A life less Sue Norton on never giving up ISSUE 4 2022 || THE VOICE OF THE INDUSTRY || WWW.IRISHPRINTER.IE EASY DOES IT PRINT LIBRARY INVESTS IN EASYMATRIX 106 CS LEAP OF FAITH Susan McDonald on turning a hobby into a successful OPPORTUNITYHEROESbusinessPACKAGINGInnovationsinpulp,paperandwoodfibreKNOCKSNEWTECHNOLOGYMEANSNEWBUSINESSATCOVERUP
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ISSUE 4 2022 IRISH PRINTER ISSUE 4 2022 1 Cover Story A lifelong passion for printing has seen Sue Norton triumph over the naysayers 22 Interview Before the pandemic, garment printing was just a hobby for Susan McDonald. Today, she teaches businesses how to use printers related to this fastgrowing sector 24 The Last Word Set to open this winter, design historian Niall McCormack is curating a label art exhibition for the National Print Museum 09 12 Investment CoverUp has invested in an EFI VUTEk Q5r from CMYUK to enhance production capabilities 15 Technology Print Library is projecting a 30% rise in productivity thanks to investment in a new Easymatrix 106 CS 20 Packaging From the iconic Heinz ketchup bottle to Covid-19 test kits, Two Sides looks at the latest innovations in pulp, paper and wood fibre packaging 17 04 News A look at what’s happening in the print industry 09 Market Recovery The eighth drupa Global Trends Report shows post Covid recovery and resilience in face of fresh challenges
ED’S LETTER
Welcome to issue 4 of Irish Printer for 2022.
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Editor: Denise Maguire Email: editor@irishprinter.ie Creative Director: Jane Matthews Designer: Lenny Rooney Production: Ciara Murray Contact: Irish AshvillePrinter,Media Group, Unit 55, Park West Road, Park DublinWest,12,D12 X9F Tel: (01) 432 2200 Web: www.irishprinter.ie Printed by: McGowans Print Printed on: HP Indigo 10000 using Novatech paper supplied by Antalis. All rights reserved. Every care has been taken to ensure that the information contained in this magazine is accurate. The publishers cannot, however, accept responsibility for errors or omissions. Reproduction by any means in whole or in part without the permission of the publisher is prohibited. © Ashville Media Group 2022. All discounts, promotions and competitions contained in this magazine are run independently of Irish Printer. The promoter/advertiser is responsible for honouring the prize. ISSN 0790-2026
Another woman currently excelling in the industry is Susan McDonald. During Covid, she began making instructional videos on how to use garment printers. Today, she travels the length and breadth of the country giving in-person workshops to both businesses and individuals on how to get the most from their garment printer, whether it be a Sawgrass sublimation printer, an OKI or the latest DTF machine. Turn to page 22 for more on Susan’s burgeoning career. Also in this issue, we find out how an investment in an EFI VUTEk Q5r from CMYUK is expected to improve quality output and increase print speeds at Dublin-based firm CoverUp. On page 15, we take a look at Newtownards-based packaging firm Print Library, who’s just purchased an Easymatrix 106 CS. The company expects increased productivity of 30% through production efficiencies and improved lead times which will, it says, support the business’ sustained growth, ensuring customers continue to receive the best quality service. As always, we’d love to hear from you. If you have any thoughts on this issue, please drop us a line at editor@irishprinter.ie. Enjoy!
For this issue’s cover story, I spoke to Sue Norton, sole operator of the Highcon Digital Finishing System at McGowans. Having worked in the industry for almost 40 years, she’s experienced all the good that the industry to offer, but also the bad. At just 15 years of age, her career in print began at Grafotone. With no apprenticeships on offer to women at the time, she was lucky enough to meet Amby Tarpey who trained her on a cylinder, further igniting her passion for the trade. Back then, print was very much a man’s world; it took several years before the industry regarded Sue as equal to her peers. Today, she operates the Highcon at McGowans, working alongside the Landa team on the factory floor. For more on Sue’s journey though Ireland’s print industry, go to page 17.
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With the DC-648 The DC-648 is here to revolutionise your print finishing process. Like the other DC family, the DC-648 has been designed to allow one operator to fulfill multiple finishing processes in one pass. Speed, durability, and versatility have been enhanced, but where the DC-648 stands out is through its greater automation, ease of use, and connectivity into the user’s Toworkflow.findout more go to: go.quadient.com/3ityc5U To find out or Scan the QR code. Unleash Productivity
Sales up at
Kodak posted overall sales of $321 million (€317m) for the three months to 30 June, while operating income increased from $16 million to $20 million year-on-year. Commenting on the news, Executive Chairman and CEO Jim Continenza said the group’s performance had been achieved despite “ongoing inflationary and supply chain challenges”. Kodak said that operational EBITDA was boosted by improved pricing and volumes, including continued growth in sales of Sonora process-free plates, “partially offset by higher continued ongoing global cost increases.” Kodak recently launched two new products using its Ultrastream inkjet technology – the Kodak Prosper Ultra 520 and Uteco Sapphire Evo W Press for flexible packaging. It also announced the Prosper 7000 Turbo inkjet in June, while the Ascend sheetfed device also became commercially available during the quarter. “We continue to invest in digital print technologies designed to help our customers mitigate cost and supply risks associated with traditional prepress,” Continenza added.
Europe and North America recorded particularly positive developments, although results in China were sometimes weaker compared to the previous year due to the extensive lockdowns in economically relevant cities. Thanks to higher sales and the ongoing reduction of structural costs, Heidelberg significantly improved its EBITDA in the first quarter, recording an increase of €20 million to €35 million. The company said it was possible to pass on sustained increases in material costs. Commenting on the news, CEO Ludwin Monz said: “The positive start to the new financial year gives us cause to be cautiously optimistic as we look forward.
Heidelberg has reported significant improvements in both its sales and operating profitability in Q1, thanks to the continued recovery of the markets in almost all regions “and the progressive success in transforming the company.” The press manufacturer said its sales figures between April and June grew by 20% year-onyear to €530 million, with the increase attributed to the rise in the number of new machines delivered.
HEIDELBERG
KodakSales and earnings increase
Heidelbergat in Q1 Provided there is no downturn in the general economic environment, we are confident we will reach the annual targets we have set. We will support our growth by expanding our products and services for digital printing in the label market and launching new, networkingcapable wallboxes in the electromobility sector.”
IRISH PRINTER ISSUE 4 2022 4 UPDATES NEWS4
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Fujifilm brought its ‘Blueprint’ concept for wide format to life at FESPA 2022, supported by longstanding partnerships with The Equinox Group and Fokina. Event stand specialist The Equinox Group expertly designed and built Fujifilm’s 500m2 stand, which featured enough space for six Acuity presses to be showcased, a meeting room, bar, open seating area and a storage space. The ‘Blueprint Live’ graphics were printed by Fujifilm customer Fokina GmbH, one of Germany’s leading providers of large format photographic, screen, digital and textile printing, using the Acuity Ultra. In total, Fokina printed 71 ‘Blueprint Live’ graphics on five different types of media, amounting to 574 qm, with its Acuity Ultra – one banner; three voiles; 12 back lit TFS; thewhichThewallself-adhesiveTFS;black-backed51andfourgraphics.24mbanner,spannedFESPA entrance hall, wowed visitors to the event and teased Fujifilm’s ‘Big Reveal’ of new machines. The 24m banner, which spanned the FESPA entrance hall, wowed visitors to the event and teased Fujifilm’s ‘Big Reveal’ of new machines
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London-based Scottish paper artist Kyla McCallum has collaborated with Antalis to create a model car made of paper for Lexus. The scaled car, complete with a paper city though which it cruises, features in a promotional video created by the car manufacturer in tribute to Takumi craftsmanship. The paper car model was built on top of a remote controlled chassis, on a 1:10 scale and included over 100 individual parts.
ANTALIS purchases. Our subconscious interpretations depend on emotion, not information, and using the right signs or symbols to trigger the buying impulse is a powerful technique used by switched-on Amarketers.classicexample of semiotics in the field of marketing is the heart shape in the 1970s “I love NY” sign. It shows how a small concept, ie a heart symbol, can signify or represent a larger one – visiting and loving New York. Decades later it’s a phrase that continues to be used in its original form while also being adopted worldwide. Symbolism is all important to semiotics; they’re used widely in marketing and advertising. Symbolic images are a kind of visual shorthand that trade on the system we collectively use for making sense of the stream of images we receive every day from marketing and cultural sources. So, take a closer look at the marketing material you are printing. What is your client communicating? Explicitly through the copy and implicitly through the signs and symbols designed to tap into a deeper, almost subliminal level of consciousness. You will in fact be using semiotics yourself, to delve deeper into your clients’ marketing messages and aims.
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John Blyth is Marketing and Communications Manager at Ricoh Graphic Communications, Ricoh Europe.
While overseeing the preparation and production of hundreds or even thousands of print jobs a day, it’s natural to give each separate printed item that goes through your workflow only the scarcest of glances. And yet, a moment’s pause can reveal so much. If your clients are your business’s life blood and knowing them well is key to the health of those relationships, then seeking insights into their marketing and communications strategies could be highly rewarding. Time would be well spent taking a closer look at their direct mail pieces, brochures, leaflets and catalogues. A new level of appreciation is made possible by this attention to detail combined with insights from the world of semiotics – a branch of science that shows us how the interpretation of signs and symbols helps decipher the subconscious perceptions and emotions that drive 2 mins on… marketing John Blyth on the importance of decoding your clients’ marketing messages
The paper car model was built on top of a remote individualandchassis,controlledona1:10scaleincludedover100parts
Crucial to taking the project from concept to reality was the choice of paper to be used. Kyla chose three papers from Antalis to craft the paper city and Lexus UX300e – Curious Alchemy Silver, 300gsm; Curious Alchemy Titanium, 300gsm; and Curious Metallics Electric Blue, 120gsm. The paper Lexus took five and a half weeks to make and the entire project took over four months to complete, from the initial concept through to filming the final set.
Antalis helps create paper Lexus
Analysis of print volume in 2022 by press type shows Sabine Geldermann, Director Print Technologies, Messe Düsseldorf
Set to be published in September 2022, the eighth drupa Global Trends Report will show that overall, confidence is on the rise and all regions and markets are forecasting higher investment in 2023. The results from the survey show an industry that’s on average across the globe a little more confident for the future than when last surveyed in 2019, before the pandemic. The packaging market is strongest but commercial, publishing and functional markets are all showing signs of recovery in 2023.
ISSUE 4 2022 IRISH PRINTER Growth RESEARCH
printers and suppliers both reported strong plans for capital expenditure. Sabine Geldermann, Director Print Technologies at Messe Düsseldorf, said: “Printers and suppliers know they must innovate to succeed in the longer term. The shocks of the last two years pegged back investment, but the survey indicates that the industry expects recovery to start in 2023. All regions and markets forecast higher investment in the coming year.”
HIGH HOPES
Print volume and investment plans
The eighth drupa Global Trends Report shows post Covid recovery and resilience in the face of fresh challenges
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The findings come from the eighth Global Trends online survey, where over 500 senior decision makers on the part of print service providers and machine manufacturers/ suppliers worldwide completed an extended survey in spring 2022. The survey was conducted by the commissioned partners Printfuture (UK) and Wissler & Partner (Switzerland) on behalf of drupa. Confidence depends on market and region Globally, 18% more printers described their company’s economic condition as ‘good’ compared with those that reported it as ‘poor’. For suppliers, the net positive balance was even stronger at 32%. As always, confidence varies between regions and markets. The packaging market is thriving, with publishing and commercial facing structural changes from digitisation, but with signs of confidence returning. Regionally the picture is mixed, with Europe clearly concerned about the consequences of the Russia/Ukraine war while others, eg Asia and South/ Central America, expect trade to pick up further in 2023 as economic momentum builds post pandemic.
Regionally, confidence levels vary e.g. Asia and South America expect better trading in 2023 while Europe is downbeat, given the Russia/Ukraine war and its Investmentconsequences.fell inevitably during the last two years, but
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the active decline in the volume of sheetfed offset in commercial markets, this was the most popular press type for investment in 2023 across all markets except packaging where flexo led, followed by sheetfed offset. Digital toner cutsheet colour was the second most popular target for all other markets.
While there was virtually no increase in the proportion of turnover won by web-to-print installations between 2014 and 2019, over the last two years the proportion won by that means has shot up for those with such installations. Globally, since 2019 there has been an increase from 17% of turnover to 26%; this major increase is reflected to varying degrees across all markets. Socio-economic pressures and the global economic market Socio-economic pressures are having a major impact across the globe, although they vary in influence between regions. For example, 62% of printers in Asia chose pandemics as the biggest threat, while in Europe this was chosen by 51%. While 32% of European printers chose physical wars, this was chosen by only 6% of those in South/Central America. Instead, 58% of them chose the threat of economic recession. The global economic market has experienced more shocks in the last two years than at any time since the Second World War. Yet, this survey shows that print is still a central means of communication in all markets and regions and that while there are challenging times ahead, the industry has both the confidence and the determination to succeed. Wise strategic investment will ensure that printers and their suppliers thrive.
11 Revenues Prices Utilisation Margins Revenues Prices Margins Key printersmeasuresfinancialfor2022 % net positivebalancevnegative Actual 2022 Forecast 2023 Commercial Publishing Packaging Functional Actual 2019 4020100305060 +46% +71% +39% +18% -25% -10% -23% -48% +50% +64% +16% -18% -4% -36% Key suppliersmeasuresfinancialfor2022 drupa Printer Barometer economic confidence 2022 Global and by region 17% GLOBAL 18% 27% EUROPE 25% 20% 7% S/C AMERICA -14% 17% 36% ASIA 6% 21% 57% drupa 2022confidenceeconomicBarometerSupplierbymarket % Risen % Fallen % Risen % Fallen % net balance positive v negative Top two print technology investment plans by market 2022 31%18% Global total Sheetfed offset Digital cutsheettonercolour Cap Ex Printers 2022 Global and by market % net balance positive v negative Actual 2019 Actual 2022 Forecast 2023 Commercial Publishing Packaging 5040302010050403020100 Global Print technology2022volumeby % net positivebalancevnegativeCommercialPublishingTotalPackaging % of those with web-to-print with >25% turnover W2P % Commercial Publishing PackagingTotal 20100515253035 -40-20-10010203040 Sheetfedoffset Flexo Digital cutsheettonercolour Digital inkjet rollfedActualcolour2014 Forecast 2022Actual 2019 Publishing –Digital toner cutsheet Sheetfedcolouroffset27% 27% 39% 34% Packaging –SheetfedFlexo offset 26% 30%CommercialSheetfed offset Digital toner cutsheet colour
Web-to-Print
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continuing decline in sheetfed offset among commercial printers matched by increases among packaging printers. Flexo volumes continue to accelerate for packaging printers, while all markets reported increased volumes using digital toner cutsheet colour and all but publishing with digital inkjet rollfed Despitecolour.
CoverUp has invested in an EFI VUTEk Q5r from CMYUK to enhance production capabilities
“We mostly deal with the trade, small companies all over Ireland including Northern Ireland. They’re happy for us to do their printing and send it out by courier the next day,” said Anthony. The business has grown to become one of the largest finishers of large banners and building wraps in the whole of Ireland. “As we started off manufacturing large covers, we had a head start from a finishing point of view and that has just continued,” he said.
Dublin-based firm CoverUp has installed an EFI VUTEk Q5r printer from CMYUK. Replacing old HP technology, the new 5m LED printer will enable the company to achieve higher quality output at faster print speeds, significantly raising volume throughput. “It will open up new business for us because we can do everything quicker; what we’re really pushing for is an increase in volume,” said Anthony Byrne, CoverUp’s Operations TheDirector.newUV LED printer will also afford the company greater versatility through the widest range of application capabilities including double-sided printing, textiles and CoverUpmore. started out in 1976 as a manufacturer and finisher of exterior PVC and canvas coverings for machinery, vehicles, boats and industrial plants. By the mid 80s, the company extended into banner finishing but it wasn’t until 2005 that it moved into digital printing. Today, the company offers a wide variety of applications including dye-sublimated textiles for soft signage to print’ that’s POSSIBLE ‘ANYTHING
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through to rigid signage, flags, banners and building wraps. It operates from two sites in the Dublin region – Sandyford and Clondalkin – and employs 16 staff.
CoverUp was the first in the world to purchase the VUTEk FabriVU 340i back in 2018 when it was looking to replace its M-Tex printers
IRISH PRINTER ISSUE 4 2022
INVESTMENT
CoverUp is no stranger to the VUTEk brand of EFI printers. It was the first in the world to purchase the VUTEk FabriVU 340i back in 2018 when it was looking to replace its M-Tex printers. “The FabriVU 340i was the best we could find on the market at the time for direct printing and inline direct fixation. We bought it from CMYUK and then just continued buying materials from them,” said Anthony. “We didn’t want to go down the paper transfer route because that’s not the market we’re in. We get called up and asked if we can print a banner for next day delivery. Printing the
» Colours:
clear Media/Handling » Handles
» Roll-to-roll,
» Up
» Optional winder motorised airshaft for precise and excellent media collection » Optional three-metre or five-metre Super Duty Rewinder enables working with large media rolls up to 793kg and 2,000kg respectively, for continuous printing with minimal supervision » Integrated Mesh Kit for easy and quick changeover to mesh, textile and other porous media Productivity » Production speed up to 672m2 per hour » Quick and easy media loading Genuine EFI Inks » EFI - 3M SuperRange XF Inks » LED-curable UV inks » Small dot gain » Wide colour gamut » Environmentally friendly » Superb durability » EFI - 3M SuperFlex XF inks for car wrapping and fleet graphics Environmental considerations » Compressed air: 6.5 bar airflow of 110 L/min, dry and clean air only (not included) » Operating temperature: 20 °C to 30 °C » Humidity:-Standard range: 30% - 80% (non-condensing) - Optimal range: 50% - 80% (non-condensing) » Machine weight: - 6,500 kg; crated: 8,000 kg » Height: 210 cm; with emergency light: 250 cm » Width: 840 cm » Depth: 180 cm » Electrical: 3-phase, 380 VAC between phases (±5%), 3 x 32 Amp + N* + GND** (WYE) » Printing consumption: 2.9 kW, Peak consumption: 5.7 kW » Chiller: Cooling capacity 3.6 kW – required for LED UV curing (included) Fiery Digital Front End » Ships with the EFI Fiery proServer Premium digital front end, features include: - FAST RIP (Fiery Accelerated System Technology) - Spot Colour, Colour Profiler, Colour Verifier, Cut Marks and File Export Options - 1x Printer Option EFI, 1x Printer Option, M/XL/XXL - EFI measurement device » Other RIP solutions supported » File formats include: EPS, PS, TIFF, PDF, JPEG Left to right: Keith Walsh, Dye-sub Production Manager; Anthony Byrne, MD; Bernard Dempsey, UV Production Manager
EFI VUTEk Q5r – at a glance technology drop-on-demand inkjet technology print heads with 7pL UltraDrop Technology to 1200 dpi true resolution CMYK, LC, LM, LK, white and a wide variety of width up to 5.2m free-fall and multi-roll (3* 1.6 m rolls ) better media utilisation –only 40cm wasted on each roll loading
Printing
» Piezo
optional
» 300%
ISSUE 4 2022 IRISH PRINTER roll and then putting it through a heat press wasn’t the way for us.” Prior to the purchase of the VUTEk Q5r, CoverUp had established a trusted relationship with CMYUK for its materials supply, so when it came to purchasing a new UV printer, there was never any doubt about where to go. “CMYUK has been an excellent support for us. Joel Willcock [CMYUK Materials Commercial Director] had visited us a couple of times and so when we were having awful problems with our then materials supplier, we decided to give CMYUK a trial. Brett Platt [Textiles Business Manager] came over and profiled CMYUK’s textiles for the FabriVU, transforming our operation and understanding of dye-sublimation. Likewise, once the Q5r printer was installed, Amira Bouchiba [CMYUK’s Academy Manager] did the same for our new UV capabilities – making us far more efficient by streamlining our workflow processes, all of which have been key to our success in production.” The dedicated roll-to-roll VUTEk Q5r platform incorporates an automatic inline finishing system for printing, cutting, slitting and collection – all on the same platform. With 9 colours and a true resolution of 1200 dpi, CMYUK says the VUTEk Q5r is suitable for high-definition image quality. Recognising its versatility, CoverUp has been experimenting with printing UV images for lightboxes and blackout for display, in addition to its traditional digital dye sublimation output. “The Q5r has instantly had an impact on production. It’s really going to help us do what we do now but even better. It’ll bring in additional business and we can maximise its potential for our clients. PVC, canvas, Artex, vinyl and backlit – anything that’s possible to print – that’s what we’ll be doing.” 13
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flexible substrates » Max printing
INFORMATION COMING SOON 2022IN WITHASSOCIATION
TECHNOLOGY
EASYDOES
» Chase frame changer for die preparation outside the machine (option)
» Integrated cutting plate fine adjustment
» Attractive price-performance ratio
Left to right: Michael Thompson, Director, Declan Martin, Area Sales Heidelberg UK, Geo Truesdale, Director IT
firm ensures that its packaging consumables align with its core values, primarily using FSC or PEFC certified boards responsibly sourced from sustainable forests. Print Library only uses vegetable-based inks and the gluing and make up of its cartons and sleeves utilise vegan-friendly adhesives. Print Library is BRCGS AA standard, FSC and PEFC accredited to ensure the firm is providing the most ethical packaging solutions in the UK and Ireland. With a significant increase in productivity and thus resource consumption, the Easymatrix 106 CS is also expected to contribute towards increasing the sustainability of the firm’s operations. Easymatrix 106 CS - the highlights » Non-stop function in feeder and delivery
» Motorized die-cutting pressure adjustment
» Simple operating concept » The basic model is already equipped with all functions and equipment to start the production » Short makeready times » High flexibility thanks to extended range of materials » Accommodates smaller die-cutting tools
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Newtownards-based packaging firm Print Library has invested in the future with a new Easymatrix 106 CS (cutting and stripping) die-cutter. The company expects increased productivity of 30% through production efficiencies and improved lead times which will support the business’ sustained growth, ensuring its customers continue to receive the best quality service.
» Quick-lock chase with fine adjustment for quick and easy setup of the stripping tools (option)
» Quick-lock chase for easy and quick clamping of cutting tools (option)
Geoff Truesdale, Managing Director at Print Library, said: “Heidelberg are market leaders in print and post- print technology innovation. The Easymatrix offers increased productivity with a machine speed up to 7,700 sheets per hour and a maximum sheet format of 750 × 1,060 mm (29.53 × 41.73 in), compared to the use of conventional hand platen and cylinder machines. Print Library has been trading for 21 years and we’ve had a longstanding partnership with Heidelberg throughout. A large part of our customer base is within the FMCG sector, which has seen huge growth over recent years and with increased demand comes increased responsibility! We’re confident this innovative technology will continue to help us grow as a business to serve all our customers to the highest standards.”
Print Library is a specialist packaging printer with sustainability at the very core of everything it does. The Print Library is projecting a 30% rise in productivity thanks to an investment in a new Easymatrix 106 CS
» Gripper edge removal device for mechanical separation of the front sheet edge (option)
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Back in April of this year, McGowans completed installation on the country’s first Highcon Digital Finishing System. The Highcon isn’t the only high spec technology to hit McGowan’s factory floor in recent times; in 2021, the print firm also added a Landa S10 B1 inkjet press to its digital setup. Alongside the new Landa press, McGowans expects to utilise its new Highcon technology to expand into new and profitable packaging jobs which should, it says, result in a 30% increase in revenue in a relatively short time Excitingperiod.timesfor sure at McGowans and for Highcon operator Sue Norton, it’s the culmination of a career spent in the print industry. At just 15 years of age, Sue left school for a job at Grafotone, a print firm where her father had worked. “My dad sadly passed away when I was 14 years old. This was in 1984; a recession was just about to hit and my mam was left to manage with three kids. With my dad having worked there, Grafotone took on myself and my brother so I left school at 15. In those days, it was quite common life less
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Determination and a passion for printing pushed Sue Norton to carve out a successful career for herself, despite the naysayers
COVER STORY
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It had the opposite effect though; my confidence was shattered.” Sue left the industry, swapping printers for kitchens. She worked as a chef in a small Mexican restaurant back when Temple Bar first came into existence. After two difficult years, she made the decision to return to printing, this time to a role at Clarkin Print. “I was working with the women on the tables who had so much knowledge and skill. They were so fussy and so accurate when it came to their work. Today, we have machines for collating, numbering, glueing and for binding but back then, these women were experts at doing these jobs. I loved working at the tables, but I still wanted to go further and advance my career. Once again, I edged my way into machinery and got the chance to take up a production manager role at Lime Street Printworks.” A career break to have children followed, a decision facilitated by the flexibility of a (slowly) changing sector. “The print industry has given me so much. When my dad passed away, I was able to support my mam and when I decided to have children, I was able to find a job that was flexible enough for me to do that. I did a little bit of finishing work at home and when the kids were old enough, I decided to go back. I did some to leave school to take up an apprenticeship. Unfortunately, no apprenticeships were being offered to women in 1980s Ireland so I knew I’d have to prove myself.” By then, the printing bug had already well and truly bitten. A small Adana belonging to her father marked Sue’s first experience in print. “I knew that I wanted a career in the print industry and so I was very hopeful going into Grafotone. I started on the tables and worked up to artworks and dark room, basically every part of the business. There was nothing extravagant or particularly advanced about Grafotone, but it gave me a taster for the industry.” Grafotone was, says Sue, like a family. Stepping outside that safe environment into an industry that held no place for women interested in advancing their career was a daunting prospect. After approaching Bolton Street for advice on what her next step should be (“they said I needed the backing of a print firm, which wasn’t happening”), Sue began a night course at the college. “Over the duration of the course I realised just how much I loved working on machines, but I knew I couldn’t get an apprenticeship. Around that time, I met Amby Tarpey, who had just invested in a cylinder. He was so skilled, such a craftsman. He said to me, listen Suzanne, I know it’s not a printing machine but I can teach you everything you need to know on this cylinder. So that’s what he did, until the day he very sadly passed away. After he passed, I applied for a role as a cylinder operator.” During the interview for the cylinder operator role, questions ranged from ‘are you in a serious relationship’ to ‘would you be thinking of having children over the next five years?’ “I said I had no interest whatsoever in kids, which wasn’t true, but I knew what they wanted to hear! If they started training me, they’d want to finish the training. So I got that job and was really excited.” It wasn’t, says Sue, a positive experience. “Because I was a woman, I wasn’t treated well there. It got to the stage where I was afraid to ask questions, afraid to raise my hand if I got a clog in my machine. It was obvious I was getting different treatment to the men. Eventually I approached my boss and told him how badly I was being treated. He admitted that yes, I was being treated differently and it was because he thought I needed a bit of tough teaching to make me stronger in the industry.
It’s an exciting time to be working in the print industry, says Sue, even more so now that women are on an equal footing to men. A year from now, she hopes to be operating the Landa.
“There’s so much flexibility within the industry. I truly believe there should be more women on the factory floor; there’s no reason why women shouldn’t be setting their sights on these machines. I’m so glad I stuck with printing. I feel really proud of myself and excited for the future. I’m 52 and there’s nothing I can’t do. The sky’s the limit!” This article is dedicated to the memory of Amby Tarpey, RIP
ISSUE 4 2022 IRISH PRINTER 19 evening work at McGowans and could see almost straight away that something had shifted within the industry.” With an impressive track record behind her, Sue had managed to build a reputable name for herself in print. Attitudes were changing; women weren’t viewed unfavourably anymore. “I think other, more progressive sectors have influenced the print industry. I don’t think it could have made those changes by itself. Previously, it was almost as if men in print factories felt embarrassed when they saw women doing the ‘men’s work’. It took away from their self-worth. After having my kids and re-entering the industry, those old ways had changed. Men were actually coming to me and looking for advice! That was an incredible turnaround. I started to really love the industry again.” Digital was beginning to make its mark on the sector, a leap forward that Sue wasn’t entirely convinced of. “I was so used to litho and so impressed by its quality. So I was a bit wary but thought, this is my job and I have to get on with it. I went from cylinders to booklet makers to laminators and got as much experience as I could.” Thoughts of moving on to a different print firm were put to bed when Mal McGowan suggested she’d want to hang around for the firm’s latest investment. “He said, there’s a digital die cutter called a Highcon coming in. It’s a cylinder, but it’s digital. I found it hard to get my head around that concept but said ok, let’s see what it can do.” Ten months later, Sue is the sole operator of the Highcon at McGowan’s, working alongside the Landa team. “Every day I come in and I still can’t believe that you can digitally nick a form just by the press of a button. I often get overwhelmed when I think about how far I’ve come, from the days when Amby was training me on his cylinder to today, the sole operator of a digital finisher.”
There’s so much flexibility within the industry. I truly believe there should be more women on the factory floor; there’s no reason why women shouldn’t be setting their sights on these machines
I get overwhelmed when I think about how far I’ve come, from the days when Amby was training me to today, the sole operator of a Highcon Sue at 17 years old on her first Heidelberg
Heinz has teamed up with Pulpex, the packaging company that created the paper Johnnie Walker whisky bottle, to develop a bottle made from 100% sustainably-sourced wood pulp. If successful, Heinz Tomato Ketchup would be one of the biggest brands to switch from glass packaging to paper, a move that would encourage
PACKAGING THE NEW
Heinz Plays Ketchup With Paper Packaging
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more brands and companies to follow. “We believe that the scope for paper-based packaging is huge and when global household names like Heinz embrace this type of innovative technology, it’s good news for everyone,” said Pulpex CEO Scott Winston.
The Heinz tomato sauce bottle could be about to receive an upgrade, moving from glass to paper. One of the most iconic pieces of packaging in the world – known for the slow pour, the ‘57’ stamp, the bottom slapping – is going through a development process to create a more renewable and recyclable bottle, keeping up with the general packaging trend for greater sustainability.
Sustainable Covid-19 Tests
At the height of the pandemic, it’s understandable that sustainability was low on the list of priorities for most people. But now that the worst seems to be over, the spotlight is falling on the amount of plastic used in the Covid-19 test kits. With the average test kit containing 10 grams of plastic, thousands of tons of unrecyclable waste is being sent to landfill across the
PACKAGING
From the iconic Heinz ketchup bottle to Covid-19 test kits, Two Sides looks at the latest innovations in pulp, paper and wood fibre packaging
Grape Expectations
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“We’re proud to be significantly reducing the amount of plastic we use to package and protect our roof windows,” said Tina Mayn, Senior Vice President of the Velux Group. “It’s an important step towards achieving what we call the ‘Green our packaging’ sustainability target.” We believe that the scope packagingpaper-basedforis huge and when global household names like embraceHeinzthis type of everyonegoodtechnology,innovativeit’snewsfor
This month, Ocado has become the first UK supermarket to sell wine packaged in a paper bottle. Made by sustainable wine brand ‘When In Rome’, the £11 white 94% recycled paper has a carbon footprint that’s about a sixth of a single-use glass bottle. With the production of glass using a huge amount of energy, the cost of a glass bottle is currently increasing rapidly and more and more companies are looking toward paper bottles as an “Greatalternative.winedoesn’t have to come in glass bottles,” says Rob Malin, founder of When In Rome. “Whether you’re drinking from a glass bottle or a paper bottle, the quality of the wine is not impacted.” The only thing to remember when drinking from a paper wine bottle is not to put it in an ice bucket. “It will go soggy,” says Malin. “You need to use a dry chiller.”
world, so designers are looking into more sustainable solutions.
Window Dressing
The move from single-use plastic to paper and cardboard packaging isn’t just limited to the consumer retail world. Many B2B retail companies are now looking closely at their product packaging and investigating how they can make it more Roofsustainable.windows manufacturer Velux has announced that it has switched 90% of the packaging for its sloped window to paperbased materials. The switch will not only reduce the amount of plastic packaging by 900 tonnes per year and result in a 13% reduction in carbon footprint, but it will also make the packaging a lot easier to dispose of.
One solution could be Eco-Flo, a rapid test that’s both biodegradable and recyclable. Made of paper pulp, the test consists of a single piece that flips open to reveal a small saliva dish. The user would then spit into the dish and close the unit, passing the saliva onto an absorbent pad. Results displayed via two checkboxes would be ready in 15 minutes. While the kit is still being developed and it may be months or years until it’s available to the public, it shows that sustainability is now a key consideration in every aspect of our lives. “We can’t save people’s lives and simultaneously affect them later on with global warming,” says Jo Barnard, founder and creative director of the design studio Morrama. “We know these kinds of things happen, so let’s be prepared for the next time, so we can just roll it out.”
Where did your interest in garment printing come from?
INTERVIEW
I was concerned that we’d see a huge amount of garment printers for sale once people started to get back to work but if anything, it’s a segment of the market that’s gotten busier. Was it companies that were purchasing the machines or individuals?
IRISH PRINTER ISSUE 4 2022 Growth
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Before the pandemic, garment printing was just a hobby for Susan McDonald. Today, she teaches businesses and individuals all over the country how to use printers and cutters related to this fast-growing sector
Susan McDonald
I first got into it through cutting vinyl. That led to printing with sublimation and white toners and it just went from there. My house is full of printers! At the moment, I have about six. They’re so affordable now; you can get a sublimation printer for €500, an OKI is probably about €6000 while you could pay up to €20,000 for the latest DTF machine.
During Covid in particular, I noticed that sales of garment machines were going through the roof due to their affordability. So you had all these people buying them, without knowing how to properly use them. One evening, I sent a message out to my contacts asking if anyone would be interested in subscribing to workshops on how to operate garment printers. I got over 200 messages that evening alone and ended up with 1300 students in a very short space of time. I think that Covid accelerated something that was already happening; sales of garment printers was increasing and it hasn’t shown any sign of slowing down, despite the fact that Covid is hopefully almost behind us.
It was both. You had a proportion of small companies buying the machines and maybe diversifying their business, but you also had individuals who perhaps had lost their job due to Covid and saw garment printing as a good way to make a living. The problem is that each printer has a different software and so it can be difficult for people or small companies to get up to speed. What were some of the more common mistakes that people were making?
Buying the wrong gear, which is an expensive mistake to make! I try to catch people before they invest in the
How did you turn your hobby into a business?
You joined Walter Nash last year, how did that come about?
DTF – changing the game Direct to film (DTF) printing involves printing a design onto a special film, applying and melting a powder adhesive to the printed film and pressing the design onto the garment or merchandise. Below are a few advantages of this new technology: » DTF printing is more sustainable and less expensive than other methods » DTF works on many different materials – cotton, nylon, treated leather, polyester, 50/50 blends and both light and dark fabrics. The transfers can even be applied to different types of surfaces like metal, wood, luggage, shoes and even glass » DTF printers can handle large production volumes, which is essential in this fast-growing industry » DTF printing helps prevent overproduction, while the ink used in the digital direct injection printer is water-based and environmentally friendly
Obviously during the height of Covid, it was all online. I began by creating teaching videos which people signed up to. Once restrictions eased, I began doing in-person events. Today, I teach my classes all over the country. My next one is in Claremorris and the following weekend, I’m in Limerick. Aside from the small companies that I engage with, I find that it’s predominantly women who take my classes. A lot of them can’t go to work, they can’t afford childcare, some have children with special needs.
Have your workshops stayed online?
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I’m looking for my own premises at the moment. Teaching is where my heart is. I’d love to open up my own school and also expand the craft side of the business too. Garment printing is an exciting sector to be in, particularly with the new DTF (Direct to Film) machines coming onto the market. It’s been a crazy couple of years. Being able to turn my hobby into a viable career has been great! I can’t wait to see what the future holds. Get in touch with Susan about entering the industry, email bobbidyl@hotmail.com
» DTF requires less white ink – about 40% white versus 200% white for DTG printing » No pretreatment is necessary; the hot melt powder that’s applied to the DTF transfers bonds the print directly to the material » DTF printing can realise one-off designs and eliminate the waste of unsold inventory » Compared with screen printing, DTF printing is less expensive. For small batch orders, the unit printing cost of DTF printing is lower than the traditional screen printing process wrong software or machinery. Also, people often mistakenly believe that converting an Epson printer is a good move. Converting an Epson can be a lot of work for people new to the industry and they should perhaps invest in a Sawgrass sublimation printer instead, which comes as a business in a box with inks and paper. Epson printers are great if people know what they’are doing, but most people starting out generally don’t have design software experience. If I can prevent people from making these kind of mistakes, I’m happy.
It’s great that they’re able to do something for themselves and earn a few quid. It’s that social aspect of what I do that I really love.
Walter Nash was actually one of the companies that sponsored my teaching videos and last November, they asked me to join their sales team. So now, I work full-time selling their products as well as running my own business. What’s your ambition?
IRISH PRINTER ISSUE 4 2022 24 THE LAST WORD 24
STUFF!
designwinter,thisopentoSetisMcCormackNiallhistorianexhibitionartlabelacuratingMuseumPrintNationalthefor GRAND
Niall McCormack’s new book, ‘Grand Stuff, Label Art from Ireland’, investigates over 600 vibrant and colourful examples of Irish label art from the 1890s to the 1990s. Included are labels for minerals, beers, whiskies, hotels, linens, groceries, pharmacies, matches, charities and political causes. This winter, he will curate and exhibit this unique collection at the National Print Museum, both onsite and online. This will be the first exhibition of its kind in Ireland and will, says the Museum, contribute to the fabric and meaning of national and local culture. In addition to the exhibitions, the project will comprise of an accompanying education programme. Many of Ireland’s designers of label art are anonymous artists. It’s collections like this one that really preserve their work; their memory lives on in their layouts, in all their lettering, illustration and filigree. Through this exhibition, McCormack aims to get people to think about design in Ireland in the early 20th century and how it was more vibrant, diverse and sophisticated than many might imagine. “In Ireland, sometimes the visual is taken for granted, it is not held in the same esteem as our literary or musical culture, or crafts, all of which we are world-class at,” he says. McCormack says that when people think of Irish design, particularly in that period, it tends to be Irish-American graphic design, shamrocks, shillelaghs, leprechauns, selling the idea of the old country to an Irish American audience. “It is very hard to compete with that sort of reputation. When it comes to the visual arts in Ireland, there is some amazing stuff out there and there always has been.” The free to attend exhibition will be part-funded by the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media and will open this winter. For the industry, there are opportunities for private curator tours and venue hire during the exhibition run.
In Ireland, sometimes the visual is taken for granted, it is not held in the same esteem as our literary or musical culture, or crafts, all of which we are world-class at
Here comes the Sun...
Making ideas happen with a smaller carbon foot print. At McGowans Print our mission is to deliver creative, innovative, functional POP and POS and at the same time driving sustainability in our day to day operations and continuously search the globe for total recyclable or recycled print materials. Our latest initiative is to install solar panels that will cover most of the rooftop of our main factory. This will produce a projected 391,702kWh of energy that will give us 43% clean energy of our total consumption. This is the equivalent of 277 metric tons of CO2 saved annually. Our target is to be carbon neutral in five years. mcgowansprint.com
Find out how Heidelberg can help you achieve your goals www.uk.heidelberg.com +44 (0) 844 892 2010 Expand into packaging with the New Speedmaster CX 104 Explore the special advantages of the new Speedmaster CX 104, which has been especially designed for flexible production and the changeover from commercial to packaging printing. Experience an autonomous changeover as well as refinements such as drip-off and spot coating.
