Australian Printer June 2019 by The Intermedia Group

Australian Printer

June 2019

Fespa Review Andy McCourt: Dye sublimation Women in Print: Sue Threlfo Inside the Durst factory

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AUSTRALIAN PRINTER JUNE 2019

CONTENTS

¢¢ News

¢¢ Wide Format News

¢¢ Andy McCourt: Trail of destruction at Whirlwind

¢¢ Fespa Review

Australian Printer’s comprehensive news section p8-12

Lindsay Yates directors reject liability assertion, questions asked about speed of decline p14

¢¢ Whirlwind: Cester speaks

CEO of collapsed trade printer explains what went wrong p15

¢¢ Print Diary

All the big events and trade shows for the year p16

¢¢ Women in Print

Sue Threlfo of Konica Minolta discusses how she went from IT in Brisbane to heading up industrial and production print p18

¢¢ Industrial Relations

Charles Watson advises employers on changes to the minimum wage, and what it means for businesses p19

¢¢ Real Media Collective: I thought print was dead?

The latest in the fast-moving segment of print p30

Key insights from the European trade show, including new product launches, applications, and the latest from Durst, EFI, Epson, Esko, Fujifilm, Gerber, Ricoh, Roland, Massivit, and swissQprint p37-53 SGIAA brings Australians together Local Fespa association holds networking event p38 Aussies at Fespa See who attended the show, and celebrated at Club Fespa p40-41

¢¢ Sublime textile print

Andy McCourt discusses the stand out aspects of dye-sublimation printing, and its strong future p54 HP Launch of the Stitch series brings company into a new segment of print, where it says it has reinvented the technology p55

¢¢ Classifieds

The Australian print industry’s biggest marketplace p56-66

Kellie Northwood talks improving print figures, and looks at some of the most innovative uses of print marketing today p20-21

¢¢ Inside the Durst factory

Matt Ashman takes Australians on a tour through the Durst production facility p22-23

¢¢ Cover story: PrintEx

What to expect, and how to maximise the value of your visit to the biggest print trade show in Australia p24-26

Advertiser’s Index

To advertise, call Brian Moore on 0410 578 876 or email brian@i-grafix.com

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p40-41

June 2019 - Australian Printer

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NEWS Editor’s Comment

Attending the Fespa exhibition in Munich was an incredible experience, and the value of the show can not be understated. Being at the cutting edge of technology, applications, and coversations around print provides a genuine commercial advantage for your business. The scale of the show is hard to comprehend if you have never been; six full exhibition halls, each with thousands of people completing deals, talking about their operations, connecting with old and new friends. For those who could not make it, and the 125 Australians who did, but may not have been able to see it all, we have produced a Fespa Review covering the major vendors at the show that have a local presence, including words from the organisers, and SGIAA, the local Fespa member association. We also spoke to Australians in Munich, asking where they see the most value in the show commonly dubbed the drupa of wide-format. As part of the trip to Europe, we took a tour through the Durst production site in Brixen, which you can get a feel for in this magazine too. With PrintEx just around the corner, we expect lots of investment to come from PSPs around the country, so be sure to read up on all the latest in the industry, in these pages, the only which come to you monthly, and stay informed.

Whirlwind liquidator: everything sold The appointed liquidator of Whirlwind, Andrew Hewitt of Grant Thornton, has confirmed to Australian Printer that almost all of Whirlwind’s assets had been sold prior to liquidation. All that remains are a couple of items of leased equipment, where the payout on the lease was more than what the equipment was worth, a vehicle in Sydney and some small ancillary items, according to Hewitt. For the creditors of Whirlwind, the only remaining opportunity to see money returned is through the debtor finance facility that was in place. Once the financier has recovered the money it has advanced against the debtors, the remaining amount in the fund can be divided amongst creditors. Hewitt explains, “The company’s debtors were funded through a secured creditor. “This means the company, if it generates an invoice for $100, it then lodges that with the funder, and receives around $80 upfront from them. When the debtor pays the $100 owed to the company, the bank is paid the $80 they have funded and then the company receives the remaining $20.” Essentially, debtor finance allows companies to secure cash flow by using the accounts receivable ledger as collateral. Hewitt says, “Once the secured creditor has been paid their entitlements under the debtor finance facility, the balance of the ledger is given back to me.”

Prior to collapse: Andrew Cester, CEO, at the Whirlwind site Staff however, will need to be paid their entitlements through the FEGS scheme, with the liquidators currently assisting them. Hewitt has been looking into the company for the past week, and when asked about the sale of assets, he said, “My role is to ensure that there was valuable consideration paid for the assets that were sold.” CMYKhub was the purchaser of the Whirlwind equipment, and also offered employment to 50 staff members, while taking on orders still owed by the company, without charge. Dayne Nankervis, chief operating officer, CMYKhub, says, “The changeover of the production site in Knoxfield is now completed, and it is fully-capable as a CMYKhub facility. It is an additional factory for CMYKhub to use, which we are now pushing work onto. It is expanding our capability, and giving us a lot more capacity.”

Australian Printer - 69 years in print Tel: (02) 9660 2113 • Fax: (02) 9660 4419 • Managing Director: James Wells • james@intermedia.com.au Group Publisher: Brian Moore • brian@i-grafix.com Associate Editor: Paul Brescia • paul@australianprinter.com.au Contributors: Dave Fellman • Andy McCourt • Gareth Ward Design and Production Manager: Carrie Tong • carrie@i-grafix.com Sales Enquiries: Brian Moore • brian@i-grafix.com • 0410 578 876 Subscription Rates: (incl GST) Australia: A$110, Overseas: A$330 Australian Printer is a member of Printer Media Group ISSN: 1033-1522

The liquidator has told Australian Printer that the early indications are that the purchase of the assets was made at a fair rate, and that the money was used to pay back secured debts. In Hewitt’s view, “The assets were sold to a competitor at a valuation that was provided by an accredited valuer, and had the approval of Whirlwind’s secured creditor, who held a charge over the assets. “I do not expect that transaction will be overturned. The bank consented, if they could have got more, I am sure they would have. “Part of the investigation is to determine when the company became insolvent, and if the directors can be liable for anything that occurred. “That is part of our responsibility.” Hewitt anticipates that will take three months to determine.

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NEWS Aussie news flies high at INMA News Corp won big as Australian news publishers walked away with a swag of medals and honourable mentions at the INMA (International News Media Association) 2019 Global Media Awards held recently in New York. With 13 awards or honourable mentions, News Corp’s tally included two first place medals for best marketing solution for an advertising client for Mars and best use of data analytics for Verity. Nine won three awards, among them a first place medal for best execution of print advertising for the South Australian Motor Accident Commission. The competition received 664 entries from 165 news media companies in 34 countries. Of the 194 finalists Australia had the fourth highest number, a testament to the quality of journalism in the region.

CMYKhub offers 50 jobs, takes on orders National trade printer CMYKhub has made the decision to fill all of Whirlwind’s outstanding orders, despite the money being set to go to the liquidator. It has not taken on Whirlwind’s commercial clients, remaining a 100 per cent trade-only printer. It has also made offers of employment for 50 staff members that would otherwise be out of work. While staff were worried that taking on a new job would affect their FEGS application, both the liquidators and CMYKhub have assured them that is not the case. This follows from CMYKhub purchasing almost all of Whirlwind’s equipment, alongside its Knoxfield factory, and customer list, with Whirlwind CEO Andrew Cester telling Australian Printer, “It was difficult for them to come in at the last minute and deal with a difficult situation.”

Hannans buy $10m more Ovato stock Michael Hannan, along with the Lindsay Hannan Family Trust have bought $10m worth of Ovato shares, following the settlement of an Entitlement Offer to existing shareholders which was underwritten by the family. Ovato has also revised its FY19 EBITDA guidance, down to $30m-$33m from $37m-$40m. Citing industry headwinds, Ovato expects revenues in its Print Australia division to be down 12 per cent from FY2018 following the second half of the 2019 financial year. It points to masthead closures, a shift to cold-set printing, increased competition in publishing, and softer retail conditions associated with the NSW and Federal elections. Ovato says it will use the funds to strengthen its balance sheet, and accelerate australianprinter.com.au

its NSW site consolidation project. The Entitlement Offer was first announced in May, with existing shareholders offered one new share at 7c for every 2.3 shares they held. The Entitlement Offer is split into two parts, totalling $15.5m of new shares. The Institutional Entitlement Offer, which closed on May 21, included $11m worth of shares, of which $10.7m were bought up by the Hannan family. Prior to the purchase, the Hannan family held a 40.63 per cent stake in Ovato. There is potential for more shares to be acquired by the Hannans as the retail portion of the offer remains open, with $4.5m shares still available. Ovato says the $15.5m raised in the offer will be used in its NSW site consolidation, which it expects to deliver $24m in savings by FY2021.

Taking on orders: Dayne Nankervis, Glen Francis, Doug Robey, Paul Norton, CMYKhub Glen Francis, national communications manager, CMYKhub, says, “If you have an order in progress with Whirlwind, the team at CMYKhub has made the choice to produce and deliver this order even though the liquidator will be claiming the payment for it. This is a commitment we have made to support trade customers who would be left without the product they ordered.

“We are doing everything we can in difficult circumstances to produce these in a reasonable timeframe. “On the decision to fill outstanding orders, and the fall of Whirlwind, we understand this is a disruptive time for many businesses in the industry that utilised their services. It is sad to see the demise of a fellow family print business.”

Robinson wins Graduate of the Year LIA award Ryan Robinson of QLM Label Makers has won the QLD LIA Graduate of the Year Award, with fellow employee, third-year apprentice Kate Russell named as a finalist for the stage three award. The busy graduate was unable to attend the night in Brisbane as he was installing presses at one of QLM’s new sites in Asia. Robinson says, “It is an honour to be named LIA Queensland Graduate Apprentice of the Year. Winning such an award is never the result of an individual and it is important that I give thanks to those that have supported me during my apprenticeship. “Firstly, thank you to the LIA - Lithographic Institute of Australia for organizing the event and maintaining the relationships between each embodiment of print. “To the sponsors, thank you - especially to Heidelberg for sponsoring the award and providing the means to

cultivate an amazing crop of talent for the next generation of print. “An enormous thank you to the incredible trainers that we have in the industry. “To Spectra for providing passionate and dedicated trainers such as Chris O’Connor and TAFE Queensland with Duncan Marsden. Their very mission is to see that our potential is fostered and given the care and respect that we, as emerging influencers in the industry, deserve. And finally, to my employer, colleagues, friends and mentors at QLM Label Makers, without whose support, opportunities, challenges, feedback and fun, this award would not have been possible. “Where I am today is the culmination of effort from a team of dedicated, hearty and experienced individuals who make up the QLM family.” Australian Printer - June 2019

NEWS

Allkotes buys Nautilus Print Finishing Coating specialist Allkotes has purchased Nautilus Print Finishing, bringing the capabilities of both companies under the one roof in Sydney. Former Nautilus owner John Warner will be joining the Allkotes team for the

transition, training staff on how to use the equipment. All the assets have made the move over to Allkotes site in Silverwater, with Darren Delaney, general manager, Allkotes, telling Australian Printer, “We think that John’s business not only

New Screen ink solves the blues

PIAA records $785k loss in 2018

Screen Graphic Solutions has developed a new blue ink for use in its Truepress Jet L350UV+ digital label printing system. The company will release the ink next month. It says that a growing awareness of corporate and product brand image labels has driven an increase in demand for higher quality product labelling and packaging. It sees blues, in particular, as popular for corporate designs and product packaging, keeping consistency with brand identity. Peter Scott, managing director for Screen GP for Australia, says, “Of all countries that stand to benefit from the introduction of special blue to the L350UV+’s inkset, Australia and New Zealand are sure to appreciate it most. With our blue skies and oceans, we are attuned to pure, rich blues.”

The PIAA operated at a loss of $785,000 for 2018, an improvement from its previous year’s loss of $1.4m, though without the factor of property revaluations. Discounting the property revaluations, the organisation ran at a loss of $831,000 in 2017. Revenue has fallen from $2.26m in 2017 to $1.27m for 2018, with the association undertaking cost-cutting and efficiency measures to improve the overall performance with less revenue to work with. In 2016, the print association operated at a loss of $1.2m, with 2015 being the last year it was profitable, making $386,000. The organisation made $1m that year from the sale of assets – mainly its Auburn national headquarters – helping to balance its books. It now has 762 members, an increase from 2017, in which it had 621 members, 139 of which were non-

compliments Allkotes, it provides a great fit. “The added equipment to our Allkotes business will allow us to offer half sheet size die cutting, various glueing techniques and double sided tape applications.

“Lead times are getting less and less, customers want jobs faster and cheaper. “By saving the time of sending jobs between different finishing houses, we can get the work completed faster for them, with less cost.”

Moving to break-even: Theo Pettaras (l) with Andrew Macaulay (r) financial. The increase follows a period in which its membership fell from 1066 to 621 in 12 months. The 2018 report does not mention the amount of nonfinancial members. Despite the increase in membership numbers, the revenue from membership subscriptions has decreased, from $1.3m to $1.05m. Andrew Macaulay, CEO, PIAA, says, “We

have brought in a lot more franchises, and smaller members, who need our services. The membership is paid on the number of employees.” The strategy is deliberate, explains Macaulay, who points to small businesses as the lifeblood of the industry. He says, “The majority of the printing industry is small printers, that is what makes the industry more vibrant.”

Associations reveal election win expectations The three major associations representing people in the printing industry, PIAA, Ai Group, and the Real Media Collective, have congratulated the Coalition on its win, while revealing different wishes for the upcoming term of the Morrison Government. The Ai Group has called for the Government to develop credible and well integrated climate and energy policies, saying a patchwork approach will only see increased energy costs, while failing to meet emission reduction targets. 10

It has also called for an increase in productivity, and a fresh look at the administration of enterprise bargaining agreements. The PIAA has given a priority checklist of goals it is working to achieve with the Government, including: Increasing the definition of Small Business Employer from 15 to 25 employees, secure funding for apprenticeships and traineeships, and securing reliable, cheap energy. Andrew Macaulay, CEO, PIAA, says, “We look forward to continued open dialogue

June 2019 - Australian Printer

and to further strengthen our working relationship with both the Government and the Opposition. We want to work with the government and the Parliament to make Australia the best place in the world to do business.” On the subject of apprenticeships and traineeships, the PIAA has been working closely with the AMWU, having recently started up a precursor to the return of TAFE print training in SA, through Skilling SA. With the Government holding a majority in the Lower House and

crossbenchers able to provide support in the Senate, there are passages for legislation to be passed without the support of the Opposition. Kellie Northwood, CEO, The Real Media Collective, says, “The Collective takes a bipartisan approach to our lobbying efforts, however the election result appears to be providing a majority Government in the Lower House and room for concession in the Senate. “Regardless of your political position, this provides opportunity to pass legislative outcomes.” australianprinter.com.au

NEWS

Xante chooses AGS for Australia American digital solutions manufacturer Xante has appointed Australian Graphic Servicing (AGS) as its Australian dealer to distribute and support Xante products. Glenn Maynard, director of AGS, says, “We have been looking for a niche digital solution for some time now and we were pleasantly surprised when we were approached by Xante, which has a great reputation for reliability and stands by its varied portfolio of digital production models. Xante has had representation in Australia previously but the company sees AGS as the ideal fit for its solutions. Mark Priede, vice president of sales for Xante says, “We reached out to AGS because of its servicing heritage and strong standing in the Australian marketplace.”

To kick things off, AGS will roll out the Xante digital multi-media press with Enterprise feeder and conveyor and the Xante En/ Press digital multi-media press. Maynard describes it as a print shop in a box; a digital device that can make polyester plates as well for offset printers. He says, “This brand new system, specifically designed for small commercial printers and print shops, is a low cost, high quality, and chemical free solution. The best part is that it is all contained within the En/ Press which is already the best way to print envelopes, NCR multi-part forms, stationery, invitations, announcements and more.” Recently, Xante has made significant investments in research and development, which has resulted in two additions to its stable: the

X-32 and the Excelgraphics 4800. The X-32, a heavyduty, six colour, high speed UV curable inkjet flatbed can print on any large object or irregular surface. The Excelgraphics 4800 digital package printing solution offers a high speed, flat bed, UV ink jet system. Priede says, “Everything we do is geared toward listening to our most valuable resource, the customer. We understand the need for cutting-edge technology, products, and services that allow you to be more productive and profitable in your business.” The Xante En/Press digital multi-media press received a Red Hot Technology award at Graph Expo in the USA. Regarded as must-see products, Red Hot Technology recipients have come to market since June 2017 as new

or significant updates to existing products which excite the industry. Andrew Dunn, business development manager at AGS says, “The En/Press is a really exciting product for the Australian Print market. Imagine being able to make CTP plates for your offset job; having an in house digital solution that can print variable data on NCR; and a work flow job costing system. “This print shop in a box really delivers a winwin for printers. We have already had strong interest in this product. The Xante devices, coupled with IQueue PDF workflow software as standard, offer printers simple to use imposition, job layout, variable data, job costing and more. “It allows you to improve in house productivity; to print on a wider range of sheet sizes and media.”

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Australian Printer - June 2019

NEWS: BUSINESS Local and global print stock watch May 10 - Jun 10 ASX (AUD$)

Price

Amcor IVE News Corp oOh!media Ovato Redbubble Spicers Wellcom

15.62 0.80  16.60 13.4 2.08 0.08  2.43 1.98 17.62 0.91  21.90 14.93 4.19 1.23  5.64 3.96 0.10 0.07  0.17 0.17 0.96 0.03  1.84 0.64 0.069 0.002  0.069 0.02 5.50 0.40  5.52 4.03

Amcor

Change

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Ovato

0.25

0.20

0.15

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NYSE (US$)

JUNE 2019

Price

0.05

JUNE 2018

Change

Year High

JUNE 2019

Year Low

Adobe 276.30 10.69  289.25 148.92 Apple 194.15 15.09  191.83 140.63 Canon 28.97 0.17  37.94 27.30 Fujifilm 41.56 1.50  41.76 35.86 News Corp 19.21 3.74  21.75 10.94 Xerox 27.45 2.12  41.20 25.33

Canon

JUNE 2018

DAX (EURO)

JUNE 2019

Price

Flint Group is consolidating local ink manufacturing to its modern Dandenong facility and utilising third party logistics to support the customer base throughout Australia and New Zealand. Sales and support staff in Sydney, including both consumable and Xeikon operations, will be moving to a centrally located facility in Rhodes, near Ryde. Thorsten Schauer, general manager Flint Group ANZ, says, “It is very much business as usual at Flint ANZ. “Our customers will not experience any disruption to services as we transition to more efficient and focused delivery of product and support.” Headquartered in Luxembourg, Flint is one of the global printing and packaging industry’s biggest suppliers, employing around 7900 personnel worldwide and chalking up revenues of €2.2bn in 2017.

The company makes and sells a wide portfolio of printing consumables and equipment. This includes both conventional and energy curable inks and coatings for offset, flexo and gravure applications; pressroom chemicals, printing blankets and sleeves for offset printing; photopolymer printing plates and sleeves, plate-making equipment and flexographic sleeve systems; as well as pigments and additives for use in inks and other colourant applications. Flint Group also develops, supplies and services the Xeikon line of web-fed digital colour presses for labels and packaging, document and commercial printing. The company also makes platemaking equipment for the newspaper industry and CTP solutions for the commercial printing market. The new location will also add space efficiences, and logistical advantages.

Xerox

Flint consolidates Australian operations

JUNE 2018

Change

JUNE 2019

Year High

Year Low

Agfa 3.72 0.18  4.46 2.56 Heidelberg 2.36 0.04  3.50 1.69 Koenig & Bauer 60.30 1.50  71.00 27.07 Metsa Board 8.35 1.18  9.93 4.31 UPM 31.79 1.02  32.18 14.44

Koenig & Bauer

UPM

JUNE 2018

JUNE 2019

June 2019 - Australian Printer

JUNE 2018

JUNE 2019

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NEWS FEATURE

Trail of destruction in wake of Whirlwind

ompanies can go broke and into administration, it’s a fact of life all too apparent in both the commercial printing and, lately, the wide format sector. There are however, ways to handle difficult trading times and what to do when the books won’t balance in the black. When Andrew Cester’s Whirlwind Print Pty Ltd bought quality Sydney printer Lindsay Yates Partners (LYP) in October 2017, there was considerable positive fanfare, with all staff retained and a new era of Whirlwind’s entry into the NSW market. The deal was carefully negotiated by the directors to ensure creditors were paid out and staff entitlements would be honoured. In order to accomplish this, a separate company, LYG Services, was registered into which Whirlwind was to pay money to continue to service the staff entitlements after LYP had covered 40 per cent of them. The directors themselves were to continue on for four years, with regular payments made by Whirlwind. The buzz about the new expansion rapidly changed into one of changes in direction, redundancies and non-payment of debts by the company Whirlwind had registered, Whirlwind Print (NSW) Pty Ltd. The full amount of indebtedness has yet to be calculated but looks like being in the millions, with paper merchants again taking the brunt, along with many smaller trade suppliers and even Heidelberg were stung after flying in a $50,000 main motor so the last job on the XL105 could be completed in December 2018. A deposit was paid and

ANDY MCCOURT

Former LYP directors baulk at Whirlwind’s Andrew Cester’s claims, saying, "We did not leave Whirlwind with liabilities"

LYP left stung, Heidelberg sold • LYP paid off $1.5 million in debts owed to suppliers, only $36k left outstanding – due to be paid out had Cester paid instalments • Whirlwind were supposed to be paying monthly instalments but stopped in January 2019 – legal action being taken to recover what is owed • Whirlwind DID NOT move LYP’s Heidelberg SM XL105-6+LX to Melbourne, it was reportedly sold to a UK dealer for over $900,000 14

June 2019 - Australian Printer

Whirlwind buying Lindsay Yates in 2017: (l-r) David Shoppe, Andrew Cester, Gis Marven and Paul Richardson after that – ‘nothing’ said an internal source. Thereafter, the fate of LYP began to unravel. First, the ‘northern’ offset hub idea was abandoned, and it was to become a ‘digital hub’ using LYP’s HP Indigo 10000 and some finishing equipment. Then this idea was abandoned, and the digital press was dismantled and shipped to Melbourne. But what of the Heidelberg offset press?

Where did the money from the press sale go? Contrary to other reports, LYP’s handsome Heidelberg SM XL105-6 colour plus coater did not get transferred to Whirlwind in Melbourne. It printed its last job on December 14th, with about 340 million impressions on the clock, was dismantled over Christmas, put into containers and shipped to an unknown overseas destination via a UK dealer, having been sold for a reported $900,000 or thereabouts. It was on the books of LYP for $500,000. This money would be useful to help pay creditors but Whirlwind appeared to stop paying its bills around January 2019. As a final disappointment to Heidelberg, they flew in a replacement main motor when it blew, kept the press running and now, six months later have not been fully paid. Whirlwind’s last annual report filed with ASIC on May 30th 2018 revealed sales revenue of $27.6 million and a profit of $233,000, with 136 employees and Total Assets

(current and non-current) of $12.5m against Total Liabilities of $8.7m. The speed of decline into insolvency is alarming, and liquidators Grant Thornton will be investigating thoroughly. The astonishing aspect is that not until May 29th were the two Whirlwind companies put into external administration, with liquidator appointed, according to ASIC. Almost immediately prior to this, Whirlwind’s remaining assets including customer list, were sold to CMYKhub – but not the businesses themselves. If the revenue from the sale of these assets has been put aside for the administrator to disperse to creditors, the ATO and staff entitlements, all well and good – but has it? Time will tell. The former LYP directors worked very hard to ensure a fair outcome over the sale of their business and are owed a very significant amount of money for completion of the sale. Within 18 months the assets have been stripped out and the purchasing companies placed into administration, with liquidators appointed. This is not a normal tale of a printer going bust. If one is in trouble, they normally appoint an administrator early and if the business cannot be saved, the assets are liquidated and, if any surplus after administrator’s fees, the proceeds distributed to creditors and staff statutory entitlements. In Whirlwind’s case, the assets have been sold over a six-month period before appointing an external administrator. australianprinter.com.au

NEWS FEATURE

Exclusive: Cester explains Whirlwind collapse

ith longrunning trade printer Whirlwind Print entering liquidation, Australian Printer has spoken to CEO Andrew Cester on what is next for the company’s staff, machinery, and the trade printing market. With the major pieces of machinery purchased by former rival CMYKhub prior to the liquidation, allowing Whirlwind to pay back some money owed to banks, liquidators will now go through the remaining pieces of the business to work out what can be used to pay back creditors, and the Government, as staff will be applying to FEGS to get back any money owed. Cester says the familyoperated business was caught by surprise, first with the results of the Lindsay Yates merger, then a combination of technology failures, a cyber-attack and an overall downturn in business in the past six months. In his words, “The Lindsay Yates merger was a disaster. We got left with the liabilities of the company, but did not retain the sales. It put us in a difficult position. “It went horribly wrong. The last six months in particular were slow across the industry. As trade printers we get exposed to that.” While the former directors of Lindsay Yates have denied that Whirlwind took on liabilities with the purchase of the business, Cester says the 'liabilities' comment referred to a business that was no longer making sales. In his words, "We bought a business, did not retain the sales, but did retain a lot of the costs including staff liabilities.” This led to the decision to sell the Heidelberg press, says Cester. Whirlwind took on all staff following the Lindsay Yates acquisition, significantly adding to its wage bill. He has confirmed to Australian Printer that the Heidelberg was sold around December/January, but cited confidentiality on the sale price of the press. “Lindsay Yates was losing money, sales were walking out the door and were no longer there to support the press. We

australianprinter.com.au

Taking responsibility: Andrew Cester, CEO, Whirlwind

Lindsay Yates acquisition ‘a disaster’, says CEO, combined with tough 2019, cyberattack, and tech failures

sold the Heidelberg to support the losses of the business and maintain cash flow. In hindsight the acquisition was a very poor decision.” Separate questions raised around his brother were responded to by Cester, who noted, “At the time Greg had not been working in the business for over four years and was swapped as a director for my sister Leanne who was working in the business." Responding to questions surrounding the timing of press sales, and liquidators being appointed, Cester is clear in saying, “We are a large company. We get audited every year. People talking do not understand the circumstances, we have had advisers the whole way through. There is a liquidator in, they will review everything." Speaking on the difficulties of seeing a 23-year business go under, Cester says, “I have to take responsibility for it going wrong and I do. “It was gut-wrenching to get to that last day and have it all go away, it was awful. The worst part was it was sudden for the loyal staff that no longer had work. I would not blame them for feeling unhappy how it all unravelled, I wish I could change that. The staff did not deserve that ending. It was like all your effort to retain and develop good people completely back flipped. "There were lots of tears, confusion and sudden good byes. "Katie in HR is still on site to help any staff with any of their FEG claims. The liquidator has

communicated staff will receive separation certificates and any other paper work. “I have offered my mobile for references or just to talk. "The company was known for supplying a great work environment. Fresh fruit, breads and spreads, coffee machines, BBQ’s, dress up days and even a fully equipped gym. The company awarded gifts and trophies for every five years of service. "There are many wonderful employee stories. In the early years Whirlwind worked with the union to stop the deportation of a couple of printers who were wrongfully employed and poorly treated by another print company. The printers managed to secure full time employment with Whirlwind and keep their families in the country. Over 12 years later they are still with the company. "The company also stopped another family being deported by lending them tens of thousands of dollars and allowing it to be paid back over the coming years. There were families that migrated to Australia based on employment with Whirlwind in Australia. “It was the last thing we wanted after 23 years. I wish it could be different. You are basically letting everyone down, staff, suppliers, family the whole lot. “It is also awful for the suppliers, I have had relationships with a lot of them for a long time. We’ve let them down too. It is not something we wanted to go through. “No one would want to go through this. “People do not understand how difficult it is to go through a process like this, unless they have been through it themselves. We have been a proud family, employed over 500 people over the years, and have been seen as an employer that genuinely tries to do great things for good staff. “I hope the staff remember the 98 per cent of the time it was good and not the last 2 per cent. “To all the customers and suppliers that have offered their genuine care, gratitude and support to the family and staff, the understanding they have shown, has been truly overwhelming. “I want to thank them, as it has helped everyone a lot.” Australian Printer - June 2019

PRINT DIARY

Got an event? Send an email to paul@australianprinter.com.au with all the details and we will put your event on the page

 Label Expo Eurpoe Sep 24-27 2019 Brussels, Belgium

 Sign Asia Expo Nov 14-17 2019 Pak Kret, Thailand

labelexpo-europe.com

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 ProPak Asia Jun 12-15 2019 Bangkok, Thailand

 Empack Oct 2-3 2019 Kistamässan, Stockholm

 Labelexpo Dec 3-6 2019 Shanghai, China

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easyfairs.com/empack-stockholm-2019

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 Printpack + Sign Jul 10-12 2019 Marina Bay Sands, Singapore

 Isprint Oct 29-31 2019 Tel Aviv, Israel

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 Printex 19 Aug 13-16 2019 Sydney, Australia

 The

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 Pack Print International Sep 18-21 2019 Bangkok, Thailand pack-print.de

Asia 2019

& Graphic Imaging Middle East

Jan 12-24 2020 UAE, Dubai signmiddleeast.com

London Print Design Fair

Nov 5-6 2019 London, UK

 Printing South Mar 4-6 2020 Guanzhou, China

thelondonprintdesignfair.co.uk

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 Inprint Industrial Nov 12-14 2019 Munich, Germany

 drupa2020 Jun 16-26 2020 Düsseldorf, Germany

Print Show

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China

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WOMEN IN PRINT

Women in Print: Sue Threlfo

risbane-born Sue Threlfo arrived in Sydney as an IT worker in the 80s, and later became part of a revolution in printing. As an information technology specialist, she was well placed to be at the forefront of digital printing, and able to sell the technology with a real understanding of its capabilities, and how it integrated into workplaces. In her words, “I started in IT in the 80s in Brisbane. I moved to Sydney to further my career opportunities, and joined Xerox Corporation as an IT customer support analyst. Various opportunities arose in those early years, but when the copier industry first went digital, I had the skill set required. I was keen to join the sales team, so started selling the first digital printing technology to the commercial printers in Sydney.” A hard sale it would have been, as comparing the print quality of the first generation of digital technology to the efficiency and reproducibility of offset printing would have been akin to comparing a bicycle to a car, then asking your mechanic to buy a bicycle. No doubt Threlfo would have been successful, as she is now the general manager, Industrial and Production Print at Konica Minolta, a role officially started just over a year ago, with 27 prior years of experience under her belt. In that time, she says, “In my role, I create and drive the strategy as to how we take our products to market and engage and support the printing industry. I am fortunate to work with an amazing, dedicated group of people, and also have a supportive senior management team. “From a technology viewpoint the industry has changed significantly from the days where I was explaining that short run printing would be more efficiently produced on a digital printing device, to many commercial printer's mirth. “Today, productivity is the aim of the game. Our clients want to know that any investment is going to deliver 18

June 2019 - Australian Printer

Konica Minolta’s general manager of Industrial and Production Print discusses inclusion, technology, and the digital transition

At the forefront of digital transition: Sue Threlfo, general manager, Industrial and Production Print, Konica Minolta increased productivity and greater applications to offer to their clients. This is true from the largest printers in the country to the smallest.” As for the experience of working as a woman in a male-dominated space, she says, “Through my entire career I have not really known anything else, so do not really notice, although have enjoyed any opportunity to work with women. It is unfortunate that there are not more women in print, and of course it is a legacy of the industry growing through the male dominated trades. “Even now, when trying to hire people in our industry, it is difficult to find women with the experience and the industry knowledge.” As for potential hurdles, she instead highlights the positives of competing in a male-heavy field, saying, “In the early days of selling, there may have been some small advantage. Older men were less likely to rudely throw me out of their office, as they would my male colleagues.”

There has been some change in the makeup of the industry, however it is still mostly male tradespeople that have their own businesses. Actively seeking and encouraging diversity in the workplace is a goal of Konica Minolta, as Threlfo explains. “Konica Minolta has a strong diversity and inclusion program for all people. The program is being expanded this year, and employees from all areas of the business are being encouraged to join a committee to further our strategy, engagement and policies in the areas of gender, culture, disability and sexuality,” she says. There has been some shift, says Threlfo, who notes, “Much has changed in the printing industry over the years, however the vast majority of our clients are still male, many who have come through the trades and are now running their own business. There are some exceptions, and in the franchise community there are more couples, and more women.” australianprinter.com.au

INDUSTRIAL RELATIONS

FWC makes minimum wage ruling

he Fair Work Commission (FWC) has handed down its annual wage review decision. The decision will increase the national minimum adult wage by 3%. This increase will be applicable from the first full pay period commencing on or after 1 July 2019. The new adult National Minimum Wage will be $740.80 per week or $19.49 per hour. This constitutes an increase of $21.60 per week to the weekly rate.

Employer to do list No changes take effect until the first full pay period on or after 1 July 2019. However, employers should consider the following issues as they relate to their employees.

Award Covered Employees The 3% increase will flow into all Modern Award rates of pay in the coming weeks when adjustments are finalised by the Fair Work Commission. Any employer who pays their employees at the minimum Award rate of pay will be required to increase pay rates by 3% from the first full pay period on or after 1 July 2019. Weekly wages within Awards will be rounded to the nearest 10 cents as part of the process of applying the increase.

Above-Award Paid Employees The incoming increases to the Award rates of pay can be absorbed into an employee's current rates of pay as long as the result leaves their rate of pay at least equal to the increased Award minimum rates.

Charles Watson

Be on top of changes to the minimum wage: Charles Watson

Salaried Award Covered Employees Award covered employees who are paid an annualised salary must ensure the employee's annualised salary remains sufficient to absorb the increased Award-based monetary entitlements, and make adjustments upward where necessary. australianprinter.com.au

Charles Watson, LLB GIA(Cert) general manager, Human Resources Workforce Guardian charles.watson@ workforceguardian. com.au

Award-free Employees An employer who has Award free adult employees must pay them at least the new National Minimum Wage rate from the first full pay period on or after 1 July 2019. An employer with Award free junior employees must pay those employees at the appropriate percentage of the National Minimum Wage rate from the first full pay period on or after 1 July 2019.

Businesses with Enterprise Agreements Employers with enterprise agreements will need to ensure that the base rates of pay in their enterprise agreements are at least equal to the relevant rate in respective Awards as increased by the decision.

Employees covered by Individual Flexibility Agreements Employers with Individual Flexibility Agreements need to ensure employees are "better off overall" when compared to the applicable Award.

What next? The Fair Work Commission will now commence issuing draft determinations and orders about how this decision affects modern awards and then update the pay rates in each award. This process usually takes the Commission a few weeks to complete following the decision being made. As usual we would expect the updated rates of pay to be available from about the 2nd to 3rd week of June, based on previous years. Australian Printer - June 2019

REAL MEDIA COLLECTIVE

I thought print was

emember print? It died about seven years ago. They used paper and put ink on it to make images and people could read it without downloading, you turned a page and it didn’t lag, the next page simply appeared, weird. You could recycle it in your household recycling bins and it employed over 265,000 Australians. What? Print didn’t die? You mean all those rumours, articles and ‘experts’ predicting its demise were wrong? What happened then? And what is print today? Yes, we’ve all heard the rhetoric, print is dead. I remain forever amused that the ATO, sent a print postcard in 2014 with a cartoon dinosaur on the front and a statement ‘Print is Extinct’. The irony that they needed to send this communication via print was certainly not lost on me. Since then, of course our industry has continued to evolve and strengthen. In fact, print over the past twelve months has grown. From 2016/17 to 2017/18 the Australian print industry has grown by half a billion dollars total revenue. With paper imports declining in the same year by about 3-4%, yet topline revenue increasing, what we can begin to determine is that the print industry is transitioning from selling units alone to something more. When we analyse the market a little closer, what do these figures actually reveal and what trends

Print you can eat: Better Burgers 20

June 2019 - Australian Printer

KELLIE NORTHWOOD

Print is growing, and more powerful than ever, writes Real Media Collective CEO Kellie Northwood

Personalised print delivering results: VoPP Magazine should we be aware of to drive our businesses and industry further? What innovations and opportunities are ahead for our industry to ensure we deliver excellence? How can we continue to excite our customers to remain inspired by print and all that it offers? It’s become a bit of a catch-cry, however I stand by it, and believe the industry should embrace it – we are only limited by our imaginations. The innovations across print application and digital technologies is astonishing. Running standard reprints without offering an option to ‘add some wow-factor’ when you’re working with your customers, is never going to assist you in standing out in a competitive market. Customers also need to be guided, there is no doubt, they are not print experts nor print

innovation experts. Nor should they be. They understand the end result, what they can give to their customers. This is the translation we as an industry need to provide. We must deliver excellence and innovation via the application. Thinking through the language we use when we talk to our customers is also critical – forget technical print specs and talk to the results. Instead of ‘this is a CMYK, silver spot and UV coating on an A2 grade smooth vellum’ the conversation with our customers should be ‘bringing the silver hit, gives your logo prominence and the UV coating highlights the image and also gives your brand piece a better luxe and quality feel. We have found your target customer group is three times more likely to buy from quality brands.BMW did something similar and achieved a six per cent sales uplift.’ australianprinter.com.au

REAL MEDIA COLLECTIVE

already dead?

Power of print in physical messaging: HIV positive blood used in red ink The conversation is common to the end result, however entirely different in execution and further, more meaningful to your customer. In our member sales briefings, I encourage all our teams to change the sales dialogue. Moving it from a commodity sales discussion to one of value. This transition across your sales approach is something many of our industry are embracing and I firmly believe the result of increased industry revenue with lower units is part of this emerging trend. We’re starting to sell value, we’re selling services, embellishments and solutions. We have a long way to go, much more to develop, however the industry is starting to turn and this is our greatest opportunity. Of course, understanding the innovations locally and across the world is critical. We need to push our suppliers for more australianprinter.com.au

innovation, more research and development, more investment. Better Burger in New Zealand is a take away chain that developed edible packaging. The original owner was driving to work and saw highway litter was mainly from take-away food products and he determined his chain would be better. Better Burger wrappers and packaging is 100% edible made from rice papers and soy inks. The Netherlands government developed a campaign to raise awareness of HIV. The piece is a cream stock with a spot red special throughout. The first page states "this piece was printed using HIV positive ink….that's not how you catch HIV". And on continues the awareness raising throughout the publication. They did in fact put HIV positive ink from over 30 patients into the red ink which featured throughout

the publication. Think through the emotional impact such a statement made when holding the printed piece in your hand. Pushing print and ink usage to a more meaningful and connected level. Of course, digital print technologies are also advancing at a rapid rate. Web digital print solutions, delivering personalised catalogues and magazines. Silver foiling and UV coatings with embossing now being offered through digital solutions, offering customised imagery and messaging whilst still holding strong embellishment outcomes. Our very own Open Up to Mail campaign promoting direct mail is all about the exploration of digital solutions with our trade and supply partners who are keen to showcase their technologies. The VoPP Mag, the Direct Issue, saw 10,000 PURLs developed and delivered via a QR code. Each cover was unique using image placement technology and 1,693 personalised notes (I should know I hand wrote them all) with an additional four personalised streams were written to boost engagement, response and that all important ‘wow-factor’. The VoPP site carries many of these print innovations, so please explore them. Encourage your sales teams to ‘change the conversation’ to seek value conversations and inspire your customers. Print is not dead, print is very much alive and it is our job to sell its vibrancy. Kellie Northwood is the Chief Executive Officer of The Real Media Collective, an industry Association representing the paper, print, mail, publishing and distribution companies across the Australian and New Zealand landscape. Northwood also holds the Executive Director position for the Australasian Paper Industry Association (APIA). For more information contact: 03 9421 2296 or hello@thermc. com.au For more information specific to the VoPP campaign go to: www.vopp.com.au www.therealmediacollective. com.au Australian Printer - June 2019

FEATURE

Durst demonstrates its

he first impression you get after walking into the new Durst factory in Brixen, South Tyrol, is that this is a company that gets the details right. The tour features locally bottled spring water, chocolates from Loacker, an Italian-wafer company which also manufactures in the region, along with cured meats and cheeses sourced from a local deli. It is all part of the Durst story, a manufacturing business set against the backdrop of the Alps, producing only top-tier equipment, with an unabashed focus on quality. Matt Ashman, sales manager Australia and New Zealand, Durst, took the group of 14 through the site, including stops in the historic old town, where the attendees admired the architecture and history of the dual German/Italian city. The Durst building itself is immense – 850 multi-coloured luminous windows cover the exterior. On the inside, a custom-cut staircase above the building’s reception, which features its own barista, takes you to the higher floors, where you can see the local childrens’ attempts to capture the building on a blackboard with chalk. The first stop on the tour is an introduction to the company’s origins. Durst began production in Brixen in 1934, with its specialty being photographic devices and cameras. Making its name with a camera patent, the company has always operated in the high-end imaging space.

Preparing for a trip into Brixen: Australians outside the Durst headquarters, with the pixelinspired windows seen behind them

Matt Ashman takes Australians on tour of the freshlyfinished showroom and production facility

Supreme accuracy: Steel shaping ability at Durst 22

June 2019 - Australian Printer

Perfecting production To have complete control of its production line, Durst manufactures all of its metal parts and aluminium for the printers in-house from aircraftgrade materials. The fully-automated Robotic Bender takes steel sheets up to 10mm thick from the magazine, places them, and then cuts them with a plasma laser, with what Ashman calls, “supreme accuracy”. The parts come off finished and ready, and are delivered through a conveyor system, with the leftover steel recycled. Durst does not produce steel parts for any other companies at its printer manufacturing site, with its machines there dedicated to producing its own devices. It has used its expertise to start up a separate company, also based in the region of South Tyrol, which manufacturers aluminium parts for major companies worlwide, and a duplicate factory in Lienz, Austria. Those who are on the tour and have bought the equipment, speak highly of it. Cactus Imaging is one such company, having purchased two Durst Rho 512R roll-to-roll printers in 2017, with the sale announced at PacPrint.

Nigel Spicer, general manager operations, Cactus Imaging, explains,“They are expensive machines, but you do not get any problems with them, they do not break down. We use ours for billboards, front-lit and back-lit fabrics, block out fabrics. We also print a lot of posters and self-adhesives. The only material we do not print on it is mesh, we have other machines for that.” Alasdair Wilson, director, Colourtech, recently purchased a Durst Rho P10 160, and says, “We have had it for two months now, a majority of the work we put on it is foam PVC for the exhibition industry, but we also produce acrylic ACM panels, self-adhesive vinyl, banner vinyl, and it is a great machine. The most reliable machine we had was the old one, and that is why we have went with Durst. “I am their biggest fan, I rave about Durst, in all honesty they are the best machines I have ever run. I tell people it is like buying a Weber, you buy one, become a start raving fan, and then almost sell for them. That is what Durst are for printing.”

Work/life balance The factory is open four and a half days a week, closing at midday on Fridays. Staff in the assembly line have milestones they need to reach, giving them australianprinter.com.au

FEATURE

desire for perfection

Standing by Durst: Alasdair Wilson, Colourtech (l) and Nigel Spicer, Cactus Imaging (r), who have both purchased machines from the company in the past the freedom to set their hours. This means they can come and go as they wish, whether it means heading home to pick up kids from childcare, or running errands. The factory is also open to 7pm, with the baseline hours for most staff 7:00am-7:00pm, with a 34hr week. At the end of each year, staff are reviewed, given bonuses aligned to company performance, with individuals putting in extra hours also rewarded. Ashman says, “The people locally can manage their lives, and get their work done. They love it, as they have complete flexibility to run their lives.” Once a year, Durst has an open house with the local

community, and tries to inspire younger generations to go into engineering, to learn how to create modern technology. They are getting more and more successful, with other businesses in the region now taking part.

Final acceptance test Each machine is made by two people, an electronics expert, and mechanical expert, seeing the build the whole way through. Customers are invited out to the factory for a final inspection of every machine to ensure it meets their expectations before signing off on the deal. They see their exact machine, with a repeated demo, next to the duo that built it, using the

Electronics expert: Two-person teams build each machine australianprinter.com.au

customer’s files and substrates. Ashman, says “A criticism of many printer manufacturers is that they may have a great demo centre, but the machines are so finely tuned, that they print everything perfectly.” Adding to this, most demo centres can select files that have been highly curated, with a combination of substrates which have been through meticulous testing beforehand. It is a far-cry from the reality of a print site where you might be expected to get a perfect result in less than two days, with a substrate the customer selects, and an image they provide. The benefit is that your machine will be up to your exact needs when you purchase it, says Ashman. He explains, “With Durst, if the customer is unhappy with any results of the demo, it is in the perfect place to put it right before they purchase it.” The prints from the Factory Acceptance Test go into the Durst archives, and can be referenced years later, to confirm whether the machine is still producing the same results. Spicer visited the Durst site before the purchase of Cactus Imaging’s dual 512R machines, with the company wanting to move into fabric and originally considering a dye-sublimation machine. He explains, “When we saw the 512R, which prints on fabric, and complemented our existing business, it allowed us to stay within our niche, while putting a foot in the fabric market. It is brilliant for what we need to do, and offers versatility. They are great, you get what you pay for.”

Perfectly aligned: Matt Ashman explains levelling process

Australian Printer - June 2019

COVER STORY

See possibilities W

ith our sector continuing to evolve rapidly, and businesses getting leaner and busier by the year, industry expos have become one of the most practical and efficient ways for industry decision makers to get a handle on trends, take time out for learning and reflection…and to share ideas, insights and war stories with colleagues and competitors who understand this business better than anyone. Sydney’s largest show, and one of the premier events on the Australian and New Zealand print calendars, PrintEx19 will be no exception, with a diverse showcase of technologies, innovations and solutions for those involved in the manufacture of printed products. Together with the co-located Visual Impact wide-format, sign and display show, and the new Label + Packaging Expo, the PrintEx exhibition will offer solutions for everything from commercial and digital printing, to direct mail and marketing, packaging and labels, POS and display, engraving and illuminated signage – all under one impressively domed roof. According to Peter Harper, CEO of the show’s organisers Visual Connections, which also co-hosts the event with the PIAA, PrintEx will bring the international trends launched at shows like the recent FESPA, to print businesses in Australia, New Zealand and the surrounding region – without requiring them to deal with the tyranny of distance. “If there is one word that sums up the value of a show like PrintEx it is connection,” Harper says, “Australia and New Zealand have a reputation as early adopters of technology, and PrintEx gives them the chance to see the latest solutions from global suppliers, demonstrated on home turf, and ultimately connect with the locally-based suppliers who can not only deliver, but also support the solution with technical, product and service expertise.” Those suppliers, of course, value the opportunity to connect with local print service providers in what is the sector’s largest 24

June 2019 - Australian Printer

Hustle and bustle of exhibition floor: PrintEx to be the busiest of the year

In August, print service providers will flock to Sydney to see the very latest in print at PrintEx19, which this year colocates with Visual Impact sign, display, wideformat and engraving show and the Label + Packaging Expo

and most comprehensive B2B business opportunity this year. There’s barely a metre of the vast 6000sqm exhibition space to spare at the Showgrounds for PrintEx, with a list of market leaders that reads like an industry who’s who. Visitors entering the Sydney Showground will be greeted by the show’s Platinum Sponsor, Roland DG, flanked by PrintIQ and Wilenco. Joining them in the central section of this hall will be Currie Group and HP, Mimaki, Konica Minolta, Epson, Ricoh, Fuji Xerox, Neopost, Pozitive and Hexis. Also under the dome, smaller stands will feature the latest from Böttcher, Europoles, Screen, EFI, RENZ, Trotec, Elizabeth Machines, Kissel + Wolf and Accura MIS among others. Straddling the two halls, Starleaton will have the show’s largest stand, giving visitors plenty to see on their way between exhibition areas and shows. While access to all three shows is both open and seamless, visitors continuing into Hall 2 will soon notice the transition to a more Visual Impact focus, with showcases from Spicers, Graphic Art Mart, AVS, Multicam, Celmac, Vivad, Print Focus, Alfex, ACCO and more. Further on, the Label +

Packaging Expo section will be headlined by Durst, on a sizeable stand befitting its position as that show’s Platinum Sponsor. They will be joined by luminaries in this industry including Esko, QLM, Hybrid Software, Label Line and Xeikon, among others – complementing solutions in this space from suppliers already covered, like Konica Minolta, HP and Currie Group. “The exhibitors at this year’s show represent a diverse range of technologies and innovations, from MIS and workflow solutions, through digital and conventional print systems and consumables, wide-format, sign and display solutions, label and packaging technologies, cutting, engraving and finishing options…virtually every aspect of our industry is represented. “Add to that a number of services, education resources, business advisors and industry organisations, and everything you need is under one roof.” Also on the same site – in fact, largely on the show floor – visitors can take advantage of the now well-known and popular PrintEx Forums, which Harper says brings a combination of information and inspiration to the show. “We have been quite ambitious with this year’s forums, combining keynote australianprinter.com.au

COVER STORY

at PrintEx 2019

Industry Revolution!’, to be held from 6.30pm on Thursday 15 August at the nearby Waterview at Picentennial Park. PrintEx 2019, Visual Impact Sydney and Label & Packaging Expo will be held at the Sydney Showground, Sydney Olympic Park, from Tuesday August 13 – Friday August 16, 2019. Visitors can register online, reserve their place at the Forum sessions of their choice, and access a wealth of visitor information and resources at www.printex.net.au

Do Expos Deliver ROI?

Major vendors in attendance: Currie Group, Konica Minolta, Epson, Celmac presentations at our Business@ Breakfast sessions, with panel discussions on some of the industry’s biggest issues, expert masterclasses with well-known names from Australia and around the globe, and practical workshops designed to boost knowledge and skills,” he says. Each day will be themed – day by day the themes will be Retail; Food, Wine & Events; Innovation; and Government & Education – and the Breakfast session upstairs will be complemented by an adjacent Market Stall display, where exhibitors will feature applications produced using their latest technologies. “The concept is something new for us, but it is intended to add interest, spark ideas and provide inspiration to visitors,” says Sarah Moore, business development manager for Visual Connections. “Introducing a daily theme gives us a focus to explore the potential for businesses in the sector, encourage new markets, curate some of our forum content into interesting programs with real-world application, and provide ideas and inspiration at the daily Market Stalls which will showcase applications related to the day’s theme. “PrintEx19 is as much about showcasing what print, australianprinter.com.au

sign, display and packaging businesses can do, as it is for suppliers to show us how it’s done,” she says. “Our exhibitors are always keen to demonstrate just how their products and services can be used to build business success, while visitors are keen to see how various technologies and innovations work in practice for their business. “The PrintEx, Visual Impact and Label + Packaging expos give visitors that genuine ‘B2B’ opportunity to gather information, see new technology in action, and speak to the product experts about their specific business requirements. By theming each day, providing a rich and diverse PrintEx Forum program, and bringing a stronger application focus to the event, we are providing further avenues for businesses and the industry’s leading suppliers to connect and collaborate.” Above all, PrintEx and its co-located shows will be a place to connect with colleagues, competitors and friends across the industry, not just in the aisles of the exhibition floor, but also at a range of events across the four days, ranging from two Super Rounds of the Hexis World Battle vehicle wrapping competition to the National Print Awards Presentation Dinner, ‘An

Is it worth making time to go to expos like PrintEx19, Visual Impact and Label + Packaging Expo? With businesses running lean, it can be tricky to set aside time for trade shows and events. But the evidence is that those who do make the effort to attend consistently value the experience. Here are the Top Ten reasons* why: 1. To keep abreast of industry trends 2. To look for new products and evaluate new technologies 3. To look for new or alternative suppliers 4. To see my existing suppliers 5. To get new ideas and inspiration for the future 6. To make purchasing decisions or source new products 7. To network with colleagues, competitors and business partners 8. To find the solutions to specific challenges in my business 9. To learn from seminars and forum sessions 10. To place orders – and take advantage of show deals More importantly, the vast majority of visitors – 80 to 90 per cent typically – feel they meet these objectives in coming to the show. At PacPrint17, more than 80 per cent of visitors said they were satisfied or very satisfied with the overall experience. After that show, some of the visitor feedback included statements from business owners, saying, ‘We consider our Continued on page 26 Australian Printer - June 2019

COVER STORY Continued from page 25

Venue at night: The Dome, Sydney Olympic Park days here time wisely spent’, ‘I have never been to a trade show where I haven’t found something I can take away; and some of them have been game-changers’ and ‘It’s a chance to confirm the direction I’m taking is the right one…It’s well worth taking two days out of my business to attend.’ In an increasingly dynamic and competitive market, industry expos like PrintEx provide connections, information, expertise, assistance and ideas, all under one roof. Which means that in all likelihood, you’ll get to tick a number of those objectives off if you make the time to attend PrintEx19 – and that’s real ROI.

Share the Potential of Print There are plenty of positives in the world of print and shows like PrintEx are a good opportunity for us to remind ourselves just how many opportunities we have in the sector. As industry businesses, it’s our job to seize these new opportunities and to promote the power of print so that we can nurture and grow these new markets. Over the past ten years, our industry has reduced in size by perhaps as much as 40% or 50% - partly due to the advent of digital channels with an immediacy and interactivity well-suited to markets like news and shopping. And yet, not only does print continue to hold its own as a valuable – and effective – part of the marketing mix, new digital technologies together with advances in areas like ink and 26

June 2019 - Australian Printer

media, have created a whole raft of new opportunities. The digital cut-sheet and wide-format markets, for example, are growing exponentially, responding to the demand for shorter-run, quick turnaround work, and a growing desire for customisation in everything from localised retail campaigns, to bespoke interiors, and personalised direct mail. At the same time, direct mail including catalogues continue to hold ground despite the naysayers, for the simple reason that print remains an effective, and cost-effective, way to gain attention for your brand and drive. So effective is letterbox mail, in fact, that we are now seeing online behemoths producing their own catalogues – most recently, eBay’s released a 16 pager featuring everything from technology and fashion to household goods, entertainment and even liquor, to drive customers online. Wide-format, too, has been a game-changer, with its ability to print to just about any surface. The latest advances will be showcased at PrintEx and Visual Impact, demonstrating just how versatile this technology has become. Coupled with an expanded range of media and substrates, this market category offers businesses an almost endless range of opportunities to expand their product range and create new revenue streams. Packaging and functional print, two of the industry’s strongest – and fastest-growing – sectors, will also play a key role at PrintEx – and of course, the co-located Label + Packaging

Expo – not only on the show floor but also in the PrintEx forums. This will give visitors a chance to take a critical look at how new trends are pushing the potential of print to its limits – and beyond, in fact, with technologies like Augmented Reality, which link the physical and the virtual, also featuring at the show. Critically, as a competitive market squeezes margins on traditional commercial print, many new technologies enable businesses to create new, highmargin products that promise improved profitability – albeit with some associated investment in the necessary technologies and skill sets. The fact-finding involved in researching investment decisions is, of course, one of the most common reasons for visiting PrintEx, with the typical visitor a business owner or key decision maker of a print, sign, display, label or packaging business. Yet there’s another category of visitor that really should be making time to attend the show – and that’s the end consumer. In our industry, there are so many trends, so much to see, that it’s easy to forget that our customers know even less about what’s possible than we do. Shows like PrintEx are the perfect platform for us to showcase the possibilities to our clients, whether they’re agencies, designers, exhibition companies, retailers, manufacturers, interior designers, architects…the list goes on. PrintEx this year will have a strong focus on applications, with a real attempt by the show’s organisers – and many of the exhibitors – to not only demonstrate how a particular product is produced, but to turn the spotlight on the potential applications themselves. Why not ask your customers to come with you to PrintEx this year? Take them to a relevant Forum session. Show them what your suppliers are doing with their technology. Walk them through the morning Market Stalls to see exciting applications. The more ideas and inspiration our customers get from PrintEx, the more we grow the market to everyone’s benefit. Sources

*PacPrint17 Post-Show Report australianprinter.com.au

FELLMAN

Farmers and Mechanics

hat do farmers and mechanics have in common? The reason I am asking is that I drove past the Farmers and Mechanics Bank last week. It struck me as a strange combination, but then I started thinking about the way the term “farmer” is used to describe some salespeople. In that context, the sales universe is made up of hunters and farmers, but now I am thinking that there is a role for mechanics as well.

What Farmers Do I have always had something of a problem with the farmer analogy. It is usually applied to a salesperson who services an established book of business. Farmers call on their customers, take orders, make deliveries and maintain relationships. The classic sales farmer is more about service than selling. If you compare that to what farmers-who-operate-farms do every day, the analogy breaks down pretty quickly. Real farming is about preparing the ground, planting the seeds, cultivating the plants and then harvesting them. Real farming is a highly proactive process. A classic farmer-type salesperson would probably not be very successful on a farm. Of course, in my experience, most farmertype salespeople are not making their employers very happy either. Why? Because businesses need new business. And while it is true that a farmer can service a growing account, experience has shown that to be an undependable model. Just as frequently, it seems, farmers manage shrinking accounts. We might even say, broken accounts.

What Mechanics Do That takes us to mechanics, who fix broken things. But that is not all. Mechanics also do a lot of “preventative” maintenance. Yes, you have to take your car to a mechanic when it is broken, but you will probably do that less frequently – and end up spending less overall – if you follow the recommended service schedule. Change your oil before 28

June 2019 - Australian Printer

DAVID M. FELLMAN

You need to grow your customers, not just service accounts Staying on top of problems: Preventative maintainance for clients key it stops lubricating. Rotate your tires before they break down from uneven wear. Get regular inspections to identify and resolve problems before they leave you sitting at the side of the road. OK, then, what is the service schedule for your typical customer? I recommend that we start here: Never let 12 months go by without expressing your appreciation for that customer’s business. And please note, that applies to a “typical” customer. Anyone who is atypical – due to their sales volume or any other factor – may require a shorter interval. Here is something else I would like you to consider. This is something I think every salesperson should be doing, but it also something that every printing company should be doing, especially for its most important customers. I have written in the past that too many companies abdicate “ownership” of their customers to their salespeople. The risk, of course, is that a salesperson could leave and take his or her customers along. I believe in “defensive” sales management, one element of which is that owners develop and maintain relationships with their companies’ most important customers. Can you think of a better way to anchor something like that than with an annual “Thank You” call or visit? Now back to the salesperson’s responsibilities. In addition to expressing appreciation, I think it is important that you establish an inspection schedule. That might be a self-evaluation. Do we have any problems with

Customer A? Have we met or exceeded their expectations since the last inspection? Is there anything I need to address in order to ensure our continued relationship? There is one problem with self-evaluation, though. You will be dealing not with facts, but with your own opinion. I have seen far too many situations where a salesperson thought everything was just fine, while the customer did not. Do not assume! If you are not 100% sure that a relationship is strong, ask the only person who really can be, your customer! What if you do have damaged relationships? That’s when a mechanic’s skill becomes paramount. What exactly is the problem? How did it happen? What will it take to fix it? More than anything else, mechanics are problem-solvers. I am sure you will agree that a damaged relationship is a problem that needs to be solved. A passive farmer might not do that, which leads to my final thoughts for today. Whether you are a hunter or a farmer, you need to have a mechanic’s mindset as well. And if you are a true farmer, you are not simply servicing your accounts, you are growing your customers! Dave Fellman is the president of David Fellman & Associates, Raleigh, NC, USA, a sales and marketing consulting firm serving numerous segments of the graphic arts industry. Contact Dave at dmf@davefellman.com. Visit his website at www.davefellman.com australianprinter.com.au

WIDE FORMAT +Plus June 2019

The 2019 Fespa Report l

Stand reviews l Product debuts l Major sales

WIDE FORMAT: NEWS

Orafol hires new managing director Orafol Australia has hired Alex McClelland as its new managing director, with the former Spandex and Mulford Plastics head having started the role this month. McClelland was a major shareholder at Spandex for 16 years, and was also the managing director and vice president, growing them to the top of the marketplace. With the conclusion of a two year non-compete

clause, in which McCelland did consulting work for other major companies, including Mulford Plastics, he has now been picked to head Orafol. On his decision to join the company, McClelland told Australian Printer, “I chose Orafol because I saw an enormous opportunity nationally for its products. There is a great team, and a solid foundation to grow the business from.

Adobe brings textile design to Photoshop

Mezographic makes major Durst buy

Adobe has launched a textile design plugin to its Photoshop software at Fespa, with graphic designers from Australia in the top three users of the Beta version worldwide. Adobe Textile Designer aims to simplify designing repeatable patterns, bringing the simplicity of Photoshop’s layered vector setup to new segments of print. In an exclusive interview obtained at Fespa, Mike Scrutton, director, Print Technology and Strategy, Adobe, was asked where the overlap opportunities there are for PSPs with graphic designers who may not have experience in textiles. He explains, “We have tried to make it easier for Photoshop users to make that transition. It has been useful for printing on textiles, and in the sign and display market, for people printing wallpapers.”

Melbourne’s Mezographic has purchased the Durst P5 250HS, the first of its kind in Australia, with the deal being finalised on day three of Fespa. The €750,000 investment by the wide format trade printer will include a presentation of its P5 at PrintEx. Frank Mezo, owner, Mezographic, says, “I saw the 250HS in beta stage a year ago at the Durst site and absolutely fell in love with it. Matt Ashman was showing me the Rho 1312, and I noticed the 250HS, and asked, what’s that? “It was the best UV digital print I had ever seen, and with the combination of the quality and speed that this is capable of, it is really the only digital printer that has excited me in the past two years.” Matt Ashman, sales manager Australia and New Zealand, Durst, says, “With speeds topping out at 600sqm/h it is a real

“The brand is wellestablished in Australia, through its previous sales channel, and is now selling direct to the marketplace, with many long-term employees within the company.” McClelland is not the only new hire planned for Orafol, as the new managing director reveals, “We will be looking at employing people with industry experience.”

As for his plans as managing director, McClelland says, “I am looking forward to significantly growing the business across Australia. “We are in an exciting, dynamic market, and we want to be placed at the top of the hill, as the preferred supplier to the high-end space. Technology has become forgiving, but there is still a demand for quality.”

Finalising the deal: Frank Mezo (l) with Matt Ashman (r) production beast.” When asked if he thinks he will make others jealous at PrintEx, Mezo laughed off the question, saying, “We are trade printers, so they can always send a job over.” Christoph Gamper, CEO, Durst, says, “The new P5 platform, including workflow software and advanced service tools, represents our key strategy to further invest into large format printing technology. We believe that

there is a lot to explore in this market space and the P5 250 HS is our first statement. In an integrated world, printers need to change as well. With the P5 family we provide tools for change and profit – and our firm commitment to continue to lead the innovation in the large format market.” At Fespa, Durst revealed that all of its new printer sales will include Durst Workflow and Analytics.

Outdoor Media Association elects new board The Outdoor Media Association has appointed industry veteran Charles Parry-Okeden as the independent chairman of the OMA and Move. Parry-Okeden takes over from Steve O’Connor, Chief Executive Officer of JCDecaux who is stepping down as Chairman after a five-year tenure. Charmaine Moldrich, CEO, OMA and Move says, “It has been an absolute 30

pleasure and privilege to work with Steve, who has led the industry in a period of unprecedented growth. Under his leadership, the industry has increased annual revenue from $602m to $927m. Steve has led a unified industry and worked on a variety of joint industry initiatives including plans to build a new audience metric, the OMA’s recent industry campaign Look Up, as well as the soon to be launched

June 2019 - Australian Printer

Core, the industry automated briefing and proposal tool. The industry owes him a debt of gratitude.” O’Connor will remain on the Board. Incoming Chairman Parry-Okeden is the Co-founder and Global Chief Executive Officer of Executive Channel Holdings, which owns Executive Channel Europe, Executive Channel Deutschland and Australian Media Channel.

Moldrich continued, “As we celebrate our 80th year as an association, we are lucky to be working with these outstanding industry leaders. The changing media landscape mandates that we harness the talent of our membership to keep growing the industry. “This will come in the form of new technology, as well as new solutions for media planners and advertisers.” australianprinter.com.au

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Heidelberg News Asia Pacific

June 2019

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PACKAGING: integrated, versioned and personalised Rainer Hundsdรถrfer CEO, Heidelberg

PACKAGING: HEIDELBERG NEWS ASIA PACIFIC

Packaging: integrated, versioned, and personalised of technology leadership, digital transformation and operational excellence.” Australian Printer interviewed Hundsdörfer, and discussed where the packaging market is now, where it is going, and how the company plans to navigate new waters and markets.

Heidelberg’s digitisation strategy transforms company into a 21st Century press manufacturer

he Global Financial Crisis (GFC) delivered an opportunity for the big offset press manufacturers to step back and to re-evaluate the companies they needed to become for the future. Heidelberg looked to digital transformation, and invested into the label and packaging sectors to secure the 169-year old company a future as bright as its past. As Heidelberg chief executive officer Rainer Hundsdörfer explains, it was a matter of changing the entire business model in order to migrate the company into a digital future. He says, “We made great progress in transforming Heidelberg into a digital company last year. The strategic focus is on the requirements of our customers and the endeavor to generate value added in terms of efficiency, profitability and success in a dynamically changing world. We have brought together the necessary strategic pillars in the three core areas

Rainer Hundsdörfer, CEO, Heidelberg

1. The picture shows the assembly of the Gallus Lablefire at the WieslochWalldorf site.

How does Heidelberg see itself working successfully with printing and packaging companies over the next few years? Customers are at the heart of our business, and our customer-centric approach is continually advanced. We have geared our portfolio towards the growth areas of our industry. It is based on products for prepress, printing and further processing, service, consumables and software solutions, with a strong focus on a digital future. Also and above all, the potential resulting from combining individual product portfolio offerings to create an end-to-end productive solution for customers must be leveraged to increase productivity and profitability for our customers and us. What we do – which is unique on the market – is to create a smart end-to-end system from a data-supported configuration of all equipment, consisting of machinery, software, service and consumables. In March this year our partner Masterwork

became an anchor shareholder with a long-term investment horizon that now holds around 8.5 percent of our shares. Taking the collaboration with Masterwork, which dates back to 2014, to the next level is also designed to open up further potential in the growing packaging printing segment, especially in China – the world’s largest individual market.

Do you see profitable opportunities for traditional printers to enter the package printing and converting market? Each print shop has to do its own business plan and decide what business model will be the best for it. However we will be the partner and our experts from Lifecycle Solutions are able to do the consulting and get all the data for an individual decision. Maybe the print shop has a steady growth rate and is therefore interested or fits into our Subscription model. Then Heidelberg will take care of all the machines, software, consumables and services and the customer is able to fully concentrate on their customers – whether they are in the traditional, packaging or label segment.

With print volumes declining, how does Heidelberg see the future for offset?

1 34 Heidelberg News Asia Pacific

Actually we do not expect declining print volumes in general. The worldwide figures show a stable development of the print production volume (ppv), which is currently €420bn and expected to grow up to €423bn in 2022. Also these figures show a stable development of offset: sheetfed offset contributes with around www.heidelberg.com

PACKAGING: HEIDELBERG NEWS ASIA PACIFIC

2 40 per cent to the ppv and this also remains stable, while packaging is the overall growth factor in our industry.

Why digitisation? Why has Heidelberg chosen to go in this direction? Digitisation is the key to stay successful in the future in most industries, and the print media industry is definitely not an exception. Future success is based on the possibility of collecting and utilising data from the solution system used by the customer. This data sheds light on the aspects of value creation and usage. It enables conclusions to be drawn on an ongoing basis about the use of the product portfolio. This in turn paves the way for new billing and business models from manufacturers, the continuous agile further development of the portfolio, and reduced investment risks.

What advantages and benefits will the digitisation strategy give customers? Industrialisation and consolidation in our industry will go on. Therefore, digitisation is not an end in itself, but the most important component in being able to continue to be profitable as a media service provider in the future. By digitisation and integration of all processes our customers get the full overview where they earn and most of all where they lost money. The Smart Print Shop that Heidelberg offers is a perfect interaction of people, machines, materials and processes. With our comprehensive Prinect production workflow, our management information systems for central operations management and the Heidelberg Assistant, which enables www.heidelberg.com

2. Smart Print Shop with the Heidelberg Assistant. 3. Driving automation in offset: Prinect Press Center XL 2

digital cooperation with the customer throughout the entire life cycle and assists in productivity enhancement with big data performance analysis, Heidelberg already has a digitisation solution that redefines the foundations of the customer-supplier relationship. Heidelberg has developed its software solutions towards a cloud-based subscription model. The more powerful digitisation becomes, the more productive the value chain of a print provider will be - from prepress to printing and further processing. Digitisation integrates the customers of the printing companies as well as the entire logistics processes with invoicing and delivery. This is all the more important as short runs and frequent job changes are in vogue, and print shop staff should be supported at this level of productivity.

How can this strategy help converters and packaging companies? Overall, there is not a big difference in what digitisation means for a commercial or a packing printer. For both the path is the same. Both have to walk the talk. However, folding carton printing is much more complex than commercial printing, simply because of finishing and issues such as serialisation, colour migration or colour constancy. Therefore, the quest for industrialised and digitised production started early here. Heidelberg is the only manufacturer to implement the integration of offset and digital printing including further processing via the Prinect workflow. This results in new business models for packaging printing such as Supply on Demand or Web to Pack.

Both technologies complement each other perfectly - offset printing scores points for longer print runs, and digital print shows its strength for shorter runs and orders with variable data.

Heidelbergâ&#x20AC;&#x2122;s offset and digital technologies overlap to complement each other. How does this work in practice? This works quite well and is a unique selling proposition also. We are able to serve the full value chain of our customers with a fully integrated smart solution from pre-press, press to postpress, including workflow, consumables, service and consulting. The customer can choose between offset and digital systems as it is best for their business model and we always help them to find out which investment supports the business best. And in addition with our digital system Primefire 106 we create new market opportunities for our customers. At Print China this year some 1,000 people visited the open house at Heidelberg customer Xianjunlong, where Web to Pack was demonstrated â&#x20AC;&#x201C; starting with the web-to-pack platform, then printing on a Primefire 106, and finishing off with the postpress processing systems from Masterworks a partner of Heidelberg. The same customer also bought a new Speedmaster CD 1028+L, assembled in our factory in Qingpu nearby Shanghai.

In packaging, what are the main challenges for Heidelberg? The trends in packaging are declining run lengths, and mass customisation

Continued on page 36 Heidelberg News Asia Pacific 35

PACKAGING: HEIDELBERG NEWS ASIA PACIFIC

Continued from page 35 through personalisation. The challenges are then individualisation and growing cost pressure as well as falling margins. Brand owners want maximum attention for their products at the point of sales through differentiation and embellishments. For all these we do have answers and solutions. With this range, Heidelberg cements its position as the leader in packaging printing and provides answers to current and future requirements in the age of digitisation. We make our customers more productive and therefore also more profitable. It all has to do with productivity. OEEs (Overall Equipment Effectiveness) values of over 50 per cent are absolutely achievable in the long term. This is made possible by lean, intelligently controlled processes that systematically minimise the influence of the operator on productivity and deliver real-time, transparent, and accurate performance data. What is important here is maximum integration without system breaks – starting from the customer all the way to the delivered product. The Prinect modules offer a variety of coordinated solutions here. To increase productivity and reduce process interventions, Heidelberg has been developing the innovative Smart Print Shop with the Push to Stop operating concept since drupa 2016, clearing the way for autonomous printing. Until now over 400 machines are already sold with this new concept. In packaging printing with its high complexity and many spot colors, navigated printing helps the operator to achieve the best possible result within the shortest time.

What can you say on the history of Heidelberg in the Asia Pacific region (ANZ, South East Asia/ASEAN) and where it is heading? In Asia Pacific Heidelberg has for many years been the dominant supplier with a plethora of equipment being installed across the entire region. With many Speedmaster VLF 162 cm presses in Indonesia, China and Japan to high tech Speedmaster XL presses in Australia, Japan and Korea the technology is a clear statement that high productivity, Smart Automation and data workflow is sought after by these mature and emerging markets. These customers value our unparalleled service infrastructure in Asia Pacific and our Saphira consumables which contribute to the

Australia and South East Asia. As you can see, our future-oriented activities in Asia Pacific are well under way.

Short term, how do you see print and packaging evolving over the next few years?

4. Growing with Gallus: Sonic Labels, India

high productivity of our equipment. The well-proven Speedmaster CD/CX press line is the largest seller in Asia. In all over 700 printing units are still sold each year in this region including China. With our Gallus presses we have a strong position in important label markets like Australia, India and South East Asia. In Australia we just commissioned two of our Labelfire digital systems for very short-run label jobs. Combine that with the full suite of prepress products and the MK finishing equipment and you have a powerful argument as to why Heidelberg is the partner of choice. This is a very sound basis for further growth in Asia Pacific. Growth markets such as Vietnam, Philippines and Bangladesh have started to value the Heidelberg offerings and this will add to important role Asia-Pacific is playing for Heidelberg. When it comes to Heidelberg’s innovations and new business models our customers in Asia Pacific are as excited as the ones in Europe and America. Take our new Subscription Model for instance. Our first user is a smaller commercial printer in India. The second contract is with a high quality and performance printer in New Zealand. This underlines that the interest in the Subscription business model spreads across all market segments and countries, whether emerging markets or more mature markets. A word about digital printing: Asian printers have always called for flexible and sturdy equipment. The environment in the print shops can differ from what we know from Europe or Australia. This is why you need to offer an extensively tested and reliable digital system in these markets. This stage we have now reached with our Primefire for the packaging segment and our Labelfire for the label segment. We have installed our first 106 Primefire in China and have already installed three Gallus Labelfire presses in

While print volumes are continuing to grow overall in the emerging economies, print service providers in the industrialised nations are facing a highly dynamic and rapidly changing market environment. There are also technological changes. Two-thirds of the ppv is created using sheetfed offset, flexographic and digital printing processes, and the trend is rising. Digital printing has steadily increased its share of the global printing volume to around 15 per cent since 2000, and the trend towards customisation means that it will continue to gain in importance, particularly in industrial applications. Flexo printing, an important technology on the packaging market, continues to benefit from the stable and significant growth in packaging and labels, and holds a share of around 13 per cent of global print volumes. With three per cent packaging print has the fastest growing range, while label printing has the greatest growth potential – mainly in the inkjet area – and commercial printing is developing stably.

What do you see as the three main challenges for the industry and individual companies in the near term and in the long-term? Across all areas of the printing industry, industrialisation and digitisation are driving structural change. To be highly competitive productivity is a key factor. This increases capacity utilisation and, ultimately, the overall effectiveness of the system.

How will Heidelberg help businesses to meet and overcome those challenges? Heidelberg is the leading provider in the industry that can guarantee digitised and industrial packaging production with a defect-free, standardised end result. As an end-to-end system provider of printing presses, consumables, software and consulting we are actively shaping digitalisation in our industry. Digital business models like Subscription will change everything.

Published by Heidelberg Australia (Heidelberg Graphic Equipment Ltd), PO Box 750, Mulgrave Vic 3170, Australia. Tel 1300 135 135 (Australia), 0800 684 684 (New Zealand). heidelberg.com info@heidelberg.com 36 Heidelberg News Asia Pacific

www.heidelberg.com

FESPA

Fespa brings fabric to the fore

Planning Fespa: Roz Guarnori, exhbitions director and Sarah Farrell, head of marketing, Fespa

he 2019 edition of the Fespa Global Print Expo 2019 welcomed 20,780 individual visitors from 137 countries over the course of four days. Walking around the six exhibition halls of Messe Munich, industry trends were clear to see: fabric and textile printing are increasingly replacing traditional materials in the sign and display sector, while on the machinery side, quality and speed are becoming less mutually exclusive across all vendors. Consistent with previous events, the host country delivered the largest national

Raised printing: Mimaki JFX200-2513 australianprinter.com.au

Wide-format show draws tens of thousands, with a significant Australian contingent

delegation of visitors at 25 per cent of the total number, with attendees travelling from across Germany, followed by Italy (seven per cent) and Austria (five per cent). As for the numbers of those travelling from Australia, Sarah Farrell, head of marketing, Fespa, shared some insight with Australian Printer. She explains, “We welcomed 125 visitors to the show in 2019. This has been gradually increasing over the last couple of years and of course is something we would like to see grow in the future. I received good feedback from the show from a few visitors I personally spoke to; there is plenty for them to see making it a worthwhile trip. This was especially the case for SGIAA members who have access to the Club Fespa hospitality lounge.” Roz Guarnori, exhibitions director, Fespa, says, “The overall attendance figures indicate that there is a sustained interest in an exhibition like Fespa Global Print Expo. However, what has been most rewarding is the feedback on how the show has delivered in terms of return on experience, which suggests visitors and

exhibitors are focusing more on the valuable insight and knowledge gathered from the show and its features, rather than thinking exclusively in terms of cost per lead or ROI. The response is encouraging, especially for an event that has always aimed to inspire and highlight the possibilities that speciality print has to offer.” Digital print machinery was singled out as the key area of interest for 41 per cent of visitors, followed by digital print consumables, 31 per cent. This is matched by the proportion of visitors interested in textile and fabric, demonstrating Fespa’s growing importance as an international meeting place for the textile printing and garment manufacturing communities. The show has undoubtedly grown over the years, as speaking to attendees in the halls, many describe the show as drupa for wide-format.

Seen first at Fespa EFI and Mimaki chose Fespa 2019 as the platform to debut their new flatbed printers, the Pro 30f and the JFX200-2513EX Continued on page 38 Australian Printer - June 2019

FESPA Continued from page 37 respectively, while Epson expanded its SureColor SC-S range with the addition of two new industrial output models, the SC-S60600L and the SC80600L. Roll-to-roll printing was another key area of innovation, with Canon unveiling its latest system, the Océ Colorado 1650, while swissQprint launched Karibu, its first roll-to-roll printer. Durst introduced its own modular software solutions – Durst Workflow, Durst Analytics and Durst Smart Shop – to provide customers with an automated production unit ‘from pixel to output’. Elsewhere, textile print saw some significant hardware announcements, such as the debut of HP’s flagship 3.2m-wide Stitch S1000 dye-sublimation printer. Kornit Digital displayed for the first time the Kornit Atlas, a heavy duty system created for super-industrial garment decoration businesses, and the Kornit Avalanche Poly Pro, featuring the company’s NeoPoly Technology, the industry’s first digital, industrial process for high-quality polyester printing.

Bright display of colour: Agfa stand at Fespa 2019 Fujifilm demonstrated its latest iteration of the 5m Acuity Ultra, showing the flexibility of its newest grand-format printer. Running on the stand with a dual-CMYK print head setup, attendees saw first hand the print quality possible at blistering speeds of 400sqm/h.

Print Make Wear With a dedicated hall set up to demonstrate the end-to-end process of producing clothes, Print Make Wear featured a live production environment showcasing each step in the screen and digital textile production process. From initial design to finished garments and accessories, design and technology experts were on hand to explain each step of the processes within fast fashion production, which underpin the new dynamic of demand and supply in the fashion industry. The processes of zips, labels, buttons, cutting, embroidery, folding and packing, sewing, welding, were all demonstrated, giving PSPs an understanding of how they can be incorporated within a business, and exactly what is required. The immersive experience is a must-see for those considering on pivoting towards textile printing, and personalised clothing, where the margins are higher than commercial print.

From the exhibitors

Beyond two-dimensions: Massivit 3D 38

June 2019 - Australian Printer

Speaking to Richard Barrow, senior product manager, Production LFP, Europe, on the stand, he says, “This year has

been crazy busy. We have been coming to Fespa for a few years now but this has blown our socks off in the amount of traffic that we have had. Hopefully it is because of our new printers, but I also think it is because we have a growing reputation in the sign and display market for TCO, quality, and reliability. “There have been a lot of people at the show here to do real business, not just browse. The event has been fantastic.” Ashley Playford, national sales manager, Graphic Arts, Fujifilm Australia, says, “The general feedback I have been getting from people is that they have seen a massive increase in quality, not just from Fujifilm, but from everyone. “Then there have been huge speed increases. We are printing in one-pass, but the physical quality of the print is phenomenal. Comparing it to a machine two years ago, it is chalk and cheese. There has been a definite improvement in quality and speed.” From the perspective of Lina Hakansson, R&D application specialist, Esko, “The trend from Fespa is fabric, with more businesses than ever printing on it. “Soft signage has a bottleneck in the preparation of files and this is where the Esko software comes in. We can help out with manual preparation through to automated, adding cut lines, stepping and nesting files with minimum waste and bleed.” For those looking to purchase a machine or gain inspiration, Fespa is a must-see show, with the excitement and buzz in the air palpable for all attendees. australianprinter.com.au

FESPA

SGIAA brings Aussies together

Celebrating: Nigel Davies, SGIAA; Frank Mezo, Mezographic; Robert Skene, Wayne McIntyre, Celmac

ustralians attending Fespa celebrated as a group, through a networking night organised by Nigel Davies of the Specialty Graphic Imaging Association of Australia (SGIAA). The Fespa member organisation brought people from Australia and New Zealand to Club Fespa, with those in attendance talking about trends, the buzz around the show, new product launches, and old friends. Show veterans and first timers got to mingle and swap stories. Davies says, “We are here to support people in the industry. The future of our industry is getting suppliers and printers together. The expertise lies with the suppliers in our small country, and there is a mutual relationship there. “Participating with Fespa and other countries we do not have to reinvent the wheel to solve industry issues. Globally there is a lack of young people entering print, and it is being addressed by other countries, and we can learn from them. “We are about bringing the world closer to us, where as a part of a global network your problems can be solved. You can be one of us. australianprinter.com.au

Australian Printer speaks to the printers that made the trip, to see where they found value

“When you bring people together in events like this, you realise you have much more in common than you can believe, inside and outside of business. You are not alone, and our goal is to facilitate these networks.” Australian Printer spoke to those in attendance to get an understanding of the value of the show, and their perceptions on this year's edition. For Pamela Manell, CEO, T-1 Print, “It is the first time I have attended Fespa, I am not here to buy machinery, but it is interesting to have a look at what you can buy next time. With the Fespa awards, there is such stunning print on display too.” Aaron Pryde, executive director, Charles Parsons, said, “The quality and innovation, and new things to be seen are always interesting. I have been to Fespa a few times but the Durst stand has stood out for me this year.” The purchaser of a new Durst P5 250HS, Frank Mezo, the owner of Mezographic, said, “It is only our first day here, but it is a big show, even by Fespa standards. We have been here a few years before.” It is not always about equipment, but applications too, as Michael O’Neill, CEO, Badge World, explains, “I have been coming to Fespa for 10 years, I

get a lot of inspiration here and get to take ideas home.” Fabric was a key theme at the show, and David Asker, owner, ImageBox Group, contends, “This is my fourth Fespa, the quality of the textile fabric printing has taken a new leap from previous years. It is such an important part of the industry now. On the supplier side, Michael Liveris, national equipment manager, Graphic Art Mart, said, “There has been a great turnout, we are here for the Massivit, it has been exciting. We are looking forward to PrintEx now.” For Ashley Playford, national sales manager, Graphic Systems, Fujifilm, cited what he has heard from the floor, noting, “Our feedback is that the quality of the print is exceptionally on all machines, and they are really matching quality and speed now. John Buitenkamp, product manager, Starleaton, said, “We usually do not have time to look around at the whole show. There are a lot of Australians here, it is incredible how many come out. I have lived in Australia for three years and used to work for a German company. It is surprising how many people come from Australia. Not as many customers from the US will come here.” Australian Printer - June 2019

FESPA

From down under to Europe

anell, amela M P ; A IA SG esident, deral pr fe , s ie v a Nigel D Print CEO, T-1

Wayne McIntyr e, managing di rector, Celmac

manager, tional equipment Michael Liveris, na Graphic Ar t Mar t 40

June 2019 - Australian Printer

(l-r) Aaron P Odendaal, mryde, executive direct Cactus Ima anager, CT Signs; Nigor, Charles Parsons; X John Previteging; Cleiton Schneide el Davies, general m avier an r, ra, director, Display Sys sales executive, Starleager, tems Austra aton; lia

CEO, Michael O'Neill,

Badge World

(l-r) Tim Hould consultant, Pr en, chief executive, APC Innovate; Dav int POS id Atchinson, australianprinter.com.au

FESPA

Aussies celebrate Fespa

Jennifer Bur ley, All About Group Graphics; Dav id Asker, Imag e Box

s Imaging nager operations, Cactu Keith Ferrel, general ma

Tanya and Fran k

Mezo, Mezogra phic

, er, Print Media nal sales manag tio na s, rn Bu t Bret Ricky Richards

stralia; Cleiton Display Systems Au r, to ec dir , ra ite ev ton (l-r) John Pr executive, Starlea Schneider, sales australianprinter.com.au

(l-r) Trent Wolf, productio n manager, The Works; owner, SW Graphics Steven Woods,

Australian Printer - June 2019

FESPA

Durst: from pixel to output Latest P5 platform complemented by bundled software, which will be rolled out to existing customers

he Durst stand at Fespa featured white tiled flooring, a second story section for business meetings, and the company’s latest launches: the P5 350 and P5 210. Offering automatic detection of media width and thickness, and an intelligent multiboard infeed for up to six boards simultaneously, Durst says its P5 reflects the core values of productivity, print quality, versatility and efficiency. The P5 left the show with its own European Digital Press Association (EDP) Award, with the association complimenting Durst for its foresight for meeting the needs of the market with its preemptive diagnostics and advanced software. The EDP report pointed to the compact and robust design of the P5 multi-roll option, patented quick printhead change, and fast media reel loading by two positions for single and dual rolls and foldable roll tables. Durst also launched its own modular software solutions, Durst Workflow, Durst Analytics and Durst Smart Shop, to provide customers with an automated production unit which covers from pixel to output. All new press sales will include consulting, training and integration through Durst Professional Services.

Launching the suite of Durst software: Christophe Gamber, CEO, Durst Even older Durst devices will be given a roll out of the new software, explained CEO Christophe Gamber to Australian Printer at the show. He says, “From this point forward, even the older machines will have access to the software, with the rollout to take place in a certain order. “I am excited that as a printer manufacturer, we have been able to go beyond the printing engine onto greater platforms. “The P5 is Durst's technology and innovation platform for large format specialists. In 2018, we set a print quality standard with the P5 250 HS, and, in the meantime, we developed new printer solutions to streamline processes for our customers.” With the P5 350 (print width up to 3.5 m) and P5 210 (print width up to 2.1 m), the company adds two new hybrid solutions, able to print on both roll media and boards.

The multiroll option allows users to load rolls during printing to reduce setup times and increase efficiency. Both print systems offer the highest print quality of up to 1200 dpi, multi-track options for up to 6 parallel boards, automatic media width and thickness detection, foldable and smooth-running roller tables and a secure ink refill system. Both printing systems can be equipped with peripheral systems for three-quarters automation to full automation.

Mezographic pick P5 250 Melbourne’s Mezographic has purchased the Durst P5 250 HS, the first of its kind in Australia, with the deal being finalised on day three of Fespa. The €750,000 investment by the wide format trade printer will include a presentation of its P5 at PrintEx.

Durst Software Ecosystem All P5 printing systems are equipped with the new production software solution Durst Workflow Print and the monitoring tool Durst Analytics. This makes the printer into a production unit from day one. • Durst Workflow Print: A smart and streamlined solution for managing print production. 42

June 2019 - Australian Printer

• Durst Workflow Plus: Expansion with extensive PrePress functionality for fast and flexible data preparation. • Durst Analytics: Web-based monitoring tool for collecting job statistics and relevant production data. • Durst Analytics Plus: Server-based monitoring software for networking

multiple printing systems and integrating with production planning or ERP systems. • Durst Smart Shop: Webshop software with calculation tools, realistic 3D preview and print-specific product configuration. • Durst Smart Shop Plus: Extension with graphical online editor. Customers can create print layouts directly in the browser. australianprinter.com.au

FESPA

EFI brings Pro 30f for worldwide debut FI had a clear focus on its stand for Fespa: the launch of its latest flatbed for the sign and display market, the Pro 30f, and the way in which its products operate within an ecosystem. Beyond having arguably the best barista and coffee at the show, the stand was consistently packed throughout the four-day exhibition, with a prime location at the entrance to one of the six halls. Responding to market requests, the new EFI Pro 30f flatbed printer on show was designed with a three by two metre bed, and is the first EFI printer to give users the ability to print on media up to 10cm thick, double what its predecessor the Pro 24f could handle. It provides commercial printers and sign shops with more application possibilities with four colours plus dual channels of white standard and multi-layer printing. The printer also features EFI UltraDrop Technology with variable grayscale 7-21 picolitre imaging, which the company says gives precision dot placement, better colour gradients and smoothing capability. The printer includes a newlydeveloped intuitive graphical user interface (GUI) to better manage the layout of media on the flatbed. And, the GUI enables easier nesting and set-up for double-sided applications. The new Pro 30f at Fespa also featured an EFI Fiery proServer Core DFE with Fast Rip

Local representation: Daniel Aloi, senior regional sales manager, APAC

It was almost impossible to navigate the EFI stand at Fespa, with the sheer volume of visitors

Demonstrating print quality: Ken Hanulec, EFI australianprinter.com.au

acceleration technology. Ken Hanulec, vice president marketing, EFI, said, “It was a great vibe and buzz with the sheer volume of people. There is a theme I have uncovered; they are trying to either drive greater productivity into their factories, or move towards things they can not currently do. “For some, this means highvalue applications with white ink technologies, clear ink technologies, or integrated endto-end workflows. “The 30f is our next generation flatbed. It has a fullsized bed, which is particularly important for the Asian marketplace, able to handle full two by three metre boards. “We added double the amount of print channels, CYMK times two, or four channels of white. It has six multizone vacuums for industrial based applications.” Hanulec explains the significance of the increased print height from 5cm to 10cm, noting “It opens up a lot of applications: wood, metal, synthetic stones, flooring, the possibilities are limitless. The feedback we have received throughout the show has been outstanding. “We also enhanced the ink delivery system, while staying with LED based curing, and Ricoh Gen IV printheads.” Australian Printer spoke to Hanulec about what the acquisition by private equity

firm Siris Capital will result in. He says, “I have met the principals at Sirius Capital. They are a strategic investor. The way I see it, we will go from having around a few dozen shareholders to one. “They will take a longerterm view. With being a public company, there are short-term demands, 90-day periods. “We will remain true to our core mission for the past 30 years, to accelerate the analogue to digital conversion of high value print applications.” The switch from public to private makes sense from a purely economic viewpoint. The demands of a publicly-listed company in terms of compliance, accounting, and legal advice would cost millions of dollars per year for a company the size of EFI. It is money that can now be shifted to grow productivity and the business. Hanulec concludes, “It is a challenging environment as a business matures, you need to be smarter and drive efficiency and productivity into your factories. EFI has a full end-toend workflow, from customer acquisition, into the factory, to Fiery, out to the printer, and we understand the costs with ink, media use, and time used to print. It lets you understand what has happened in each job, and all the data that drives the factory.” Australian Printer - June 2019

FESPA

Epson brings pouches to SureColor

pson has given its first worldwide preview of the SureColor L series printers at Fespa, the first in its production printer range to adopt to pouchbased inks instead of its usual cartridge system. It also revealed that it is opening up its PrecisionCore printheads to other manufacturers, and is open to be working directly with them in collaboration. The SC-S60600L and the SC-S80600L are both 64inch devices, feature Epson PrecisionCore TFP printheads and will be supplied with Epson Edge RIP software and the LFP Accounting Tool, which the company says will provide accurate job costing data. Richard Barrow, senior product manager, Production LFP, Europe, Epson, says, “This year has been crazy busy. We have been coming to Fespa for a few years now but this even has blown our socks off in the amount of traffic that we have had. Hopefully it is because of our new printers, but I also think it is because we have a growing reputation in the sign and display market for TCO, quality, and reliability.

Demonstrating the economic L-Series: Richard Barrow, senior product manager, Production LFP, Europe, Epson

New ink delivery system lowers cost of ownership

“There have been a lot of people at the show here to do real business, not just browse. The event has been fantastic.” Explaining the benefits of the L Series, Barrow says, “We are doubling the capacity of the ink from the cartridge models. It reduces the total cost of ownership by lowering the ink price per unit. It is a 1.5L foil pouch, which is vacuum sealed. “The ink is held underneath

Ink pouch sitting underneath printer: Epson SureColor S80600L 44

June 2019 - Australian Printer

the printer, designed so that it does not expand the footprint of the devices for small print shops. “It uses a pump system to drive the ink through the print, while also conditioning the ink, maintaining the right temperature through fans, which also ensure no dust enters the device. You get a consistent ink feed and quality throughout the entire pouch.” As for what had most excited customers on the stand, Barrow explains, “For us, the most enquired about topic is our demonstration of printing onto synthetic leather. We are using our S-Series models, and eco-solvent type ink alongside a partner called Ecotex. They are driving a synthetic leather printing solution by using optional heating software, along with the Dev Studio software, developed to print onto synthetic leather. “There is a unique chemistry to their materials. You can print on any synthetic leather, but for the quality we have demonstrated on the stand, there is chemical harmonising that needs to be done. They have developed the recipe that works best over different models. “They have worked out that the Epson GS3 ink, with its high chromaticity and low volume of ink required to make a print, gives the most durable, quality driven results.” australianprinter.com.au

Stand C18

Speed & Precision. A W inning Formula.

THE EPSON PRODUCTION SERIES, A COMPETITIVE ADVANTAGE

• Superior performance with production at up to 38 m 2 /hr • Superior colour with TEN inks & FOUR levels of black • Superior media support with advanced auto tracking • Reduced running costs with low power consumption • Integrated high-speed auto cutter • Optional auto take-up, 320GB HDD & high-speed Postscript ® • Comprehensive warranty with flexible cover up to FIVE Years

For more information visit:

SureColor SC-P10070 (44” )

www.epson.com.au/production

SureColor SC-P20070 ( 64” )

FESPA

Kornit Digital: Award wins, APAC success n an interview with Australian Printer, Kornit Digital CEO Ronen Samuel has revealed that the company has seen its APAC region revenues double, while revenues globally have risen by 22 per cent. Kornit has seen its Q1 profit increase from US$15m in the prior corresponding period to US$17m in the first quarter of 2019. Discussing the shift towards textile, apparel, and fashion printing, Samuel spoke on global trends, including commercial printers finding success and high margins in new markets. He explains, “Everything is changing in the textile, fashion, and apparel markets. Consumers want to connect to their identity, and express themselves, they are doing it through online e-commerce. It is booming because you buy whatever you want, and then return it if you do not like it. “What we see now is that many graphic arts printers, whether they’re in labels or commercial print, are starting to enter garment printing. Many already have the infrastructure to talk to consumers, with online web portals, W2P, and the logistics set up. “Customers can ask for new products, not only business cards or brochures, but for printing on t-shirts. For them, Kornit has a great solution, as it is easy to use and offers quality. We see more and more graphic arts printers moving into the segment.” While digital communications have replaced many commonly sold print products, including advertising, there are no such trends that can be seen in textile printing. Samuel says, “Commercial print is declining, there is a huge pressure on margins, with huge competition. Print is being substituted by digital communications. This will not happen with clothes; people can not walk around naked. “There are more people in the world, standards of living and salaries are rising, and people want to express their identities through their clothing, with more personalised clothing. The margins are great, as a premium product they will remain great. 46

June 2019 - Australian Printer

104 per cent growth in Asia Pacific in Q1 2019, part of 22 per cent revenue growth from the previous year

“People are willing to pay more for shirts that they can connect to. “This is why we see many graphic arts and commercial printers moving into printing on garments.”

Award winning DTG solution The Avalanche PolyPro made its European debut at Fespa, and picked up a European Digital Press (EDP) Award, catching Kornit off guard, as it says it did not even nominate the DTG printer. In their decision, the judges noted, “The Kornit NeoPoly technology is a breakthrough when it comes to printing on polyester textiles. With a new pigmented PolyPro ink, it is possible to print directly on polyester (sports) clothing, and thanks to the white ink it is also possible to print on coloured textiles.” Samuel says, “The Avalanche PolyPro solution is focused on the athletic and athleisure market, printing on polyester. It is the fastest growing market within apparel. Sixty per cent of t-shirts are polyester, mainly

used for sports, but we see people even grocery shopping with their sports shirts, because it is more convenient. “Today, to print on polyester is complex. There was no digital solution, with everything being produced using analogue screen printing, where you would have to put a few layers of blocker, then white, then the colour. As a result the material would become thick, and heavy, and you cannot breathe through it. You lose the benefits of the material, and the printing process becomes expensive and complex. “We worked for many years to solve this, and came up with a new solution that combines new inks, fixation, and a bonding engine, along with new software. Now you can print on polyester in an efficient way, with more durability and sustainability than you could conventionally. “With the latest technology, you can penetrate the promotional market, where the screen technology is currently operating, but also the main brands. “The quality of digital print now meets their demands, along with the cost per print.”

Seeing opportunity for commercial printers: Ronen Samuel, CEO, Kornit Digital australianprinter.com.au

FESPA

Esko brings high-speed finishing

n the stand for Esko and ready to answer any question was R&D application specialist Lina Hakansson, who specialises in the company’s Kongsberg range. She says with more printers shifting to fabric, soft signage, preparing files can be a bottleneck, which is where Esko software comes in. “We can go everywhere from helping out with manual to automated preparation, adding cut lines, stepping and nesting files with minimum waste and adding bleed. With fabrics, bleed is particularly important as there is a lot of shrinkage, while adding it is time consuming.” Discussing the latest from the company, Hakansson says, “New for the show is the motorised roll feeder for the soft signage industry, focused on textile materials. “We are showing it together with the take up units that were released about two years ago. Combining the two, it is now a full roll-to-roll solution, featuring an active motor.

Talking textile finishing: Lina Hakansson, R&D application specialist, Esko “It also has edge recognition for straight feeding and tension control, and a spreader roll to make sure the material comes completely flat on to the table. This is all important when it comes to accurate cutting of textiles. “We can fully automate the entire process, with software preparing large enough files so that the print run can be uninterrupted on one full role.

That is why we have introduced a motorised roll feeder with 300kg capacity. Bigger rolls mean longer print runs. “We have also been discussing out Kongsberg C Edge mid range machine. It is able to be fullyupgradeable to the C model if you find yourself needing faster cutting speeds, meaning you can add capacity without needing to purchase a new table.”

New Massivit CEO debuts at Fespa

rez Zimmerman made his first trade-show appearance as the CEO of Irsaeli 3D printer manufacturer company Massivit, on a stand which features samples of what the technology is capable of in the sign and display space. Speaking to Australian Printer, Zimmerman says, “If you look around the show, excellent vendors are delivering great printers at high speed and high quality for flatbed and textile, but Massivit brings something that is totally different to the marketplace. “That is the ability to produce 3D models quickly, that are suitable to the visual communication and sign and display industry. Every campaign around the world that is currently using commercial printing can also work together in a complementary way in conjunction with 3D printing and 3D models with Massivit. “We have a customer in Australia – Composite Images, australianprinter.com.au

Showing print at scale: Erez Zimmerman, CEO, Massivit using the Massivit to promote the latest Nespresso machine in a display – printed on a big scale and you still see flatbed printing around it, but what the Massivit does – is it brings something new and complementary. “The key advantage is for advertising and promotion, in parallel to 2D you have the addition of 3D which has 10 times the amount of stopping

power.” Massivit machines are sold through Graphic Art Mart locally. Michael Liveris, national equipment manager, Graphic Art Mart, says, “I have known Erez for 10 years now, he is knowledgeable, thorough, and he will lead Massivit very well for future growth and technology advances. “We released the Massivit Pro, which has a higher level of detail in printing capability, and Composite Images has already been upgraded, reflecting the openness of the upgrade path. “Any Massivit sold in the past four years has been able to be upgraded to the latest technology, you will not have redundant hardware when improvements are made. They have also released a new gel which is 33 per cent cheaper than the original. “I feel they are meeting the needs of the customers, both in technology advances and reducing the costs of the gel.” Australian Printer - June 2019

FESPA

Fujifilm brings dual-CMYK to Ultra

High-quality, or high-speed: Printers can pick what is most important for them, explains Ashley Playford, Fujifilm

ith a stand featuring high-quality indoor print applications, and the 5m Acuity Ultra, Fujifilm showed the flexibility of its newest grandformat printer. Running on the stand with a dual-CMYK print head setup, freshly launched at the show, attendees could see first hand the print quality possible at blistering speeds of 400sqm/h. This is a significant increase from the previous Ultra set up, which printed in three pass at 230sqm/h. Ashley Playford, national sales manager, Graphic Arts, Fujifilm, explains, “For outdoor applications, it is very suited. It was an area where we had a lot of flexibility in the machine, and we were very fast at high quality. Now we have that raw output speed as well. “You can buy a machine that will do DuraTrends, high-end quality wallpaper, textile, and also billboards at market speed. It has finished off the whole product.” This makes the Ultra platform fully upgradeable. For printers that have already purchased a six-colour machine, there is the option to change it out to dual CMYK, including those who have white ink channels. 48

June 2019 - Australian Printer

Upgradeable chassis offers on-site flexibility, users can focus on quality or speed

Playford says, “Like the Onset, the whole chassis is upgradeable. Whatever we do, you can upgrade in the field, which gives flexibility for customers. “Those who saw the machine at its launch last year, and have watched the product closely, have seen the progression, and we will get more in the market following Fespa.”

Improving ink adhesion Fujifilm is also bringing a new high-adhesion ink for the Onset series of flatbed printers to market. With ink adhesion on plastics like corflutes, which are difficult to stick to, PSPs generally have to tweak the curing, or slow the machine down, which can have an impact on productivity, explains Playford. He says, “We now have an ink that sticks very well, and cures quickly to these plastics. We expect to see great things from it, and it will be in the Australian market soon. “They have worked on the chemistry, polarising the monomers, controlling the angles that they cross link on, and getting very good mechanical adhesion. “There have been changes

made with the photoinitiators, but have not put anything extra in the ink, like an adhesion promoter which can damage the heads, but have instead refined the chemistry. “They have done it the right way, it has taken time to get it right. “We first saw the ink 18-months ago in the beta stage, we showed it to a few people and they were blown away. “It has taken that time to validate it, ensure it is right for the market, and that it will not affect the printheads. “R&D has soaked all the components of the machine that the ink touches, trialling it at different temperatures, to see what it does to the components. A lot of effort has been put into R&D to test before we go to market.” As for the trends seen at the show, Playford says, “The general feedback I have been getting from people is that they have seen a massive increase in quality, not just from us, but from everyone. “We are printing in one-pass, but the physical quality of the print is phenomenal. Comparing it to a machine two years ago, it is chalk and cheese. There has been a definite improvement in quality and speed.” australianprinter.com.au

Stand F37

Acuity AcuityUltra Ultra Outstanding OutstandingUV UVsuperwide superwideplatform platform

Acuity Acuity Ultra Ultra atat aa glance glance

Achieve Achieve new new levels levels of of quality quality and and speed speed in in superwide superwide roll-to-roll roll-to-roll printing. printing.

3.23.2 and and 5 metre 5 metre options options

The The Acuity Acuity Ultra Ultra is not is not only only ideal ideal forfor outdoor outdoor applications applications such such asas billboards billboards and and signage, signage, it is it also is also perfect perfect forfor high-end high-end indoor indoor displays displays where where close close viewing viewing requires requires images images to to bebe exceptionally exceptionally clear clear and and vibrant. vibrant.

UpUp to to 236 236 m2m2 perper hour hour

Featuring Featuring impressive impressive cost-in-use, cost-in-use, it gives it gives you you the the power power to to profit profit from from interior interior and and exterior exterior applications applications where where high-impact, high-impact, near-photographic near-photographic quality quality is desired. is desired.

3.53.5 picolitre picolitre grayscale grayscale printheads printheads

6 colours 6 colours asas standard standard (CMYK (CMYK plus plus lights), lights), white white option option

0.10.1 to to 2.02.0 mm mm media media thickness thickness Linear Linear drive drive system system Chilled Chilled vacuum vacuum table table

ToTo find find out out more: more: visit visit www.fujifilm.com.au www.fujifilm.com.au or or email email ffau.graphics.marketing@fujifilm.com ffau.graphics.marketing@fujifilm.com

Powerful Powerful and and intuitive intuitive graphical graphical user user interface interface

FESPA

Ricoh debuts DTG, latest printheads

t Ricoh’s fourth Fespa appearance, the booth was bright, vibrant, and engaging, with the company focusing on its key message: innovation. The proposition, explains Graham Kennedy, head of commercial inkjet, Ricoh, is that by partnering with Ricoh, the company can help you to be profitable. It flipped a common industry trend on its head, while for years sign and display equipment manufacturers have sold their machines to copy shops and printers, Ricoh is instead looking at selling its cutsheet devices to PSPs in the sign and display space. Kennedy says, “We have our cutsheet digital press at the show, which some people may think is strange at a sign and display focused exhibition. Years ago, the sign and graphics markets would go into copy shops and printers, and talk about expanding their range with wide-format and roll-toroll. “We are now flipping that on its head, going to sign specialists, and explaining the capability of toner printers. Take a look at our capabilities, see what a device with a fifth colour can do, as the output is eye-popping and vibrant, particularly with neon pink, yellow, white, or invisible reds. “The output from here is a real revelation for sign specialists.”

At Fespa, the company’s Ri 1000 made its panEuropean debut, yet to be shown in Australia

46sqm/h in high-quality mode. “It is versatile, with the ability to print on wood, metal, glass, composites, and all the other media you would expect in the sign and display arena. We have showed our new Pro-L 5100, on the booth in two configurations, a 2x CMYK, for enhanced productivity, and a CMYK+W for enhanced application versatility. That white gives you an opportunity to print on clear medias, for things like window graphics. Both operate with low temperatures, so the application flexibility applies to more sensitive media, and thinner media, that other latex printers can not, due to their heat sensitivity. On the stand was also the company’s Ri series of DTG printers. “It is all about a great user experience,” explains Kennedy. “It is simple, intuitive, with a straightforward graphic display. It offers high productivity, quality, and versatility, with a large print area and platen.” There are options for shoe platens, and cap platens to expand the Ri 1000’s print capabilities. Kennedy says, “It is magnetic, so the transition between applications is quick and simple.

On other products, there are screws and mechanisms to undertake. This makes the user experience better, and gives a lot more productivity.” Ricoh acquired ColorGate in October, and demonstrated how it is now leveraging its expertise across the product range. Kennedy explains, “Customers can invest in any Ricoh solution, with a ColorGate production server, and the link all of their devices, through the common platform. This includes competitor platforms, as you do not know what a new customer might have in their print shop. “When you are dealing with a big brand, colour is important. We can optimise the output, independent of device, technology, and media type, to make sure it is consistently high quality across all the different devices, minimising the Delta E between them. “We make printheads and software available to the OEM market. Walking around Fespa, you see leading vendors in the sign and graphic space, textile markets, all using the Ricoh printheads to drive and optimise their print solutions. “We have showed three new printheads, including the MH5320, our new Gen 6 printhead.”

Small footprint flatbed Ricoh brought its new roll-toroll Pro L5160 latex printer in two different ink combinations, the just-launched Ri 1000 DTG printer and the latest Pro TF6250 UV flatbed printer, featuring a smaller footprint but the same productivity. Kennedy says, “If UV is your thing, we have the new Pro TF6250, which sits just below the Pro T7210 that we introduced last year. It is smaller, more compact, with a bed size of 2.5m x 1.3m, but you do not have to compromise on productivity. It is the same shuttle, with 12 Gen five heads, delivering up to 116sqm/h of output in draft mode, and 50

June 2019 - Australian Printer

Demonstrating substrate diversity: Graham Kennedy, head of commercial inkjet, Ricoh australianprinter.com.au

australianprinter.com.au

Australian Printer - June 2019

FESPA

Roland DG brings widest ever portfolio

oland DG Corporation featured its most extensive portfolio of innovative technologies at the 2019 edition of the show, reflecting its role across the sign, textile & décor, industrial and retail markets. Taking pride of place on the booth was Roland's latest: the new TrueVIS VG2 Series. The duo of printer/cutters – VG2640 (1625 mm) and VG2-540 (1371 mm) – feature a new inkset, including TR2 Orange ink, for what the company calls an incredibly wide colour gamut, with superb colour matching capabilities, and six-hour outgassing for high-quality same-day finishing. The VG2 series also took home an EDP Award in the Print & Cut category, with Gillian Montanaro, Head of Marketing for Roland DG EMEA, commenting, “We are absolutely thrilled to have won the EDP Award for ‘Best Print & Cut

Bright, bold stand features personalised print opportunites, and the EDP award winning VG2

Winning EDP Award: Alex Wheatcroft, Roland DG, with the TrueVis VG2 Solution’ with the new TrueVIS VG2 series. “When we launched the VG2 series just a few months ago we were ready to show the industry something special, a solution that could genuinely change print professionals’ working lives in terms of colour quality, turnaround speeds, reliability, longevity of their output and much more. The EDP Awards are widely regarded as the most prestigious awards for the digital print business in Europe so the title of ‘Best Print & Cut Solution’ absolutely reflects how incredible this machine is.”

Profitable personalisation

Personalised print: Surface and substrate flexibility

Visitors were challenged to decide 'Is It Real Or Printed?', with interactive demonstrations showcasing the VersaUV LEF2-

200's ability to print authentic finishes on materials, including PVC and plastics, canvas, wood, leather and fabric. Australian Printer witnessed multiple attendees fail to correctly guess. Montanaro says, "We were really excited to bring to Fespa some of our very latest technology innovations, shaped and developed by the needs of the market and our customers. Our solutions give print professionals a winning edge in what is a competitive market, enabling them to capitalise on unlimited opportunities. Our theme at Fespa, 'What Matters To You Inspires What We Do', reflects our commitment and approach to truly customerfocused product development, delivering the very best technology which our users can put their trust in.”

Exploring Roland: company’s most diverse product portfolio • VersaUV S-Series UV-LED printer The VersaUV S-Series represents choice and production flexibility with a range of configurations and sizes to suit production environments and requirements of all types. The flatbeds and belts print photographic images, textures and embossed effects onto virtually any substrate or object, rigid or flexible, up to 200 mm in height and 100 kg/sqm in weight. Roland says it is ideal as the next step for businesses with ambition looking to enter the world of UV printing, or for those with more ‘industrial’ scale requirements. 52

June 2019 - Australian Printer

• VersaEXPRESS RF-640 8 Colour ecosolvent printer Offering what Roland calls the widest colour gamut in its class for durable outdoor graphics, the company says the RF-640 8 Colour is the ideal choice for print service providers looking to deliver headturning, high-impact applications that exceed clients’ colour expectations. The RF-640 eight colour printer features CMYK plus Light Black, Red, Green, and Orange ink. • Texart RT-640M multi-function textile sublimation printer Following its preview at FESPA in 2018,

Roland’s latest addition to the popular Texart dye-sublimation range, the RT-640M, was in action on the booth. The RT-640M makes it possible to print directly onto polyester-based fabrics and onto dyesublimation transfer paper with the same device, using the same ink and RIP. • LD-80 laser foil decorator For high-value product customisation, Roland brought its compact LD-80 laser decorator, for text, logos and graphics in a variety of metallic and holographic foils. It was put forward as a way of offering premium, on-demand personalisation of off-the-shelf gifts australianprinter.com.au

FESPA

Gerber goes global with MCT Cutter

ix months after having acquired MCT Digital, Gerber is steadily expanding its go-to-market for the Gerber MCT Cutter via wider distribution into the sign & graphics and packaging markets. The highly-integrated system of finishing hardware and software has won a number of accolades in the North America market, and recently had its first local installation, at trade wide-format supplier Big Image Australia. Scott Schinlever, CEO, Automation Solutions, Gerber, says, “We are excited to bring such strong innovation in digital finishing to the European sign & graphics and packaging markets, and look to build on Gerber’s deep heritage of automated finishing and integrated production software.” Touting the innovative

Cutting flexibilty: Mark Bibo, Andy Guy, Gerber Gerber MCT Cutter as the most versatile flatbed digital cutting solution on the market, Gerber notes it can be equipped with an industry-leading 100w laser for cutting and sealing of textiles and acrylics, a high powered router up to 5kw, as well as 11 optional interchangeable tools, and what it calls the industry’s

most integrated production and vision-guided software, TigerVision. Speaking to Australian Printer at the show, Mark Bibo, vice president of sales and marketing, Gerber, noted, “We have many machines in North America, Fespa is the beginning of our global expansion. We are showing the machine in Germany, we also have a growing customer base in Italy, the Czech Republic and soon to be the UK too. “We are discussing with channel partners how we best sell and support the equipment in various countries. That is HVG in the Australian market.” Based in Connecticut in the USA, Gerber Technology is owned by AIP, a New York based, global private equity firm specialising in the technology sector and has more than US$3bn assets under management.

Roll-to-roll launched by swissQprint

aribu, the first swissQprint roll to roll printer, made its public debut at Fespa. The 3.4m UV inkjet printer is designed for low running costs, reliability, and ease of use, including a cassette system, where rolls are loaded and ready to print within minutes. The system will be sold by Pozitive in Australia, with managing director Phil Trumble explaining, “The Karibu from swissQprint represents the epitome of quality, versatility and reliability in one package, dedicated to the roll to roll market. swissQprint’s DNA is found in every corner of Karibu and we are excited to be able to bring its features to the Australian market.” Petra Fetting, marketing services and communication, swissQPrint, told Australian Printer at the show, “Our customers have been asking us for a dedicated roll to roll printer. We have flatbeds with that option, but they wanted a dedicated machine. “Soft signage is a growing market, and we see a big potential there. With the Karibu we wanted to complement our australianprinter.com.au

Launching the Karibu: Petra Fetting, swissQprint flatbed range.” For PSPs printing backlit fabrics, the Karibu features a light box right next to the printing area, for immediate and continuous quality control of prints as they will appear in their environment. As a result, the company says neither much material nor time has been lost should optimisations prove necessary. For those printing on mesh, the Karibu has solved the issue of waste and mess, with an integrated Mesh Kit on the print bed. This makes clean and

simple work of processing permeable substrates, as well as full bleed printing. There is neither additional set-up work beforehand nor cleaning afterwards. A mouse click by the operator sends the Karibu print beam – which is movable in the X direction – from its standard position to the mesh position. Printing can then start immediately. With multiroll capability, the Karibu can handle two rolls up to 1.6m wide, doubling productivity. The roll holders are split into two sections with each half of the shaft driven individually, which swissQprint says results in optimum web tension and perfect results on both rolls. Karibu has 136 keys ranged across the print bed width, rather like a piano. Each one opens or closes a vacuum channel, thus eliminating air leakage even in the gap between dual rolls. A light tap on the switches using a fingertip is all the user action required to open or close the entire vacuum area width within four seconds. This is called Tip Switch vacuum, a technical solution for which swissQprint has filed a patent application. Australian Printer - June 2019

DYE SUBLIMATION

Sublime textile print Dye-sub stands out and has a great future

he dye sublimation process first made an appearance around the late 1950s in France. There were no wide format inkjet colour printers at that time, so the dyes were imprinted onto ribbons or sheets that, when thermally activated, released themselves where the image or pattern was, turned into a gas, bonded into (not onto) the substrate and delivered vibrant colours that became part of the fabric, plastic or even metal that they are sublimated into. The majority use became textiles although dye-sub (more correctly dye-diffusion) photographic printers were popular for a while, using continuous rolls of transfer ribbon alternating CMY-CMY for the thermal heads to deposit the colours into the substrate. They are still around in niche applications such as event and kiosk use. When wide format inkjet came along, it didn’t take long before the sublimation fraternity saw the potential for much wider output, using special inks and a transfer paper that could hold plenty of ink but release it into the material when under heat and pressure. Neenah Coldenhove’s JetCol pioneered this from the 1990s. The colour range was increased with special blue, orange, violet and even fluorescent pink and yellow for snazzy sportswear. Sportswear is a major market for dye-sub

Vibrant: Pole flags make a popular application for dye-sub

Sportswear offers opportunities for dye-sub printers

ANDY MCCOURT

Versatile: Dye sub will print on a wide array of products 54

June 2019 - Australian Printer

as the garments are usually polyester. Fespa has introduced a dedicated Sportswear sector for its 2020 Madrid show. Dye-sub has many fantastic advantages that direct-to methods can’t yet match but it also has a couple of disadvantages. The textile needs a high polyester or other polymer content such as Lycra because, when heated, the pores open up, enabling the gaseous dyes to enter and then become entrapped within when they cool. With cotton, there are no synthetic filaments to open up so direct printing to the surface is the only option apart from screen printing; still an excellent way of decorating textiles. Another disadvantage is absence of white ink. When printing on dark coloured material, colours will appear dull and lack contrast. However, dye sub still rules the roost when it comes to colour

quality, feel, durability and ability to print on non-textile polyester-treated products such as plaques, awards, promotional products, photo panels, memorial products, signage, mugs, thongs, flags, tiles, phone covers, laptop sleeves, stadium seats, acrylics, wetsuit material, skateboards, surfboards, home décor, and soft signage. The success of dye sub is reflected in the Smithers Pira 2019 future of dye sublimation printing report which forecasts an 18.4 per cent annual yearon-year growth rate up to 2023. This would take the sector to over USD$5bn in value. No wonder HP has joined Epson, Mimaki, Roland DG and Mutoh in making dye-sub printers. At Fespa, HP showed three models of its new Stich S series of dye-sub printers; two at 1.625m and one at 3.2m. New is the in-built spectrophotometry for fast colour matching and calibration. When sublimating, the challenge for colour is that the image is printed in reverse on a sublimation paper, which then looks dull until transferred to the textile in a heat press or rotary calendar. Colour profiling must interpret the final printed result from the transfer paper image. In-built colour management speeds this up considerably. The Stitch S series is also capable of direct-to-fabric printing but remains a CMYK printer. The next stage of dye sublimation is to enable direct inkjetting of special inks, which are then heat pressed and sublimated into the material without the use of transfer paper. For now, the transfer paper method remains dominant for quality and reliability. The paper is specially engineered to release its dyes as gasses into the substrate but allow out-gassing through the back surface. It is not easy and some are better than others. Cockling is a common problem with the lighter transfer papers. The results speak for themselves: dye sublimated/ dispersed products using quality transfer paper, inks, and heat presses stand out for their brilliant colours and durability. It is all part of the fabric of success. australianprinter.com.au

DYE SUBLIMATION

HP debuts latest Stitch model Company targets the polyester market with dye-sublimation printing

P introduced its Stitch S1000 at day one of Fespa, a 3.2m, super wide dye sub production printer designed for high productivity and simplified operation, able to print direct or onto transfer papers. Fully automatic maintenance ensures optimal image quality without user intervention, while saving time with easy media loading and unloading by a single operator. It targets the polyester market, where its Latex devices do not perform as strongly, addressing what it sees as a gap, where dye sublimation is an ideal method of printing. On a global scale, international brands are forcing regional brands to work in a similar way, interior decor is moving quickly towards polyester, from upholstery to carpets, curtains, and bedding, where there is a polyester outside layer, with cotton inside. Ester Sala, global business director, Textile Printing, HP, explains, “In the digital market, polyester is 60 per cent of all volume. “We did not invent dye sub, but we have reinvented it. “When we think of the dye sublimation market, we can address the needs of the signage market, soft signage, interior decor, sportswear, and apparel. “Signage is moving from PVC to fabric, with the better quality it offers. Transporting a PVC banner costs 5x more from the difference in weight. “Sportswear is the dominant space for dye sublimation. This market is growing because of a change in consumer trends. New generations are more sensitive to healthier lifestyles and work/life balance. There a growing demand in sporting consumption in apparel. “New generations are playing more sports in the US. “In apparel, fast-fashion has adopted polyester from a price australianprinter.com.au

Explaining textile opportunity: Ester Sala, global business director, Textile Printing, HP point, and with the new mixed polyester materials hitting the market. “In a fast fashion company, you have less than five weeks to deliver, compared to traditional stores which have 14 weeks. Speed is crucial.” Simon Ewington, general manager, Graphics Solutions Business. Europe, Middle East and Africa. HP, notes, “There are three main trends we see in the market. 1. Driving Efficiency – in graphics this is total cost of ownership of analog vs digital, but we are seeing a shift when it comes to efficiency towards inventory management and reducing waste. This also includes new areas such as security solutions, track and trace and helping to better protect brand authenticity 2. Driving Speed to Market – with the adoption of digital graphics, more companies want to be able to react to trends they see in the marketplace. Digital textile printing allows them to deal with SKU proliferation and move from idea to reality in

hours and days, not weeks and months 3. Driving Personal Connection – this is driving brands to think about how they talk to, and engage with customers. Digital graphics have an important part to play here. “These three trends we see in the marketplace are helping to shape our strategy and are helping us to compete across six key broad application areas that have a total addressable textile market of around $50bn. “That is growing around three per cent per year, but the penetration of digital is growing at around five per cent per annum. We know that in some applications, the transition from analogue to digital has already been completed, such as in design and technical production. In signage and decoration it is well underway, but there are still massive opportunities. The new HP Stitch portfolio also includes the 1.62m HP Stitch S300 and S500 printers, which it says removes complexity from dye sub printing by offering a bundled package of hardware, paper, and inks, with software and designs. Australian Printer - June 2019

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Price per book for Black or Reflex Blue S/S print. All prices plus GST and freight.

QTY

FROM

Job Name

Single

FIRST COPY

Other

THIRD COPY

FOURTH COPY

Paper Type

Paper Colour

Paper Type

Paper Colour

NCR Books

/ 20

Set / Book

Quadruplicate

Paper Colour Paper Colour

Front Print Colour

Back Print Colour

LHS

TOP

LHS

Perforation

N/A

TOP

Numbering

Back Cover

NOTE

Back Print Colour

Perforation

N/A

Book Binding Type Binding Tape Colour Front Cover

Front Print Colour

Back Print Colour

Perforation

TOP

Inserter Card

Triplicate

Paper Type

Backing Board

$11.38

Duplicate SECOND COPY

Paper Type

Front Print Colour

Notepads

Quadruplicate 50 sets

Size

Copy / Set

Binding Side

Triplicate 50 sets

DATE

Deliver To

Qty

Tickets

Duplicate 100 sets

QTY

TRADE ONLY

Back Print Colour

Duplicate 50 sets

NCR BOOK JOB ORDER QUOTATION FORM

LHS

Perforation

N/A

TOP

LHS

TO Quarter Bound Blue

Red

Left Hand Side

Other Standard 500gsm

Glue

Loose

Green

Black

Blue

Red

Blue

Red

box board

300gsm white board 500gsm box board

Fan-apart

N/A

Other

Top

300gsm Soft Cover Crocodile Board

Matching Front

Green

White

Green

Cover

Inserter Binding

Other

Grey

Other Wrap-around

Loose

PRICE INC. GST. DELIVERY INC. GST.

Mono, PMS, CMYK

Duplicate 50 sets

Duplicate 100 sets

Printing in 1 colour, Reflex Blue or Black

Triplicate 50 sets Quadruplicate 50 sets

A6/DL QTY

Duplicate 50 sets

Duplicate 100 sets Triplicate 50 sets Normal turnaround 5 working days. Conditions apply. See website for complete quotes.

Quote & order online www. dockets-forms.com Trusted by print resellers nationwide for over 19 years! FREE CALL 1800 666 088

June 2019 - Australian Printer

Your Printing Partners australianprinter.com.au

WANTED:

ALL PRINTING & BINDERY MACHINES, CASH PAID

5 X HORIZON VAC-100 STITCHER LINES

POLAR 115ED, 115 MON & 78E GUILLOTINES

SCREEN 4300E CTP

URGENTLY WANTED HEIDELBERG SM52, 74 & 102 MACHINES KOMORI 26, 28 & 40 MULTI COLOUR RYOBI & ROLAND 4,5 & 6 COLOUR POLAR, ITOH, WOHLENBERG & SCHNEIDER MULLER MARTINI 335, 321, 235, 1509 & PRIMA STITCHERS HEIDELBERG & STAHL FOLDERS, CYLINDERS ALL HORIZON FINISHING EQUIPMENT & BINDERS

VALUATIONS: PRINTING VALUATIONS FOR INSURANCE & SALE OF BUSINESS CONDUCTED AUSTRALIA WIDE HEIDELBERG B2 & B3 CYLINDERS

MASTERCARD/VISA/AMEX ACCEPTED

FOLIANT TAURUS 530SF LAMINATOR

Please call Peter Brand on 0417 908 907 or email: peterbrand@nationalauctions.com.au

To ADVERTISE in the CLASSIFIEDS please contact CARRIE TONG 02 8586 6195 Email: carrie@i-grafix.com Ph:

australianprinter.com.au

Australian Printer - June 2019