Welcome to the SMART FACTORY

Yves and Hubert, so excellent.

Yves, I propose you to speak, so thank
you very much Hubert Pedurand, Pedurand for joining

our “Smart Factory” week and for me it
was an obvious choice, especially with the concept

of “Gutenberg One” which really responds to
all the innovations of the future.

And also I know but I’ll let you introduce yourself
in a few moments, you are the CEO of

several printing plants, and there too, where
there is robotization, but during this

session, we will focus mainly
on this technology, this robot.

We just finished with Jacques Mikiels a session
that was, precisely, intended to set the

scene, which was Industry 4.0.

What Industry 4.0 is, we will rather talk about
in the present, what is Industry 4.0 and

also about the new industrial strategies that it
allows to put forward, to facilitate some

industrial strategies, they are not new when
we talk about printing per unit, some

printers have already implemented this type of
approach or the term mass personalization.

It’s a term that dates back to the ’80s.

You can see that this is not
new, but 4.0 facilitates these strategies.

And today, so this afternoon,
in this first Breakout Session.

We’re just about to go to Jacques have you
downloaded, or I’m going to share my screen,

have you downloaded it already?

Yes, I will.

I’m going to start Hubert’s presentation, so
from there you can continue down there.

So you will see the buttons
to go forward and backward.

And that way, you’ll have the platform to
introduce yourself and do your talk about the

robot, among other things.

So here are just two seconds, so, my
Benelux audience and therefore the Belgian audience

too is very interested in what’s going on
in France, of course, we’re strongly linked.

And so, after your presentation and our
conversation, which we’re going to see together,

so the next session, but I’ll
put the link in the chat.

For those of you who are interested, we’ll go
on to one of your colleagues, but a Belgian

colleague, a printer who is also somewhat involved in
what you do, but well, more in the

academic world.

So you’re talking more about printing per unit,
I think with your, with your concept,

while Luc Peeters of Peeters Printing, and
Publishing Peeters, they’re actually a little

bit in the print runs, say from one,
a hundred to thousands, also, completely in the

environment, digital printing.

But here we are, so I’m very, very interested
and I’m very happy to have you on our

platform and so here we are, so
I’m going to start the presentation.

There you go, I give you,
I give you the word Hubert.

So, thanks to your community of…

to pay attention to what I try
to do and undertake for our profession.

You can hear me now.

Yes, very, very good.

We can hear you very well.

The only thing we’re going to do is to be
careful to cut our microphones so that we don’t,

in fact, cut them off, because there’s a
background noise, that’s what we’re doing to

avoid interference.

You see the slides, Hubert?

I see, I see the slides, yes,
it’s yours, Yes, so Hubert Pedurand.

I am above all a man who is interested
in writing, in reading and how, in these

difficult times we live in?

How to be?

How can we make knowledge accessible
to as many people as possible?

That’s what writing is for, to transmit.

And as a printer, since I’ve been lucky enough
to print books for almost 20 years, and in

particular for the last 5 years, I’ve been
running 3, 3 beautiful companies that

specialize in book printing and in
particular black and white, monochrome, paperback

books. So, it’s the Laballery printing house in
Bourgogne, which is a cooperative, so it

innovates, we also innovate on the social side,
the Floch printing house, which is there

on the massification on a web press basis,
three beautiful web presses that were built by

successive generations of the Floch family and
which have a long tradition of printing

engineers. So, we have what we call Rotopages,
which are machines on a flexographic basis

that allow us to do mass production for
what I call bookbusters compared to blockbusters

in the movies, so the latest one we
are printing in bookbuster is the Joël Dicker

“L’enigme de la Chambre 622” and we are
going to approach one million copies printed.

So I have the chance, between Laballery on short
and medium runs and Floch on very long

runs as well, to run the Source d’or in
Clermont-Ferrand, which is it on small runs of

around 1 to 100 copies.

So I am fortunate to have the spectrum, a
fairly broad spectrum of what the market is

asking for and the technical and industrial reality
and the reality of the costs in

relation to what we are being asked for.

The observation in the market is that
we printers have a very strong

pressure on prices and an
even stronger pressure on deadlines.

And very sincerely, when I began to think
about the automaton that became the “Gutenberg

One” automaton, I got back into the skin of, I
tried to modestly put myself in the skin of

Gutenberg, when he had copyist
monks in front of him.

And how do we get
beyond the popularization of knowledge?

He had this great idea.

The Chinese got to him long before
he did on the printing press.

But his particularity was to invent lead
and antimony based movable typefaces, capable of

re-melting some of this alloy
to recompose typefaces ad infinitum.

Thus, he has, with his invention, made
culture accessible to the greatest number.

I would say that 500 years later, what I
have tried to do is to continue his obsession

with making culture accessible
to the greatest number.

The difficulty I had was how to
manufacture a single book, in a single

quantity, in an economically viable way
and with a truly industrial

focus. So, the “Gutenberg One” robot was the
subject of six years of research and

development on my part.

And I have worked in particular with a
robotician in Strasbourg, not far from Saverne,

called R&D Technology.

And on my proposals, we ended up with a
proof of concept which is the Gutenberg One robot,

which has now appeared on
the market two years ago.

So, the team, I created a structure to
incubate my invention, so this structure is called

“Gutenberg & company”, and the objective of Gutenberg
& company is to exploit my patent.

The purpose of the patent is to
make it possible to manufacture a

book in front of the customer
in less than five minutes.

Depending on the print engine, it will vary from
2 to 10 minutes, it’s related to the

pagination also of the book and its format,
but on average, a 400-page book in 10/18

pocket format, since the robot is also able to
do two poses and to do what is called

Coming & Going, and the superimposition of blocks
from an A4 block, we halve the

production time for everything in A5 and smaller
format, so on average, a book produced by

Gutenberg is 5 minutes, indeed.

So that’s the name of the patent, it’s
“device for robotic printing of single books and

associated processes”.

The patent has worldwide coverage.

If I go on to look at the market
situation, we are dealing with a market of

EUR 2.77 billion.

Here we’re in a market that’s pretty
stable because the book is relatively resilient.

We see it in times of crisis.

We consider that 80% of the
book arrives at booksellers or equivalent,

and 20% of the quantities are made
via the Internet, ordered via the

Internet. I, I did not consider e-readers and tablets
to be a real market since I consider

that at 5%, it is a tool that is
complementary to paper and does not really threaten

paper. If, and only if, there are
still printers tomorrow, then the fundamental question

that obsesses me is the survival of
our industry in a context of increasing

dematerialization, with the rise of platforms such
as Amazon and others that, tomorrow,

could perfectly well be equipped with print to
produce the quantities they will have sold.

Obviously, in this context, if I have some
convictions, forgive me, I have no certainty of

what will be, what will be the future.

The Gutenberg One, it was also designed
to do what I call self-printing and

self-publishing. In France, at the moment, we
consider, we estimate that there are about

200,000 manuscripts that do not find authors
and whose circuit to materialize access is

really very, very complicated.

So Gutenberg One will allow booksellers who would
be equipped to become, as in the 18th

century, publishers, booksellers and printers with
the ability to bring literary creation

to life in the area where they are located.

So Hubert, if I understand correctly, tomorrow, if
I want to publish my thesis, I could

very well go to a bookstore, bring my
manuscript and come out of the bookstore with

several copies or a copy of
my thesis or my self-published work.

Yes, Yves, that’s exactly it.

And I would say that it will still
be much simpler because, associated with the Gutenberg

One automaton which will be in retail mode, there
will be all the front office and the

back office with the
catalogues of the titles.

But the front office, there is therefore an
interface which will allow you, Yves, to write

your book from your sofa and to be geolocated
to produce, so that your book is produced

with the lowest possible ecological cost in
relation to your place of living.

That’s really what Gutenberg was aiming for.

On the page that is here, we consider that 50% of
the price of a book in France and we can

say that at European level, it
is also the same situation.

That 50% price is inefficiency.

It’s worthless.

It’s in that 50%, you
already have 25% unsold copies.

You have the uncertainty of the sale.

You have the pestle.

You got the overstock.

Anyway, um…

Gutenberg One, I dare say, I dare say,
even if sometimes I’m not understood, makes it

possible for the book to be accessible
worldwide in streaming mode, so streaming, it

doesn’t mean that the book will be rented,
streaming is the constitution of a network, a

cluster with, like Napster, points that will
interconnect with each other, and if an

author who wants to publish on Fifth Avenue
in Manhattan, his book will be immediately

available in a fraction of a second, everywhere,
there will be the Gutenberg One Network

in the world, it means that an author, a
micro author at the local level, can be visible

at the global level.

Gutenberg One doesn’t change much.

It is also a distribution channel.

I don’t claim to replace the existing
distribution channels with this channel, those of

the major publishers who also control
this part of the business, i.e.

the entire logistical stock, the
return trip of the book.

This is important because printing houses like
Laballery like Floch or the Source d’or

need this channel to continue to live.

But you have to realise, Yves, that in
France, we have about 110,000 new products, new

editions that are published every year.

The average bookseller has
50,000 references in stock.

How do you want it to
be the guarantor of cultural diversity?

How do you expect him to be the guarantor
of access to books when Amazon has infinite

depth of catalog as it can expand
its warehouses all over the world?

There’s a real complexity of accessing books
locally and making every bookseller a local

competitor of Amazon.

And there are not 36 solutions to do it, I
had to reinvent the book with a glued square

spine, that’s what I did with Gutenberg One.

I had a question at that point, and that
was, of course, I understand very well for the

self-publishing market, but for the broader market,
are publishers willing to share their

files so that they can be rematerialized in
the various places where your technology is


You know, Yves, I’m going to
answer you with a parable.

Would you have asked?

I’m not comparing myself to the great
inventor I’m going to name right now.

But would you have asked Thomas Edison this
question when he invented the light bulb in

relation to candle sellers,

No, I wouldn’t have posed, obviously,

So if you want the
question, that’s it, there’s progress.

What do we do with this progress?

The advantage of this progress
is to find its usefulness.

So, I have a role which is a pedagogical
role that I must have towards the publishers.

Of course, customers, when you see how
quickly purchasing habits change given the

ecological context that is pushing very, very
hard towards a model like mine, the

publishers, they can turn
the question around.

The candle is no longer of much use today, and
even less so, to keep up with the millions

of millions of copies in stock, some of which
are still in francs, even though we are

already in euros.

So, the question is the whole back catalog.

This famous long tail that we have, which
today, Yves, is capable of valorising in a

context of instantaneity that is imposed on
us by the networks and this hyper

dematerialisation of our professions.

So the question is whether publishers want
to enhance the value of their holdings,

particularly by telling authors who, authors for
a publisher, that’s their raison d’être

and telling the author.

All your titles, even those over 30 years old,
those over 40 years old, those over 70

years old, are still accessible in less than
five minutes on the Gutenberg One network.

Who is capable today of doing that, of saying,
Yves, your book, your first level 50 years

ago, is still available today.

What I like about it is the fact that
your technology can produce at the point of sale,

which I find very interesting.

There are partnerships, we see Hachette
with Lightning Source for example, Ligntning

Source, which allows Hachette
to expand its catalogue.

And it’s true that the partnership between
Hachette and Lightning Source, even if

Lightning Source is based in Maurepas, on
their distribution site, goes through the

channel of sending the item by mail to
reach the customer, whereas with your technology,

that’s what I find interesting, it’s being able to
have the item at the point of sale or,

as close as possible to, as
close as possible to my home.

And it addresses both carbon footprint issues
as you say, is also relevant

sources for booksellers and so on.

On my side, I see perhaps more a
complementarity, there is Lignhtning Source, I know that

AGG Print with the beebuzziness platform
also, tries to answer this issue.

There are several initiatives.

And as you also remember very well, I
think very quickly platforms such as Amazon will

also position themselves on this type of market, but
not in any case, not on the point of

sale as you can propose,

the place of sale but I would say, Yves,
beyond the, beyond the place of sale, the place

of contact of the book.

Why would media libraries, libraries would not
equip themselves, why would colleges, high

schools, universities, campuses
not equip themselves.

Perhaps it is the bookseller who must
also equip media libraries and libraries.

I don’t have a problem with that.

My concern is simple.

It is that we have a crazy cultural
diversity that is getting poorer because we are

finally going to sell all the same
things, that is to say, few references.

Maintaining diversity is absolutely valuable.

And you can’t ask a Lighthning Source
or Interforum’s Copernics to keep millions and

millions and millions of titles in the
catalogue, because it’s not profitable for them.

And when you need, I don’t know, a book that’s
more than 30 years old and you’re told no,

it’s not available, but eventually, we
can scan it for you.

You have to wait 15 days, 3 weeks and
then when you arrive, you’re finally brief …

The work behind it and colossal, while
the printer’s smartphone, because that’s what it’s

all about with Gutenberg One.

I dare to put, I dare to
offer, I don’t put anything.

Again, I have convictions, but
I have no certainties.

The certainties will be the market who, who,
who, who will say if I was right.

But my conviction is that this tool makes
it possible to make an infinite diversity of

titles accessible.

And we’re able to turn the bookseller
into Amazon’s local mini-competitor on 4 square

metres, whereas Amazon or Lightning Source would
need tens, hundreds of thousands of

square metres to get a copy of each title.

Do you report back to planet Earth?

Two million new copies are published every year,
mainly in China, followed by the United

States, Germany and France.

France has 110,000 new titles,
new editions per year.

The Chinese are, have a need for literature
and transmission that is four times greater

than ours.

So Gutenberg One, it is universal and in a
country that will come out, I hope, of the

Covid one day and other countries likewise,
the mixture of peoples, this wealth of

peoples, this Babylon of culture.

No bookseller can do that today.

Gutenberg allows the multiculturality of the world’s
diversity of writing in one point.

You are German, you are going to Bourgogne, you
want a title on Goethe in your own

language, you have to be able to say:
“Yes, in five minutes, you have it”.

You are Chinese, you are in Paris, you
want a book from the dynasty …

from a few centuries before Christ, which is
digitized, where you can put it back.

Exactly. And I’m taking advantage of that.

What’s the difference with the Espresso book
thing that has the same positioning?

What is the difference between Gutenberg One
and the Espresso Book Machine, which is

already a few years old in American
universities or in bookstores in England?

So there’s not, there’s
not just one difference.

There are many differences.

The first, the first difference is that the
technology used by the Espresso Book Machine

is obsolete.

The kinematics which is embarked on
the paperback part thus the finisher

of the EBM.

I know it well, I have six of them from
Espresso Book Machine and I was able to study the

holes in the racket of this tool perfectly.

So this tool works, but it works at
its own pace and sometimes with some operating

instabilities. But I’m not throwing
a stone at any automaton.

The stability of the tools
can be seen in use.

The main differences are
in the concept itself.

The Espresso Book Machine works on production
sequencing, whereas I’m really into additive

synthesis, for example glued square spine, which
is really central to my patent, I’ve

totally reinvented the glued square
spine of the book worldwide.

It was to say that I didn’t want to glue
the back using a bubbling roller that will pass

through a, in a glue tank that will be maintained
at 170 degrees all day long and after a

few hours, it’s already chocolate because it will
have, the glue will have, will have

burned somewhere, it will have burned.

Because there is not enough flow on this kind of
tool to be able to have a glue that

remains abundantly used and fluid.

So the main, the main difference
with EBM is the bonding system.

Me, I deconstructed a 3D printer, but I had
some glue extruded that I use at Labellery and

Floch, glue in small balls.

I had this glue extruded to fit into a spool
and a filament of glue and I managed to get

that filament to go through my 3D printer which
became a gun, an extension of the CISAC

articulated pole arm which is going to get a
tool, and instead of gluing the spine of the

book, I’m going to glue the inside of the
cover of the book to exactly the thickness of

the spine plus the left and right jaws if
there are jaws glued, if there are no jaws

glued, there will be no jaws and so
surgically, the articulated arm is going to operate

the, the 3D printer through which I’m going
to thermofuse my extruded ink filament so that

it becomes liquid, and once it’s all liquid.

In parallel, the print engine which is on
an inkjet base at 120 pages per minute.

The EBMs are on a laser base rather maximum
90 pages per minute, so my inkjet base is

obviously totally ecological since it’s
totally desinkable greasy ink.

And I should point out that Gutenberg One
has been configured to work essentially on

recycled papers, both for the
corpus and for the covers.

These are somewhat special papers to work with because
there is no sense of fiber and the

paper is much softer than paper even
from sustainably managed FSC or PEFC forests.

So, we’ve actually configured the robot to be
organic and the books that come out of

Gutenberg are organic books.

So the gluing system is revolutionary.

And while the corpus is being printed, there is
a system for holding the cover and the

glue in a liquid way, with 8 drone
motors that are activated and therefore pulsate air

over a resistance that is at 170 degrees, and
it is this system that makes it possible to

hold the book block in place while the book block
is being printed, we can go up to book

blocks of 1000 pages.

No EBM special competitor is capable
of editing up to 1000 pages.

We know how to make backs that can go
up to 5 cm while the Bloc is printing.

The drone engines pulse air and one simply
waits for the articulated arm to bring the

block to the vertical of the cover.

And there’s a folding system.

Afterwards, the arm makes the finishing cut with
a head-side-foot trimmer and the book is

delivered. This principle leads to a saving on
the carbon balance sheet that we evaluate

today at a 70% reduction compared to a book,
the same book produced today at a printer

with the whole distribution circuit, here we are
and it would still require analysis on a

run-of-the-mill basis, but we will
achieve a 70% saving.

So on this slide, we see the robot
in its proof of concept, the POC.

The robot has since evolved and the industrial
version 1 of this robot will be in

operation from the week of November at a
very well known book publisher in the Parisian

market and we will progressively have the whole
of its catalogue more than 40.000 titles

will be in the catalogue.

And we will have the great
novelty and it’s a success.

I’m very happy that the publisher has understood
the relevance of also having titles of

the day, that is, all the new titles that
will be available at the bookshop produced by

the printers will also be in organic mode,
in plant mode available in Gutenberg One.

I discovered that.

Bravo, Hubert.

You have the new presentation of the robot, which
will now be visible at 360 degrees like

an aquarium.

We will see the articulated arm working especially
on all the angles and the print engine,

our partner is the Riso company, which will
supply us with the black and colour inkjet

print engine and plug and play on my robot
and the footprint is about 4 square metres, 5

square metres on the ground
for an infinite catalogue.

Hubert, if I may, just one question
here, it looks great, but if, for

example, so set up the solution in
a bookstore or in a department

store, or wherever you plan to
use this machine, at …

it may be a bit technical, but people
will know in the shop or in the

bookstore, if how you tackle it.

In fact, if there are operational problems, I would
say that with the robot, the paper or

the ink, etc., it’s not a problem.

Because, how are you going
to consider that, too?

Or do you have partners, as I can imagine
possibly in the genre of copy machine vendors,

etc. They have a team that goes
around wherever there is a technical problem.

So, I see the concept completely.

I’m very excited, but still,
it’s still a machine.

And even with the printer at home, often good,
we have no more ink, tracing paper, etc..

How do you see?

We don’t have to go into any great detail, but
this I’m considering may be a bit like the

problem now.

That’s the first problem that can arise
when you wait patiently for your book.

Well, there’s something blocking it.

What’s that?

What’s going on?

Thank you for the question.

And of course, you’re
talking to an industrialist.

My job is to print books every day.

I’ve been printing books for 20 years, every
year I print about 30 million books.

I am familiar with the problems
of maintenance at the industrial level.

You may think that Gutenberg One is the
subject of all the best in terms of

robotics and software today.

Let me explain.

The blue articulated arm, you see there, I would
say to make a long story short, it is

probably the most, the most important number
of existing robots on earth today.

That is to say, it is a system that is known.

A CISAC articulated pole arm is the same
as you have at Renault, Peugeot and Siemens.

So these are proven systems, unlike other
systems that use belts, transfer systems,

pulleys, and other highly mechanical devices.

There’s no mechanics here.

There’s no mechanics, it’s robotics.

So we’re relatively confident because we’ve been testing
the robot for 2 years now in a

production situation.

The robot, this one is going to arrive at
this very nice bookstore in the Latin Quarter

towards the rue des Écoles,
at the end of November.

We’re not going to rush into a global market
and say, “Everything will be fine, Madame La

Marquise, the robot is perfect, it’s very stable,
no.” We’re going to complement our own,

our robot evaluation system.

How does it work?

How does it react?

The operator, the bookseller, will be trained to
use the automat to serve his customer on

an absolutely gigantic database.

We’ll see how he interacts with the interface,
how comfortable he is with the robot.

We obviously have a real-time RJ 45 connection
that allows us to remotely monitor all, all

the elements of the automaton,
starting with the photocopier.

If paper is missing, our remote control cell
will see the problem points and locations.

So if there’s paper missing from
the cover, we’ll see that, too.

If it lacks glue, we will see
it too, so from a distance.

The robot is under permanent telemaintenance,
so there is an electrocardiogram that

we follow only already from РOC.

Just like …, that we send
into space without passengers, well …

it’s under total control and we know exactly
what those different production steps are and

we’re on the safe side.

We know how a book is made, so we know what
steps the robot has to take to make a book.

The operator, the bookseller will be there to
guide the customer through the catalogue and

explain the revolutionary, environmentally friendly, organic
technology to create a new

customer experience for the book.

That’s what you’d expect from a bookseller.

We don’t expect the bookseller
to be a mechanic.

Don’t. We do not expect the bookseller
to be an electronics or computer technician.

That’s our, I’d say our, our DNA.

We provide ourselves with a smartphone.

It is made to be used and to be effective.

There you go.

I’m not worried about that.

There will therefore be regular visits that
will be made physically, presumably before

maintenance is carried out.

Normal, what, to do the normal maintenance
with the packaging, even if to possible

problems with the trajectory of
the robot and others.

We can remotely reboot the
robot to zero point.

That’s usually how we do it.

The bookseller is a is and must
be a vendor of the solution and

is a user.

We’ll ask him to put some paper
for the corpus, for the cover.

We do the maintenance.

We’ll just ask him to maintain the tool so
that the windows are clean and if he sees

anything abnormal, he’ll tell us.

In addition, we have a small camera that is
embedded inside the robot which is at ceiling

level that will also allow us to see concretely
what the operator sees on the water, on

the automaton.

That’s great, but eventually.

One last question for me because I
have another session after this one.

In fact, how many, how many
robots are you considering first?

And how do you envision the market and in
what, in what time frame, is what you think

you’re looking at in terms of, I
would say, the viability of your concept.

The concept fits into what I call
the Darwinian scale of our industry.

This is the last possibility before
the total dematerialization of the book.

Anything upstream, we’re gonna need
all these tools here.

Mass-production, print on demand, offset is still
necessary, but it is important to make

the single book accessible in a different way
than how the product is accessible today?

Because producing a book of one
at Labellery or any other supplier.

How are you going to sell books for 2 euros
50 when it cost you 50 euros to produce?

It is the service to publishers
that brings you volume in addition.

The market of the long tail is today
unexploited to my knowledge, in my opinion.

So the usefulness of Gutenberg is to make available
this long tail which I think is going

to represent about 25% of the market.

Where I stand today is a vision
that we have shared with our investors.

So we’re in a money-raising phase.

So far, we are self-financing.

We also have the help of
the BPI France accompanying us.

We have the help of the State,
which gives us a research tax credit.

Now we have a vision that is global.

So I would say that in the phase we are
in today, where you have an illustration of the

market, it is a market that I estimate to
be around 9,000 robots on planet Earth for a

potential annual income of one billion.

So we’re on very, very, very, very heavy.

But we’re going to go step by step.

Step by Step has gradually equipped itself with
booksellers to test that we’re right, that

our convictions are becoming certainties, so that we
can have real confidence in our, in

our patent and continue the deployment.

For this, we are looking for funds which,
ideally, we need 20, 20 million euros to

install a hundred robots in
France and the French-speaking world.

But we can go much further, but we are going
step by step and I am listening to any

European investor who would be tempted by
this adventure, in the continuity of what

Gutenberg did.

You have the illustration, one of the literary
cafés I’m working on, which are places to

live, places to write, places to share, a
kind of Starbooks Café, not to mention Starbucks

Café, but are places to
experiment, places to innovate.

The Bookstore of the Future might look like that
with the 80% of the best sellers still

available in a stack, and the delta, the
low turnover books available both in the vending

machine via the cloud.

Also, new media printed on Facebook
on Instagram, printed on smartphone.

There will be a whole series of
Adds-on or plugins around the robot.

Social networks are going to graft themselves naturally
to Gutenberg so that at a given

moment t, if you want an archive of
something or a trace of something, Gutenberg can

convert any feed into books.

Already, if the Starbooks Café comes to fruition,
so hopefully also in Belgium or the

Netherlands, or at least if it’s in France, I’ll be
one of the first to come and drink a

coffee in the Starbook café, at
least I will, thank you.

I have another session, so I’ll
give the floor to Yves.

And Hubert, thank you.

Super interesting and a lot of luck to you
and your project and see you soon.

Thank you for your attention.

Hubert, I’m going to take this opportunity to
present a video posted on YouTube, so you

tell me it’s the Gutenberg One, it’s
at the Paris Book Fair in 2019.

I’m going to share my screen so that our audience
is a little bit of an idea of your

technology. Here we go.

So now we see

the robot.

Yeah, now we’re in the phase.

We have a flow problem, maybe not.


Hello, can you hear me?

There’s nothing left on the screen, Yves.

Your connection seems low at moment.

You are only on Audio Mode.

Don’t worry.

Can you hear me?

5 out of 5, but no video.

So I’m going to remove the…

Now I don’t have your video,
can you look up for…

You have a little button for….

I am not allowed to
click on it Well, because…

It’s amazing.

Hubert, thank you very much.

That’s all right.

Please, Yves.

Your,your viewers have access to
the links in the PowerPoint.

I will give access to the links, precisely, on
the different videos, so I see you again,

so that will be important.

Don’t worry about
the English-speaking public.

This session will also be translated into English
and Spanish and broadcast on the INKISH

platform, which will present.

Thank you, Hubert, it was exciting to present
both the concept and, above all, the

business model.

And, of course, the whole phase which is
important today of fund-raising and all the

partners who will, in my opinion, be numerous
to be interested in this concept, because

like you, I am also convinced that the market,
in any case, of the long tail, the niche

market has enormous potential.

So bravo!

And I’ll be one of the first to visit
your first installation in this bookstore in the

Marais. I saw that.

Not in the Marais, not far.

For now, I’ll keep the suspense alive.

Is that right?

Thank you very much Hubert and see you soon,

See you soon.

Many thanks to INKISH, for giving me
the opportunity to talk about my passion.

It was a pleasure, see you soon.