Australian Printer July 2023

My client and I both sayYOU’RE A LEGEND !!!

The cards arrived this morning -which was perfect timing as they are being used today. Thank you so very much.

Phil

I really appreciate how quickly the books arrived and loved your notification system. The quality is gorgeous.

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Marie

Just wanted to say a big thank you to you for rushing the booklet job through and dropping off to the client.

I know it was a huge ask and again you did not let me down.

Angela

Client has received their 8pp A5 brochure this morning, way earlier than expected (thank you!!!), and they are delighted.

Mel

The books have arrived and are amazing! You do a fantastic job.

I am so happy to be working with you because I can trust we are in good hands and it will be a quality result.

Luke

We received the business cardsthey look great! Everyone was surprised at the quick turnaround.

Xheantelle

Advertiser’s Index

To advertise call Carmen on 0410 582 450 or

JULY 2023

6-12 NEWS: Australian Printer’s comprehensive industry news

14-16 PRINTFLEX GROWS BUSINESS WITH NEW HP LATEX R2000 PLUS: The company has also managed to gain several efficiencies, including better quality of print, following the recent install by Ball & Doggett

18 WOMEN IN PRINT: D urst Oceania’s Eleni Panayi

20-21 PEOPLE IN PRINT: Omnigraphics and MMTB owner and CEO David Walton

22 KYOCERA’S LATEST EXEC HIRES OUTLINE LOCAL ROADMAP: Kyocera recently appointed David Procter and Brett Palmer to lead its strategy for A/NZ and the Pacific Islands

24 CACTUS IMAGING INSTALLS FIRST DURST 10-CHANNEL P5 350 HS D4 HYBRID PRESS: The machine will provide Cactus Imaging with the opportunity to complete more flatbed work for its expanding client base in Australia

26-30 ITMA REVIEW: ITMA 2023 showcases innovations for textile and garment industry

32-39 DIGITAL TEXTILES, DECOR, APPAREL AND DTG FEATURE: The latest technologies and trends in this sector

32 Currie Group 38 Pattern Room

34 Durst 39 QTCo 36 Epson

40 PRINT & VISUAL COMMUNICATION: ‘T is the season for packaging

41

42

POSTERBOY PRINTING: The continuing influence of print

DEBORAH CORN: How to respond to questions about sexism in the printing industry

43 MEQA SMITH: Seek not helping you find talent

44

FELLMAN CLASSICS: People will pay for performance

45-49 WIDE FORMAT +PLUS: Australian Printer’s comprehensive wide format news, powered by Wide Format Online

50 PRINT DIARY: All the upcoming events

51-58 CLASSIFIEDS: The Australian print industry’s biggest marketplace

14-16 PRINTFLEX GROWS BIZ WITH HP LATEX R2000 PLUS

18 WOMEN IN PRINT: DURST OCEANIA’S ELENI PANAYI

22 KYOCERA’S LATEST EXEC HIRES OUTLINE LOCAL ROADMAP

STEP INTO A NEW WORLD OF LABEL PRINTING WITH THE ACCURIOLABEL 400

The new Konica Minolta AccurioLabel 400 press helps you profit from the latest trends in the Digital print customised label market. With the addition of our Vivid white colour option, you can capitalise on special finishes on a wide range of clear and metallic label media to produce striking Labels in one pass efficiency.

Whether you’re a label print specialist looking to upgrade your digital capacity. Or adding labels to your offering for the first time. You’ll profit from the flexibility and speed the new AccurioLabel 400 Press brings to your business.

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Opal closes M2 paper machine at Maryvale

ehT wen tprineblu for ewid trmaof

By Hafizah Osman

Opal Australian Paper has made the decision to close yet another of its paper machines following the unplanned end of VicForests’ wood supply last year.

The global digital textile printing market size is expected to reach US$7.9 billion by 2030, with a CAGR growth rate of 14.8 per cent from 2021 to 2030, according to Allied Market Research. With the increase in demand for printed textiles and rapid change in fashion trends for new printed garments emerging, significant growth is expected within this space.

Manufacturers are well aware of this trend and have made inroads into this sector with their latest innovations, which they recently took to ITMA 2023 in Milan to show. Not only were machines on show at the event – discussions around advanced materials, automation and digital future, innovative technologies, and sustainability and circularity of textile solutions were aplenty.

This issue of Australian Printer delves into the digital textiles, décor, apparel, DTG and DTF spaces, identifying areas of play, the latest machines ruling this sector and opportunities to take advantage of. We hope you enjoy the read.

VicForests experienced a range of operational difficulties, especially since the Supreme Court ordered stricter rules around the protection of the endangered greater glider and the yellowbellied glider after it found the government agency failed to adequately protect them.

In February, Opal reached the decision to end white pulp and paper manufacturing at the Maryvale Mill, which resulted in the closure of its Paper Machine 5 (M5) which previously made copy paper including Reflex.

The site produced its last ream of copy paper on 21 January.

Now, Opal has advised that it has decided to close M2, its smallest machine on site, which was previously manufacturing both white and brown packaging paper.

“This situation will lead to changes in our manufacturing program, for example, we are continuing to work towards the future transfer of some brown M2 products to the M3 machine,” the company said in a statement.

“We have targeted the closure of M2 to take effect in late August, but this timing will be informed by a number of considerations, including customer discussions.

“Opal has commenced consultation with our affected team members and their representatives on the potential impact of this decision.”

According to Opal, it will be providing affected staff additional support through its Employee Assistance Program and other onsite services at the Maryvale Mill.

In January, Opal said it had been engaging in active discussions with the Victorian Government and union representatives about the VicForests situation and had reached an agreement with the Victorian Government ensuring that until mid-February, Opal team members that were stood down received full pay. At that time, a new Worker Support Service was established by the Victorian Government to support Opal Australian Paper staff affected by potential stand downs and operational changes.

Opal also mentioned that although the Maryvale Mill is no longer producing white paper, its M1, M3 and M4 machines will continue to make brown paper and board for the growing fibre packaging market in Australia and New Zealand.

“Despite the heavy financial burden from this unplanned situation, Opal is seeking a successful transition of the Maryvale Mill into a commercially sustainable manufacturing operation. The Maryvale Energy from Waste (EfW) facility is important to securing the mill’s future energy needs and the consortium partners are committed to continuing to move this project forward,” Opal added.

aphicotogrph qualit .y

Managing Director James Wells / 0414 995 104 james@intermedia.com.au

Subscriptions / (02) 9660 2113 subscriptions@intermedia.com.au Subscription

Editor Hafizah Osman / 0431 466 140 hosman@intermedia.com.au

National Sales Manager Carmen Ciappara / 0410 582 450 carmen@proprint.com.au

Design and Production Manager Sarah Vella / 0406 967 559 sarahvelladesigns@gmail.com

31 41 21

Australian Printer is published bi-monthly by Printer Media Group (a division of Charted Media Group and The Intermedia Group). This publication may not be reproduced or transmitted in any form in whole or in part without the written permission of the publishers. While every care has been taken n the preparation of this magazine, it is a condition of distribution that the publisher does not assume any responsibility or liability for any loss or damage which may result from any inaccuracy or omission in the publication.

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This publication is published by The Intermedia Group Pty Ltd (the “Publisher”). Materials in this publication have been created by a variety of different entities and, to the extent permitted by law, the Publisher accepts no liability for materials created by others. All materials should be considered protected by Australian and international intellectual property laws. Unless you are authorised by law or the copyright owner to do so, you may not copy any of the materials. The mention of a product or service, person or company in this publication does not indicate the Publisher’s endorsement. The views expressed in this publication do not necessarily represent the opinion of the Publisher, its agents, company officers or employees. Any use of the information contained in this publication is at the sole risk of the person using that information. The user should make independent enquiries as to the accuracy of the information before relying on that information. All express or implied terms, conditions, warranties, statements, assurances and representations in relation to the Publisher, its publications and its services are expressly excluded save for those conditions and warranties which must be implied under the laws of any State of Australia or the provisions of Division 2 of Part V of the Trade Practices Act 1974 and any statutory modification or re-enactment thereof. To the extent permitted by law, the Publisher will not be liable for any damages including special, exemplary, punitive or consequential damages (including but not limited to economic loss or loss of profit or revenue or loss of opportunity) or indirect loss or damage of any kind arising in contract, tort or otherwise, even if advised of the possibility of such loss of profits or damages. While we use our best endeavours to ensure accuracy of the materials we create, to the extent permitted by law, the Publisher excludes all liability for loss resulting from any inaccuracies or false or misleading statements that may appear in this publication. Copyright © 2023 — Charted Media Group Pty Ltd

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Opal Australian Paper’s Maryvale Mill

The new blueprint for wide format

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Fujifilm to showcase expanding Acuity range at FESPA 2023 with a new printer to be unveiled at the show and more details of historic FujifilmBarberan partnership to be revealed.

The IF Design Award winning Acuity Prime offers high quality printing on a range of rigid and flexible media across five dedicated vacuum zones. Using our Uvijet HM LED UV inks and jettable primer, bold graphics and fine text can be reproduced with variable drop sizes from 7 to 21 picolitres for near photographic quality.

The IF Design Award winning Acuity Prime offers high quality printing on a range of rigid and flexible media across five dedicated vacuum zones. Using our Uvijet HM LED UV inks and jettable primer, bold graphics and fine text can be reproduced with variable drop sizes from 7 to 21 picolitres for near photographic qualit y.

Following the huge success of Fujifilm’s ‘New Blueprint for Wide Format’ appearance at FESPA 2022 in Berlin, Fujifilm will use FESPA 2023 to present developments to its existing Acuity models, as well as unveiling an entirely new machine in the line-up. Additionally, Fujifilm will present more details on its partnership with industrial manufacturer Barberan, to bring single-pass inkjet to the sign and display market.

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FUJIFILM Business Innovation Australia 13 14 12

FUJIFILM and Fujifilm Value from Innovation are trademarks of FUJIFILM Corporation. ©2021 FUJIFILM Corporation. All rights reser ved.

Following the huge success of Fujifilm’s ‘New Blueprint for Wide Format’ appearance at FESPA 2022 in Berlin, Fujifilm also used FESPA 2023 to present developments to its existing Acuity models, as well as unveiling an entirely new machine in the line-up. Additionally, Fujifilm also presented more details on its partnership with industrial manufacturer Barberan, to bring single-pass inkjet to the sign and display market. FUJIFILM and FUJIFILM Value from Innovation are trademarks of FUJIFILM Corporation. ©2023

FUJIFILM and FUJIFILM Value from Innovation are trademarks of FUJIFILM Corporation. ©2023 FUJIFILM Corporation. All rights reserved.

Kingman Signs completes St John of God signage install

By Hafizah Osman

Kingman Signs recently completed an incredibly technical installation for St John of God Midland Public & Private Hospital in Western Australia. The project involved fabricating a massive Illuminated sky sign measuring 29m wide and made of aluminium letters with internal LED illumination.

The sign was split into six individual pieces, making for a more manageable lift. However, the installation required a 300-ton crane with a 73m reach, making it no less intricate.

Label Plus enhances print quality with Screen L350UV SAI press

By Piotr Wnuk

Commercial label converter Label Plus has invested in the L350UV SAI inkjet press to expand its production capacity and enhance digital print quality. Sold and installed by Jet Technologies, the press is the first of its kind in Queensland.

Label Plus offers various self-adhesive labels from its production site in Luscombe, Queensland, with its sister company, Labelhouse, based in Melbourne, Victoria. Its printing production includes flexography, offset and digital, serving a diverse customer base across the pharmaceutical, health and beauty, chemical, food, household and wine markets.

Label Plus general manager James Atkins said, “Our company’s objective is to achieve complete customer satisfaction in all facets of our operations and to be a preferred supplier within the printing industry. Therefore, our focus is on providing excellent quality, whilst maintaining a flexible approach to production, thus offering short lead times at a competitive price.

“In a challenging industry, Label Plus has evolved into a dynamic organisation, by seeking and embracing new technologies and systems. We’re excited to be elevating

The planning phase was thorough, with Kingman’s team inspecting the site beforehand and scanning underground services.

The company said safety measures were executed, including shutting off either side of the canopy and reviewing all OHS documentation, such as SWMS, lift plans, and scans for in-ground services.

The hospital’s safety team was also consulted, along with the crane operation team, and various departments of the hospital to ensure a safe and smooth installation process.

Due to weather conditions, the installation had to be postponed by a day, but Kingman successfully completed the task on the next day before lunchtime.

“With the sign now installed, St John of God Hospital in Midland can be easily found by anyone looking for the hospital, thanks to the incredible Illuminated sky sign which is sure to be a landmark for many years to come,” the company said.

“Looking especially stunning at night, Kingman’s latest project is a spectacular yet technically precise installation that leaves no doubt as to the location of the hospital.”

our printing quality and customer service even higher with the addition of the Screen L350UV SAI.”

Screen Australia said the L350UV SAI helps to increase turnaround speeds for digital printing jobs by automating the process.

With its software generated lead in, lead out and reverse-feed functions, the system also works to lower ink consumption and material waste, reducing overhead costs and improving operational sustainability standards.

According to Screen, the L350UV SAI is its class’ most flexible and automated label production system. The machine offers seven vibrant colours at 60 metres a minute (50 metres a minute when using white). The L350 delivers unrivalled colour reproduction and superior scalability, enabling it to meet an even wider variety of market needs.

The newly installed machine is fully supported by local Jet Technologies and Screen factory-trained engineers.

Jet Technologies sales director David Reece said, “We’re excited to have partnered with Label Plus to enhance its digital printing production and provide the company with the necessary edge to remain on top in a competitive industry.

“Installation and training on the L350UV have now been completed, and the printing press is not only meeting, but exceeding Label Plus’ well-informed expectations.”

Label Plus added the L350UV SAI to its digital label production capabilities after a thorough evaluation process of several options, including spending time with Jet Technologies in the UK at some L350UV SAI users, to properly understand the benefits and how it was being utilised in another sophisticated market.

The St John of God Midland Public & Private Hospital signage installed

(l- r) James Atkinson and Chris Lee (Label Plus), with David Reece (Jet Technologies)

SCREEN Truepress Jet 520HD with SC inks – the digital inkjet press that prints superb colour on standard offset stocks.

SCREEN Truepress Pac 830F Digital flexible packaging using aqueous inks across 830mm web.

SCREEN Truepress Jet L350UV SAI digital label press. Up to 7 colours inc. White & High Opacity White. 60 m/min across 350mm web.

SCREEN PlateRite 8600NII New generation 8-page thermal CtP with fiber laser diodes. Up to 32 B1 plates/hour.

PVCA pauses PICAs and National Print Awards

By Piotr Wnuk

The Print & Visual Communication Association (PVCA), which recently announced plans to rebrand as Visual Media Association, has paused the State Print Industry Creativity Awards (PICAs) and the National Print Awards (NPAs) for 2023, committing to a new and improved program next year.

The PICAs and NPAs were handed to the Visual Industries Events joint venture in February 2021, with Visual Connections managing the award events. There was some improved output to the events noted under Visual Connections management; however, the awards’ success has been challenged across the industry by low entry numbers and attendance.

PVCA CEO Kellie Northwood said, “For the past six years, with the awards – both PICAs and NPAs – the association has lost significant money delivering an awards program with on-again, off-again limitations due to COVID.

“Every single member dollar is valued, and we are pushing a clear mandate to remain focused on programs that deliver great outcomes without burden to the funding of other programs. That said, it is absolutely accepted and a firm future commitment that the association will deliver an awards program to recognise excellence across our industry. With all of this in mind, as well as strong member feedback from 2022, we need

to review and rebuild our Awards program to develop a program our industry can be proud of.”

According to Northwood, feedback from members and stakeholders made it clear that the categories and approach of the awards no longer reflected the industry; therefore, the association formed a committee to provide insights into the awards and determine a sustainable future.

It has been reported that the PVCA board debated the awards postponement with deep consideration and determination to re-develop and re-build.

There have been assurances provided that the 2024 Awards program will have a two-year entry extension which will include any works produced in 2023 that can be entered next year.

The Real Media Awards celebrating the success of print marketing and media with the marketers, retailers, and brands, will proceed this year following a sponsor, category and entry review. The awards will take place later this year in Melbourne.

By Colleen Bate

Tint Design has announced the new leadership team of the business, and confirmed a management buyout of the company effective 1 July. The company will then be named 2NDGEN Pty Ltd, trading as Tint Design.

The leadership team will consist of Paul Coniglio as the managing director and Julia Slussareff as financial director. Both Tyler Golding and Rob Batty will take up the roles of account directors in the business focusing on strategic growth of key sectors.

Based in Bayswater Victoria, Tint Design was founded by Shane and Anne Golding 36 years ago. The business focused on solar films and internal glazing of office windows with frost and warning bands. It expanded over the last three years to become a provider of modern signage solutions for the built environment. The business also specialises in custom braille and tactile signage for supply only clients.

2NDGEN Pty Ltd trading as Tint Design will pay homage to both Coniglio and

Golding’s long-term careers working with their parents.

Coniglio was a former general manager of Conect Enterprises and Asia Pacific head of films at manufacturer Metamark before he launched his own business, Print X One.

Golding has worked at Tint Design for over 20 years, while his wife Julia has been in the business for 18 years. Batty recently joined the business after a successful 35-year career in McDonalds in marketing and operations.

“This is a very exciting day in our 36-year history. I am so honoured and privileged to lead this great business into a new era with my co-directors. Tint Design has an incredible reputation across the architectural and construction industry, largely due to the vision and hard work of our founder Shane Golding,” Coniglio said.

“To be able to take this company forward with Shane’s son and daughter-in-law and my husband from 1 July is amazing. I want to personally acknowledge Julia and Tyler for their hard work and commitment to Tint Design over so many years.”

Since Coniglio joined the team in March 2022, the business has experienced over 60 per cent growth in 12 months, adding new clients and market segments, as well as experienced talent to the business.

Tammy Roos has 27 years of signage experience and joined the business as lead estimator in November. Bob Cuthill joined Tint Design as production manager with a 30-year career in the sign industry across Scotland and Australia. The business also recruited three new cadets to create a career path for people interested in signage and design.

PVCA CEO Kellie Northwood

Tint Design confirms new leadership team

(l-r) Tint Design’s Tyler Golding, Julia Slussareff, Paul Coniglio and Rob Batty

oOh! founder and former CEO Brendon Cook awarded OAM

By James Wells

oOh!media announced, from the King’s Birthday honours, that its founder and former CEO Brendon Cook was recently awarded the Medal of the Order of Australia (OAM). Cook has been a pioneer in Out of Home for 40 years and according to oOh!, is deserving of his award. He has been a founding member of the Outdoor Media Association and was instrumental in the development of the MOVE measurement framework.

“This is brilliant news and well deserved. Brendon has helped out so many people in our industry – including Warwick Spicer and I personally – he was instrumental in getting Cactus established in Australia,” Cactus Imaging general manager of operations Keith Ferrel said, confirming that he first met Cook in 1993 – three decades ago.

“He was a visionary that saw the same future opportunity that we could see. At the time, billboards were screen printed and we completely missed that and went straight to digital.

“Together we pioneered short run digital and he introduced us to agencies to secure a solid pipeline of work for the business. This recognition could not go to a more deserving person.”

West Gate Freeway to show Indigenous artwork

By Hafizah Osman

JCDecaux has partnered with the Victorian Department of Transport and Planning and the Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation to soon install Australia’s first original piece of Indigenous artwork connected to a new digital large format billboard across the West Gate Freeway.

The original piece of commissioned artwork will be created by Lisa Waup, a mixed-cultural First Peoples multi-disciplinary artist and curator born in Melbourne. The artwork will embody direction, flow and perspective which JCDecaux said is central to the significance of the West Gate Freeway and its function as a connector within the community.

JCDecaux is also working in partnership with Authority Creative – an award-winning specialist in contemporary art production and curation and industrial design practice Tilt to support the production of the art from a 2D design through to the manufacturing process.

JCDecaux Australia CEO Steve O’Connor said, “By integrating this incredible piece of Indigenous artwork into the urban landscape, we are not only enhancing the visual appeal, but we are also encouraging dialogue and understanding about the diverse cultural heritage that enriches our society”.

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oOh!media founder and former CEO Brendon Cook

Heidelberg sets new course following successful FY

By Hafizah Osman

Heidelberg has exceeded its targets for the financial year 2022/2023, with the company reporting sales of €2.435 billion ($3.88 billion) compared to €2.183 billion ($3.48 billion) in the previous year, representing an increase of around 12 per cent.

The company said strong growth in the packaging solutions segment made a particular contribution to the result, adding that price adjustments and positive sales developments had a particular impact on EBITDA. At 8.6 per cent, the EBITDA margin exceeded the target of at least eight per cent. Adjusted for earnings from the sale of fixed assets, the EBITDA margin was 7.2 per cent (previous year: 5.1 per cent).

Due to the higher absolute EBITDA level and financial and tax results that benefited from non-recurring relief, it reported its net result after taxes at €91 million ($144.9 million) – an increase from the €33 million ($52.55 million) figure the previous year.

“We achieved a good outcome in a challenging environment. Faced with further cost increases and a level of profitability that remains low, Heidelberg is initiating a value creation program. The aim is to further boost our financial strength and step-up investments in growth areas,” Heidelberg CEO Dr. Ludwin Monz said.

According to the company, the new business strategy will

lay the foundation for future investments. A dual-track strategy will see the company take two approaches: firstly through the printing market beyond its business with sheetfed offset presses, especially in the packaging market and digital printing, and secondly, unlock new markets alongside its core business.

Heidelberg also mentioned that as the global demand for packaged goods continues to increase, packaging and label printing remains an important core segment for the company. The packaging solutions segment already accounts for around half of its sales. Heidelberg also mentioned that it intends to use the new generation of the Speedmaster XL 106 sheetfed offset presses and the Boardmaster flexographic web printing system to support its strategy and growth.

In line with its dual-track strategy, it is also focusing on growth in digital printing – a segment that Heidelberg said is enjoying the strongest growth in the label market, with a rate of around six per cent. The company is looking to build on its position in this market with Gallus One.

As for the financial year 2023/2024, Heidelberg expects sales to be in line with this year’s figure. However, as it continues to be affected by challenging conditions such as increasing material, energy and personnel costs, Heidelberg said it will increase the prices of its products.

CEO Dr. Ludwin Monz and CFO Tania von der Goltz

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Printflex grows Victorian signage business with new HP Latex R2000 Plus

The Victoria-based company has also managed to gain several efficiencies, including better quality of print, following the recent install by Ball & Doggett

It has only been a few weeks since Printflex has had its new HP Latex R2000 Plus, supplied by Ball & Doggett, up and running at its Victoriabased facilities, but the signage and installation company has already seen the many benefits it provides.

Printflex invested in the HP Latex R2000 at Visual Impact Sydney 2023 as a UV flatbed printer that it owned had reached its lifespan after serving the company for many years.

As a quality-driven digital printing and finishing company, Printflex specialises in large-format signage, event installation, graphic design, as well as custom retail and exhibition displays.

Printflex founder Mark Brook said, “I started a promotional products company 22 years ago and then morphed it into a printing company about 10 years ago, working out of a spare room at Bondi Beach in Sydney.

“I bought a DTG printer and was initially focused on direct printing onto garments.

It was the latest, cutting-edge technology in its day.

“One thing led to another and I decided to move the business to Melbourne for various reasons. That’s when I bought our very first small roll-to-roll solvent ink printer and started printing banners for an established customer base that I had generated over the years.

“Business picked up, which led me to buy more roll-to-roll equipment. That’s when I phased out the solvent ink printer and purchased the HP Latex 365 from Conect Enterprises – now a part of Ball & Doggett – in 2016.”

The company also went on to purchase two HP Latex 570 units after seeing success with the HP Latex 360. To ensure that the business continues to deliver on perfect results every time for its customers, it has now chosen the HP Latex R2000 as the latest addition to its fleet.

HP’s Latex R series is a hybrid flatbed solution that produces high-quality output on rigid and flexible substrates.

Featuring HP’s high opacity White Latex ink, it delivers dense, glossy whites that will not yellow over time. HP’s Latex ink is water-based, odourless, and UL ECOLOGO Certified, and the output can be used in sensitive environments.

The HP Latex R2000 Plus has a maximum media width of 2.5m in rigid and flexible

(l-r) Printflex’s Stuart Lacey and Mark Brook with the new HP Latex R2000 Plus

The HP Latex R2000 Plus on the day it was delivered to Printflex

materials and supports up to 50mm thicknesses. Adding additional extension tables allows users to print on oversized sheets up to several metres in length.

Proactive alerts and preventive services ensure more productivity and the ability to meet production peaks and generate new business.

One of the key reasons for Printflex’s move away from the solvent printing space and its investment in the HP Latex R2000 was the significant environmental impact of the Latex range of machines.

“It’s just a real joy to use versus the solvent printers. The machines are much more user-friendly, and the staff enjoy using it as the smells from the solvent and UV machines are gone. Our staff are enjoying working on the HP Latex R2000 knowing that they don’t have to go through laborious maintenance jobs, which goes a long way when it comes to retaining good staff,” Brook said.

“Customers are now also increasingly expecting us to use environmentally-friendly machines and that was one of the reasons for our purchase of the HP Latex R2000.

“The other reason is the better quality of print as this machine allows white ink printing that we can use for our jobs. We print a lot of high-end events signage and our UV technology just didn’t have the quality that the R2000 gives us now. The colours and tones that we can produce are incredible.

“That’s a real value add for our company as we’re now able to do jobs that we haven’t been able to do before. We also get a lot more done in a day than we had before. The machine is very efficient – 10 minutes into a shift and we’re already printing.

“For example, we now buy gold aluminium composite panels and print directly on them with absolute clarity. So, instead of spending time weeding out and applying vinyl, we print straight onto the sheet, cut and it’s out the door. We save hours of production time and increase quality at the same time.

“We’re really excited about the opportunities that will come from it and we’re already seeing its benefits as our business is expanding – we’ve picked up two large customers already from the R2000 technology – and we’re getting new work that can only be done using this machine.”

Expanding business opportunities

Brook said the guidance that he received from the Conect team in the past and more recently from the Ball & Doggett team, following its recent acquisition of Conect, has been second to none.

“As a business owner in the print industry, as everyone knows, we can’t afford to have any downtime. Conect and Ball & Doggett have been terrific in working with the Printflex team to solve any problems or issues as they come. I could not have asked for better service from them as they bend over backwards to get things resolved in a timely manner,” Brook said.

“Both the business’ commitment to being available when any maintenance was required, or any questions needed answering, has been unwavering.

“The expectations that I had to keep the business going previously was well and truly met by Conect Enterprises. It has been a terrific partnership with Conect in the past – and following Conect’s acquisition by Ball & Doggett – I’ve been extremely happy with my decision to choose Ball & Doggett as a partner moving forward.

“Mike Callander and Avinash Rajah from the team, in particular, have worked closely with us and not missed a beat. That gives Printflex the confidence that

it will have continuing support from Ball & Doggett and it keeps our customers happy too. We also buy a lot of our materials and stock from Ball & Doggett, so communication has been seamless and we only need to deal with a one-stop-shop now for all our needs.”

Ball & Doggett has integrated the Conect Enterprises business into its portfolio and with that move, further solidified its strong position as a supplier into the signage market. It has also enabled the distributors of printable materials and consumables to have a play in the hardware space.

“The Conect team has got lots of customers that are very similar to Mark’s business – they’re all long-standing relationships. That’s our business strategy. We work with our customers to have the correct and best solutions for them,” Ball & Doggett equipment and service national manager Tatjana Ferguson said.

“We partner with some excellent OEMs, such as HP, who bring to market solid products. We’ve found that it’s the

Printflex finds the HP Latex R2000 Plus “a real joy to use”

Printflex has already picked up two large customers from the R2000 Plus technology and is getting new work that can only be done on this machine

environmental aspects of that which make our job easier when it comes to selling. The team at Conect have been amazing – we acquired the business into Ball & Doggett in September and are close to fully integrating.

“Conect has such an amazing team of people that are dedicated to their service capability, sales, and building on the longterm relationships that it has established. As Ball & Doggett, we want to make sure that we take those relationships to new levels and that we support the market and our customer base as much as we can.

“For our team, it’s not just about selling things – it’s about education and support. That is very much a part of the Ball & Doggett strategy.”

Future-proofing a business

Moving forward, Brook has plans in place to grow Printflex as a business and take it to new heights.

“We’ve got a few plans in place, some of which I can’t reveal yet. There is a new sector that we’re looking to establish ourselves into, which is very exciting for us. We’re also picking up a lot more high-volume jobs due to the efficiencies of the R2000,” he said.

“We’re also getting more business from the high-end events side, which enables us to produce boutique printing solutions for clients. That’s with the acrylics, for example, and reverse printing with white ink.

“We’re getting great jobs, high margins, and great output with high-quality prints. This means happier customers of ours.”

Ferguson added that the HP Latex R2000 will benefit any sign and graphics business that wants to print directly onto rigid materials.

“The HP Latex R2000 is all about future proofing a business with added capability, particularly with the white ink. And as more corporate businesses consider sustainability, they will engage businesses like Printflex,” she mentioned.

“As for Ball & Doggett, it is exciting for us to have equipment as part of our offer to market. That came with the acquisition of Conect, and we’re very focused on growing that part of our business.

“We’ve always had a great range of consumables, so this is the next logical step for us in supporting the market and being able to offer our customers like Printflex an end-to-end solution, encompassing equipment, software, service, support, and a comprehensive range of both rigid and flexible materials, inks and anything else that customers want.

“We’re also open to looking at additional product ranges if our customers require them so that we can offer them the right solutions to help them grow their businesses. We’re excited about the possibilities for Ball & Doggett and our customers – we’ve even expanded our team to further add value for them.”

Team expansion

Ball & Doggett has made two internal appointments to newly created positions, expanding its sign, display and digital equipment team.

Tatjana Ferguson, who has over 30 years of experience in the sign and display market and has worked for key wide format suppliers such as Fujifilm, Konica Minolta, Anitech and Spandex, has been named as equipment and service national manager. She was formerly equipment brand manager.

Her new role will further establish the Ball & Doggett business as a marketleading supplier to the wide format market throughout Australia.

“Although Tatjana has only been with the business for a short period of time, she has demonstrated a number of skills required to elevate our service and equipment sales throughout the sign, display and digital division,” Ball & Doggett general manager Rob Brussolo said.

“Over the years, her experience has resulted in a thorough understanding of what is needed for success and most importantly customer satisfaction. Tatjana has excellent industry connections and is considered a results-driven, creative and innovative thinker, able to scope, develop and implement best practice.”

The company has also named Jeffrey Kline as its service and sales coordinator. He has many years of experience in the digital printing industry and is a skilled and knowledgeable professional with a proven track record of success in sales and business development. He has worked for businesses such as ErgoSoft, GBC and Onyx.

Ball & Doggett said his background includes technical and management experience, making him well-suited to navigate the complex and ever-evolving world of equipment service and sales. In this role, Kline will be supporting the wide format equipment service and sales team and liaising with customers and vendors to ensure the team delivers excellence in customer experience.

“Jeff has been with Ball & Doggett since February and coupled with his vast industry experience, has demonstrated a number of skills that are required to elevate our service and equipment sales throughout the sign, display and digital division,” Brussolo added.

The HP Latex R2000 Plus on the day it arrived at Printflex

Ball & Doggett staff installing the machine at Printflex

Having a passion for the craft

as a professional from my senior colleagues at Durst Oceania – both at management and technical levels, as well as from people I have met on the job,” she said.

“I simply would not be able to have achieved what I have so far without the investment that Durst Oceania has put into upskilling and enabling its staff, but also without the selfless support from my management and senior technical colleagues.

“The whole team took the time to teach me everything they know and all the knowledge I have now on the job is thanks to them.”

As a woman in print, Panayi aims to promoting change within the business by changing the mindsets of the people in businesses, including that of staff and clients.

Having joined Durst Oceania just less than a year ago as one of its field service engineers, Eleni Panayi has leaned on her peers to learn more about the trade and now has a keen passion for the craft.

“My role at Durst Oceania is my first job in the print industry; I knew nothing of it previously! I met Durst Oceania managing director Matt Ashman while I was at my previous job in telecommunications and we got talking as we both had lived in the UK before moving to Australia,” she said.

“I had mentioned to him how I had studied Mechanical Engineering and he was also looking to hire someone as a field service engineer. Our conversations developed from there and following an interview process, I landed the role at the company.

“Only when I joined the print industry did I realise how big it really is and how many people from such a variety of backgrounds are in it! I have been inspired having attended events such as FESPA and Visual Impact, and other initiatives such as various awards in Sydney.

“I’ve developed a passion for the craft and it’s been so heart-warming to see the level of engagement across the entire industry, along with the industry’s global reach.”

This is Panayi’s first job in the print industry, but that hasn’t stopped her from achieving

her aims and excelling in her role. Her managers constantly commend her skills and have had only the best things to say about her work ethics.

“I’ve only been in the industry for about 11 months now, so I’d say I’m still very new to it and am learning things daily,” she said.

“But one of the highlights of my career so far is getting the title of ‘Durst’ler of the week’. I’m the only female service engineer at Durst Oceania so that was a great achievement for me. I also was fortunate enough to head to the Durst HQ in Italy for training. That was an amazing experience and I learnt so much during my trip over. I also met so many great people there and the Durst HQ is just beautiful.

“The best part of my job is that it is never the same day-to-day. Everyday I’m somewhere new, doing something different. I’m always going to different places and meeting new people. It’s something my partner gets very jealous of.”

Panayi has not only learnt from her training sessions. Her mentors and peers at Durst Oceania – both male and female –constantly guide her and provide her with the necessary support that she needs in her role.

“Inspiration does not necessarily come only from the same gender. I have learnt invaluable lessons that I will carry with me

“When I took on this role, I accepted the challenge of being a pioneer. That responsibility comes with some sweat and tears, but everything is worth it if it means that I am paving the way for other females to make a career and an impact in the industry,” she mentioned.

“No one ever knows what they do not know. So, my role is to raise the awareness of key elements to nurture a healthy and sustainable professional environment for other female engineers thrive in. I’d love to see a lot more female faces in the industry and I always say, if I can do it, so can you.”

According to Panayi, women in print can give back to the industry by “breaking barriers”, adding that “productivity and competitiveness can be unlocked by harnessing the working power of women”.

“This opportunity for women is beyond measurement. Progress is slow, but I am confident that we are heading in the right direction,” she said.

And even though Panayi’s career in print is in its infancy, she is looking forward to making her own mark in the near future.

“I always strive to be my best version of myself in whatever I do, and this is no different in my role with Durst Oceania. My aim is to one day be recognised as one of Durst’s brightest engineers. I hope that achievement would end any doubts that anyone might have about how impactful it would be to fully embrace the female workforce into the industry,” she added.

Being the only female service engineer at Durst Oceania, Eleni Panayi says she has learnt many invaluable lessons from her peers

Durst Oceania field service engineer Eleni Panayi

New owner prepares to invest in the future of Omnigraphics and MMTB

With David Walton becoming the new owner of Omnigraphics and MMTB, the companies now have a renewed focus and go-to-market strategy

David Walton, who became the CEO of Omnigraphics and MMTB in September 2022, recently bought out the companies from their former owner and outdoor giant QMS Media. Walton outlines his plans for the businesses and explains what the industry can expect from the companies moving forward.

Q: You recently bought out Omnigraphics and MMTB from QMS Media – can you tell us a bit more about this purchase?

David Walton (DW): QMS Media aquired both Omnigraphics and MMTB eight years ago and we have been working closely ever since. With QMS Media postioning itself as a market leader in the digital out-of-home media sector, the opportunity arose to acquire the print production arm of the business consisting of Omnigraphics Australia and MMTB.

I jumped at the chance given the vast upside and opportunity to grow both the Victorian and Queensland operations. Omnigraphics has been established for over 20 years in the industry, and MMTB for over 25 years, so both companies have a wealth of experience and highlytalented and passionate teams.

Combined, the businesses employ over 70 staff, with 25-plus machines across the two facilities. We have machines as small as 1.6m, right up to larger ones 5m in width. We offer roll-to-roll and flatbed printing and fabrication solutions in both states.

My assocation with the business spans over 15 years and fortunately, has covered all aspects of the company – consequently giving me a solid understanding of our business and the print industry as a whole.

Q: What do Omnigraphics and MMTB do today?

DW: Both businesses operate in the wideformat print sector offering a full suite of products in the large format Out-of-Home print space, billboard, street furniture and transit graphics, as well as delivering on quality and durability in our long-term signage options for building banners, hoardings and general signage needs.

The companies provide retail POS printing, event and expo signage, vehicle wrapping, installation, and project management services together with bespoke sigange options. With our print and fabrication equipment, we can offer a vast range of products as well as smalland large-run options whilst remaining

competitive and delivering fantastic lead times and quality. We also provide turnkey signage solutions and have a broad national footprint to help our clients in far reaching areas.

Q: What are some of the biggest growth areas for the businesses?

DW: Our most significant growth has been generated from ventures into additional wide-format markets, including retail, whilst expanding our offering with unique and creative applications to traditional print production.

Emerging markets include environmentally friendly and sustainable offerings, and entering the petroleum signage market where our turnkey sigange solutions are allowing us to build a presence in this sector.

We are also very nimble in both our businesses with key stakeholders involved every day in all aspects of the business. This has resulted in our ability to respond

Stadium signage created for the Brisbane Bullets

One of the recent installations for a petroleum premises

to market trends and the changing nature of our clients’ particular needs in a very agile way.

Q: What is fuelling the company’s upward momentum?

DW: The highly motivated and driven team within both companies is the critical element. On top of that, changes that have created opportunities and the ability to be agile with investment in technologies allow us to position the businesses for growth opportunities in the future.

Strong and enduring partnerships with our clients and a willingness to go above and beyond is another reason for our growth. We aim to deliver eye-catching results for our customer’s marketing campaigns and overcome challenges to meet our customers’ expectations.

Whilst delivering quality products and services to our customers, we also look for opportunities to get involved in our communities and give back to those who need support. We often donate signage for fundraising events, ensuring that proceeds are used for the cause and not promoting the events.

Our team takes part in food drives and I am looking forward to getting involved in the CEO Sleepout next year in an effort to raise money to assist homeless youth in Melbourne. All of these elements allow us to deliver a consistent message to our customers and ensure we position ourselves as a partner that brands can trust and rely on.

Our mantra is to do the common things uncommonly well and this fuels our momentum. Our clients look at us as a ‘set and forget’ partner and trust us implicitly.

Q: What plans do you have for the businesses in the coming six to 12 months?

DW: Investment in key equipment to improve quality, capacity and the ability to offer new products is going to be our focus. Increasing our presence in the market with active social media and digital marketing techniques to engage customers is another key area we will be focusing on.

In addition, we aim to increase our ability to give back to our communities and get involved in great causes to support those in need. We are also investing in cleaner and greener material options and processes to ensure the best future for the print industry and our environment. We have a philanthropic philosophy for being in business for more than just the commercial element.

Q: What are some of the most memorable and unique projects that Omnigraphics and MMTB have worked on?

DW: Some of the more memorable projects include changing the atompshere of whole precincts for significant events. We regularly provide the project management, print and install on the exciting Handa Opera on Sydney Harbour event. It is one of the most diverse projects that we work on, incorporating all types of signage into the activation.

More memorable projects come from rolling out entire stadiums of signage for the Firebirds netball team and the Brisbane Bullets basketball team.

Our recent expansion into the petroleum signage market was also exciting, as we managed to bring our customers’ brand vision to reality with bright colours and creative designs.

We work on copious amounts of memorable projects. Unfortunately, we are unable to share images of a lot of our projects. We work with unique processes including reflective films, glow in the dark films and UV blacklight active graphics on everything from small format stickers to super wide-format billboards. Recently, we collaborated on an exciting venture to create a memorable presence for a new product launch in Melbourne.

Q: What is your short- to medium-term vision for the future of both companies?

DW: My aim is to make the right investments in technology, ensuring we exceed quality expectations, reduce production timelines and deliver a diverse market offering, whilst striving to be creative and work on bringing

customers’ creative visions to fruition. With the right technology, in conjunction with our teams’ eagerness, passion and skills to achieve out-of-the-box solutions, this will materialise.

Both Omnigraphics and MMTB will remain in their current formats, both servicing clients in their local areas while being able to assist each other in delivering national campaigns and customer orientated solutions.

Senior management will now be represented across both businesses, with myself (CEO) and Gerard Mudford (chief operating officer) located at Omnigraphics in Melbourne and Jarrod Whyte (national sales manager) and Lisa Crellin (chief financial officer) located at MMTB in Brisbane. This allows the group to collaborate at a national level whilst having key management in both locations, all with a wealth of knowledge in the large-format digital print industry.

Q: What is your assessment of business requirements in print for the rest of the year?

DW: We are looking forward to a positive second half of the year in print. While the digital era has transformed the marketing landscape, print materials still hold their ground in many industries and marketing campaigns.

We have seen increased demand and activity in the Out-of-Home sector and requests for billboards, street furniture posters and transit campaigns continue to arise for Q3 and even forward bookings into Q4.

Unique concepts and special build requests are increasing as well, as customers look to take their conceptual ideas to the next level. While the digital realm continues to evolve, print media remains a valuable tool for businesses and we aim to partner with customers who want to utilise traditional print through creative applications to enhance their marketing stratagies and deliver impact.

Q: From these business requirements, what will be the priorities for both companies?

DW: Omnigraphics and MMTB will continue to position themselves as market leaders in the large-format digital print market. We have innovative processes, leading technology and a passionate, enthusiastic team ready to deliver on customers’ projects and print requirements.

Our capacity in our two production facilities located in Melbourne and Brisbane allows us to provide unmatched speed to market whilst delivering cost effective solutions nationwide.

Omnigraphics and MMTB CEO David Walton

One of the prints and install for the Handa Opera on Sydney Harbour event

Kyocera’s latest executive hires outline local roadmap for the business

Kyocera recently appointed David Procter and Brett Palmer to lead the company’s strategy for the Australia, New Zealand and Pacific Islands regions

quality and eco-friendly prints with a water-free concept.

“The exciting part about it is the environmental benefits with water usage compared to existing technology. But is fabric printing an opportunity for us in Australia? It’s in the early stages and we’re going to investigate that,” Procter said.

“We’re looking to gain feedback from the industry to see what the opportunity is like. Regardless though, we’re starting to see what revision is for our inkjet technology within our own organisation.”

With a combined total of more than 70 years of experience between them, Kyocera Document Solutions’ latest executive appointments of David Procter and Brett Palmer were made to drive the company’s production print strategies for the A/NZ and Pacific Islands regions.

Procter was recently hired as its A/NZ and Pacific Islands national print production manager, while Palmer was named A/NZ and Pacific Islands head of service.

Both Procter and Palmer bring to Kyocera Document Solutions a wealth of industry experience. Prior to joining Kyocera, Procter was with Konica Minolta Australia for almost 20 years. He most recently held the title of chief operating officer and executive director, and spent about 15 years being involved in production printing.

“I’ve seen different technologies in my time and seen improvements. My responsibility at Kyocera is to develop the opportunity within the market for our products and develop the roadmap for the company’s production print products for the future. One of Kyocera’s focuses is currently on developing a position and market understanding of the unique capabilities of the TASKalfa Pro 15000c press,” Procter said.

“It’s our flagship product, which is very much focused towards mailing houses and businesses that do transactional print in

volumes – up to a million pages per month using inkjet technology and full colour.

“What’s exciting is the roadmap for this technology in the near future – we expect to see the next generation of this product released in the next 12 months with a much broader range of opportunities.”

As for Palmer, he started off as a field service engineer at Konica Minolta Australia and worked his way through the ranks. He most recently was its service delivery and planning general manager –a role he was in for more than eight years – before joining Kyocera.

“In this role, I found out how incredibly important service is for the production customer – this is a key selling point for any company. I started looking for new opportunities and where the technology was growing, this took me to Kyocera. I’m very excited to look at Kyocera’s next generation of production printers and translate my learnings from my other roles into this one,” he said.

Delving deeper into the topic of Kyocera’s next-generation of inkjet technologies, Procter and Palmer said they are keen to explore opportunities for Kyocera A/NZ and Pacific Islands within the sustainable digital textile printing space.

The company’s global arm recently unveiled its sustainable inkjet textile printer named FOREARTH, which offers high-

Going hand-in-hand with the element of technology is Kyocera’s service, which is something that it has been known for. Palmer said he intends to ensure that the company’s service levels are maintained, while building a robust service team that understands the production industry.

“While Kyocera has been servicing the production space with printheads for some time, it is only recently where we have brought a complete press to market. So, building on that capability and having a dedicated staff and services team is critical to providing value for our customers,” he said.

“We want to be considered as a partner in our customers’ futures. For that to work, David and I will have to solidly work together to deliver on service. Technology is critical, but service is the most important part of it.”

Both Procter and Palmer are confident that their industry experience would steer the business locally in the right direction and enable it to find the right customers for the right equipment.

“Our experiences have taught us a huge amount, and so have the customers that we have worked with. The experience that we bring will help Kyocera A/NZ and Pacific Islands come to market a lot quicker and better educate our team internally,” Palmer said.

“Really understanding what our customers want and what they need out of their people and equipment to be able to service the market is the direction that Kyocera needs to head towards to build a strong foundation locally. This will then translate into successes for them and us.”

(l-r) Kyocera’s David Procter and Brett Palmer

Cactus Imaging installs first Durst

10-channel P5 350 HS D4 hybrid press

The machine will provide Cactus Imaging with the opportunity to complete more flatbed work for its expanding client base in Australia

This is going to be huge for our business,” Ferrel added.

The purchase of the Durst P5 350 HS D4 was first announced in October last year.

Durst Oceania managing director Matt Ashman said, “Cactus Imaging is a true leader and pioneer in the digital wide format space and it thrills me to see Keith Ferrel and Nigel Spicer have again put themselves at the forefront with this investment.

“At Durst, we are confident the speed, quality and versatility of this hybrid press will aid Cactus Imaging in its future growth plans.

“I thank Keith and Nigel for having faith in Durst Oceania’s quality and ability to greatly assist in the ongoing success of Cactus Imaging.”

Cactus Imaging has taken delivery of the first Durst 10-channel P5 350 HS D4 hybrid press in the southern hemisphere.

Australian Printer was recently on-site for the early morning delivery of the machine at Cactus’ Silverwater premises in western Sydney and captured a time-lapse video of the unpacking and installation of the ‘significant investment’.

This is the largest single investment Cactus Imaging has made on a new large format press that delivers speeds in excess of 700 square metres per hour at production quality.

Cactus Imaging general manager of operations Keith Ferrel was impressed with the speed of the hybrid press and made the purchase to deliver a return on investment through significant improvements in productivity.

“We are now able to produce a supersite billboard that is 42 square metres –12.6m by 3.35m with this new Durst machine at 708 square metres an hour in three and a half minutes, whereas other roll-to-roll machines we have will take 25 minutes – and previously that was fast,” Ferrel said.

“We can also now produce 3m by 1.5m sheets of alupanel or corflute that are printed in 14 seconds which is a game-changer.

“It will print fabrics at 500 square metres an hour and that is at a full saleable production level.

“This machine can print high opacity white, at speeds in excess of 250 square metres per hour – that is almost 10 times the 30 square metres per hour we can currently produce on our other equipment.

“This is a 10-channel machine that will help future-proof our business. It features dual CMYK and either double white or single white and clear. We are likely to use double white and see how we go.”

This will also provide Cactus Imaging with the opportunity to complete more flatbed work for its clients.

“Flatbed work is something that has been increasingly requested from our current client base – without even going and looking for more work. A lot of work we do for one client – which is very regular –what normally takes us three days we will be able to do in about an hour and half with this machine – so you can imagine the savings in terms of time and productivity.

This is the largest single investment Cactus Imaging has made on a new large format press

The early morning delivery of the machine at the Cactus’ Silverwater premises in western Sydney

Cactus Imaging’s Nigel Spicer and Keith Ferrel, and Durst Oceania’s Matt Ashman at Cactus Imaging

ITMA 2023 showcases innovations for textile and garment industry

The 19th edition of the world’s largest textile and garment technology exhibition, ITMA 2023, recently took place in Milan, Italy, unveiling a showcase of cutting-edge technologies

ITMA 2023 recently welcomed attendees from all over the world to Milan, Italy, showcasing technologies presented by 1709 exhibitors from 47 countries.

Spanning 200,000 square metres of the Fiera Milano Rho venue, ITMA 2023 had solutions on advanced materials, automation and digital future, innovative technologies, and sustainability and circularity on the show floor under the theme of ‘Transforming the World of Textiles’.

According to CEMATEX (the European Committee of Textile Machinery Manufacturers) which owns ITMA, the textile machinery exhibition has continued to build on its strong reputation as the global innovation launchpad since its debut in 1951.

Speaking at the ITMA 2023 press conference, CEMATEX president Ernesto Maurer said, “ITMA continues to be a sought-after platform for textile machinery manufacturers, with this year’s exhibition

receiving a three per cent increase in net exhibit space compared to ITMA 2019.

“Interestingly, we also welcomed new exhibitors from Tunisia, Estonia, Ireland, Norway, Ukraine, and as far as Panama, Peru, and Honduras. Due to high demand, about 150 applicants were unable to be accommodated as some sectors were sold out after the space application deadline.”

Like past ITMA editions, exhibitors from CEMATEX countries continued to have a strong presence on the show floor. A total of 867 exhibitors booked 63 per cent of the net exhibit space.

The largest contingent of 422 exhibitors came from Italy, formed by ACIMIT (Association of Italian Textile Machinery Manufacturers). Italian exhibitors occupied 30 per cent of the space.

The next biggest group of exhibitors came from Germany. A total of 198 German exhibitors booked 15 per cent of the

space. The third largest group was from Turkey with 191 exhibitors taking up 12 per cent of the space.

Comprehensive product sectors

With the inclusion of a new product sector, textile composites, visitors used ITMA 2023 as an opportunity to source a comprehensive range of technologies and services.

The top five sectors in terms of participation were:

• Finishing - 329 exhibitors

(27 per cent of exhibit space)

• Spinning - 257 exhibitors

(13 per cent of exhibit space)

• Weaving - 161 exhibitors (10 per cent of exhibit space)

• Printing - 146 exhibitors (12 per cent of exhibit space)

• Knitting - 128 exhibitors

(10 per cent of exhibit space)

Although not in the top sectors, the recycling and software sectors attracted

Many visitors streamed through the halls of ITMA 2023

greater interest. In this edition, both sectors saw a doubling of exhibit space. The number of exhibitors also increased to 31 for the recycling sector, and 47 for the software sector.

ITMA Services chairman Charles Beauduin said, “Digitalisation and sustainability are twin drivers to build a better future for the industry. Research and development in these areas have resulted in many groundbreaking technologies. Hence, these sectors have gained greater traction and there is a healthy growth in the number of exhibitors”.

Print showcase

Several printing and consumables companies used ITMA 2023 to showcase and launch the latest of their technologies for the textile and garment industry. Here are some examples of them:

DuPont

DuPont Artistri, a business specialising in digital inkjet inks, launched the Artistri P1600 direct-to-film (DTF) pigment inks at ITMA 2023.

The company said Artistri P1600 inks are ideal for DTF printers looking for a professionally printed product with consistent, vibrant colours on a variety of fabrics.

The Artistri P1600 DTF ink set allows for profiling with reduced ink volume delivering both efficiency and productivity as equipment runs cleaner for longer. The versatility of the Artistri P1600 is seen in different applications, from cotton, to blends and especially polyester, giving printers access to a high-quality ink product for printing on a choice of clothing materials.

DuPont Artistri digital inks general manager Tucker Norton said, “With Artistri P1600 DTF inks, garment decorators will not only benefit from brightly printed fabrics, but

these water-based inks can help contribute to their sustainability initiatives.

“P1600 inks were formulated using safer by design principles to assess and evaluate any potential environmental risks, are classified as non-hazardous under GHS and are HAPS (hazardous air pollutants) free. All this is possible through DuPont’s extensive ink formulation knowhow, in combination with our best-in-class product stewardship and manufacturing to offer a compatible and reliable product that takes the quality of DTF printing to the next level.”

During the show, visitors also experienced the print performance of Artistri water-based inks through customer collaborations including live demos at the ColorJet booth as well as latest print design samples from BYDi and ROQ on display at the Artistri stand.

Experts from the Artistri team also discussed advancements in white inks that offer best-in-class opacity, stretch and a long shelf life.

For direct-to-garment (DTG) and rollto-roll (RTR) printing, the booth featured Artistri P5500 pigment DTG inks and a wide RTR inks range including Artistri P2700, P3600 pigment inks and Artistri S1500 and S2500 dye sublimation inks.

DuPont Artistri EMEA digital inks business leader Gary Weyman added, “Digital printing with pigment inks is gaining more space in textile printing due to minimal water usage which means a lower environmental footprint as it doesn’t require steaming and washing steps in the printing process.

“It is our mission to develop ink innovations that support sustainability in textile printing and, since our pigment inks are granted the OEKO-TEX ECO PASSPORT certification

with ZDHC MRSL Conformance Level 3, it helps enable safer work environments for textile printers.

“DuPont’s new ink developments strengthen our commitment to pigment inks as the sustainable choice and as our vision for the future of digital textile printing.”

EFI Reggiani

EFI Reggiani showcased the sustainability and digital workflow advantages of its textile solutions at ITMA 2023, presenting its sustainable ecoTERRA pigment printing line up, the super-high-speed EFI Reggiani HYPER and Reggiani BOLT XS direct-tofabric printing solutions, and EFI Inèdit end-to-end digital textile workflows.

The EFI Reggiani ecoTERRA is an all-in-one solution for water-based pigment printing that requires no ancillary equipment for preand post-treatment. By significantly reducing water, energy and chemicals consumption in the overall process, customers can now obtain a truly sustainable, direct-to-fabric printing solution.

For the first time at ITMA 2023, EFI Reggiani presented its full ecoTERRA line up of four models, including a 340mm-printing width, with speeds ranging from 150 to 600 sqm/h. The company said this allows customers to choose the best TCO/ROI based on output volume and speed range.

Reggiani ecoTERRA water-based pigment inks aim to deliver excellent wet and dry fastness properties, sharpness in detail and outstanding durability while ensuring printhead longevity with reduced maintenance costs. The enhanced polymerisation and finishing unit enables the machine to provide an enhanced tactile experience and fabric softness.

In addition to highlighting EFI Reggiani’s sustainable product offering, the company also demonstrated the significant productivity and efficiency advantages offered by its portfolio of high-speed, high-performance digital textile printers.

Innovative technologies took centre stage at ITMA 2023

The EFI Reggiani ecoTERRA

Attendees discovered how mass production can transition to a digital, on-demand workflow with the super-high speeds and ultra-high print quality of the EFI Reggiani HYPER scanning printer and the next-generation EFI Reggiani BOLT XS single-pass textile printer.

The EFI Reggiani HYPER is one of the fastest scan digital textile printers in the market. Available in 1.8m, 2.4m or 3.4m wide models, the Reggiani HYPER printer delivers printing quality and productivity.

Equipped with 72 printheads and ink recirculation up to the nozzle plate, it can print two pass, production quality at speeds up to 13 linear metres per minute on a 1.5m-wide roll. Using the dual-roll capability on the 3.4m model, users can achieve throughput speeds up to 20 metres per minute.

As for the new EFI Reggiani BOLT XS printer, it comes with speeds of up to 100 linear metres per minute, boosted uptime and reliability, high performance throughout, printing accuracy, and minimal maintenance needs.

Visitors to the booth also saw EFI Reggiani’s new proprietary end-to-end digital printing workflow and the latest enhancements to EFI Inèdit digital textile software.

Inèdit, now part of EFI Reggiani, is a developer of raster image processors (RIPs) and related software for digital industrial textile printing. The EFI Reggiani end-to-end workflow with Inèdit integration aims to boost productivity and production capabilities for digital textile print operations while ensuring maximum security for customer’s designs thanks to two-level encryption.

Currie Group is the local distributor for EFI’s entire Reggiani portfolio.

Epson

Epson took the wraps off its new Monna Lisa ML-24000 at ITMA 2023. The new machine was developed to satisfy a textile market constantly in search of innovation, creativity, and certified quality.

The highly flexible solution is the first to be equipped with 24 Epson PrecisionCore printheads and 12 colours. It has been designed to help meet compliance standards required for quality, safety, and sustainability.

Epson said a wide range of available colours, a reduction in the downtime required to change inks and the possibility of producing certified printed fabrics without having to change the type of inks in the machine take the concept of flexibility and efficiency to the next level.

It is also able to print on all types of fabrics from natural, artificial, and synthetic fabrics through to the most innovative vegetable fibres such as coconut or banana.

Through Epson’s four Genesta ink families (Acid, Reactive, Disperse and Pigment) the Monna Lisa ML-24000 offers a wider colour range than the other printers in the series and is said to deliver the best possible quality on every specific type of fabric. Its extreme flexibility allows it to respond quickly and punctually to the demands of multiple markets with a wide range of justin-time textile products. Other key strengths include productivity, flexibility, and quality at competitive costs.

Vital too, is the Epson Monna Lisa ML24000’s ability to meet the requirements of companies that need to produce prints to obtain specific certifications (such as GOTS or OEKO-TEX). To attain the various certifications, it is necessary to use selected inks, something that Epson said can easily be achieved thanks to the wide range of inks supported by the Monna Lisa ML-24000.

“Guaranteeing the exceptional quality for which Epson is renowned, while delivering the high speeds necessary for commercial and industrial printing, is Epson’s PrecisionCore printhead technology. At its heart is the MicroTFP next-generation printing chip. PrecisionCore technology perfectly embodies Epson’s goal of delivering unrivalled levels of value and performance to the widest possible customer base,” Epson added.

At ITMA 2023, Epson also launched the Monna Lisa ML-16000/HY model, as well the new REACID configuration Monna Lisa ML-8000 and the Monna Lisa ML-32000 in a new 3.4m width.

HP, together with Decathlon and Lonati Group, have taken to ITMA 2023 to present an innovative and sustainable approach to footwear manufacturing.

Harnessing the power of advanced technologies including HP’s Multi Jet Fusion technology and Lonati’s knitting machines for uppers, this collaboration is said to pave the way for a future of sustainable footwear production.

Traditionally, footwear production requires numerous parts, adhesive materials and a significant workforce. However, HP, Lonati Group and Decathlon are revolutionising the process by harnessing the power of 3D printing.

With their latest innovation, they have developed a sports shoe that combines Lonati’s sock with an innovative midsole and outsole produced with HP’s 3D printer. Lonati’s XT-MACHINE and Double Cylinder E1530XS knitting machines enable the production of uppers with single- or double-layer fabric, resulting in an integrated upper that offers comfort, lightness, performance, and quality.

HP’s Jet Fusion 5200 printer produces both the midsole and outsole of the shoe and to ensure optimal performance, these components are made from BASF Ultrasint TPU01 material, a versatile thermoplastic polyurethane powder known for shock absorption and flexibility.

With this partnership, the companies intend to share a combined message, focusing on the advantages of 3D printing and digital knitting for industrial-level manufacturing, emphasising on:

• Customisation: The shoe allows consumers to personalise the footwear to their own preferences and needs.

• Circularity and repairability: Using a glueless assembly method, the shoe can be easily repaired in case of damage, while the cushion and upper parts can be separated, allowing for targeted repairs without the need to discard the entire shoe. This not only extends the life of the product, but also reduces waste. In addition, the use of a single material, TPU (thermoplastic polyurethane), for the grip and cushion parts increases the recyclability of the shoe.

• Local production: With 3D printing, the shoe can be produced locally, reducing emissions from transportation and supporting local economies.

The Epson Monna Lisa ML-24000

• Flexibility: The manufacturing process allows for optimised inventory and on-demand production, thus reducing waste.

HP personalisation and 3D printing head of footwear and sports Don Albert said, “HP’s Multi Jet Fusion technology is enabling a new era of sustainable and innovative manufacturing. We are proud to partner with Decathlon to show the immense potential of 3D printing in contributing to a more sustainable approach to manufacturing”.

and operational control across multiple systems and locations. This pairs with on-demand production strategies to continuously fulfill orders of multiple sizes, strengthen supply chains, and shorten fulfillment times.

As for the new Atlas MAX PLUS system, it takes Kornit’s Atlas MAX platform to the next level, bringing increased productivity of 150 garments per hour.

With integrated Smart Curing, Rapid Size Shifter pallets, and autonomous

pre-and post-processes required of conventional dye printing and reduces the water consumption of textile printing by 99 per cent. Also, this new printing solution contributes to reducing energy consumption and CO₂ emissions because it does not need large-scale equipment used for the pre- and post-treatment processes of textile printing.

FOREARTH’s all-in-one printing system also enables highly detailed printing on diverse fabrics ranging from cotton, silk, and polyester to nylon and blended fabrics with a single machine. It is also adaptable to a wide range of categories – from ladies’ fashion and sportswear to babywear and home textiles. The company said it expects this printer to contribute to eliminating printing-related water pollution, which has long been an issue in the textile and apparel industries.

“Traditional analog textile printing consumes a large amount of water, especially in the washing and steaming processes, and wastewater pollution due to fabric printing is a long-standing issue around the world,” Kyocera said.

Kornit Digital

Kornit Digital showcased its Kornit Apollo platform, which offers high-throughput digital production at scale, at ITMA 2023. The company also introduced the Kornit Atlas MAX PLUS system for decorated apparel – now incorporating smart curing, flexible pallet sizing, and autonomous calibration.

Enabling digital production to go mainstream, Kornit Digital said Apollo allows customers to become more agile, drive revenue opportunities, shift to localised production, and ease complex workflow processes.

It offers large-capacity and high-qualitydriven users the opportunity to adopt digital versatility and a quick time to market – expanding beyond screen printing to achieve vertical or horizontal expansion and robust business opportunities based on current operational models.

The Apollo platform is built on the Kornit MAX technology and is a comprehensive, streamlined single-step solution for nearshore short- and medium-run apparel decoration.

Empowering customers to sidestep the hazards of complex supply chains, it also offers speed and agility in digital decoration – it decorates 400 unique garments per hour. Automated loading and unloading, integrated smart curing, and inline garment type adjustment yield higher output and reduced labour.

The platform also helps fulfiller and brand supply chain managers gain visibility into their production – ensuring consistency

calibration, the offering takes smart production capabilities a step forward introducing production flexibility, consistency and quality.

Also on display at ITMA 2023 was the recently introduced Kornit Atlas MAX POLY, an efficient specialty system for polyester decoration, covering blends, tri-blends, and other synthetic fabric combinations. The solution delivers colourful and vibrant prints using innovative neon inks while supplying retail-grade quality and durability.

“In addition, waste resulting from the mass disposal of overstocked clothing is also an environmental concern, and the textile and apparel industries are under pressure to take immediate action toward alleviating this issue. Kyocera developed our new inkjet textile printer, FOREARTH, that combines patented inkjet, ink, and printing equipment technology to contribute to solving these environmental problems.”

Other key features of the machine include:

• Water- free concept to dramatically

Kyocera

Kyocera took to ITMA 2023 to launch FOREARTH, a new inkjet textile printer that aims to eliminate all water usage from fabric printing.

FOREARTH is an all-in-one printing system that uses new proprietary pigment ink, pre-treatment liquid, and finishing agent, which are constantly discharged in the same sequence from the inkjet head. This system eliminates the

reduces water usage in textile printing

• Proprietary pigment ink realises both soft hand-feel prints and high fastness in a wide range of fabrics.

• A two-step printing and drying system that shortens the number of steps from design to production. As a result of this streamlined processing, it supports optimised production and location setting and therefore can handle small-lot printing and shorten delivery times, helping reduce logistic costs and surplus inventories.

The Kornit Digital Atlas MAX POLY

The Kyocera FOREARTH

DIGITAL TEXTILES, DÉCOR, APPAREL AND DTG

Lucrative opportunities in sector

By participating in the digital textiles, décor, apparel and DTG sectors, printers can expand their business and stay competitive in a rapidly evolving market

excellent wet and dry fastness properties, remarkable sharpness in detail and extraordinarily high durability while also yielding longer printhead life with reduced maintenance costs.

Thanks to the enhanced polymerisation and finishing unit, EFI Reggiani ecoTERRA also provides the fabric softer hand feel.

By

The digital textiles, décor, apparel and direct-to-garment (DTG) spaces have experienced significant evolution thanks to notable developments in the following areas:

• Advancements in technology –Resulting in higher resolution, faster speeds, improved colour and accuracy

• Personalisation – Digital allows for unique and tailored end customer products

• Sustainability – Enabling the use of less water than traditional methods of production

• The expansion of applications –Digital textile methods have allowed for the extension beyond traditional textiles and apparel.

The textile market is highly relevant for printers today as it opens them up to many opportunities. For the reasons identified above, printers can tap into these areas to offer their customers more services.

These sectors offer printers lucrative opportunities to venture into new areas of play, provide customised solutions, align with sustainable practices, and cater to the increasing demand for on-demand, personalised products.

By participating in these sectors, printers can expand their business and stay competitive in a rapidly evolving market.

Supply chain, sustainability and customisation, specifically, are the key aspects driving this space. Being able to produce on-demand reduces the need for large inventories and allows for local production giving faster time to market.

Not only does this reduce the environmental impact of shipping, but digital production also reduces water usage and waste. And standing out from the crowd, digital fashion is allowing more end-users to express themselves by being able to personalise their fashion.

To get involved in these spaces, research and education are key in both local market developments as well as technology advancements. Investments can be large, so it is important to understand the end-to-end processes when identifying target markets, assessing viable technology including finishing and anticipating future market trends.

Currie Group has the distribution rights for EFI in Australia and New Zealand, which not only includes its well-represented FabriVU portfolio for soft signage but the entire EFI Reggiani portfolio.

With a rich heritage in textile machinery and innovation, EFI Reggiani offers a wide range of high-performance digital textile printers known for their exceptional printing quality, speed, and reliability. These printers utilise advanced inkjet technology to deliver vibrant and precise prints on various fabric types, enabling customisation, short runs, and faster time to market.

The EFI Reggiani ecoTERRA is a new all-in-one solution for pigment printing by EFI Reggiani that requires no ancillary equipment for pre- and post-treatment.

The ecoTERRA solution gives customers competitive advantages dramatically cutting energy and water consumption of the overall process for a more sustainable direct-to-fabric printing experience.

Eco-friendly and water-based, the EFI Reggiani ecoTERRA solution delivers

As demonstrated in the past, EFI Reggiani focuses on advancing digital printing technologies to improve the print quality, productivity and expand the range of printed fabrics. This includes exploring new ink formulations, optimising printhead technology, and developing innovative software solutions.

By investing in R&D, EFI Reggiani aims to stay at the forefront of digital textile printing, address evolving market demands, and provide its customers with cutting-edge solutions that enable them to achieve higher levels of efficiency, sustainability, and creativity in their textile printing operations.

As for the FabriVU portfolio, the EFI VUTEk FabriVU 340i+ is the latest in the range. The dye-sublimation printer offers more –a wider application range, production level speeds, outstanding image quality and inline fixation that allows users to direct print to fabric and sublimate inline, in one step, for production runs that are immediately ready for finishing and shipping.

With the VUTEk FabriVU 340i+ model, users also get the lowest acquisition cost plus lowest total cost of ownership. So, when users want to offer soft signage, but don’t have the floor space or budget for a dedicated calendar heat press, the EFI VUTEk FabriVU 340i+ dye-sublimation printer fits their needs brilliantly.

By offering these solutions to the local market, Currie Group aims to keep our customers at the forefront of technology and future-proof their businesses.

Currie Group sign and display business unit manager Paul Whitehead

The EFI VUTEk FabriVU 340i+

The EFI Reggiani ecoTERRA

Durst answers to growing demands for printed décor with its solutions

Durst has continued to push the technology boundaries for those in the printed décor, sportswear and fast fashion spaces, and has products to suit the market’s needs

Durst, we utilise the ‘sticky belt’ approach as the media comes off the master printer. The roll is stabilised in a sticky, moving belt, enabling fast and precise printing – up to 900 m² per hour. We can also include an optional in-line drying and rolling or folding technology for the finishing process.

Looking to the future, Durst is always seeking the next opportunity for our customers to allow them to further develop their businesses. Sometimes that comes from refining and developing the machine, as we did in the transition from the Rhotex platform to the latest P5 TEX platform. As we develop our own inks, we’ve incorporated the latest innovations, specifically from pigment ink technology.

By Durst

All forms of textile printing and decoration have been part of Durst’s core business for many years. It all began with the Rhotex Series for soft signage and our range soon rapidly developed to include two products that catered for soft signage through to apparel and in-home décor. Both these products have since developed into the P5 TEX iSUB and the Alpha platform for industrial applications today. Our in-house research and development team looked at the problems and bottlenecks that Durst’s users faced within their whole process and streamlined them with these presses.

Alpha is the textile platform for apparel and home décor. This industry has undergone such a transformation with digital technology, especially as businesses look to re-shore the production of textile and textile-based products into Australia.

This reduces the dependency on other countries, reduces transport costs and carbon footprint and massively reduces waste. With digital textile production, even with high volume apparel, the exact yardage that is required can be produced. This enables printers with the ability to offer custom fabric designs and short-run bespoke projects.

the Durst Rhotex or another textile printing device, then be sublimated on an offline calender, requiring a separate process.

Double handling is never good, so with the P5 TEX iSUB, Durst has incorporated the calendering, including the final heat finishing process for direct-to-fabric into the machine. Not only does it remove the need to double handle, it also helps to regulate that sublimation process. Harmonising the process with our ink, it results in the production of outstanding quality and durability of the final fabric. The machine can also double roll and has in-line stitching to reduce loading waste to almost zero. Durst has also enhanced that final sublimation process, the calendering in the unit, to require much less power, less floor space, and much less wasted heat compared to an offline rotary calender. This helps all of us to achieve our sustainability goals.

As for the Alpha industrial range, it uses not only dye sublimination inks as the P5 TEX does for polyester-based fabric but also has ink solutions for natural fibre. The Alpha can handle a wide range of fabric, including very stretchily fabrics (for sportswear for example). Natural fibre fabrics are notoriously hard to stabilise in the printing process, so at

Pigment ink technology has been around for some time and is generally associated with natural fibre fabrics like canvas. It was possible to print in high quality with pigment ink, but there were some significant challenges. At Durst, we found a way to overcome those challenges and developed pigment ink that is good for natural fibres, but incorporated the ability to deliver on fine detail and strong, longlasting robust colours.

This ink was perfect for the Alpha industrial segment, resulting in the birth of the Alpha Pigment Edition – a range that prints natural fibres roll-to-roll at high speeds, with no additional finishing. The Alpha fabric machine can also be utilised to print high quality applications across a range of media – from fabric to wallpaper – with no changeover required. The end result of a wallpaper or fabric print must look and feel good, and by using any of Durst’s systems, the finished product ticks that box.

The Durst Alpha Wallpaper Edition can also print from a wide master roll, print finish and cut in-line into finished rolls of wallpaper – it is a true industrial solution.

This whole suite of solutions from Durst can satisfy printers that want to add soft signage to their offerings, through to full industrial textile production lines for apparel and home décor. We have all the systems running at our CEC in Italy and a whole team of experts ready to advise any business interested in the opportunity that fabric can bring to their business.

High production: The Durst Alpha Series can hit speeds of 900 square metres per hour

The Durst Wallpaper Edition can print on paper and fabric-based wallpapers

Oceania managing director Matt Ashman

Durst’s P5 TEX iSUB prints direct to polyester and has an integrated finishing unit

A variety of models suited to every need

Epson has one of the largest ranges of fabric printers, including dye sublimation, direct-to-garment and direct-to-film models

outstanding image quality with an enhanced production speed, a reduced print cost, and support for the latest DTFilm techniques.

The printer uses a new ink that enables improved imaging on a range of material. Prints can be made directly onto fabric or indirectly via film transfer. The printer ships as standard in a five-colour configuration with CYMK + dual white ink for maximum production flexibility.

By Epson Australia

The digital textiles, décor, apparel and direct-to-garment (DTG) space has been evolving in the past few years. There has been an accelerated shift from analogue to digital printing, with increased interest in dye sublimation, direct-togarment/film and direct-to-fabric.

This is evident in the growing sales of hardware and consumables in this category, along with a shift towards larger and faster machines.

Its growth in Australia and New Zealand has been particularly strong. This has, in part, been driven by worldwide supply chain issues, significant freight cost increases and ongoing production constraints linked to COVID.

A growing number of businesses are now seeking to bring production back into A/NZ to achieve greater production flexibility and shorter turnaround times, reduce cost, and to improve quality and print consistency.

Epson Australia has noticed that over the last 12 months, there has particularly been a shift in the DTG market, with a growing proportion of production shifting from traditional DTG to a direct-to-film (DTFilm) workflow. This sector is relevant for printers to participate in today as in an age of digital screens, demand for traditional signage and poster production is declining. The problem with digital signage is that messaging is often transitory as images and messaging change constantly.

There is a need to augment digital messaging with additional material such as flags, banners, floor and window decals, stickers, POS and garments. So, dye sublimation offers opportunities to address some of this through the production of soft and hard signage.

DTG is another tool, providing opportunities for sales staff to spruik the latest offers and messaging on their workwear, directly in front of the customer. Bright clothing and backlit soft signs can be incredibly striking, while a couple of waving flags are a great tool for attracting the attention of passing traffic.

Some trends that are leading the way in this space include:

• A growing demand for short-run and ultra-short run custom work linked to promotional activity

• The imperative for rapid job turnaround. Dye sublimation and DTG are perfect for this as images produced digitally for signage and POS can be quickly resized and adjusted for fabric output.

Epson has one of the largest ranges of fabric printers with dye sublimation, DTG and DTFilm models. Epson’s machines ship complete with ink, media and software.

Epson’s models range from A4 (for small signs, merchandise and labels) up to 76-inches. Its DTG machines support DTFilm production and it has just launched a new model, the SureColor F2260, specifically designed for this type of workflow.

The SureColor F2260 is the third generation of Epson’s popular DTG range. It combines

In addition, the software that ships with Epson’s dye sublimation machines is the same as that which ships with its signage machines, so the learning curve is minimised. Epson also uses consistent ink sets throughout its models within each technology type, so experience gained on one machine can be translated to the next.

Epson is putting considerable investment into further expanding our range. It also recently launched the SureColor F6460 dye sublimation printer in both a fourcolour and six-colour configuration (the latter with a choice of colour sets). It will soon be launching new models covering a range of production sizes and volumes.

When having a play in the digital textiles, décor, apparel and DTG space, Epson recommends that customers start small first in developing their understanding and their customer base.

While the production processes aren’t too hard to get your head around, there are some differences when it comes to colour matching and workflow.

For example, an entry-level dye sublimation model costs less than $1,500 and small heat presses can be sourced from a range of manufacturers at minimal expense. As their businesses grow, they can then ‘move up’ to the next model or production size to suit their needs.

business marketing manager – professional print solutions Gordon Kerr

The Epson SureColor F6460 is a floor standing dye sub printer that is designed for medium to high production volumes

The SureColor F2260 is the third generation of Epson’s popular desktop direct-to-garment range

A unicorn in fabric and merchandise production

STUNNING FABRIC & MERCHANDISE PRODUCTION MADE SIMPLE

With unprecedented productivity and image quality, these advanced new models give you the power to say ‘yes’ to more work.

• Outstanding print speed with exceptional image quality

• Vibrant and consistent colour, job after job

• Industrial strength, user replaceable print heads*

• High capacity ink supplies with heavy duty media support

• Cloud-based production tool for managing your print business*

• Remote monitoring and diagnostics for pro-active service and support*

• On-site CoverPlus service packages up to 5 years

Being the first to solve a global issue

Pattern Room plays in a unique space and is the first to bring to the world a solution that really hasn’t been found by anyone else

dye-sublimation), cut and sew garments (through DTF), and more.

Our catalogue currently focuses on the basics. We have about 600,000 styles ready to go and they are all digital. The team is constantly working on more and new styles to continue to expand our offerings.

We exhibited at both FESPA and ITMA and were overwhelmed with the reception – so much so that we were featured in their daily magazine, amongst the 1,700-plus exhibitors at ITMA. That is a sign of how we are seen to be fixing a major problem.

At the tradeshows, we had several very interested parties approach us to find out how we produce our solutions, with some questioning if it’s through AI or 3D body scanning. We can’t say what and how we have achieved what we have, save to say that we have created some tools internally that assist our incredibly talented team to do what they do.

By Pattern

There has been so much change in the digital textiles, décor, apparel and direct-to-garment (DTG) spaces over the last few years. Granted, some of the technology is not cheap, but we know that they are already making inroads into Australia as the frontrunners adopt these innovations.

DTG machines, in particular, have progressed in leaps and bounds, with Kornit’s impressive Presto Max shaking up the market at the top end. Dyesublimation is growing fast too, with manufacturers such as Mimaki and Epson bringing amazing machinery to the fore. Direct-to-fabric (FTF) is also on the rise with some newer players such as Kyocera and Konica Minolta joining the mix.

What is concerning is that all this amazing technology is often being used to make a lot of apparel, much of which fits poorly. It is not the maker’s fault per se – finding good clothing patterns was and remains a difficult thing. Start with a bad pattern and it doesn’t matter how amazing your technology, it is going to produce a bad product.

Blank suppliers (for DTG) have been growing at an astonishing rate, but that is because the technology is now easy and inexpensive to acquire. Yes, there have been some advances in this space, but it is largely around nicer fabrics and near or onshore production. The fits remain questionable.

Having just returned from FESPA and ITMA in Europe, we were quite stunned to see people from high-end brands wearing t-shirts and polos that are beautifully branded, but fitted horribly. This is the one thing that few know how to fix. That’s why Pattern Room exists.

We sit in a unique space. In fact, we are the first in the world to provide what we do. It is a little daunting that a small business in Collingwood, Melbourne is the first to bring to the world a solution that really hasn’t been able to be found by anyone else.

Pattern Room created the world’s first online catalogue of digital clothing patterns since the biggest issue facing anyone making clothing is getting patterns – especially patterns that work and create beautifully fitting garments. We have clients on every continent, except Antarctica, who utilise our patterns to make amazing sportswear (through

Digital textiles, décor, apparel and DTG are lucrative areas of play. Screen printing will continue to have its place in the market, but the digital space is much easier to enter. Even a home-based microbusiness doesn’t need a lot of space or capital to start up a side hustle. Everything from e-commerce websites to fulfilment are simple enough to set up.

For established businesses, the omnipresent issue of sustainability needs to be at the forefront of these areas of play. Zero water consumption and lower energy use are paramount today. Plus, it is easier, faster and cheaper to be green.

At ITMA, our CEO Julia Van Der Sommen delivered a presentation titled ‘Solving an Industrial Revolution Era Issue in the Clothing Industry’. This is because patternmaking hasn’t really changed much since the 1700s.

There are still many who draw their patterns on paper. This traditional way of pattern-making also requires a sample to be cut and sewn before changes are made, and the process is repeated until the user is happy with the fit and design. The waste created is staggering, especially when you consider how many makers in the world are involved in getting a simple t-shirt developed. Our offering removes this need and reduces waste, cost and time, while fixing the key broken thing – fit.

Room chief financial officer Daniel Watts

Pattern Room’s Julia Van Der Sommen and Daniel Watts at their Collingwood premises in Melbourne

An industry leader in DTG and DTF

also helped us cater to the demand in these spaces.

Offering multiple decoration methods gives us the flexibility to offer more products and finishes, appealing to a wider range of clients. We’re always looking at other potential decoration methods so that we can act as a microfactory for those wanting to localise and produce – all under the same roof.

The direct-to-garment (DTG) space, especially for apparel, has continued its growth momentum, providing more opportunities for QTCo in this space. DTG machines are more reliable than ever, and due to QTCo’s in-house training and the development and improvement of our maintenance programs, we have been able to provide quality solutions for our customers.

And with online buyer confidence increasing, product personalisation and print-on-demand keeps growing year-onyear. This has allowed QTCo to become one of the biggest apparel DTG printers in Australia. We’re finding that there are still many opportunities for growth in the sportswear and trademark licensing space here in Australia.

In addition, the direct-to-film (DTF) space is proliferating. Disrupting the traditional screen-printing space, DTF can allow for much lower minimum order quantities with a simplified production workflow. It also allows for the production of amazing results on a vast range of materials including blend fabrics and 100 per cent polyester.

QTCo has offered traditional screen printing for more than 20 years. With the surge in the print-on-demand market, we took the opportunity to expand into the DTG printing space well over eight years ago when we purchased our first

Kornit Storm. Since then, we have grown our fleet dramatically to accommodate the ever-growing print-on-demand space. In October 2020, we installed two more Kornit HD-6 digital inkjet printers, which are high-volume 1200dpi models that have CMYK plus red, green, and white capabilities. They added capacity to our first Kornit Storm, two Kornit Avalanches and a Kornit HD6.

QTCo has consistently retired older machines and invested in new machinery, ensuring that we continue to push the boundaries with the latest technology across our fleet.

In 2022, we introduced Atlas Maxes to our fleet, which have been a great addition to our production floor. They have increased our output and delivered print results that are second to none. All our DTG machines are from Kornit, supplied and serviced by Kissel & Wolf Australia. There is an industry standard within the print fulfilment space for orders to be printed and shipped within 24 to 48 hours without any compromise on quality. Our current fleet allows us to achieve this.

In addition, based on the latest trends and demands we have noticed in the DTF market, we invested in more machinery, creating our own in-house DTF department. Integrating DTF with our fulfillment API made it even easier for us to cater to online marketplaces looking for an alternative to DTG for print-on-demand. Cross-training staff in all three decoration methods and working on continuous improvement in all levels of our production workflow has

Built on the foundations of customer service, innovation and reliability, QTCo has developed a trusted name within the promotional industry. Boasting a wide range of promotional products that extends far beyond t-shirts and uniforms, we are well equipped to guide customers on their creative branding journey. QTCo’s apparel range continues to grow. We directly import several brands from the US that are not available in Australia. Carrying a large on-hand stock holding, offering one of Australia’s largest SKU assortments, allows us to present to our existing and new customers a wider on-demand selection, while continuing to meet our service level agreement turnaround times.

We’ve built QTCo for its future in this space by automating DTG, dye sublimation, and DTF orders-to-print through our fulfilment API. Aside from the latest machinery and decoration trends, we’re constantly looking at improvements from a development perspective on what features we can integrate into our system to make automation even easier and more efficient. We believe that aside from the latest machinery, there is huge benefit from developing our systems capabilities by adding API features. Developing innovative ways to improve workflow, quality and speed to customer through automation will help us grow well into our future.

The strongest asset we have in our business is our people. We continually look for good people, treat people fairly and encourage a diverse and all-inclusive workplace. We choose to surround ourselves with talented, like-minded and creative team members that share our vision.

With extensive experience in graphic design, marketing and promotional industries, QTCo currently is, and will continue to be, at the forefront of the promotional industry.

With extensive experience in graphic design, marketing and promotional industries, QTCo continues to be at the forefront of the promotional industry

By QTCo owners Samantha and Darren Fraser

QTCo’s staff working on the company’s machines

‘Tis the season for packaging

Platforms like the VoPP campaign provide valuable resources to communicate insights to customers

a purchase. Moreover, repackaging products to suit different seasons adds novelty to existing inventory, enticing both new and loyal customers to try them out.

Another approach to boost product sales is bundling. By creating kits or bundles that combine complementary items, brands can steer customers towards specific products. This not only increases the chances of customers trying new products but also allows brands to save on marketing and distribution costs. Bundled products also make excellent gift ideas for customers who wish to purchase multiple items.

Embracing reusable and value-added packaging options is a great way to enhance the brand experience and promote sustainability. High-end paper packaging encourages customers to reuse it for other purposes, creating a tangible and visual reminder of the brand in their households.

In a landscape of manufactured goods, quality packaging plays a crucial role not only in protecting products during storage and transport, but also in influencing consumer purchasing decisions.

As printers, we understand the significance of packaging in capturing consumers’ attention and driving sales. Our expertise lies in providing design, engineering, and creative solutions to meet the evolving needs of our customers so they can meet the needs of their consumers.

In today’s competitive retail environment, packaging has become a powerful marketing tool, enabling products to stand out in a market where purpose often takes a backseat. Charming and distinctive packaging has the ability to spark curiosity, increase customer engagement, and ultimately drive purchase decisions.

Australian brands are increasingly utilising renewable materials, particularly fibrebased options, in their packaging designs. Not only are these materials adaptable and cost-effective, but they also align with environmental targets set by organisations like APCO and the government.

The versatility of paper allows brands to create packaging that suits every occasion, and our role as industry experts is to guide the decision-making process.

One aspect where packaging truly shines is in providing a memorable customer

experience, especially in the era of the “unboxing experience”. A study conducted by MacFarlane Packaging revealed that 61 per cent of consumers expressed enthusiasm for branded packaging, with 52 per cent more likely to make repeat purchases from brands with premium packaging.

Additionally, 40 per cent of consumers develop loyalty to brands that offer personalised packaging. These statistics highlight the importance of packaging design when it comes to customer satisfaction and loyalty.

Although online shopping has become increasingly popular, bricks-and-mortar stores still play a significant role in consumers’ buying habits. According to an IBM study, 72 per cent of consumers rely on physical stores as part of their primary buying method.

Moreover, a study by Dotcom Distribution found that 45 per cent of consumers perceive “gift-like” packaging as a sign of a more upscale brand. Therefore, maintaining consistency in packaging design across both online and offline channels is crucial to cater to the varied preferences of consumers.

Seasonal packaging serves as an effective strategy for brands to increase appeal and generate interest in a retail environment. Beyond aesthetics, seasonal packaging imparts a sense of luxury, providing customers with an added gift when making

Shoppers are increasingly conscious of sustainability, with eight out of 10 consumers considering it when evaluating branded packaging.

A study by McKinsey & Company found that 60 to 70 per cent of consumers are willing to pay more for sustainable packaging, indicating a growing demand for eco-friendly options.

When collaborating with customers on packaging design, it is crucial to prioritise the end-user’s needs and preferences. Packaging should not only help consumers remember the product but also foster brand loyalty and awareness.

First impressions, ethical standards, and sensory appeal all play a vital role in product purchase decisions. As industry professionals, it is essential for us to stay updated on the latest trends, research, and tips in packaging design.

Platforms like the VoPP campaign provide valuable resources to communicate these insights to our customers, positioning your business as an expert and trusted advisor. As more of our members and industry diversify into the packaging market, understanding how to design and ultimately sell to your customers is critical to your success.

For more information go to vopp.com. au or contact info@pvca.org.au for more information on Packaging for Success.

The industry needs to learn to enhance the consumer experience and drive sales using packaging as it has become a powerful marketing tool

Kellie Northwood is the CEO of the Print and Visual Communication Association of Australia, executive director of the Australasian Paper Industry Association and The Real Media Collective, New Zealand. She sits on various industry boards and committees for the advocacy of industry initiatives.

The continuing influence of print

A Roy Morgan survey asked Australians to rank the media most useful when making purchasing decisions. Catalogues ranked first across 11 categories, second across four categories and third across two categories. The highest rankings were groceries at 52 per cent, children’s wear and toys at 44 per cent, alcoholic beverages at 43 per cent and small electrical appliances at 41 per cent.

In a large 2013 focus group study of digital natives, the USPS found that young consumers preferred digitally integrated print. The ability to instantly obtain more information about a product through digital features especially impressed participants in the study.

Specifically, its researchers found mail pieces with digital features more informative, efficient and useful than those without. The younger audience appreciated that the business recognised their fondness for researching products and completing transactions online.

Print, whether it is tactile or visual, is very good at one thing – sending people somewhere. It could be to a shopping centre, to a phone call, or to a website. Print creates and directs traffic further into a brand’s marketing ecosystem. Not only does print create traffic, but it will also create multiple contacts, creating a multiplying effect on all other channels and increasing online and in-store traffic.

This makes print a valuable element of any multichannel marketing campaign when it is properly used. To take full advantage, printed pieces should be designed as a launchpad to send customers ‘further down’ the marketing funnel and into the broader marketing ecosystem, using connection tools like QR codes, email addresses, street addresses, phone numbers, augmented reality (AR) or web addresses (URLs).

In his book, Four Key Principles of Cross-Channel Marketing, Steve Olenski said successful marketers are nearly 35 times more likely to use cross-channel marketing with their customers, versus underperforming teams who struggle to use this tactic at all.

The US Postal Service (USPS) conducted a neuromarketing study into cross-modal marketing, looking at ad sequencing using

digital channels and physical prints. It conducted two and three-step campaigns, both in the field as well as in the laboratory.

In the field experiments, it recorded response rates throughout the campaign. In the lab, its researchers collected selfreported responses to the questions and recorded neurological responses to the ads.

The researchers found that the cross-modal campaigns that included print generated a response rate that was 300 per cent higher than the unimodal campaigns.

As such, it’s evident that the influence of print continues once it gets people into the store. Print is a critical sales tool at the moment of purchase. When the customer is searching the store for a product, or on the verge of making a purchase and is choosing between competing brands, print can be there at the critical moment to answer questions and provide the customer with a way to differentiate between choices.

If the purchase is large, and the customer really wants to understand what they are buying, they want to read it on paper. It was consistently found across multiple industries that customers relied on print to help make the final decision to purchase.

Digital natives said they would value printed messages even more if the technology integrated into mail pieces was easy to use.

The quality of the mail piece and any interactive feature it provided was essential to the focus group participants. This study was specifically targeted at a younger demographic, but I believe the findings are relevant to everyone.

In a way, we are all digital natives. One such example is the Salvation Army campaigning for donations. It uses an omnichannel campaign, employing every advertising channel available, and actively works to track as much of the activity as possible to accurately attribute it to allow for fine-tuning in the following campaigns.

One of the things it found was the overwhelming majority of donations made online. And this traffic was generated from the addressed and unaddressed mail elements of the campaign, not the online advertising. People from all demographics went from the letter to the internet to donate.

This tells us two things. First is that every demographic uses screens. Second, that print can drive online activity, so it behoves us to make the transition from page to screen as easy as possible.

Print is a critical sales tool at the moment of purchase, and its influence continues once it gets people into a store

Daniel Edwards is the founder of Posterboy Printing. He has worked in the printing industry since 2002 and has worked on thousands of print jobs with hundreds of Australia’s top marketers. He is also the author of The Power of Print.

A s tack of freshly printed catalogues

How to respond to questions about sexism in the printing industry

any complaints isn’t the best measurement of the situation.

Now back to the specific question at hand…

The lights slightly brighten in the room for Q&A after an epic panel discussion. A mic is handed to a male attendee who raised their hand, and I am asked… “Deborah, is there sexism in the printing industry?”

And I say, after taking a deep breath. “Sir, I am curious. How many people in the last 10 years have asked you if there is asbestos in your building?”

With a very confused look, he responds, to me with a “None.”

I continue, “That is because we collectively agreed that asbestos was bad, and we did something to remove it and protect all workers in their workplaces”.

With just a few minutes before the first, women-only panel discussion on the main stage of Dscoop ended, the audience at Edge St. Louis was asked if they had any questions. A gentleman stands up and asked, “Is there sexism in the printing industry?”

The room went silent. Up until that moment, the panel had been laser-focused on strategies to drive innovation and growth, the importance of company culture and aligning with suppliers who support and reflect their company values, workforce challenges, and sustainability. In other words, this was a business discussion.

The panel was led by two female Dscoop board members. There were three female panelists with major titles from consumer brands you know. The panelists indicated through facial expressions and uncomfortable body language that they would be passing on answering that question. That is the correct position in a public forum when panelists don’t have the legal authority to speak for a company on such things.

The moderators took a different approach. They responded. They both shared how they do not believe there is sexism in the printing industry based on their experience and the men who have mentored and helped them along the way.

One more question was asked by an audience member, and then the closing session ended at Edge St. Louis. I gathered my wits and belongings and headed for the door. Along the way, I spoke to several female attendees, exhibitors, and students who were visibly upset and confused by the response to the sexism question. They were looking to me as Girl #1 at Girls Who Print to help them make sense of what had just transpired.

I gave the question and response a lot of thought. I let Dscoop know I was writing this post because my thoughts below are not specific to Dscoop or Edge St. Louis. The question asked during the session opened the door for a bigger conversation.

First a preamble…

There is sexism in the printing industry. There is sexism in most industries, and if you are a woman, you more than likely experience it in some manner every day. Women who experience sexism make a professional choice to pursue the matter by reporting it. That can often open a new door of hell as women can – and often are – penalised socially and/or professionally for speaking up.

Stating “it doesn’t happen at my company” because you haven’t seen it or received

If we look at sexism like asbestos, I ask you and the business owners and managers in the room – what have you done to ensure all your workers are protected in your workplace? If the question “Is there sexism in the printing industry?” needs to be asked, with all due respect, in my opinion, it’s rhetorical.

So, let’s go to the next level, and begin the removal process:

Start by talking to some women who work outside of your company and the printing industry – friends, neighbours, and family members. Ask them if they have ever experienced sexism in the workplace, how it manifested, what (if anything) they did about it, and what (if anything) happened to the offender or offenders.

Listen, learn, and do all you can to create a sexism-free zone within your walls. Work with HR and legal professionals to establish equitable company policies for all, and make it clear there is zero tolerance for any breaches. Lead by example – in all ways.

Share your journey and success with your peers, with your groups, and with organisations by speaking at events and telling your story. Be the butterfly that creates a tsunami of change for women in the workplace. It all starts with you!

There is sexism in the printing industry and if you are a woman, you more than likely experience it in some manner every day

Deborah Corn is the Intergalactic Ambassador to The Printerverse at Print Media Centr, a Print Buyerologist, international speaker and blogger, host of Podcasts From The Printerverse, cultivator of Print Production Professionals, Head Girl in Charge at Girls Who Print, host of #PrintChat, the founder of International Print Day and the founder of #ProjectPeacock.

Listen, learn, and do all you can to create a sexism-free zone within your walls

Seek not helping you find talent

1. Your perspective on employment is past its use-by date

2. You don’t know how the people you have on the team really feel about working there and why they love it (or don’t)

3. Your pitch to potential employees isn’t quite working

4. The way you’ve packaged up the great things you do offer isn’t good enough

5. The process you’re using from role scoping to advertising and through to onboarding is hurting you.

But, how do you know which of these it is? I’ve got a scorecard I use with my clients to help understand where to focus as we build out their One Page Talent Plan, but here’s a quick self-assessment you can use.

Ask yourself these questions:

1. Am I approaching employment as a partnership and looking for people who want to join my business because they believe in the vision and have the capability to help make it a reality?

Ikeep hearing from business leaders that they’re struggling to attract the kind of people they want to hire and that Seek.com.au is too expensive.

They’re getting almost no applications for some roles and hundreds of unsuitable ones for others, the people they’re hiring aren’t really performing and often leave a few months in.

So, what’s going on? There are several things happening all at once making for challenging times, but you absolutely can change your results.

You’re dealing with the combination of:

1. An ageing population

2. A lack of qualified people in many trades

3. Migration impacted due to COVID measures, and

4. The ‘Great Reassessment’ of what people want from work.

You can’t do anything about points #1 to #3, or even point #4 to a certain extent, but you can adapt the way you do things or the way you communicate to show people that you can give them what they really want from work.

COVID gave people a chance to really think about what they wanted from work and why they weren’t happy with the way things had been for years.

So, what exactly is it that people want? Humans are hard-wired to need certain things that have been missing from work for decades. What people really want from work in the post-COVID age of AI is:

• to work somewhere they feel is doing work worth doing

• in a job where they’ll be doing something that’s making a difference to someone

• to be recognised and appreciated for their efforts

• a chance to be themselves at work

• a working environment that provides respect and support for them as individuals

• flexible working even where this cannot be WFH

• the time, money and energy to enjoy a life outside of work.

So don’t feel bad about struggling; it’s a difficult time to be trying to hire people. But because it seems so complicated and confusing, people are clutching at straws trying to fix it, wasting time and money and driving themselves crazy with frustration in the process.

This is why I created the One Page Talent Plan. The main reason your Seek ads (or other recruitment efforts) aren’t working is down to one or more of these five pillars needing some work:

2. Do I know how my existing team really feel about working here and why? Am I prepared to change things to improve them?

3. Have I got a compelling pitch to potential employees? One that isn’t full of cliches and actually polarises people so they either love it or hate it?

4. Is my pitch put together in collateral I can easily share with people throughout the hiring process to explain what we’re offering and what we’re asking for in return? Is it written the way you actually speak? Does this include the job ad?

5. Is my recruitment process designed to treat jobs like products, candidates like customers and recruitment like sales and marketing?

If your answer is “Yes” then you can focus your efforts on the areas where you answered “No”. Once you’ve got all “Yes” answers your job ads will attract the right people and your recruitment process will deliver results that will make your investment in a Seek ad seem like a no-brainer. And no, I’m not affiliated with Seek in any way at all!

You absolutely can successfully DIY your recruitment with amazing results if you’re focusing on the right things. But if you want help creating your own One Page Talent Plan, you know where to find me.

The main reason your Seek ads (or other recruitment efforts) aren’t working is down to one or more of five pillars needing some work

To unlock profitability through emotional engagement in marketing and communications, Meqa Smith launched The Unforgettable Agency, which she currently heads as its strategist.

You can successfully DIY your recruitment with amazing results if you’re focusing on the right things

People will pay for performance

Performance buyers are much better for your business than clients focused on the lowest pricing

Here’s another statement of reality: Anytime you pursue a prospect who is buying from someone else, the decision to start buying from you has to be accompanied by – or preceded by – the decision to stop buying from your competitor(s). Why would they do that? Setting aside the Price Monsters who are only/always looking for a lower price, the most likely reason is some level of dissatisfaction with the performance of the current printer(s).

That is where needs and wants come into the picture. “Do you need better quality than you’ve been getting from your current supplier? Do you want or need better service? Is there anything that you would change if you could?”

That takes us back to the question that I closed with last issue. If you’re calling on a prospect who has performance issues with their current supplier, should you have to meet or beat that printer’s prices in order to win the prospect’s business?

Absolutely not!

In another column, I noted that many print buyers will pay for performance. If the choice is between something that costs less or something that works better, not everyone comes down on the side of cheaper. In fact, a significant percentage of print buyers are motivated much more by performance than by price. Yes, there are price buyers – or Price Monsters as I like to call them. But, there are also performance buyers, and I think you will agree that they are the more desirable customers.

Last issue’s column was mostly about the performance of the printed piece, using a mailing featuring “extreme personalisation” as an example. This month’s focus is on the performance of the printing company. This is where quality and service fit into the performance equation.

Needs and wants

I mentioned ‘pleasing colour’ in the last issue, a term that was common in the US back in the 1990s when it was generally accepted that toner-based, digital, full-colour printing just was not as good as traditional 4/C offset. Things have definitely changed in the 21st Century. There may still be some quality snobs

in the marketplace, but I think it is fair to say that current digital printing quality is at least good enough for most applications. But that does not mean the quality of any individual print order will be good enough for the person who buys it. We still suffer quality failures, and we still suffer service failures, which means that we still have customers who are dissatisfied with the performance of their print supplier. I believe that the best selling involves needs and wants assessment. That includes questions about the performance of the printed piece, but it also includes questions about the performance of the print supplier.

Here is a statement of reality: Everyone already has at least one of those. If they are not buying from you, they must be buying from someone else, right?

(Yes, I will grant you that there are new companies opening up which do not have a current relationship with a print supplier.

But if I were coaching you on prospecting strategy, I would be sending you out after large, established companies with large, established printing needs. Those are easier to identify, in my experience, and there are more of them.)

My answer would be: Absolutely not! But this is an area where too many salespeople give up their advantage. It’s pretty common to identify some level of dissatisfaction, and then to face a price objection when your price is higher than what they have been paying. The situation is really pretty simple, and not at all surprising, most buyers want to have their cake and eat it too. But that doesn’t mean you have to feed it to them!

Here is another observation. I have found that most people will pay what they have to pay in order to get what they want or what they need. The problem is that they do not know how much it actually must cost to get what they want or need. They do know how to look at two numbers, though, and quickly identify which is the smaller one. The opportunity here is for the salesperson – you! – to explain how it is all too easy to buy cheap and get what you pay for.

In another issue, I will write more about negotiation strategy. For today, I just want to reinforce the connection between price and performance, and to stress the importance of needs and wants assessment. Here’s a simple equation: Dissatisfaction with the current supplier equals opportunity for you!

Dave Fellman is the president of David Fellman & Associates, a consulting firm serving the graphic arts industry. Visit his website at davefellman.com

You can successfully DIY your recruitment with amazing results if you’re focusing on the right things

July 2023 I powered by Wide Format Online

Kodak buys GSS to boost inkjet business

Zünd wins 2 EDP Awards for new Q-line with BHS

ORAFOL Group named ‘Best Managed Company’

Manufacturers set to expand production: CommBank

OOH ads to surpass print spend by 2026: report

Global Out-of-Home advertising could surpass print and become the third most popular advertising format by 2026, according to a report by ad agency dentsu.

dentsu’s Global Ad Spend Forecasts for 2023 identified that global advertising spending is expected to grow by 3.3 per cent in 2023 to reach US$727.9 billion ($1.088 trillion).

“The adjusted dentsu Global Ad Spend Forecasts for 2023 points to continued growth, albeit adjusted marginally downwards from the 3.5 per cent predicted in the December 2022 report, in the most part due to macroeconomic factors,” dentsu said.

“Exploring behind the headlines, the report also shows growth driven by media price inflation rather than increased advertising volume.

“The global outlook however is more positive, with spend set to accelerate faster in 2024, increasing by 4.7 per cent to reach US$762.5 billion ($1.14 trillion). This boosted ad spend is being driven by major sporting and societal focal events such as UEFA Euro Championship and the US presidential election.”

Except for print ad spending, which continues its decline of 4.8 per cent, other media channels are holding ground, with incremental year-on-year increases for Out-of-Home (3.8 per cent), cinema (2.1 per cent) and audio (0.8 per cent), the report said.

“This pattern of spending, based on our long-term extrapolations, could see Out-

of-Home surpass print spend and become the third most popular format, sometime during 2026,” dentsu media international markets global CEO Peter Huijboom said.

“We’re excited about the impact Generative AI could have on our industry with the arrival of new in-channel opportunities for brands to embrace, so we’ll need to see if it remains the case. For years, we’ve seen the industry pivot towards digital, more than doubling investment in the last five years, thanks in part to the almost unlimited potential to reach, engage and sell to individual consumers. It has been one of the big drivers for growth, but with finite marketing budgets available to brands – it’s clear we are now starting to reach a point of digital maturation within the campaign mix alongside more traditional channels.

“There are still some markets where the digital potential is in its adolescence, that continue to see rapid growth in digital spending. But it is also through innovations in tech, updated platforms, new channels and changes in planning behaviours that we’ll retain this consistent growth within digital investment worldwide.”

Engineering services company Buddco has been fined $600,000 over the death of a contractor in an ink tank at DIC Australia’s manufacturing facility in Sydney, NSW. The court was “not satisfied Buddco had accepted responsibility for its actions,” Safework NSW said.

Craig Tanner, from Engadine in Sydney’s south, died after becoming trapped in the ink holding tank despite frantic rescue attempts by emergency workers. Following his death, Buddco was found guilty in the District Court of New South Wales of a charge under section 19(1)/32 of the Work Health and Safety Act 2011.

“Engineering services company Buddco Pty Ltd has been fined $600,000 for breach of its work health and safety duty following an avoidable incident where contractor Craig Tanner suffered fatal injuries after entering an ink holding tank to clean it at a factory in Auburn in 2017,” Safework NSW said.

“Mr Tanner suffered fatal injuries when an anchor blade was activated while

he was in the tank, causing his leg to become trapped. Fellow worker Yatin Mehta entered the tank to assist and subsequently suffered serious injuries.”

Buddco had been engaged by DIC Australia to supply labour for maintaining and servicing the DIC ink manufacturing plant at Auburn. Buddco engaged Tanner to clean out the ink tank.

“The Court found that as the agitator was not electrically isolated, the risk of death or serious injury to a worker crushed by an anchor blade inside a holding tank was obvious and foreseeable. In accordance with the requirements under the Crimes (Sentencing Procedure) Act 1999, the Court noted it was not satisfied Buddco had accepted responsibility for its actions and its role in the death of Mr Tanner and the injuries suffered by Mr Mehta,” Safework NSW said.

“The Court further found that while Buddco had a detailed written safety system in place for confined space work and tank cleaning, there was no standard or safe step-by-step procedure to ensure electrical isolation of the tank.

“The Court noted that Buddco had no previous convictions, was otherwise of good character and was unlikely to re-offend.

“Buddco has the right to appeal against the conviction and sentence.”

In April 2021, DIC Australia was convicted and fined $450,000 for breach of the Work Health and Safety Act 2011 in relation to the incident.

“SafeWork NSW extends its deepest sympathies to the families of those affected by this tragic and preventable incident,” Safework NSW head Natasha Mann said.

“SafeWork NSW is committed to ensuring workplaces across the state are operating at the highest possible standard to ensure workers are safe while working to prevent an incident like this ever happening again.

“Devastating outcomes like this should serve as a reminder for other companies to provide their workers with the safest possible working environment to ensure they make it home safe at the end of each shift.”

OOH could become the third most popular advertising format by 2026

$600k fine over ‘avoidable death’ at DIC Australia ink plant

The accident scene at DIC Australia in Auburn NSW (ABC-TV)

Kodak buys GSS to boost inkjet business

Kodak has acquired Graphic Systems Services Inc. (GSS), a US-based provider of web inkjet press transport systems and other print-related components and engineering services. Kodak said the deal improves its ability to “develop and deliver leading-edge inkjet solutions”.

“The acquisition reflects Kodak’s ongoing investment in digital print technology, giving the company greater control over its supply chain for inkjet press components and additional engineering expertise as it seeks to expand its growing portfolio of inkjet presses,” a company press release said.

GSS is a long-time Kodak vendor, providing transport systems for the Kodak PROSPER Press line, including the Kodak PROSPER ULTRA 520 Press and Kodak PROSPER 7000 Turbo Press. It is located in Springboro, Ohio, near Kodak’s inkjet design and manufacturing facility in Dayton, Ohio.

“Having an in-house source of transport systems and additional expertise from an industry leader like GSS will immediately make our inkjet business stronger and more sustainable,” Kodak executive chairman and CEO Jim Continenza said.

Kingman transforms wayfinding at Perth cemetery

Kingman Signs has transformed the navigation experience at Karrakatta Cemetery with digital totems and a name search feature that helps users find the exact location of loved ones.

The Perth signage company, awarded the digital signage contract for Perth Karrakatta Cemetery in 2022, said it had delivered “an extraordinary digital wayfinding solution that revolutionises the cemetery navigation experience”.

“This first-of-its-kind project in Western Australia combines state-of-the-art signage design and fabrication with intelligent interactive wayfinding content, providing visitors with a seamless and stress-free navigation experience,” it mentioned.

“Navigating through cemeteries can be challenging, but Kingman’s digital totems offer a game-changing solution.

“These interactive totems feature integrated maps and search systems, empowering visitors to effortlessly locate their desired destinations without the frustration of wandering through graves and memorials. Designed and fabricated

“As business conditions continue to be challenging, now is the time to control our own destiny and mitigate supply chain risks to ensure reliable delivery of presses to our customers. Looking forward, our ability to leverage GSS’ skills and resources will be extremely valuable as we continue to focus on expanding our inkjet portfolio and providing completely integrated inkjet solutions.”

GSS president and CEO Dan Green said, “Over our 20 years of working together, we have developed a very close working relationship with Kodak. Our employees are enthusiastic about Kodak’s decision to acquire GSS. Our portfolio of inkjet transport systems and other components, along with our manufacturing expertise and engineering consulting services, will help Kodak further strengthen their position as a leader in inkjet technology”.

Xanté introduces White Frosting

Digital print solutions and workflow manufacturer Xanté has released a new iQueue workflow feature that allows users to elevate their designs by creating frosted effects on a range of surfaces.

“We are thrilled to introduce Frosting to the design community,” said Robert Ross Jr., president and CEO of Xanté, the Alabama, US manufacturer distributed locally by Australian Graphic Servicing (AGS).

“This new free feature in iQueue adds more tools to the modern-day print shop, and we can’t wait to see the incredible designs that our users create.”

“Frosting empowers you to convert any spot colour into a captivating array of opacities of white,” a company press release added.

“This means that no matter your project or vision, you can quickly bring it to life with the enchanting allure of a frosted aesthetic.

in-house, each site boasts three external totems, customised with location-specific wayfinding content.”

With integration to the Cemeteries Board’s data system, the digital screens display upto-date information including the day’s funeral listings, with real-time data at each site. A name search feature allows users to retrieve the exact location of their loved ones, providing a map and a convenient QR code linked to Google Maps for easy navigation.

Kingman Signs closely collaborated with Perth Cemeteries’ project manager Brad Smith to ensure the solution addressed public needs.

Kingman also collaborated with Perth branding and marketing developers to implement CakePHP / API and an API management platform incorporating API calls and additional functionality to ensure the best user experience and filtration of data.

“While Frosting is exceptionally versatile and can be utilised across various mediums, it truly shines on glass and acrylic surfaces. Its transformative power allows you to craft awe-inspiring effects that captivate the eye and turn ordinary surfaces into works of art. Whether you’re seeking to add privacy to office glass or adorn a mirror with a breathtaking frosted design, Frosting is the tool you’ve been waiting for.”

Other key features of Frosting include adjustable opacities and transforming spot colours into frosted looks.

The new digital wayfinding solution at Karrakatta Cemetery

Graphic Systems Services’ facility in Ohio

ORAFOL Group named ‘Best Managed Company’ for second time

The international ORAFOL Group was awarded with the Best Managed Companies Award 2023 by the Federation of German Industries, under the survey conducted by Deloitte, Credit Suisse and newspaper Frankfurter Allgemeine.

For the Best Managed Companies Award, Deloitte Private, Credit Suisse and the Frankfurter Allgemeine Zeitung work together with the Federation of German Industries (BDI) to honour outstandingly managed companies from the German SME sector.

Currently, the renowned award is already presented in over 35 countries, and since 2018 also in Germany.

Manufacturers set to expand production: CommBank

In good news for on-shoring Australia’s manufacturing sector, manufacturers expect to increase local production volumes in the next 12 months, supported by higher capital expenditure and investment in technology, a new CommBank (CBA) report shows.

The new CommBank Manufacturing Insights 2023 report said 72 per cent of manufacturers in Australia expect to increase production levels in the next 12 months, while the same proportion are planning to increase capital expenditure.

“The majority of Australian manufacturers surveyed are confident in the short-term outlook for business conditions, likely buoyed by a stronger-than-expected financial performance in the past year,” the report said, adding that 75 per cent of manufacturers reported profit growth in the past 12 months compared to just 52 per cent last year.

Manufacturers are optimistic with 74 per cent anticipating increased profits in the next 12 months. The report added that this is notwithstanding broad challenges facing the industry, with 75 per cent

Best Managed Companies are characterised by their outstanding capabilities and resource development.

They are extremely implementationoriented, consistently focus on productivity and innovation and attach great importance to selecting and promoting the right employees to successfully implement their business model and strategy.

This is the second time ORAFOL has met the criteria for the Best Managed Companies Award.

ORAFOL Group corporate and legal affairs senior vice-president Catherine Loclair said, “The basis for this is a corporate strategy based on performance, investment and growth. As a family business, ORAFOL relies on lean structures, clear and short decision-making processes as well as economic independence”.

The specialist for self-adhesive materials has a strong international orientation and is building on its strong roots in Germany by investing, between 2022 and 2024, €160 million in new production areas and digitalisation at its headquarters in Oranienburg.

In 2022, ORAFOL achieved the highest turnover in the company’s history. In Australia, ORAFOL is managed by Alex McClelland, has branches covering all states, plus the highly successful Creative Hub in NSW.

issues, which often combine to constrain cash flows. When viewed alongside talent shortages, this is driving innovation to achieve greater efficiencies and boost capacity to support an uplift in production.”

expecting increases in operating costs and 92 per cent saying lingering supply chain issues are holding back capacity or growth. Around 86 per cent of manufacturers said this is impacting on cash flow.

CBA executive manager of consumer diversified industries Jerry Macey said Australian manufacturers have a strong track record of rising to disruption by adapting their operational performance and investment programs to the operating environment.

“Manufacturers aren’t ignoring challenges but rather are ramping up their investment in become leaner, stronger and more productive,” he mentioned.

“Most are navigating rising costs, inflationary pressures and supply chain

In addition, the report found that the top-ranked business priority for Australian manufacturers in the year ahead is investing in new technology, with 87 per cent of manufacturers expecting to increase expenditure – even higher in regional locations, where 99 per cent of manufacturers are planning to invest more. Many manufacturers are turning to emerging technology to drive efficiencies and customer utility.

The fastest-growing areas of adoption in the next two years are said to be nextgeneration enterprise resource planning (ERP) systems (31 per cent), autonomous systems and equipment (31 per cent) and artificial intelligence (30 per cent).

Macey says the research shows that by 2025 many innovative technologies, from 3D printing to blockchain and digital twins, will be commonplace across the manufacturing industry.

Manufacturers are also turning to sustainability measures to have a positive impact and strengthen business outcomes. Eighty-eight per cent said sustainable manufacturing is an important part of their business strategy, and, of these, 36 per cent consider it an essential plank.

(l-r) Dirk Bickel (Deloitte), Catherine Loclair (ORAFOL Group) and Holger Lösch (BDI)

Manufacturers are optimistic with 74 per cent anticipating increased profits in the next 12 months

Chip shortages force Epson to redesign ink cartridges

In a surprise announcement, Epson America has mentioned that due to the continuing chip shortage, its UltraChrome HD and HDX ink cartridges of all sizes will transition to a different design with new part numbers from 1 June.

The change affects all Epson wide format SureColor P6000, P7000, P8000, and P9000 printers worldwide.

“To use these new cartridges, the printers require new firmware before installing the new cartridges in the printer or running out of ink in the current cartridges,” Epson said.

“For that reason, it is critical that all customers update their printer to the latest firmware as soon as possible.

“Epson is committed to the quality and performance of its printing solutions and there

Zünd wins 2 EDP Awards for new Q-line with robotic BHS

Such is the productivity increase and Swiss-built engineering excellence of the new Zünd Q-Line with robotic Board Handling System (BHS) 180 that it comes as no surprise that it has begun winning awards.

Launched in 2007 by the European Digital Press Association, the annual EDP Awards are the most prestigious technical awards in the digital printing, publishing and packaging industries. The awards are presented by a consortium of 21 European trade magazines for innovative solutions.

At the close of Fespa Munich, the renowned EDP organisation bestowed Zünd with the awards.

Zünd’s local distributor Starleaton was especially proud of the EDP achievements, saying, “The EDP Awards are known for honouring outstanding products and technologies in the digital printing sector, so receiving this recognition is a significant accomplishment.

“It reflects the excellence and innovation of the Q-Line with BHS180 in the field of digital finishing. Celebrate this achievement and continue to build on the success!”

The new Q-Line with BHS 180 from Zünd is a comprehensive system solution. It is specifically tailored to the requirements of highly automated,

is no chemical or formula difference between the old and new inks. The current ink cartridges have a chip that notifies the printer to send a low ink warning or to replace cartridges. The new ink cartridges will operate without that chip.

“Ink levels will instead be determined by an internal droplet count done by the printer. This measurement method may lead to an earlier indication of low ink levels than the previous cartridges. To compensate for this potential variance in ink level reporting, Epson America is lowering the end user purchase price.”

The company has released a video with more information and instructions on how to update the firmware.

ASGA helps members navigate workplace and minimum pay changes

The Australian Sign & Graphics Association (ASGA) is addressing workplace law and minimum pay increases for the benefit of its members. An initial summary has been issued and has been followed up by a comprehensive Information Guide and Templates. A detailed guide will soon be available for download, but for members only.

As has been widely publicised, the Fair Work Commission recently increased the National Minimum Wage. Employers must reflect this increase as of the first pay period following 1 July 2023.

In a nutshell, ASGA summarises the decisions:

• to increase the National Minimum Wage to $23.23 per hour (to $882.80/week)

• to increase minimum award wages by 5.75 per cent

• to lift the Superannuation Guarantee Rate from to 11 per cent

industrial finishing in the digital production of displays and printed packaging.

This new system also aims to make it easier for display and packaging manufacturers to optimise their production processes and increase their efficiency.

In addition, the individual components of this digital production solution are perfectly coordinated to enable next-level productivity. Together, they offer the user highly stable and reliable cutting and thus efficient, economical processing of printed board material.

The National Minimum Wage applies to employees who are not covered by an award or registered agreement. The increase will apply from the first full pay period starting on or after 1 July 2023.

As such, ASGA has worked with its advisors to provide comprehensive guidance to members, including the calculation of Award rates, an updated Employment Information Guide, and a range of employment templates.

Epson has had to pivot due to chip shortages

Zünd’s Q-Line with BHS 180 pallet-to-pallet automation

Zünd’s Q-Line with robotic BHS 180 was awarded Best Digital Finishing System

PRINT DIARY

Print Technology 2023

August 9-12, 2023

Kuala Lumpur, Malaysia printechnology.com.my/

Labelexpo Europe 2023

September 11-14, 2023

Brussels, Belgium labelexpo-europe.com/

Foodtech Packtech 2023

September 19-21, 2023

Auckland, New Zealand foodtechpacktech.co.nz/

Pack Print International

September 20-23, 2023

Bangkok, Thailand pack-print.de

Printing United 2023

October 18-20, 2023

Georgia, USA printingunited.com

2023 ProPrint Awards

November 3, 2023

Sydney, Australia proprintawards.com.au

FESPA Australia Conference

November 3, 2023

Sydney, Australia fespa.com/en

Labelexpo Asia

December 5-8, 2023

Shanghai, China labelexpo-asia.com

Drupa 2024

May 28-June 7, 2024

Düsseldorf, Germany drupa.com/

For enquiries, please contact: Carmen Ciappara, National Sales Manager Phone: 02 9833 4314 or 0410 582 450 | Email: carmen@proprint.com.au

FESPA Australia Conference is back in 2023 and it’s going to be bigger and better than ever before!

Following on from the success of the inaugural conference in 2022, we’re bringing together leading industry experts, suppliers, and business owners for a one-day event packed with insights, inspiration, and networking opportunities. Soon to be announced program of keynote speakers, panel sessions and our valued industry sponsors, the FESPA Australia Conference 23 is the place to be!

Once again co-located at the Shangri-La Hotel, Sydney. with the 2023 ProPrint Awards

Early Bird tickets and program coming soon!

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