad to be addressed daily. Rubber plates were
made from matrix board,which was vulcanized from magnesium
engravings thatwere etched in an acid bath from negatives created in
a dark room.
In the late 1970s,our company began to see a major shift from surface
printed “cellophane”to reverse printed polypropylene. In practical
terms, this meant the press operators needed to reorientthemselves to
ink printing sequences and drying thatwere thetotal opposite ofwhat
they had been accustomed to, with white ink now printing in the last
deck rather than the first deck.
Run speeds averaged from 450fpm to 500 fpm and job changes aver-
aged from one and a halfto twohours.All inks were mixed, checked
and qualified by eye. Standards werecreated by eye and signed by the
ink mixer, press operator and printing coordinator. It was not unusual
for a customer approval tolastfrom four to six hours, with four and
five guys staring into a color booth at press side.
Itis somewhathumorous now to remember that standard equipment
meant there were ashtrays attached to the unwind and rewind sections
ofeach press. “Quality control”was important butusually focused on
checks and inspections after a master roll was completed. All data was
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