Australian Printer March 2017 by The Intermedia Group

Opus now debt free, looking to invest: Celarc p12

Celebrating 25 years at Cactus: Ferrel p13

Royleâ&#x20AC;&#x2122;s Purple Press takes first National Specalised Print award p30

1950-2017 years in print

WIDE

Australian Printer

with FORMAT

+Plus

March 2017

Print Post Approved PP 241613/000 51

Business at the speed of Epson

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Wide Format Buyers Guide

Economic Outlook

Inside View: PacPrint

Stand E40 Printâ&#x20AC;&#x2122;s Biggest Classifieds

Speed & Precision. A W inning Formula. See us at Stand E40

THE NEW EPSON PRODUCTION SERIES, A COMPETITIVE ADVANTAGE

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For more information visit:

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AUSTRALIAN PRINTER MARCH 2017

CONTENTS

¢¢ News

¢¢ Wide Format: News

Australian Printer’s comprehensive news section, covering the comings and goings in the dynamic world of print p8-17

The latest news from the rapidly developing and fast growing world of wide format print p40-42

¢¢ Print Diary

¢¢ Wide Format: Applications

All the big events and trade shows for the year p20

Knowing the true costs involvbed in film application can help printers play their part in growing this industry sector p44-46

¢¢ Cover story: Epson The technology innovator has a 75 year track record of developing new technologies, and not just in print p22-24

¢¢ Print’s Economic Digest Hagop Tchamkertenian says the RBA is looking ahead with some optimism and explains what that means for print p26-27

¢¢ Business: No kidding Sales gurui Dave Fellman says a key to a great salesperson is to know when to stop talking, which is often p28

¢¢ Purple praise Cliff Royle’s innovative print business wins the first Konica Minolta National Specialised Print Awards p30

¢¢ Wide Format: Buyers Guide Emerging opportunities in wide format are under the microscope including persoanlised wallpapers, reports Gareth Ward p48-50 Cactus looks to Durst Rho Wide format outfit first in Australia to have five metre fabric printer installed with new Durst Rho 512 p52 Epson innovation The SureColor 64” roll to roll printer is now fully Pantone certified ensuring printers get highest levels of colour fidelity p54 Screen for speed The new Screen 33200uv MKII breaks the mid range speed barrier and will be on show at PacPrint p56 p48-50

¢¢ PacPrint: Inside View PacPrint chairman Adrian Fleming gives us the inside track on the upcoming exhibition p32-33

¢¢ Paper: Monza Recycled New promotion for recycled stock brings last to life in photobook that will take readers for memory lane trip p34

¢¢ Hunkeler: Innovationdays Australian Printer reports on the biggest event to take place so far this year in the global printing industry p36-38

¢¢ Classifieds

Buy, sell, and trade in the industry’s biggest marketplace p61-80

p36-38

Advertisers’ Index Adco International�� 74 Admag �� 71 All work crane services �� 66 Allkotes �� 10 Australian Graphic Servicing �� 15 Böttcher �� 20 BCS Asia Pacific �� 75 CTI Colour Printers �� 76 Currie Group ��6-7, 37 Cyber ��IFC, Back Cover Dockets and Forms �� 62 Doctor Sticker �� 74 Embellishing Group �� 73 australianprinter.com.au

To advertise, call Brian Moore on 0410 578 876 or email brian@i-grafix.com Epson ��Cover, IFC, 2-3,39, 55 File Genie �� 69 Foxcil Group �� 25 Fuji Xerox �� 29 Goldshining Graphics �� 66 Graph Pak �� 64-65, onserts Graphfix Solutions �� 80 Guru Labels �� 72, 77 Hilton Laminating �� 14, 61 Hornet Press�� 62 HP�� 47 Intec Printing Solutions �� 63 IntellImail �� 61 Kaprint �� 79

Kayell ��4-5 Label Line �� 66 LEP �� 45 LIC �� 74 Lifhart�� 72 Magnet Express�� 79 National Auctions �� 79 Neopost �� 21 Nova Graphics �� 66 Pack One and Post�� 67 Paper Handling Equipment �� 70 Photo Electronic Services �� 53

Print Focus �� 68 Printmac �� 78 Realview �� 51 Screen GP �� 57 Secure Print �� 61 Spandex Asia Pacific �� 59 Spicers�� 35 Stewart Graphics �� 77 Sydney Binding�� 61 TwoSides/VOPP �� 43 UV Consulting�� 72 Visual Connections �� 31 Walcar Graphics �� onsert Whirlwind �� 41

Australian Printer - March 2017

REV up your Epson wide format printers with

Epson SureColor P6070 The SC-P6070 is a 24” (610mm) large format printer that is designed for photo, fine art and premium poster production. It features a PrecisionCore® Thin Film (TFP) head with Variable Sized Droplet Technology™ that enables the output of images in high resolution with superior fidelity and tonal gradation. Epson’s latest UltraChrome® HD all-pigment aqueous inks deliver accurate colour with an enhanced gamut, D-max and image durability. With 94% PANTONE® coverage, the SC-P6070 represents a pinnacle in colour printing technology that achieves outstanding output in a platform that is flexible, reliable and easy to maintain. And it includes a

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Epson SureColor P10070 The SureColor Production 10070 is a 44” (1,118mm) solution designed for medium to high volume graphic, fine art and poster printing. It supports a wide range of roll and sheet based media and features an all new PrecisionCore MicroTFP print head with Variable Sized Droplet Technology™ for output with superior resolution, gradations and colour density. Epson UltraChrome® Pro all-pigment aqueous ink deliver quality colour and premium B&W output and the SC-P 10070 cartridges are extra-large capacity for extended operation with a low cost per print. The printer ships with an output bin, postscript module and auto-take-up system. And it includes a

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EPSON & KAYELL Increase your solvent colour gamut with the new Epson SureColor SC Range!

The new models feature a significant number of enhancements that enable superior quality production with simpler, faster and more efficient operation. Brighter and glossier prints are produced using less ink and power and production speeds have been increased while drying times have been reduced. Job turnaround is also faster and there is enhanced reliability and reduced maintenance on all three models. SureColor SC-S80600

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The SC-S80600 incorporates Epson’s latest PrecisionCore print head and UltraChrome Eco-Solvent ink technology. It produces durable prints that are bright and glossy with an unparalleled colour gamut. Superior Colour – 9 cartridge Epson UltraChrome GS3 ink enables prints with high gloss and a colour gamut PANTONE certified at up to 98%. Can also be configured with additional White or Metallic ink.

SureColor SC-S60600

The SureColor Solvent 60600 is designed to produce durable high-quality signage quickly, easily and at minimum cost. It suits a structured workflow environment with medium to high production volumes. It can be used with a wide range of media including paper, canvas, film & vinyl.

SureColor SC-S40600

The SureColor Solvent 40600 is designed to produce durable high-quality signage quickly, easily and at minimum cost. It suits a wide range of applications including indoor POS & outdoor signage, back-lit displays & window decorations, banners, vehicle wraps, wallpapers, surface finishes & labels.

Soft Signage Reinvented - Epson SureColor F-Series Range Epson’s fabric and merchandise printers are designed to enable rapid and cost-effective production of printed goods and material. Whether you are producing clothing, sportswear, soft-signage or gifts, Epson has a solution. Our printers offer flexible output capabilities with easy management and low maintenance. All models are backed with Epson warranties and on-site service.

SureColor SC-F9200

The SC-F7200 is designed to operate in conjunction with a calendar style heat press. Continuous Ink Supply System (CISS), 64” wide print engine with media output heater, and high precision Auto Take-Up.

SureColor SC-F6200

The SC-F6200 is designed to operate in conjunction with a small to medium sized heat press. It combines Epson’s advanced PrecisionCore™ print head with UltraChrome® DS ink, a Continuous Ink Supply System (CISS), and a 44” print engine.

The WorkForce Pro Range of multifunction printers features a Replaceable Ink Pack System that delivers up to 50,000/75,000 pages without changing the ink packs. It produces professional-quality documents at speeds of up to 24 ISO ppm (black/colour).

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The SC-F9200 combines Epson’s advanced PrecisionCore™ print head technology with UltraChrome® DS ink, a large Continuous Ink Supply System (CISS), 64” wide print engine with media output heater, and high precision Auto Take-Up. It also has a dual head for faster production speeds.

L A U S T R ALI

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Epson WorkForce Pro WF-R5690 Page Size: A4 Single Page Speed: 20ppm Duplex Print Speed: 11ppm Ink Yield: 50,000** Paper Capacity: 580 sheets

Epson WorkForce Pro WF-R8590 Page Size: A3+ Single Page Speed: 24ppm Duplex Print Speed: 16ppm Ink Yield: 75,000** Paper Capacity: 831 sheets

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* For more informations on Cash Back promotions on the Epson range of products, please visit: https://www.clubepson.com.au/competitions/data/, **For specification data on the Workforce RIPS range please visit: http://www.epson.com.au/products/BusinessPrinters/WorkForcePro_WF-R8590TC.asp?groupid=136

INTERESTED IN ANY OF THE EQUIPMENT ABOVE? PLEASE CALL US FOR A QUOTE!

COLOUR MANAGED!

Epson Proofing, Packaging & Posters Printers

The Stylus Pro and SureColor Prographics series have been designed for people who need to produce extremely accurate colour with 11 cartridge models providing support for up to 99% of the PANTONE® range. All models can be ordered with an optional SpectroProofer for ISO standard proofing and workflow management. Epson’s poster and graphic printers provide a flexible and cost-effective solution for production of promotion and display materials.

SureColor SC-6070

SureColor SC-7070

SureColor SC-8070

SureColor SC-9070

SureColor P10070

SureColor P20070

Able to produce a wide spectrum of colours, it comes with an eight-colour ink-set and an Epson TFP PrecisionCore printhead to create accurate and long- lasting results.

Produce professional prints and proofs of the highest quality with this versatile 24” photo printer and proofer. Able to produce 99% of Pantone-certified colours for accurate reproduction.

The SC-8070 is the bigger brother of the SC-6070 at a 44” width. Take your professional photos and fine art prints to new levels of quality with the SC-P8070.

The SC-9070 is the bigger brother of the SC-7070 at a 44” width, also able to produce 99% of Pantonecertified colours for accurate reproduction.

The SureColor Production P10070 is a 44” Large Format Printer that is designed for medium-high volume graphic, fine art and poster printing.

The SureColor Production P20070 is the bigger brother to the P10070 and has a width of 64” and is designed for medium-high volume graphic, fine art and poster printing.

Epson Commercial Label Printers Epson’s ColorWorks Desktop Label Solutions is ideal for high mix label requirements, these solutions feature commercial inkjet printers; fastdrying, durable colour inks suitable for a range of media types and sizes. With on-demand colour printing, instead of maintaining an expensive inventory of pre-printed labels, you can print the labels you need, when you need them. Epson ColorWorks C7500/G

Epson ColorWorks C3500

Seamless integration. Reliable performance – rugged design means minimal maintenance. High-speed, on-demand, colour printing. Durable labels BS 5609 certification means labels won’t smudge. Low cost of labelling – up to 50% lower printing cost than with a laser. Astounding image quality powered by PrecisionCoreTM inkjet technology. Highly efficient – high yield ink cartridges mean fewer user interventions and less waste than most thermal transfer printers, easy to change.

Epson’s compact, four-colour TM-C3500 inkjet printer features fast printing speeds up to 103mm/ second, a banding reduction mode and a nozzle check system that produces a reliable output of high volume labels with excellent image quality. In addition, it offers multiple easy-to-use features such as an autocutter, easy paper loading and an LCD with printer status readouts.

Kayell Australia Knows Colour. More than four decades of professional imaging excellence. Since 1970, Australia’s imaging professionals have relied on Kayell for their professional Photography and Graphic Arts solutions. Kayell Australia is unique in that we combine the skills and products that involve the entire imaging process; From image capture to printed output and all the steps in-between. This holistic view about high quality imaging puts us in an ideal position to help all involved in the imaging chain: Photographers, Educators, Designers, Pre-press operators, Brand custodians, Advertising agencies and Printers. Digital imaging technologies have driven the professional Photographic

30 Whiting Street Artarmon NSW 2064 02 8423 7700

and Graphic Arts worlds together. From the moment light enters a lens, until a sublime, colour-managed print is produced, Kayell offers the know-how, equipment, training and technologies to help our customers achieve the best possible results. Our team in Brisbane, Melbourne and Sydney are highly experienced professionals who care passionately about all the aspects of imaging excellence. Kayell Australia is the preferred partner for the manufacturers who create accurate lighting, densitometers and spectrophotometers, online quality control software, ink formulation software and close loop colour for offset and web printers. We have distribution agreements, some exclusively, with world-leading firms such as GMG Color,

108 Johnston Street Collingwood Vic 3066 03 8412 2800

X-Rite, Rutherford, GTI Graphiclite, Eizo monitors, Epson, Serendipity Software, Barbieri, Datacolor, Drobo and many others. Some of Australia’s largest and most prestigious printers have engaged Kayell Australia in the achievement of PSO/ISO internationally recognised colour standards. We are available as technical partners and as the supplier to your company for proofing, wide format print production, textile print production and UV printing. Our solutions extend to print kiosk and photo book equipment. If you are after office printers and projectors… we do these too! At Kayell Australia we have consistently achieved excellence over our longer than 40 years history. We invest our efforts in backing up our coveted reputation as “the go to team” for the best outcomes

www.kayellaustralia.com.au 1 300 KAYELL (529 355) info@kayell.com.au

in the business of high quality imaging and reproduction. The Kayell Australia team is a group of professionals that are also enthusiasts about what we do. Getting it right is all about planning, accurate colour and colour management; and this is what drives us. So if your goal is to produce images for fine art reproductions, photographicquality prints, displays, textile printing, UV printing, office printing or certified proofs that guarantee the colour on commercial and packaging jobs; trace backwards from any of these and you will find that Kayell Australia has the products, expertise and commitment to be your preferred business partner.

HIGH PERFORMANCE CONSUMABLES We offer our customers the highest quality and the added assurance of compatibility, consistency and a product mix that yields a â&#x20AC;&#x153;right first time, every timeâ&#x20AC;? result in optimum production time. Currie Group offers a comprehensive but always compatible range of consumables sourced from manufacturers in all corners of the globe. For more information on consumables contact Currie Group on 1800 338 131

1800 338 131 www.curriegroup.com.au

Melbourne Sydney Brisbane Perth New Zealand

Game changers Say yes to 98% of commercial jobs, produced cost-effectively with no compromise on quality or media range. Introducing the latest ground-breaking innovations from HP Indigo. Faster, smarter and more profitable, this new line-up is changing the rules of the game. It includes the HP Indigo 5600 and 7800 digital presses, as well as the B2/29 inch HP Indigo 12000 Digital Press – all you would expect from an Indigo press, but in a wider format. It’s a game-changing portfolio that’s redefining what’s possible with print. With thousands of digital sheetfed presses in operation, as well as partnerships with leading vendors for end-to-end solutions, HP Indigo is the proven choice for profitable growth. Find out more at hp.com/go/indigo or call Currie Group on 1800 338 131

HP Indigo 5900 Digital Press

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Melbourne Sydney Brisbane Perth New Zealand

NEWS Editor’s Comment

This month’s Editor Comment comes from Belgium, where the Xeikon Café is in full swing. The Café is designed to promote the benefits of digital printing. Digital will be 25 years old next year, for then it will be a quarter of century since Xeikon and Indigo shocked the print world at Ipex with the launch of their digital presses. Those listening to their proponents then would have been under the impression that by now digital would be the dominant print technology. The reality is though that today digital only accounts for five per cent of the total amount of printed products, with offset still pumping out more than 70 per cent of all print. Its progress has been quick in some areas, A4 and A3 offset presses are now museum pieces, but slow in other areas, with speed and quality struggling to reach offset levels, and printers struggling to make business sense of printing a run of ten rather than a run of 10,000. But progress is being made, and as new applications emerge digital will offer increasingly hard pressed printers new opportunities. And the value of digital print, that is the cash printers receive for the jobs is about double its volume share, indicating that is where the money is. Digital enables printers to exploit multiple different applications, and find niches of their own, offering a route to success in a changing market.

Three sites to go in PMP IPMG merger NEWLY merged PMP says it is looking at closing three of its print sites, one each in NSW, Vic and Qld, although no details of which sites have yet been released. PMP says, “Building a sustainable business forward will undoubtedly mean the closure of some sites. The company says no decisions have or will be made until completion of the merger, board approval and appropriate consultation with the AMWU as prescribed in its enterprise agreement. Lorraine Cassin, AMWU print head says she believes there may be 300 staff who will lose their jobs following the closures. Cassin says 145 jobs have been slated to go in NSW, 120 in Victoria and 35 in Queensland. Cassin says the laid off workers will be compensated. She says, “These workers are going to be treated with respect they have a good process in the enterprise agreement, which the company is abiding by, so they will receive a significant redundancy package. “ Other workers in the industry that have been made redundant have not been treated as well, at least these people know they are walking out with something in the process.” Peter George, managing director, PMP says, “As an integrated business, our skills and breadth of experience across print, digital and distribution services allow us to continue to work with brands to make a genuine connection with the right audiences, no matter how complex the challenge. Any merger of such scale requires change. Some changes will be taking effect immediately, others will be to come.”

Peter George

Michael Hannan

PMP has created its new post-merger executive team, which includes John Nichols, chief operating officer who heads the transformation programme, and Geoff Stephenson, CFO reporting to Peter George, managing director. According to PMP, the Australian business will be restructured and split into a Printing division and a Digital and Distribution division. The Printing division will be run by Adrian O’Connor, who is the former executive general manager, IPMG Print. The Digital and Distribution division will be run by Kevin Slaven, former IPMG Group CEO, who will be responsible for Letterbox Distribution, Gordon and Gotch, Digital, and book printer Griffin Press, which in a $21m seven year leased upgrade programme with HP digutal printing and Kolbus finishing, which has created what pundits say is the world’s most advanced book printing facility. James Hannan, former IPMG COO will be responsible for operations across digital and distribution, reporting to Slaven. The merger is expected to deliver $55m a year cost

synergies, with one-off cash costs totalling $80m over the next 18 months. PMP says, “Under the proposed changes, the majority of sales, estimators, schedulers and customer service people will not be affected. There are no changes in South Australia, Western Australia and New Zealand. We have farewelled some colleagues from positions in our head offices as well.” Peter George says, “We will be supporting all affected staff through these changes and will continue to work closely with our customers to ensure our quality of service and products remains at the highest standard, and as we deliver ongoing value to our shareholders.” PMP acquired 100 per cent of IPMG, issuing new shares to IPMG shareholders, who hold a maximum 37 per cent interest in PMP, while IPMG nominated two directors on the new PMP board. PMP says through the merger it is now a billion-dollar print media and marketing company, which aims to establish a sustainable business in an industry undergoing significant change.

Australian Printer - 67 years in print Tel: (02) 9806 9344 • Fax: (02) 9806 0455 • Email: info@i-grafix.com Managing Director: Shankar Vishwanath • shankar@i-grafix.com Group Publisher: Brian Moore • brian@i-grafix.com Group Editor: Wayne Robinson • wayne@i-grafix.com News Reporter: Paul Brescia • paul@australianprinter.com.au Contributors: • Gareth Ward • Hagop Tchamkertenian • Dave Fellman Production Editor & Design: Leyla Bhathela • leyla@i-grafix.com Design: Carrie Tong • carrie@i-grafix.com Sales Enquiries: salesau@i-grafix.com • (02) 9806 9344 Subscription Rates: (incl GST) Australia: A$88 World: A$220, Air A$280

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March 2017 - Australian Printer

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ISSN: 1033-1522 Australian Printer is a member of the Printer Magazines Group Copyright: Contents of this magazine are subject to copyright and cannot be reproduced in any way, shape, or form without the written permission of the publishers. The views expressed within Australian Printer are not necessarily those of the publishers. The publishers accept no responsibility for any consequences of actions undertaken as a result of information within. Printer Magazines Pty Ltd 46 / 2 O’Connell Street, Parramatta, NSW 2150 Postal Address: PO Box W251, Parramatta Westfield, NSW 2150, Australia Printed and finished by: LEP, 1/84 Sandalwood Lane, Forest Glen, Qld 4556 Mailing & Direct Mail Services: PackOne & Post

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NEWS

SA mail centre to remain open PIAA is increasing its lobbying efforts in Canberra, briefing Senator Eric Abetz prior to a senate hearing with Ahmed Fahour, in which Abetz then grilled the outgoing AusPost CEO until getting a commitment to keep South Australia’s mail distribution centre open. The exchange began with Senator Abetz questioning, “Do we have a business mail centre in every capital city in Australia? Are there any moves to close the one in Adelaide?”

Fahour responded “We have them in all the major cities.” When asked for clarification on the Adelaide centre, Fahour made reference to a lower mailing volume, and how Australia Post is filling the traditional mailing gap with the parcel business. Senator Abetz cut straight back to the point, saying “That is good for the people who want jobs and parcels delivered. For those who are in the printing and mailing business, it is cold

NewsMediaWorks CEO resigns

Print to mobile launches to success

Gone: Mark Hollands MARK Hollands, CEO, NewsMediaWorks has resigned after four years at the head of the news media association, which is now searching for a successor. Hollands says, “I would like to thank my colleagues, who continue to make an important and enthusiastic contribution to our industry. They share my love of this industry and respect for those who work so hard to deliver journalism to our nation every day. It has been a pleasure to work with them. The time is right to move on, however, as I have a number of personal interests in Australia and overseas that I wish to pursue.”

INNOVATIVE Australian print to mobile tech provider Radiaca has closed its first major deal, with India’s PressIdeas Publishing, which takes Radiaca’s new Partica print to mobile technology into a marketplace of more than 300,000 print and publishing businesses. The Partica technology reformats print publication files (PDFs) into a mobile-friendly format able to be viewed on smartphones and tablets, and is one of the technologies offered as part of the Radiaca suite of solutions. It has been developed to enable printers to offer a solution to publishers to enable them to have their content prepared for both print and mobile platforms from the same print ready PDF. It will allow printers to develop closer ties with publishers through offering them a clear added value service to meet a real need, mobile friendly publishing. Shankar Vishwanath, cofounder of Radiaca and CEO of Printer Magazines Group, says, “As the printing industry has declined over the past five years, with consumers increasingly

comfort, especially for those who have to deliver within Adelaide if the business mail centre is going to be closed. Surely somebody must know whether or not that is planned.” Fahour eventually committed to keeping it open, saying “There is no plan to close the mail centre of Adelaide. “What people might be confused with, is that we are looking for a different property. We are looking at moving, not closing.”

The PIAA says, “This is a huge relief to our SA members who do bulk mail, and gives them a degree of certainty. Although today was Fahour’s last Senate Estimates, his word is on the parliamentary record as to Australia’s Post’s intention as of today. “The Federal Government is promoting international trade. To have any Australian business competing in the international services sector is noteworthy in itself.”

(l-r) Richard Lindley, Jacob George, Derek Chan, Shankar Vishwanath seeking solutions through online platforms, Radiaca will help grow the print sector by tapping into new revenue streams for printers and enabling new ways of consuming print media. “This major deal is the first of many that we expect to be achieved, as printers come to realise the immense benefits that Partica provides to their publishing clients.” The Partica platform technology takes a PDF for print and designs streamlined, translatable and mobilefriendly articles. Through the use of polls, surveys, calls to action and real-time feedback

for customers, the in-built capabilities enhance twoway communication between printers and customers – closing the gap between the content consumer and brand owner and delivering real value for the publisher. Richard Lindley, CTO of Radiaca says, “This is a momentous move for us and our partners, especially as content consumption trends are heading strongly to mobile. “To keep up with a rapidly changing industry, India’s publishing community has the opportunity with Radiaca to get ahead of the market.”

Fastest growing UK magazine eschews online PRIVATE Eye in the UK is the country’s best selling news and current affairs magazine; it is also the only one without an equal online presence. Sales of Private Eye are up 9 per cent year-on-year, and the Christmas issue was the biggest seller in the title’s 55-year history, shifting 287,000 copies. This defies the trend of magazine sales in the country, which lost sales at an average rate of 5.9 per cent year-onyear on the second half of 2016. Even the 129-year-old National Geographic saw its print

australianprinter.com.au

circulation drop 8.5 per cent in 2016. Ian Hislop has been the editor of Private Eye since 1986 and says, “I still find it extraordinary that people say they will not pay for news. It is a tiny amount of money. Private Eye is less than two quid. We are asking people to pay what they pay for a coffee every morning for the work of about 50 talented and trained and committed people. It really is not much. And I think the failure of the last 10 years has been to chase after free and give away your

content for free – why should you? I do not expect to be given entertainment for free, a haircut for free, music, films, any of that. All that model seems to be doing is destroying a craft base. “From our point of view, the fact is print does something different. If you get a copy of Private Eye, there is a huge variety of material in it which you get in one place. You may by serendipity pick it up, find the jokes funny and read the stories later. You may find the jokes pathetic but think the stories are great. There is stuff in it that can

be much more varied because people are not directed to it through a funnel on the internet. You have got it in your hands,” says Hislop. “I do not think it’s my position to lecture people. I have had 10 years of people saying to me that ‘the future is digital and print is dead, you are finished’. And we are not, self-evidently.” The satirical magazine still draws advertisers, but does not rely on advertising. By not giving the content away for free online, readers must purchase the magazine to see what is inside.

Australian Printer - March 2017

NEWS

EFI chief spreads connect message

PMP struggles pre-merger

EFI vice president for sales Frank Mallozzi has been touring the country telling Aussie printers that there is plenty of opportunity to increase revenue, both from internal efficiencies and from engaging with new markets. Mallozzi is also introducing Daniel Aloi to the market, the newly appointed sales manager for EFI software and MIS. Mallozzi says, “EFI is committed to ensuring printshops are operating at optimum levels, and the way to do this and gain tremendous efficiencies is through correct implementation of appropriate software. “EFI has those solutions, in both MIS and productivity, Daniel’s role is to ensure printers are fully aware of the benefits that working with EFI will provide.” EFI is the world’s biggest print software and MIS developer, and has a range of solutions for print shops from the small copy shops to medium sized printers to the large print and packaging outfits, including sign and display printers. The company will easily top the $1bn revenue marker this year, which Mallozzi says is a stepping stone on the way to $2bn.

HESITANT customer activity, loss of contracts, lower volumes and falling prices in Australia saw PMP plunge back into the red in its first half results. The company finished the half year with a net loss of $14.5m from the prior corresponding period (pcp) profit of $1.8m, although before significant items the loss was $2.9m . Sales revenue increased 27.2 per cent from the H1 FY2016 result of $390.5m to $496.6m, almost all of which was due to Gordon and Gotch acquiring the Bauer distribution business. For PMP Australia, the company says the inability to replace lost print contract volumes and a general sale price decline reduced print revenues by $28m, or 24 per cent pcp. After adjusting for these factors, PMP says heat-set print volumes fell by 2.1 per cent, while distribution sales fell by $7m, 14 per cent from the pcp, due to lost customers and lower catalogue frequency from some existing customers. PMP says its EBIT loss in Australia was driven by lower heatset print volumes alongside lower print sell prices. PMP Australia’s sales revenue decreased by 20.5 per

Tough times for Australian print arm: PMP cent, as H1 FY 2017 brought in $151.4m, compared to the prior corresponding period of $190.4m. EBIT resulted in a loss for PMP Australia of $4.8m, down 140 per cent from the pcp result of $11.8m. Peter George, CEO, PMP, says, “As we informed the market last year, PMP’s first half results were significantly lower pcp. The half was adversely impacted by extremely unusual print market conditions in the lead into the expected industry consolidation. “With every major heatset print operation pursuing industry consolidation in the first half, the printers were aggressive in competing to retain existing contracts. Understandably, prospective print customers were wary of signing contracts where the future competitive market was not clear. “As a result of the challenging market conditions, we were unsuccessful in replacing lost volumes, as well as from customers that went out of business in the last financial year. Profitability was also affected by postponing cost-out

responses to the lower activity levels in anticipation of the IPMG merger going ahead as planned.” The success of magazine arm Gordon and Gotch in acquiring Bauer contracts helped lift PMP Group sales to $496.6m, which was 27.2 per cent higher than the pcp. From the $106.1m increase, $112m came from Gordon and Gotch, helping mask a decrease in sales from PMP Australia. EBITDA for the half year was sitting at $11.1m, some 62 per cent down from the pcp of $29m. PMP’s EBIT for H1 FY2017 is minus $1.8m, down 112 per cent from the positive pcp result of $14.8m. Despite moving from profit to loss, PMP’s net debt (excluding prepaid finance costs) is down $0.5m, sitting at $9.8m from the pcp result of $10.4m. The IMPG merger began March 1. George says, “We are delighted to be able to complete the merger.” “It creates the opportunity for us to build a more competitive and sustainable company with significant synergy benefits and an enhanced manufacturing capability.”

LIA tours Visy can factory THE NSW branch of the Lithographic Institute of Australia took its members on a tour through the Visy can factory in Smithfield, where they saw how aluminium goes from sheet to can, followed by printing on the cans. Led by engineers and factory staff, the tour began with a multimedia presentation featuring graphics accurately detailing how the aluminium is shaped, followed by a walk through the facilities, which date back to the 1980s. Visy’s factory produces an average of two million cans a day, with the record day sitting just above two and a half million. The Smithfield 10

March 2017 - Australian Printer

factory produces for many leading brands including Sprite, Tooheys, Heineken, Captain Morgan, UDL, Jack Daniels, Pepsi, alongside short run cans for boutique breweries. Angus Scott, president of LIA NSW said the tour was a great way to gain an insight into how cans were made and printed. The tour proved popular for ‘giving us an understanding of this part of print.’ Vintage cans were on display, from the classic No Name brands of the late 80s and 90s, to Scrooge low calorie cola. The event was followed by a dinner at Greystanes Hotel, where members unwound over a sumptuous dinner.

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Print captures 89% of readers’ time A new study shows that readers spend an average of 40 minutes reading the print edition of newspapers, while the same titles on digital platforms manage to engage their attention for less than a minute. In terms of the total amount of time readers devote to newspapers, 89 per cent goes to the print edition. Online and mobile formats take up what is

left - 4 per cent and 7 per cent, respectively. Neil Thurman, professor, Ludwig-MaximiliansUniversitaet (LMU) in Munich is the author of the study. He says, “Digital media has significantly extended the reach of major newspapers, in some cases several fold”, but that this does not follow on to longer or more thorough engagement.

This means that readers of newspapers prefer - paper. In relation to the time they devote consuming their favourite papers from front to back, the digital editions play only a marginal role. “Scale those numbers up and you can see why newspapers still rely on print for the vast majority of the attention they receive,” says Thurman.

In the course of his study, Thurman analysed data collected by the UK National Readership Surveys and comScore (a market research firm) for eleven of the leading daily papers published in the UK, including The Guardian, The Times and the tabloids The Mail, The Sun and The Mirror, for the period between April 2015 and March 2016.

Andy Berry succeeds John Hall at Ricoh

IVE adds 80pp Lithoman to new super site

New for IVE: manroland Lithoman 80pp heatset web going to Franklin Web NSW greenfield site New Ricoh MD: Andy Berry RICOH appoints Andy Berry as managing director of Ricoh Australia, following John Hall’s retirement from the position last month. The company says that Berry joins with more than 25 years’ experience in the IT sector, some of which was within the printing sector. Berry has worked at Fuji Xerox and Xerox Europe, where he led the print hardware and software businesses, as well as business process outsourcing divisions. Ricoh says Berry will be responsible for driving Ricoh’s transformational strategy and ensuring Ricoh’s operations in the Australian market are aligned with the global strategy. Berry says, “The traditional print market continues to offer a significant opportunity for Ricoh, and when coupled with a comprehensive set of workplace solutions and services across information technology services, print and document management, we are enabling customers to change their traditional ways of working. “I admire the Ricoh approach to understanding the changing needs of its customers and how it then applies innovation. At the same time, the company balances the strength of its global scale with belief in the local team and the importance of their enduring relationships with customers, channels and partners. I am excited at the opportunity to lead Ricoh Australia.”

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IVE Group has released more details of its proposed new large format web offset print site, which was first indicated in one line, deep in its half year report. The company is planning on the new site to be located in at Seven Hills in Sydney, and to be up and running by the middle of this year. It says it will be a highly efficient and automated plant, and will run under the Franklin Web name. IVE Executive Chairman Geoff Selig says the new plant is aimed at ensuring the group has an expanded geographic footprint to support national retailers. The new site will house a new 80pp manroland Lithoman, that was ordered from manroland

Australasia following a trip to Augsburg in January, and which will arrive later in the year. The new press is the biggest ordered in Australia for six years, and mirrors the 80pp manroland Lithoman installed at Franklin at its Victorian site in 2012. A second large format web offset press will also be installed at the site however details on the specification are not yet available. IVE says it will also install a new high speed perfect binding line, at its Franklin Web site in Victoria. Blue Star WEB, the IVE group’s heatset web offset business that specialises in niche publications and corporate work

will remain at its current site in Silverwater, and will be run separately to the new Franklin Web Sydney facility As the company released details private equity business Wolseley, which partnered with the Selig family to buy the Group back in 2012, sold down its remaining shareholding in the business. Wolseley sold half its shareholding last year for $35m, and has just sold its remaining half for $40m. Caxton – the Selig family trust – has also sold down shares, offloading around 28 per cent of its holding, for a little under $10m. Caxton is now the biggest single shareholder in IVE, with just over eight per cent of the business.

IVE group delivers strong HY result IVE group – which includes Blue Star Group - has delivered a 5.9 per cent increase in revenue this HY to $207.7m, up from the prior corresponding period (pcp) result of $196.1m and EBITDA of $24.0M also up by 8.1 per cent on pcp, on a pro forma basis. Statutory revenue is up 12.5 per cent with EBITDA up 67.6 per cent on pcp, with H1 FY2017 impacted by key acquisition and restructure costs primarily relating to the Franklin Web and AIW Printing acquisitions in mid-December. The H1 FY2016 statutory results were impacted by one off costs associated with the company listing on the ASX in December 2015. The company says the half

year results reflect continued growth through a combination of new business, as well as existing customer base, together with business acquisitions in the second half of FY2016, and the first half of FY2017. Geoff Selig, Executive Chairman, IVE says, “We are pleased with our performance in the first half, with continued good momentum across the business. The acquisitions of Franklin Web and AIW Printing in December have been well received by all key stakeholders, with our integration and expansion plan now well underway and on track. We expect FY17 to finish strongly and feel confident the business is

well positioned for FY18.” IVE group made three smaller acquisitions in late 1HY 2017, including The Mailing House, commercial wide format digital print business Display Bay, and design marketing and strategy agency Retail 25 Consulting. The Group also strategically acquired Franklin and AIW, a significant acquisition in December, funded through a combination of shares issued to vendors, a capital raising and a new 3 year senior debt facility. The positive HY result has been viewed favourably by the market, IVE shares trading up to a year high of $2.60, the launch price in December 2015 was $2.

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News Corp revenue down $40m NEWS Corp’s Q2 results reveal revenue is down by $40m from last year, sitting at $2.16bn, with a loss of $219m comparted to a $109m profit in the same quarter last year. The company says ‘headwinds in print advertising’ has led to lower revenues, however the company believes that print will continue to be a core operation and says growth is occurring. Robert Thomson, current

chief executive, News Corp, says, “Audiences are craving integrity, which is why so many of our mastheads have reported strong growth in readers and subscribers this quarter. Advertisers need a trusted canvas and real results, not the muddled, muddied metrics of many digital platforms.” The divide between print and digital revenues for News Corp’s news and information branches grew smaller, with 27

Fujifilm hires new graphic systems manager

Opus achieves debt free position

FUJIFILM appoints Troy Neighbour as its new senior product manager, Graphic Systems. Neighbour will be responsible for a broad portfolio covering flatbed and rollfed wide and superwide format technologies, prepress workflow, litho plates and consumables, CTP, inks and colour management. The company says Neighbour is an experienced product manager in IT, consumer electronics and graphic technologies, having worked with Samsung Electronics for four years and Canon’s wide format division for a dozen years. Neighbour says, “I am excited to join the Fujifilm family, it is a great brand with an excellent team that has a positive outlook and willingness to evolve and challenge the market. We have some amazing products coming this year, some of which will be at PacPrint, which will enhance the Fujifilm portfolio and provide new opportunities for our customers. “ Warren Hinder, division manager for Graphic Systems, Fujifilm says, “We are delighted to welcome Troy to the Fujifilm team. He is across product management and business building at all levels and is a great team leader.”

OPUS has grown its revenue by 8 per cent to $86.9m for the full year, with the company boasting a debt-free status, which it says gives it the opportunity to invest in equipment and technology. The EBITDA has risen 13 per cent, from $10.9m to $12.4m. The profit before tax is up 26 per cent to $10.5m from $8.4m. Its operating expenses grew 6 per cent from $71.2m to $75.3m. Richard Celarc, CEO, Opus says, “Our debt free status has allowed us to continue to invest in newer equipment and take advantage of changing technology, particularly in digital print where speed quality and price are now converging.” Operational results delivered at $14.9m profit after tax, the earnings per share of 15.5 cents enabling a fully franked final dividend of 1 cent per share, making total payment of 12 cents fully franked dividend for 2016. The company says revenue growth can be attributed to the commencement of new business in late 2015 and the middle of 2016, on top of securing existing core customers, and successful commissioning of new digital colour inkjet lines. The 13 per cent increase for the EBITDA is due to the successful cost restructure since last 2014 but is partly offset by increased competition, which continues to pressure margins. Celarc says, “Our full year

per cent coming from digital this year, up from 22 per cent in the previous year, however, revenue is down by $97m for this quarter to $1.3bn, 7 per cent lower than last year. Loss of income from continuing operations for the quarter was $219m, compared to a positive $106m in the previous year. The company says that this includes a write-down of the fixed assets at its Australian newspapers, alongside the

company lowering the cost of Foxtel. News Corp’s second quarter EBITDA overall is $325m, compared to last year’s $280m. This includes an advertising revenue decrease of 9 per cent, which drops to 8 per cent when factoring negative currency fluctuations. Revenues in this quarter for News Corp’s digital real estate services increased $34m, up 16 per cent from the prior year.

Revenue growth at Opus: Richard Celarc 2016 result is in line with then plans agreed with the Opus major shareholder 1010 at the time of recapitalisation in 2014. “With 2015 being a year of consolidation and back to basics, 2016 saw us further consolidate and rationalise the business. Simplifying the business and working hard at the core capabilities of each of our operation is proving successful. “As a team operating with a continuous improvement mentality, we are determined to remain at the top of our game. Our strategies have been set using simple business principles which our customers, staff and suppliers can all relate to. “We look forward to continuing the close working

relationships our business has enjoyed with key customers and suppliers in 2017 and refine the speed, quality and value proposition we provide.” Opus says its strong cash flow generation is enabling acquisition of selected specialty assets. The company is experiencing increasing benefits from joint initiatives with its majority shareholder, 1010 Printing Group, including the ability to offer customers multicountry print solutions and procurement savings. Opus is now completely manufacturing in Australia with Celarc saying, “Opus is now manufacturing in Australia exclusively, focusing on niche markets.”

How to sell print book on its way AUSTRALIAN Printer columnist Dave Fellman and e-marketing expert Slava Apel are collaborating on a new book, titled Print Sales & Marketing: Traditional and Digital Customer Acquisition. Fellman says, “Print Sales & Marketing answers the question: Which comes first, marketing or 12

sales? More importantly, it will explain how to make them work together, using both traditional and online/digital sales and marketing strategies. The book will explain how to generate leads and how to follow up to the close. It will also explain how to maximise both existing and new customer relationships.”

March 2017 - Australian Printer

Apel is the president of Amazing Print Tech, a leading provider of web-to-print software. Fellman is the president of David Fellman & Associates, a sales and marketing consulting firm serving the graphic arts industry. Both are frequent speakers at a wide range of

industry events, with more than 60 years of combined experience in helping printers to maximize sales. Print Sales & Marketing will begin shipping on April 7 in both printed and e-book format. Pre-order - at a special price - is available at www. printsalesandmarketing.com.

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Landa sells Metallography division BENNY Landa has sold his nascent Metallography technology – the zero waste alternative to foil transfer first shown at drupa last year, which has yet to be commercialised. The purchaser is Altana, which is Landa’s partner in its digital nanographic development programme, having invested some €100m into the Landa business in July 2014. Landa says the motive is to ‘enable Landa to focus on Nanography, our breakthrough

digital printing technology, while Altana takes over the final development work and commercialisation of our Metallography technology’. Altana is a German based speciality chemicals company. The further development work, as well as sales and distribution of Metallography, will be steered by Actega Metal Print GmbH based in Hanover. Landa is working on the commercialisation of his nanographic printing, a new

Workflowz appoints new sales manager

Ferrel celebrating 25 years

Experience: Peter Johnson WORKFLOWZ has appointed Peter Johnson as its new sales manager for the Oceania region, who comes with more than 20 years of industry experience. Johnson says he will use his industry know-how to help printers be more efficient, whilst maintaining and improving quality, while also providing added value opportunities. “I look forward to meeting existing and potential clients and responding to their individual business requirements. There are plenty of opportunities for Workflowz, and this role is the right fit.”

CACTUS Imaging founder Keith Ferrel celebrates 25 years in print, and says the traditional print business without change will not be around in a couple of years. Ferrel says, “You need to be constantly changing, upgrading, being proactive with your clients. A lot of print businesses that failed in the past 5-10 years are the ones that did not reinvest, prostituted their pricing, and did not adapt to changing business models. “We are proactive here, always looking at different substrates, inks, technologies, everything we can to keep us relevant and at the top of the game.” Ferrel founded Cactus in 1992 with Warwick Spicer. The duo sold to Opus in 2008, and last year became part of the oOh! Media group in a $6.1m deal. Spicer has retired but his son Nigel Spicer is now in the business. Among his many achievements Ferrell was inducted into the Fespa Hall of Fame in 2012, an international

method of digital printing that he says will have the benefits of digital printing combined with offset speeds and quality. Some 400 printers – including several in Australia – stumped up $10,000 each five years ago for a place in the nano queue, but as yet Landa has been unable to get to the point of commercial acceptability. Dr Roland Peter, president of the Altana division Actega Coatings & Sealants, added: “Landa Metallography

Quarter century: Keith Ferrel award which recognises the leading lights of the wide format print community. The Hall of Fame received 6,000 votes for more than 400 printers in 40 countries. Ferrel says that 25 years later, he is still loving the industry. He says, “I am enjoying it just as much. If not, I would have walked away when I sold the business. If I did not enjoy the challenges, the people I work with, and the clients I would not be here now. It has been a fun ride, and I am not ready to get off yet. There are a lot of possibilities and it is quite exciting going forward. “Not only that, but it is the

technology has the potential to become a sustainable mainstream technology for metallisation graphics, supplanting foil-transfer in applications such as labels and folding cartons. “The novel Metallography technology is both economically attractive and environmentally sustainable, saving a significant amount of material, cost and production time compared to the conventional cold foil and hot foil stamping technology.”

people you meet and catch up with at trade shows keep me here. They become an inspiration, and motivate you forward. “As business owners and managers, we need to find inspiration and constantly look for new directions to take our own and customers’ business.” Ferrel founded Cactus Imaging with a single VersaTek printer in New Zealand, and 25 years later the company remains at the forefront of digital imaging, still growing and innovating. One year later Ferrel and his business partner Warwick Spicer looked to Australia for more opportunities, and two years after that were producing more print in Australia for the New Zealand market than they were doing locally. Ferrel notes that at the time most billboards were printed on paper, so when the opportunity to print on vinyl came along, the duo invested heavily. “We were at the right place, at the right time, and we worked hard.”

Wellcom revenues down, profits rise up AUSTRALIAN-BASED creative production agency Wellcom is 8 per cent down on statutory revenue from last year, bringing in $73.9m in the 1H2017, compared to $80.3m in 1H2016. While revenue is down, profits are up, with 1H2017 seeing profits of $5.7m, up from 1H2016’s $5.39m. Wayne Sidwell, executive chairman of the Wellcom Group says, “Careful cost management practices have followed generally challenging market conditions and the recent closure of two large clients, Dick Smith Electronics and Masters Home Improvement.”

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Net revenue (which excludes print management pass through costs) of $49.7m for the half-year is 5 per cent down from 1H2016’s result of $52.1m. EBIT for 1H2017 is $8.47m, five per cent higher than last year’s result of $8m. When the foreign exchange impact is taken into account, Wellcom says its revenues have grown by 1 per cent. Capital expenditure for the HY is down significantly from last year, with Wellcom spending $0.8m, compared to $2.21m last HY. In Australasia, net segment revenue is $27.6m, down 3.5

per cent from 2016’s HY result of $28.6m, while staffing levels dropped 7.4 per cent, from 339, to 314. The profit margin increased from 21 per cent to 24.4 per cent. The company notes last year’s losses of Westpac Bank, Dick Smith, and Masters, are balanced by new business wins of AHM Medibank, Sigma Pharmaceuticals, Chemmart and Treasury Wine Estates, all in Australia. Wellcom says its lack of debt, $4m cash on hand, and net tangible assets per share of 43.62 cents displays a strong cash and financial position.

Sidwell says, “A positive outlook for Wellcom with strong prospects in key markets, and a debt-free balance sheet, has allowed the fully franked interim dividend to be increased to 9.5c a share.” EPS is 14.53c, up 5.6 per cent from 1H2016’s 13.76c, while DPS is 9.5c, up 5.6 per cent from 1H2016’s 9.0c. The return on net assets improved 6.5 per cent, reaching $17.34m, from the PCP’s $16.28m. Steve Rees has now retired as CEO of Wellcom Australia, and replaced by Andrew Sidwell, former MD of Wellcom London.

Australian Printer - March 2017

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Melbourne printers merging New management team

at manroland

Frank Hilliard, Eastern Press

Trevor O’Connell, Print Impressions

MELBOURNE based printers Print Impressions and Eastern Press are merging, with Frank Hilliard, owner at Eastern Press saying it was an opportunity to join forces with a like-minded printer. Print Impressions is a digital and offset printer established in 1996, while Eastern Press is a commercial printer which started 10 years earlier, in 1986. The two companies say they see themselves as successful solo printers with production capacity, and say the merger made sense. Hilliard signed contracts with Trevor O’Connell, owner, Print Impressions. They say

the merger will be finalised around Easter and that Print Impressions will be integrating into the Eastern Press facility. Hilliard and O’Connell say they were driven to merge so that their respective clients could benefit from a total endto-end print solution. The combined business will offer wide-format, offset, digital, mailing services, and digital solutions including augmented reality and cross media. Hilliard says all Print Impressions staff were offered jobs at Eastern Press, with most of the staff coming across, except for those who decided to leave the industry.

laminating

March 2017 - Australian Printer

THE Australasia division of manroland has chosen replacements for Steve Dunwell and Graham Wickham, with Dennis Wickham the new managing director and Andreas Schwoepfinger the new technical director service. Dennis Wickham is responsible for sales of manroland web systems web offset presses as well as digital finishing solutions and automation features, along with selling sheetfed presses for manroland sheetfed and project management. He says, “We are looking forward to conquering new market areas for digital finishing and offset solutions. I am happy to work with the team within manroland to make manroland web systems Australasia even more successful in the future.” Andreas Schwoepfinger as technical director service is responsible for all services and products regarding the manroland web systems customised solutions, support and store, along with service support for sheetfed customers. Schwoepfinger says, “Besides new sales we are mainly considering possibilities for

growth in the service sector.” Wickham and Schwoepfinger each have more than 20 years of experience in the printing industry between Australia and Germany. Wickham says, “With many of the biggest Australian printers as our customers, we want to increase the support for our customers for press upgrades and services, but also new features, like the manroland web store, our 24/7 online store for wear and spare parts. Alex Wassermann, managing director of manroland web systems says, “Both Dennis Wickham and Andreas Schwoepfinger have been working for manroland web systems for a long time and understand the needs of each customer through the development of strong relationships. They are well aware of the Australian market requirements and bring a lot of enthusiasm to support the Australasia customers to be successful. “With the new team, manroland Australasia will keep its strong market position and strengthen it – especially in the service sector.”

THE PIAA demanded that federal MPs work to fix the nation’s emerging energy crisis, telling the politicians that volatility in costs and supply were unacceptable, and that the renewables target is ‘crazy’ and will lead to more energy blackouts. CEO Andrew Macaulay and director of government relations Mary-Jo Fisher sat down with 25 politicians from both Labor and Liberal parties to express the industry’s growing concerns with energy pricing, security and supply. Fisher says, “We went to Canberra armed with empirical information we got from SA members about the cost of energy from them and the instability of supply. Members of parliament were thirsty for that information. We are now compiling information from our members nationally to take back to parliament.” Fisher says they spoke to South Australian members first as the state has experienced three blackouts in the past six months. She says one member

had electricity prices rise by 35 per cent in the past year and another had prices rise by 48 per cent in the same period. “We asked those members what are their costs, what are the impacts of the cost, the impacts on employment, jobs and insecurity of supply. The printers are worried as they do not know when the next blackout is going to be. This crazy renewable target set by the government will soon be replicated in other states and they too will follow into the darkness.” Fisher says the problem with renewable energy is a lack of efficiency and not enough base power. “In increasing your reliability on renewable energy, you are increasing your reliability on something which is not reliable,” she says. Macaulay has previous stated the need for energy security in Australia, to secure employment and productivity in printing. “We surveyed issues for energy problems with one of the examples being productivity.”

PIAA demands energy fix

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PIAA lashes Fair Work Commission PIAA CEO Andrew Macaulay and director of government relations Mary-Jo Fisher have told MPs the Fair Work Commission (FWC) is divided, partisan, dysfunctional, and needs fixing. Fisher told 25 members of parliament that, “The system is broken, the government has sat on its hands for too long in the workplace relations sphere, it is time it got over its fear of the spectre of Workchoices.” Fisher says the dysfunction has been building up over the last five to ten years. She says, “The problem was finally brought to the fore with a scathing critique written by vice president Graeme Watson of the FWC. In our view his letter needs to be used to bring matters to a head with the government.” “In the sense that if the government has not been rallying already, then it needs to. In the words of Watson in his letter: The workplace relations system is antibusiness and antiemployment.” Macaulay and Fisher were notified of a recent incident involving the abandonment of the employment clause in the Graphic Arts, Printing and Publishing Award, illustrating

String talk: Andrew Macaulay, Eric Abetz, Mary-Jo Fisher the issues Watson raises. They both met with employment minister Michaelia Cash to talk specifically about the FWC. “Firstly, we spoke to her about the fair work act itself. We urged the government to progress implementing the recommendations of a recent report from the productivity commission, which shows a raft of recommended changes. “We think the government should implement almost all of those. “Secondly, we indicated to her the small business unfair

dismissal code was due for an overhaul and finally, we put to her our concern about the dysfunctional working of the FWC.” Both plan to go back to Canberra next month. Another MP they spoke to was Dan Tehan telling him the workplace relations system is not helping. business, employment or productivity. Fisher says they asked Tehan to support any changes the government might consider making over the FWC. They also

spoke about retaining parallel import restrictions on books as McPherson Binding, a major regional employer with 400 staff is in Tehan’s electorate. Macaulay and Fisher also had a chance to discuss with small business ombudsman Kate Carnell on helping small businesses, especially those in the printing industry. “We focused on what the ombudsman do can do to help small business, talking about creating an single industrial award for small business,” Fisher says. Both plan to go back to Canberra next month, to discuss the issue further. Appointments are in place to meet with a number of labor politicians. The Fair Work Commission has recently been attacked by the Labor government, following a recommendation to cut Sunday penalty rates for workers in the hospitality industry. The Opposition party has put up stout resistance to any changes negatively impacting worker’s take-home pay, despite having played a part in the founding of the Fair Work Commission, which provides recommendations as an independent body from government.

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Finsbury Green signs mobile giants AUSTRALIAN environmental printer Finsbury Green has signed a long-term enterprise print management contract with two mobile titans, Optus and Virgin Mobile. Finsbury Green will consolidate and streamline Optus and Virgin Mobile’s print, point of sale, local store marketing and campaign management, while at the

same time saying it will allow complete transparency to both the client and suppliers. Peter Orel, CEO of Finsbury Green says, “We are delighted to add Optus and Virgin Mobile to our growing list of clients. This is another significant step in our progress in the Australian market. Our solution is a great example of the flexibility, independence and value that

Forum Group acquiring Imagetec

Brisbane printers merger under Domino’s

MANAGED print service provider Forum Group is buying rival outfit Imagetec Solutions to create a new $75m entity. Craig Rollinson, CEO of Imagetec will become the chief operations officer of Forum Group, with Forum CEO Bill Papas remaining in his role. Bill Papas, CEO, Forum Group says, “The acquisition of Imagetec will enable us to provide new ways to add value to Imagetec customers. “On that note, I am especially pleased to announce that Craig Rollinson, the Imagetec CEO has accepted my offer to become the COO of Forum Group. “His approach to operational excellence, combined with Forum’s proven sales capability, will mean great things for our business going forward.” Rollinson says, “We have been able to drive significant efficiencies at Imagetec over the last few years and I look forward to being able to deliver even more improvements in this next exciting chapter of Forum’s history.”

DOMINO’S has increased its in-house capabilities, purchasing IPG Connect, a print management and digital publishing specialist agency, and merging it with its own Direct Impact Media. The new company is called IPG Marketing Solutions and advertises itself as ‘a full-service direct marketing and print production company providing multi-channel communication solutions to our clients.’ It also has digital and offset capabilities, and will be producing Domino’s printed materials. General Manager Kahn Barlow, general manager, IPG Marketing Solutions, says “The combined IPG Marketing Solutions group will allow a broader offering of complementary products and services, from offset printing through to direct mail, allowing the team to win new business and act as a one-stop-shop for customers.” An IPG marketing solutions spokesperson says the two Brisbane companies were

Finsbury Green can deliver to clients, with innovation and technology. “The factors for the success included our ability to demonstrate experience in delivering excellent print management services allied with our market-leading proprietary software solutions for campaign management (Launch), local area marketing (Shout) and

sourcing (sourceit).” Finsbury Green says its reputation as Australia’s premier green printer is unparalleled, with a complete range of carbon neutral services including premedia, e-publishing, digital and offset print, finishing and mailing solutions. It specialises in print, direct mail, marketing services, transmedia, logistics and print.

Pizza with that: Domino’s expanding into print located two streets from each other, but will now be combined in a new location close to the two original locations. In relation to whether or not all staff would be retained, the IPG Marketing Solutions spokesperson says “Our intention is to grow the business to ensure there are further job opportunities for our team members.”

The company says it will continue to work with Domino’s, Lite’n’Easy, the Mater Hospital, Mantra Hotels and Queensland Reds Rugby, amongst other established brands in Brisbane and will work at a combined facility at 25 Strathwyn Street in Brendale. IPG Marketing Solutions says Kahn is overseeing the merger, ensuring business as usual.

Heidelberg sales down, profits and orders up PRESS giant Heidelberg achieved total sales of €1.68bn for the first nine months, 10 per cent below the previous year’s level of €1.80bn. In the third quarter EBITDA was up by 20 per cent to €49m, net result after taxes was up by 150 per cent to €18m, while the order backlog of €739m was around 26 per cent up on the previous year’s figure of €586m. Sales for this quarter are €608m, down from 2016 levels of €640m. The company says the launch of series production for the drupa innovations at the end of the financial year has contributed to the sales slowdown, as the new presses are taking longer to get out 16

Better results to come: Heidelberg of the factory to printers. Heidelberg says this is balanced by incoming orders at €1.99bn, approximately 4.5 percent higher than the previous year of €1.9bn.

March 2017 - Australian Printer

The company says better results are to come, as it continues its transition to digital. Dirk Kaliebe, CFO, Heidelberg, says, “We have the financial strength to actively

shape our route into the digital world. The balanced financing framework also gives us the freedom to drive forward through targeted acquisitions.” EBITDA excluding special items improved to €49m in the third quarter compared to the previous year of €40m. When looking at the numbers over the financial year to date, they are still down. The total EBITDA after nine months is €94m, while in the previous year it was €119m. At €-2m, special items in the quarter under review equalled the same as the previous year. The total figure for special items after nine months was a loss of €8m, an improvement on the previous year’s loss of €24m.

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NEWS

HP releases entry level web

FORGET THE REST AND GET WITH THE BEST! Harness the power of print and the

Entry level webfed inkjet: HP Pagewide T235 HP is launching the HP PageWide Web Press T235 HD, which it describes as an entry level continuous-feed colour inkjet web press, at Hunkeler Innovationdays in Switzerland. The company says the new press offers commercial print service providers (PSPs) the most economical entry point to high quality performance for digital commercial printing. According to HP, the T235 HD is a low totalcost-of-ownership platform for publishing, production mail and commercial print needs. It can be upgraded to the HP PageWide Web Press T240 HD for increased productivity. Using HP’s High

Definition Nozzle Architecture (HDNA) with a native resolution of 2400 nozzles per inch, the duplex HP PageWide Web Press T235 HD delivers productivity at 122meters a minute in performance mode. It is also capable of producing 61mpm in quality mode, using dual drop weight printing, with seven levels of half-toning per colour, and what it says is finer grain printing for smoother skin tones, gradients and secondary colour solid fills. Steve Donegal, country manager, Indigo & PageWide Webpress, HP South Pacific says, “With the introduction of the HP PageWide T235 HD, it is easier for more PSPs to make the analogue to digital

transformation. “HP high-volume PageWide solutions allow print service providers to add greater value to high-volume data-driven print communications, with uncompromising performance and colour quality that brands demand,” says Donegal. “The HP PageWide T235 HD makes it possible to deliver costefficient, relevant and targeted print that engages customers in more creative ways.” Commercial printers are yet to make the move to high speed webfed inkjet colour presses in any great numbers, with sales so far going to transactional, transpromo, document and book printers.

New AusPost chief to have salary slashed THE next CEO of Australia Post will likely be on a salary 80 per cent less than outgoing boss Ahmed Fahour’s $5.6m package – which equated to $22,000 every single working day. Minutes after Fahour sensationally resigned during the half year results press conference the federal government sacked AusPost’s remuneration committee and said his successor’s pay would be determined by its own committee, the independent Remuneration Tribunal, and said the pay would be in line with leaders of similar government operations. This is certain to mean that the new CEO will be on a more reasonable salary than the torrent of dollars pouring into Fahour’s bank account. Comparable positions include Glenn Stevens, head of the RBA who is on $1m, and Michelle Guthrie, head of the ABC, who pockets around $900,000. These salaries are 20 per cent and a world away from the $4.4m annual salary plus $1.2m bonus that Fahour was treasuring, ten times more than the prime minister Malcolm Turnbull – who called the salary ‘very high’ –

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timeliness, reach and frequency of the World Wide Web with

australianprinter.com.au Now you can reach print industry decision makers and influencers with electronic direct mails (EDMs) to our opt-in databases for the Commercial Printing industries in Australia, New Zealand and the ASEAN countries as well as the Packaging vertical in all of these markets. Our EDM database is the newest, freshest and the most powerful in the industry with

Outgoing: CEO Ahmed Fahour and ten times more than the head of the US Postal Service, which many may recognise as a slightly larger and more complex operation. Even in the UK, where the Royal Mail has been privatised, the chief makes half of what Fahour does$2.4m in AUD. Fahour left less than a fortnight after he was forced to reveal his salary by a Senate committee, with the figure causing outrage across the country. He forwent a $1.9m leaving package by resigning, but will pocket a

handy $8.4m in super. He denied he was leaving as a result of the furore, saying it was simply time to go, however reputable media outlets are reporting that sources close to the action have told them that the government told him he had to take a substantial pay cut, he refused and walked. Printers and mailing houses spent the weekend celebrating Fahour’s departure - he actually leaves in July - with PIAA CEO Andrew Macaulay calling it ‘fantastic news.’

open rates of between 28 and 52 per cent the norm.

Get with the strength and contact Brian Moore on 0410 578 876 or brian@australianprinter.com.au for the best deal you’ll do all day Australian Printer - February 2017

NEWS: PAPER

Declining Aussie paper sales hit Spicers SPICERS net sales revenue for the HY is $195.2m, down 3.7 per cent from last year’s HY of $202.6m, with the company blaming ‘challenging trading conditions and structural change’ for the commercial print market in Australia. Were it not for stronger performances in Asia, New Zealand and in diversified areas such as sign and display and pressure sensitive labels the drop would have been significantly more. Underlying EBIT was up by

$100,000m to $3.3m. Statutory profit after tax was $3.6m, well below last year’s result of $6.3m, which the company explains as ‘due entirely to non-recurring items related to discontinued previous operations in Germany’. The Australian net sales revenue was $102.8m, down from last year’s result of $109.2m. Alongside this are poorer figures in Asia of S$41m from S$43.4m. Both decreases were partially offset by a slightly

improved New Zealand result of NZ$55.8m, up from $NZ55.4m. It also points to profit after tax from continuing operations of $1.4m being consistent with the prior year, while ‘profit after tax on discontinued operations of $2.2m arose from settlement of obligations related to the Group’s previous operation in Germany at an amount significantly less than the provision value held by Spicers.’ David Martin, CEO, Spicers, says, “While trading conditions in our core commercial

print markets continue to be challenging, particularly in Australia, we have been able to maintain overall group earnings with good results from the New Zealand and Asian businesses.” The company also notes ‘solid growth in diversified revenue streams, particularly sign and display, and pressure sensitive labels product categories, partly offset this decline.’ This is seen in an increase in the underlying EBIT of 8.1 per cent in New Zealand, NZ$4.3m from NZ$4m.

A4 anti-dumping saga nears conclusion

Maryvale workers vote for pay cut

THE Anti-Dumping Commission (ADC) has delayed the final report on illegal dumping of A4 copy paper by Brazil, China, Indonesia and Thailand until March 17. This is the sixth extension given since the investigation began on April 16 last year. The final report is now due to be given to the Parliamentary Secretary on Friday, with a report then given to the public no more than 30 days from that date. In the interim, three preliminary affirmative determinations (PAD) have been made, covering all four countries, including a suspended imposition of securities pending the final report. The highest dumping margin revealed in the investigation is linked to UPM China, which the ADC claims has a dumping margin of 34 per cent. The ADC says it is satisfied that dumped and/or subsidised goods appear to have caused material injury to the Australian industry producing like goods in the form of price suppression, price depression, reduced profits and profitability and reduced revenue from A4 copy paper. The ADC launched the probe following an application by Australian Paper claiming material damages.

PRODUCTION workers at the Maryvale paper mill run by Australian Paper have agreed to take a five per cent pay cut to secure the factory’s long term future, in what was a close vote. Some 199 workers voted for the pay cuts, 187 against, while 116 abstained from voting, according to Anthony Pavey, CFMEU representative and worker at Australian Paper’s Maryvale mill. Pavey says the cut should occur in the next four to six weeks, pending the approval of the Fair Work Commission. Pavey says the decision was made to ensure workers did not lose their jobs. He says, “They wanted to change us to a fourshift roster, potentially losing up to 90 jobs, which we argued with. There will be no job losses with the pay cut.” Speaking to the worker’s morale following the pay cut decision, Pavey says, “Everyone is a little bit flat. Everyone seems to be accepting it and moving on, so to speak. No-one is really going to be happy about a pay cut.” Last year maintenance workers at the mill agreed to a 38-hour, four-day week while being paid for 35 hours, in return for 52 days off a year. The CFMEU says it has been working towards a new

Pay cut: Maryvale plant workers agree to five per cent cut enterprise agreement with Australian Paper for the past two years. Alex Millar, pulp and paper workers district secretary, CFMEU says, “Negotiating a wage-cut was not our first choice, but after two years we put it to the members. We did not campaign for or against. “We wanted assurances that there was a long-term plan in place to secure the jobs at the mill. They convinced us they were in it for the long term, so long as profit was there to be made. The company initiated the vote, not the union, and it was conducted by the Australian Electoral Commission.” Pavey says that costcutting measures have been

company-wide, “The company has a turnaround plan that has addressed $50m worth of savings. Some workers are doing 38 hour weeks for 35 hours of pay. “Australian paper has streamlined management, looked for savings in chemical supplies, consumables, procurement, everything along the process line.” Millar points to energysaving investments as a way for the company to save money without laying off staff. He says, “There are no plans to automate any aspects of production to minimise wage costs. It is around energy costs and energy efficiencies.”

BJ Ball has shaved it all for charity A number of the NSW team of paper merchant BJ Ball has shaved and coloured their hair, as part of the World’s Greatest Shave. They have raised $3,339 out of the $4,000 target they had set, and are sending out a call to the industry to help get them over the line. The World’s Greatest Shave 18

raises money to support people with leukaemia, lymphoma and myeloma, three types of blood cancer. These can develop in anyone, of any age, at any time. More than 60,000 Australians are living with blood cancer or related disorders, and every day another 35 people will be diagnosed. Blood cancer is the third most common cause

March 2017 - Australian Printer

of cancer death in Australia, claiming more lives than breast cancer or melanoma. Although research is improving survival, but sadly an Australian loses their life to blood cancer every two hours. Tony Bertrand, national sales and marketing manager, BJ Ball says, “Not only does it affect individuals, it also impacts

family, friends and surrounding community. BJ Ball believes we can all do our bit and help raise awareness and money to find a cure and support those who are currently going through treatment.” So far the Leukaemia Foundation, which organises the World’s Greatest Shave, has raised $11m in Australia.

australianprinter.com.au

NEWS: BUSINESS

Fairfax ad revenue plummets FAIRFAX revenue for the half year was down by 4.7 per cent to $913m, with the company citing a 16 per cent drop in print advertising as a primary cause for the downturn. Profit for the period trebled form last year to $83.7m from $27.4m. The underlying revenue of $902.9m is down 5.8 per cent. The EBITDA of $145.1m is down 9.9 per cent, while the EBIT of $126.8 up 0.6 per cent and net profit after tax of $84.7m up 6.1 per cent. Fairfax shares are currently in a trading halt, with industry rumours suggesting the successful Domain business is separated out for a possible ASX listing, and that the newspaper business is potentially being sold to Seven West Media,. Owner of Channel 7. Managing director Greg Hywood says its 16 per cent decline for half year advertising is a result from weakness in retail and motoring categories. Fairfax advertising revenue has dropped 16 per cent for its half year results, but overall

circulation revenue was up by 1 per cent, while digital metro subscription was up 22 per cent. Chief executive and managing director Greg Hywood says in the Australian metro segment – including Sydney Morning Herald, The Age, The Australian Financial Review, digital ventures and life and event businesses – revenue declined 8 per cent and EBITDA was down 12 per cent. “Metro publishing advertising revenue declined 16 per cent, impacted by weakness in retail and motoring categories. Overall circulation revenue increased 1 per cent, benefiting from the strong growth in paid digital subscriptions. Declines in print circulation volumes were partially offset by cover price increases. Fairfax appointed Chris Janz as managing director of Australian metro publishing. Hywood says Fairfax are conducting a strategic review of Domain Group in preparation for Domain’s potential separation into a new Fairfax controlled ASX-listed entity.

Salmat revenue drops by $11.1m MARKETING services provider Salmat’s half year results saw the company’s EBITDA and profit before tax rise strongly while revenue dropped by 4.7 per cent $11.1m. Salmat half year revenue is $224.5m, EBITDA is $13.4m, up 45.7 per cent, and the profit before tax is at $5.4m, compared to pcp at $1.2m. Craig Dower, CEO, Salmat says the company’s transformation program that commenced in the 2015 calendar year is delivering results. “Salmat has transformed significantly over the past two years. The major changed are now complete, our priority is new business and revenue generation. The underlying EBITDA growth we have achieved this year reflects the progress we have made with the transformation. This is the fourth successive had that we have posted earnings growth.” Salmat sold its printing arm – or business process outsourcing as it was called – to Fuji Xerox almost five years ago for $375m. It remains a major print buyer, it has just produced 20 million leaflets for Pizza Hut as part of an integrated marketing campaign. Salmat says the revenue drop was due to the new business not

australianprinter.com.au

yet fully compensating for the decline in revenue following the product and services rationalisation. Reduced discretionary spend and expired contacts also impacted total revenue. New business growth during the half mainly took place in digital and contact. The EBITDA grew 46 per cent due to cost savings from the transformational program continuing to assist improvement at this line and earnings from new business also made a positive contribution. Dower says, “The business transformation of the past two years has effectively focussed our attention on areas of market leadership, simplified every aspect of our operations and built the foundations for growth. Now more than ever, Salmat is well-placed to take advantage of market opportunities, as we aim to drive further profitable revenue. “Revenue reduced for a period due to the product and services rationalisation but has grown again in this half. EBITDA has increased period on period since we started the transformation. “We are maintaining a focus on costs and targeting additional business to continue along this course.”

Local & global print stock watch Feb 10 - Mar 15 ASX (AUD$)

Price

Change

Year High

Year Low

Amcor APN Fairfax IVE News Corp oOh!media Opus PMP Redbubble Spicers Wellcom

14.50 2.62 1.02 2.38 16.65 4.56 0.52 0.69 0.80 0.03 4.95

0.54 0.3 0.13 0.01 0.83 0.04 0.00 0.04 0.04 0.00 0.37

16.42 4.53 1.05 2.43 19.66 5.64 0.60 0.87 1.46 0.03 5.52

13.40 0.47 0.75 1.98 14.93 3.96 0.32 0.44 0.82 0.02 4.32

        

Fairfax 1.1

1.0

0.9

0.8

0.7

MARCH 2016

NYSE (US$) Adobe Apple Canon Fujifilm News Corp Xerox

News Corp

MARCH 2017

Price 127.01 139.91 31.17 39.94 16.65 7.36

Change

Year High

9.43 4.89 2.06 1.52 3.29 0.13

127.01 139.91 31.17 41.76 16.65 11.25

     

Adobe 120

110

100

MARCH 2016

DAX (EURO)

MARCH 2017

Price

78.88 96.94 27.30 35.86 10.94 6.89

0.72 0.06 5.37 0.201 0.31

Year High

    

2.4

2.2

2.0

MARCH 2017

MARCH 2016

Change

Heidelberg 2.6

MARCH 2016

Year Low

Canon

Agfa 4.40 Heidelberg 2.32 Koenig & Bauer 56.00 Metsa Board 6.219 UPM 23.31

1.8

MARCH 2017

MARCH 2016

4.42 2.65 56.00 6.83 24.46

Year Low 2.56 1.69 27.07 4.307 14.44

Koenig & Bauer

MARCH 2017

MARCH 2016

MARCH 2017

Australian Printer - March 2017

OVERHEAD PRINT DIARY

HEADER - FRANKLIN GOTHIC Got an event? Send an email to paul@australianprinter.com.au with all the details.

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COVER STORY

Epson: technology i

ISITORS to Epson at PacPrint will see a host of innovation on what will be its biggest ever stand at the show, with new technologies all aimed at enabling print business owners to leverage their knowledge, contacts and skill set to exploit emerging opportunities. These technologies include digital label printers, sign and display printers, and direct to garment printers, a new office printer and no doubt a surprise or two, all built with Epson’s Precision Core and its micro piezo technology as the foundation, and all fulfilling the brief to enable print business owners to generate profits. The PacPrint stand is the culmination of a 20 year place at the heart of the printing industry, and a 75 year strategy of innovation at the giant company, which today has global revenues of $10bn and a presence in every printing market in the world. As a manufacturing company, Epson places emphasis on R+D and invests around 5.5 per cent of its revenue in R+D. Epson has just been named in The Top 100 Global Innovators for the sixth year running. The methodology analyses patents across four main criteria (volume, success, globalisation, and influence). Epson has been selected for the list largely in recognition of its success rate, a metric that indicates the ratio of patents granted to the number of applications filed. Epson files about 4,000 patent applications a year. It holds and maintains about 50,000 patents globally and is working with patent agencies in 20 countries or more at any given time. In the patent rankings for the 2015 fiscal year, Epson ranked seventh in Japan for the number of patents awarded, sixteenth in the United States, and fifteenth in China (among foreign companies). Epson arrived on the commercial print world in a major way in the mid-1990s, when its roll fed wide format printers become the de facto proofing device for the new breed of computer to plate systems which eliminated film. The proofers enabled the widespread take-up of CTP which had many critics at the time bemoaning what they thought was their inability to produce a contract proof. Epson proofing consigned the costly and time consuming wet proofing process - almost always outsourced - to history, and enabled prepress to come back from trade houses and into the printer. There were various other digital proofing systems launched at the time, but the Epson dominated the market, and still does. 22

March 2017 - Australian Printer

Epson has a remarkable 75-year record of innovation, leading the field in many areas, not just print

Moverio: Epson smart eyewear brings print to life

That technology did not come out of the blue, for 75 years the company since its beginnings as a manufacturer of parts of watches it has been working to the ‘efficient, compact and precision’ mantra which represents the values that define its constant efforts to save energy, minimise size and maximise precision. Today this is made possible through the four key core technologies Epson has for all its products: micro piezo, microdisplay, sensing, and robotics. Knowledge from all four technologies is leveraged across the group, meaning for instance that printers are significant beneficiaries of advanced developments in all four areas. Craig Heckenberg, business unit manager at Epson says, “The idea underpinning Epson's strategies is to generate value that exceeds the vision of our customers by using a vertically integrated business model to leverage our core devices, which emerged from core technologies that we have developed for many years.” Epson independently develops and volume-produces competitive core devices such as PrecisionCore print heads, 3LCD and laser source optical engines, and semiconductor and quartz crystal devices. Considering business environmental changes and mega trends, Epson established the Epson 25 Corporate Vision. Its vision statement for the following ten years is, ‘Creating a new connected age of people, things and information

with efficient, compact and precision technologies.’ Heckenberg says, “As a company that specialises in generating value in the real world, Epson will refine its efficient, compact and precision technologies, as it aims to create a new connected age of people, things and information by innovating in four key areas.” Epson’s beginnings were manufacturing components for wristwatches in 1942, and the company says it is there where its commitment to efficient, compact and precision technologies originate. During the 1950s and 1960s, Epson developed several epochmaking products that made major contributions to the establishment of its efficient, compact and precision technologies, including the Seiko Marvel an originally designed mechanical wristwatch, which was a groundbreaking product in Epson's watch business. As Epson brought newer and more sophisticated high-precision wristwatches to the marketplace, it nurtured its own craftsmanship and technologies for manufacturing small, high-precision devices. It also fostered a spirit of challenge for making high-precision products. Then, in the latter half of the 1960s, Epson launched two products that would have a major impact on the world. In 1968, Epson launched the product that is the source of its company name, the EP-101, the world's first light, compact digital printer. Combining printer

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COVER STORY

innovator writ large

manufacturing and high-precision processing technologies, the EP-101 reduced the printer from a desktop unit to a printer that could fit in the palm of your hand. The EP-101 was the embodiment of our efficient, compact and precision technologies. A year later in 1969 it launched the Seiko Quartz Astron 35SQ, the world's first quartz wristwatch, made possible by the world's first tuning fork type crystal oscillator. This let the Astron 35SQ be compact and shock resistant, as well as precise.

Micro Piezo FROM then on, Epson worked to strengthen and deepen its initiatives to develop uncompromising compact, efficient, compact and precision technologies. This pursuit led to its core Micro Piezo inkjet printer technology, microdisplay projection technology, and sensing and robotics technologies. In 1990, Epson embarked on its emergency printing head (KH) project. By adopting a new concept involving a layered piezo element, it became possible to maintain inkjet performance in an ink head that was only one tenth the size of other units at that time. This marked the birth of the Micro Piezo print head. Micro Piezo is an inkjet printing technology using Epson’s original Micro Piezo print head. This print head is based on the special characteristics of the ceramicbased piezoelectric element, which contracts when an electric

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current is applied. Since the early 1990s, when this technology was first developed, its inkjet printers equipped with Micro Piezo heads have been used for a wide range of printing applications, from compact photo printers to large industrial printers. Unlike competitive printing technologies that use heat to fire ink, Micro Piezo possesses a number of advantages, because it does not use heat. Micro Piezo is suited to printing with a wide range of inks and media. Micro Piezo print heads are extremely durable. This ensures that they can be used in the tough conditions found in the industrial printing world. Micro Piezo print heads precise quantities of ink at exactly the right point on the media. VSDT is used to precisely adjust the amount of ink fired from the print head. This is done by adjusting the shape of the piezo elements by varying the electricity voltage in the print head. With ink droplets as small as 1.5 picoliters, it is possible to print images with rich gradations and with almost no granulation. Operating the piezo elements at high frequencies of 50kHz and above allows the printer to fires up to 50,000 ink droplets from each nozzle per second. VSDT allows the printer to control the size of these droplets. These factors ensure printers using Micro Piezo technology can print at high speed. In 2007, Epson succeeded in developing the TFP (thin film piezo) print head. The new technology made possible higher density heads with nozzles capable of emitting 360 dots per square inch (dpi), leading to even faster and more-compact printers. It was able to expand the use of inkjet printing into fields where increased productivity was needed, especially in industrial (commercial) print applications. More than twenty years have passed since Micro Piezo technology was introduced. In 2013, Epson announced the development of a new print chip using thin film piezo technology, and began using the name PrecisionCore for print heads including these print chips. Going forward, Epson plans to include PrecisionCore print heads printers used in industry and the office. Heckenberg says, “We live in a world of printed objects made on various materials, from paper, to cloth, film, plastics and leather. We seek to shift all of this printing to digital and propose new ideas to the industry. Our Micro Piezo technology is at the heart of our plans to make this possible.” In the industrial markets, Epson aims to accelerate the replacement of

Epson at PacPrint LABELS:

SurePress L-6034VW

THE Epson SurePress L-6034VW range has been designed for label converters seeking to move into the digital age, either for the first time or as an expansion, with enhanced customer service, marketability and operational profit. Presses combine digital image processing with the latest ink and drop-on-demand print technologies to facilitate flexible production with outstanding print quality. LABELS:

ColorWorks C3500 and ColorWorks C7500

EPSON'S ColorWorks Desktop Label Solutions are aimed at high mix label requirements, these solutions feature commercial inkjet printers; fast-drying, durable colour inks suitable for a range of media types and sizes. With on-demand colour printing, instead of maintaining an expensive inventory of pre-printed labels, it can print the labelson demand. Already Epson's ColorWorks Desktop Label Solutions are delivering proven results for a wide range of labelling applications from packaging and manufacturing to logistics, retail, ticketing and more. High print speed up to 300mm/second and print resolution 1200 x 600 dpi. SIGNAGE:

SureColor S60600 and SureColor S80600

EPSON says its signage and décor printers have been designed to produce superior output with faster, more efficient, and cost-effective operation. They are compatible with an enhanced range of media including the full range of paper, canvas, film and vinyl substrates. According to the company they produce images that are brighter, and are more durable, have a higher gloss level and gamut range than competitors FABRIC & MERCHANDISE:

SureColor SC-F9200

EPSON'S fabric and merchandise printers are designed to enable rapid and cost-effective production of printed goods and material. Aimed at those producing clothing, sportswear, soft-signage or gifts, Epson fabric printers offer flexible output capabilities with easy management and low maintenance. All models are backed with Epson warranties and on-site service. The F9200 combines wide format output with low running costs, and efficient roll-to-roll operation. It suits production of clothing, soft signage, and printed fabrics. Prints are made on paper which is then transferred (sublimated) via a heat press onto material that contains a polyester base or has received a polyester pre-treatment. The engine, supply system and auto take up unit all work together to facilitate continuous roll-to-roll printing at speeds up to 100sqm per hour for an efficient production process. FABRIC & MERCHANDISE:

SureColor F2000

THE F2000 is a direct to garment (DTG) printing platform for work involving cotton based shirts, caps, bags, and promotional items. Prints can be made to pre-cut fabric or directly onto a finished garment with a heat press then used to fix the dye. It enables production of customised and value-added goods with high impact and good wash/wear durability. The printing platform and ink have been developed together, this integrated approach ensures exceptional image quality with reduced running costs, and also enhanced mechanical durability with a reduced maintenance burden. The system is quick to install, easy to operate and offers fast, flexible production for low volume applications. Opportunity: Epson SurePress L-6034VW

Continued on page 24 Australian Printer - March 2017

COVER STORY Continued from page 23 conventional analogue printing with digital printing, and provide printers with values such as enabling cost effective small lot printing and lower environmental impacts.

Breadth and depth EPSON is not just in printing though, it has multiple innovative developments going on in multiple sectors. PaperLab for instance is a radical concept that seeks to keep office paper permanently recycled. As a leading printer company Epson has extensive experience working with paper, and started a new challenge to change the cycle of paper using its technologies. With the PaperLab in-office paper recycler, Epson says it aims to give new value to paper, stimulate recycling, and help realise a sustainable society. Ordinary paper recycling is an involved process including transporting paper to the recycling facility. PaperLab will enable a new and shorter paper recycling process whereby enterprises and institutions can recycle waste paper in the office. With PaperLab, office users can produce sheets of A4 or A3 office paper, paper for business cards, or paper of different thicknesses and sizes whenever they need from paper they have already used and are recycling. PaperLab is currently only available in japan, having been launched there in 2016.

Epson innovation: MicroDisplay

Robots

Microdisplay MICRODISPLAY technology is the original Epson technology at the heart of the Epson’s projectors that boast world-leading market share, and at the heart of smart eyewear. Microdisplay technology can broadly be divided into HTPS and optical/ manufacturing technologies. HTPS technology is used in special LCD panels that are smaller and higher resolution than those used in smartphones. Epson has created a range of HTPS LCD panels for various applications, including projectors and smart eyewear. Epson's 3LCD method has been developed though a continual process of trial and error. From the beginning of the 1980s, it was forecast that a new audiovisual age would dawn, but projectors at the time weighed more than 100 kilograms. Epson announced the world's first 3LCD projector at an academic conference in the United States in 1986, and then launched its VPJ700 projector in Japan in January 1989. Developments followed at pace including the 2010 launch of the EB-1775, the world's thinnest projector (44 mm), incorporating the 3LCD mechanism, and the 2016, launch of the EB-L25000U, a 25,000-lm laser beam projector 24

March 2017 - Australian Printer

Robots: One of the four Epson core strands

that allows 20,000 hours of maintenance-free operation by combining an inorganic laser light source and phosphor wheel. Moverio smart eyewear takes advantage of the microdisplay technology developed by Epson over the years for its projector business. Worn like a pair of spectacles, Moverio allows users to watch big screen images in front of their eyes. Moverio represents a new type of visual communications. Digital images are superimposed over actual scenes viewed through the transparent glasses, with users’ hands free to perform other tasks. The possibilities for both work and leisure are endless as sensors detect head movements and due to multiple applications created by developers that can be downloaded. In addition to enjoying images with Moverio smart glasses, customers in the workplace can use the binocular see-through capability of the smart headset for displaying information in the field of view and improve their work efficiency by using Moverio to work hands-free.

Sensing EPSON’S goal in sensing is to use its high-precision sensors to contribute to the improvement of people’s lifestyles. It wants to add value by helping people visualise data that they could not previously see. Epson is now rolling out its original sensing products into healthcare, sports, and to industry. Epson is one of only a few companies in the world that manufacturers both quartz devices and semiconductors. This strength enables Epson to create distinctive high-precision sensing technology that separates it from the competition. The term Qmems combines Quartz and Mems, and was created by Epson. It refers to the application of crystal processing, like those used in manufacturing semiconductors, to quartz, with its high stability and precision, to create quartz devices that are compact and offer higher performance.

EPSON’S robot business began in 1983 when the company developed precision assembly robots for its watch business. The company currently develops, manufactures and sells horizontally articulated four-axis robots, for which it has the world leading market share, and compact six-axis robots. Epson's technology portfolio includes efficient, compact, precision technologies that it has refined over the decades since the company was founded. These technologies give Epson products their defining features - things such as low power consumption, small size, and precision control. Its precision control technology allows Epson's robots to be compact, lightweight and slim, thus says the company giving them superior productivity per unit of area. Epson's robot business also capitalises on its crystal devices and the sensing technologies of its semiconductor business. The power of its robotics is increased by using it with sensing systems that enable its robots to accurately sense motion. This combination of technologies allows it to sharply reduce the amount of vibration produced by robot motion and to further increase robot speed, accuracy, and other performance parameters. Epson launched its autonomous dual-arm robot at the International Robot Exhibition 2013. This robot checks objects just like people, adjusts the grip of its two hands, and makes judgments by itself, therefore bringing automation to factories that could not previously use robots due to cost and the difficulty of the work. By continuously refining its original robotics technology, Epson aims to widen the scope of its robots into a variety of new fields, for example caring for the elderly. Epson then is much more than a print solutions developer, but for printers they can be assured that the technology solutions they see at PacPrint come with a mighty foundation of precision engineering and innovation.

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PRINT’S ECONOMIC DIGEST – MARCH 2017

RBA optimistic Print’s Economic Digest – the monthly column dedicated to key economic indicators and issues impacting on the printing industry and the Australian economy, by Hagop Tchamkertenian

HAGOP TCHAMKERTENIAN

EBRUARY’S monetary policy statement issued by the Reserve Bank of Australia (RBA) had a distinct positive tone associated with it, with expectations of return to stronger rates of economic growth aided by both international and domestic factors. The critical question is what does the latest monetary policy statement mean for the Australian economy, and specifically for the printing and associated industries? This column will attempt to provide such an assessment based on the latest published economic data.

RBA positive assessment GLOBALLY business and consumer confidence have improved, and above trend economic growth is now being forecast for a number of advanced economies, although economic uncertainties have not completely vanished. Economic growth in China was stronger in the second half of 2016, driven by infrastructure and construction

activity, however this composition of growth as noted by the RBA poses certain risks to Chinese and global economic growth going forward. The Australian economy has benefitted from recent higher commodity prices, with national income getting a welcome boost. Headline inflation rates across most countries are trending up in line with improvements in commodity prices and overall economic activity. With interest rates increasing in the Unites States – as authorities there commence the process of returning rates to more normal settings, the RBA now believes that the monetary policy easing cycle across major economies has come to an end, as financial markets show signs they are functioning efficiently. The RBA has dismissed the recent slowdown of economic activity in Australia as an aberration and remains confident that economic growth rates will return to more reasonable rates during the December 2016 quarter. The RBA growth outlook over the next two years is for rates of economic growth of around 3 per cent. Economic growth is expected to be driven by increases in resource exports, the impact of declining resources investment coming to an end, consumption growth increasing to moderate levels, and improvements in non-mining business investment. RBA’s statement notes that both low interest rates and a weaker currency remain critical factors in supporting economic growth in Australia and are helping the economy in its transition following the end of the mining investment boom. Despite the more optimistic

growth sentiments expressed by the RBA, both headline and underlying inflation while forecast to trend up are still expected to remain low and remain well within the RBA target range. Increased economic growth with low inflation is the economic scenario that the RBA now believes will materialise over the next couple of years.

Economic outlook GLOBAL economic growth is now expected to be above potential over the next couple of years due to accommodative monetary policy globally and expansionary fiscal policy in the United States. The RBA’s initial assessment of the new US administration economic policies is that policies such as personal and corporate tax reductions will boost economic activity and increase inflation. Concern is being expressed that protectionist trade and restrictive immigration policies on the other hand could undermine global growth. The RBA expects consumption growth in Australia to be relatively stronger over the forecast period and will aid economic growth. While the outlook for non-mining business investment looks weak, the RBA remains confident that it will pick up towards the end of the forecast period (June 2019) as capacity utilisation measures have increased and currently remain above their long term averages. Employment growth is forecast to pick up in the first half of 2017 before stabilising resulting in slightly lower unemployment rate over the forecast period.

Year ended (per cent) Dec 2016

Jun 2017

Dec 2017

Jun 2018

Dec 2018

Jun 2019

GDP growth

2.0

1.5-2.5

2.5-3.5

2.75-3.75

Unemployment rate

5.8

5.75

5-6

CPI inflation

1.5

2.0

1.5-2.5

2-3

Underlying inflation

1.6

1.75

1.5-2.5

2-3

Year ended (per cent) GDP growth

2016

2016-17

2017

2017-18

2018

2018-19

2.25

1.5-2.5

2-3

2.5-3.5

2.75-3.75

Source: RBA 26

March 2017 - Australian Printer

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PRINT’S ECONOMIC DIGEST – MARCH 2017

c going forward Wage inflation is forecast to remain subdued only increasing from late 2017. Continued spare capacity in the labour market however is expected to limit the recovery in wages. While uncertainties remain over the inflation outlook, the RBA is confident that headline and underlying inflation will both come in at around the 2-3 per cent range by the end of the forecast period.

Economic uncertainties THE RBA statement highlights the uncertainties impacting the latest forecasts such as the new US administration and its policies, the outlook for the Chinese economy remains uncertain with potential impacts on global economic growth and commodity prices. Domestic uncertainties include the state of the labour market and its likely impact and influence on wages, household income and consumption. The impact of domestic cost pressures on eventual inflation outcomes remains another source of uncertainty.

RBA forecasts OUTLINED in the table are the latest RBA forecasts for growth and inflation covering the forecast period to June 2019. Economic growth is expected to pick up towards the end of 2017 and remain above trend over the forecast period. Compared to the Mid-Year Economic and Fiscal Outlook (MYEFO) released by the Federal Government in December 2016, the RBA forecasts on economic growth and inflation are higher

reflecting confidence of increased economic activity over the outlook period.

What it means for printing businesses THE RBA’s latest Monetary Policy Statement portrays a more optimistic view of economic conditions going forward. The positive tone is based on both an assessment of prevailing economic conditions globally and domestically as well as factoring in some of the economic risks and uncertainties associated with the latest economic forecasts. Stronger economic growth should in normal circumstances be a welcome development for printing businesses but critically the economic drivers and composition for future economic growth is not one that will directly boost printing industry activity. This is due to the ongoing weakness and doubts about household income growth which in turn influences consumption expenditure a pivotal driver of economic activity in the printing and associated industries. More encouraging news for printing participants comes from the forecasts on wage and consumer inflation which indicates cost pressures will continue to remain moderate over the forecast period. For mature industries such as printing with low bargaining power in determining product and services prices, operating in a relatively low cost inflationary environment is likely to be beneficial.

Business investment share of GDP 20 18

Percent

16 14 12 10

Sep-‐1996 Mar-‐1997 Sep-‐1997 Mar-‐1998 Sep-‐1998 Mar-‐1999 Sep-‐1999 Mar-‐2000 Sep-‐2000 Mar-‐2001 Sep-‐2001 Mar-‐2002 Sep-‐2002 Mar-‐2003 Sep-‐2003 Mar-‐2004 Sep-‐2004 Mar-‐2005 Sep-‐2005 Mar-‐2006 Sep-‐2006 Mar-‐2007 Sep-‐2007 Mar-‐2008 Sep-‐2008 Mar-‐2009 Sep-‐2009 Mar-‐2010 Sep-‐2010 Mar-‐2011 Sep-‐2011 Mar-‐2012 Sep-‐2012 Mar-‐2013 Sep-‐2013 Mar-‐2014 Sep-‐2014 Mar-‐2015 Sep-‐2015 Mar-‐2016 Sep-‐2016

Source: A BS

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The RBA forecasts are also assuming an unchanged Australian Dollar which if materialises will help provide a certain degree of certainty for imported material and technology used by operators in the printing industry. While economic theory would suggest that a lower Australian Dollar would help those printing operators engaged in export and import competing activities, given significant raw materials and technology is imported by the industry the net economic gain or benefit is not that evident.

The pivotal indicator KEY economic indicator and driver of economic activity going forward will be business investment but critically non-mining business investment. As the transition of the Australian economy progresses from one that was led by the mining investment boom towards a more diversified growth phase, nonmining business investment which has remained subdued in recent years needs to recover in order to provide the required economic impetus and help offset the decline in mining business investment. The chart titled business investment share of GDP is one of the pivotal indicators for the post resources boom era. Sustained improvements in this indicator going forward will help underpin economic growth.

Conclusion THERE is no doubt that if the Australian economy commences to grow at a more rapid rate then eventually all sectors of the Australian economy, including printing, will start to reap the economic benefits associated with such growth. While recent economic growth has shown that the printing industry has demonstrated remarkable economic resilience by growing at a faster rate than the Australian economy in recent quarters, the growth has tended to come from a relatively lower historical base. Having an economy that is both strong and expanding with a sustainable growth composition featuring external and internal factors will ensure the economic growth dividend is shared by more and more sectors of the Australian economy – including mature, technology challenged, evolving and consolidating industries like printing. Hagop Tchamkertenian Email: hagopt@i-grafix.com Mob: 0414 953 271 Australian Printer - March 2017

BUSINESS

Put more KIDding into your selling

was reminded recently of a column I wrote for a printing industry trade magazine here in the United States back in 1998. It was titled IQDD — An Acronymic Approach To Successful Selling. IQDD stands for identification, qualification, discussion and decision, and I still think that is a solid formula. But, like anything else from going on 20 years ago, it is probably due for an update. So today I am going to urge you to put more KIDding in your selling. KID stands for knowledge, interest, and then (and only then) discussion.

Dave Fellman says sales people should be talking less

More to sell ONE of the foundations of this new acronymic strategy is that you have a lot more to sell today than you did in 1998. Back then, progressive printers were talking about digital printing and mailing services. Today you can also be talking about large format printing, signage, promotional

Don't send your customers to sleep with non-stop verbage

March 2017 - Australian Printer

products, response enhancers like Purls and QR Codes, and a wide range of marketing services including websites and social media. It has been my experience that today’s typical printing salesperson has so much to sell that he or she usually cannot wait to tell everyone all about all of it. And that is a mistake. One of my themes over the years has been that most salespeople talk too much. That was true in 1998, and it’s true today. KID is about talking less, and talking about less.

Knowledge THE first stages of any conversation with a prospect should be about knowledge. And let me make it clear that every selling conversation involves a prospect. Another of my themes over the years has been that it is important to differentiate between suspects, prospects and customers, because you face different challenges with each category. The challenge with suspects is to qualify them; in other words, to determine whether they really are qualified prospects. The challenge with prospects is to convince them to give you a chance; in other words, to place that first order. Once they do that, they become customers, but every customer is also a prospect to be a larger customer. And while the decision to continue to buy what they are already buying from you may not require much selling on your part, the decision to have you build and maintain a sophisticated website for my company probably will. So let us say that you want to sell me on building and maintaining your website. The first step is to make me aware that you have that capability. The wrong way to do that is to tell me that you’re into building websites now. The right way is to engage me with a question. Think about that. If you make a statement, the ball is still in your court. If you ask a question, the ball is now in my court - and that is where you want it. Conversation is far better selling strategy than presentation. (By the way, I heard a salesperson make that exact ‘we are into building websites’ statement to one of his prospects just a few weeks ago, and the prospect looked at him blankly for a few beats before saying ‘well, ah, congratulations?’)

Interest CREATING or confirming knowledge and awareness is a solid start, but now you have to consider my level of interest. And let me make this very simple. If I am not interested, you will not succeed. That means you would be wise to create or confirm my interest before going any further. So here is one option: ‘We are into building websites now. Would you have any interest in talking with me about that?’ Here is another option: ‘I would like to talk about your website today. Specifically, if you could change anything about it, what would it be?’ The first option is pretty direct, but that is the only thing I like about it. The second option is much more likely to start the kind of conversation I think you really want to have. Either way, if there is interest, you move on to discussion, and if there is not, you do not. Remember, you really do have a lot to sell. If you do not sell me on building and maintaining a website today, you may still sell me on managing my social media presence next time we talk. On the other hand, you might alienate me today by pushing on about something I am simply not interested in. Or you might overload my circuits completely by trying to sell me everything in your bag. Do either of those sound like the outcome you are really looking for? Talk less, and talk about less. That is my advice for today. The more you keep the conversation focused on something I am interested in, the more likely it is that you will succeed. PS: You can find just about everything I have ever written for printing industry trade magazines, including the IQDD article mentioned earlier, in the article archives at www.davefellman.com. Dave Fellman is the president of David Fellman & Associates, a graphic arts industry consulting firm based in Raleigh, NC, USA. He is a popular speaker who has delivered keynotes and seminars at industry events across Australia, the United States, Canada, England, Ireland and New Zealand. He is the author of Sell More Printing (2009) and Listen To The Dinosaur (2010). Visit www.davefellman.com

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AWARDS

Winner: Cliff Royle with (l-r) Anthony Lewis, general manager production print Konica Miniolta; Dr David Cooke, CEO Konica Minolta, and David Procter, sales director, Konica Minolta

Purple Press is the inaugural Konica Minolta awards winner

URPLE Press is the winner of Konica Minolta’s inaugural National Specialised Print Awards, with the Victorian-based outfit taking out the top prize for its digital print, Photo Book Panorama. The prize is a $10,000 advertising package including creative and media, using Konica Minolta-nominated agencies. The winner was announced at an awards event last night at SoHo at Jones Bay Wharf in Sydney attended by the all the state-based winners. Purple Press was selected from state winners Elect Printing of the ACT, Cosmo Print in NSW, Queensland’s TJ’s eprint, Ink on Paper from SA and Images on Paper from WA. The entries were judged first at state level, then the six winners sent for national judging. National judges Mark Gowing, Mark Gowing Design; Anthony Parnemann, EFI; Kellie Northwood, Two Sides Australia, and Darrell John, Konica Minolta, all attended to celebrate the entrants. Konica Minolta says it started the National Specialised Print Awards to give its customers a point of differentiation in the market and to help them win more business in an increasingly competitive environment. Anthony Lewis, general manager – Specialised Print, Konica Minolta, says, “Konica Minolta would like to congratulate Purple Press on winning the inaugural National Specialised Print Award. We received an extraordinary selection of 230 entries, all of which have pushed the boundaries of digital print with some amazing work submitted. We would like to thank

March 2017 - Australian Printer

Cliff Royle’s pioneering business takes top spot in first print awards for digital press developer

all of our customers who have supported this competition, and look forward to its growth over the coming years. “Specialised print continues to be a key area of focus for Konica Minolta, and we are proud to be able to support our customers through initiatives such as the National Specialised Print Awards, and by offering new technology and solutions as well as ongoing quality, service and support to deliver value to their customers.” Lewis says, “The Konica Minolta Awards are designed to enable our customers to gain some accolade for the amazing work they produce. As I travel round the country I am more than impressed by both the print that is produced, and the enthusiasm that our customers have for their work and the Konica Minolta equipment.” In fact it was this enthusiasm from a printer that set the awards train in motion. Lewis says, “When I took the role as general manager I spent a lot of time travelling the country talking to customers. I was at this one printer in particular who was super keen to show me the kind of jobs they were producing. I was simply blown away by his sample range, and more than impressed by his enthusiasm for the equipment. “Our customers love their Konica Minolta printers. This guy had created an amazing sample book, which he delighted in showing me, and showing his potential customers, to great effect. It made me realise how passionate our customers are. “This all got me thinking, and I asked my marketing team what we did for our existing customers. I know we all do a lot to attract new

customers, that is the same for any business whether a printer or on the supply side, but it is important to ensure our existing customers are aware that we are just as keen to work with them throughout the life of their equipment as we were at the point of sale. We are all in this together, we need each other and as they say, iron sharpens iron. “So I suggested we run an awards programme. Not to compete with the National Print Awards, which do a great job in promoting print and helping printers keep moving the bar higher, but as a family event within Konica Minolta, for our own customers.” Lewis and his team decided that they would offer a $10,000 marketing prize to the winner. He says, “How many of our customers have got a spare $10,000 to spend on marketing? We thought it would be a prize that would spur people into action: it takes a bit of time to create an entry.” However the awards have proved more than popular with Konica Minolta users, with 230 entries received, and from every state in the country. Lewis says, “They have created a real buzz in the KM fraternity. It has been exciting seeing the high levels of innovation and quality.” The entries have come from printers of many types, from the big commercial outfits through to small copyshops. Lewis says, “The entries are reflective of the Konica Minolta customer base which runs across the whole gamut of print businesses.” The entries were judged in five categories: quality, finish, embellishment, long sheet and books. The only criteria was that the entries were printed on Konica Minolta digital printers.

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KEYNOTE SPEAKERS: Tuesday 23rd May Steve Tighe – The Future Wednesday 24th May Peter Davidson – High Performance

I N CO R P O R AT I N G

VISUAL IMPACT

Thursday 25th May Marty Wilson – Change Friday 26th May Jerry Grayson – Leadership

PACPRINT FORUMS The Forum Series is a well-established and popular part of the PacPrint program, providing an important educational dimension to the exhibition.The keynote sessions are designed to be both thought provoking and inspiring as we look at some of the big issues which face us all, on both a business and personal level, including the Future, Performance, Leadership and Change.

Attendance is free but bookings are essential as places are limited. For the full program and to book your seat please visit www.pacprint.com.au/forum

KEYNOTE: FUTURIST

Keynote: CHANGE

Tuesday 23 May: 11.00am – 12.30pm

Thursday 25 May: 11.00am – 12.30pm

Steve Tighe – Chasing Sunrises

Marty Wilson

Steve Tighe is the Director of Chasing Sunrises, a foresight company specialising in designing strategies for the future. He is the former Foresight Manager at Foster’s, has a Masters in Strategic Foresight from Swinburne University, and has completed the Oxford Scenarios Programme at Oxford University. As the pace of change continues to accelerate, the ability to predict the direction of that change and adapt to it is probably the biggest challenge facing any business today. In this session Steve will cover the fundamentals of foresight while providing businesses with a practical guide for implementing the process.

Jerry Grayson

Wednesday 24 May: 11.00am – 12.30pm

Peter Davidson Peter Davidson has confronted fear and beat it. He was the paramedic who put his own life in danger during the tragic 1998 Sydney to Hobart Yacht race. In the midst of the worst storm in race history. Peter was lowered from the chopper into the enormous waves to rescue 8 sailors. Peter, through his compelling story will focus on the importance of trying, failing, reassessing and making changes to achieve desired outcomes.

R REGISTE

NOW! co-located with

Keynote: LEADERSHIP Friday 26 May: 11.00am – 12.30pm

KEYNOTE: HIGH PERFORMANCE

presented by

Bestselling author and former Australian Comic of the Year, Marty Wilson combines powerful messages on how to master change with the ability to make people laugh. Marty Wilson has spoken to over 1000 inspirational people about the ability to live resilient through good times and bad, and he believes true success in business, and happiness in life, comes only when we explore the fertile territory out of our comfort zones.

In this presentation Jerry acknowledges the interpretive and emotional elements of leadership and decision-making, offering insights garnered during his time as a search and rescue pilot with the Royal Navy. He speaks about the significance of quick decisions, clear communication and – perhaps most importantly – living with the consequences of your decisions and the leader you have become. Jerry will also speak about the key elements to a successful team and the extraordinary things that those teams can achieve. Within just a few months during early 2015 Jerry’s three decades of work and experience in flying on major cinema and television productions almost entirely vanished into thin air; the DRONES had arrived and taken over. Jerry tells of the most extreme form of disruption; when the career he’d built simply ceased to exist. He talks about what he had to do to recognise it, to address it, and the changes he had to make to enable him and his team to move forward positively.

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EXHIBITIONS

PacPrint 2017 – PacPrint 2017 comes at a time when there is positive momentum in the industry. We spoke to PacPrint chairman Adrian Fleming, about how plans for the show are progressing and what visitors can expect. Australian Printer: What are your expectations for the show? Adrian Fleming: We have great expectations for PacPrint 2017 – it is always such an important show, the biggest and most comprehensive in the region, and the planning for this year’s event is already well advanced and looking fantastic. I think the mood in the industry is quite positive – certainly that was evident at drupa last year – and we are excited to see some of the innovations and trends which were evident at that international show flowing through, as they often do, to PacPrint. As always, PacPrint 2017 will bring together the industry’s suppliers, service providers, business owners and key decision makers to do business in a genuine B2B environment. It will be an enormously valuable opportunity for businesses to gather information, identify key technologies and strategies to help increase profitability and create valuable new revenue streams. There is no question that challenges remain for businesses across the print, sign and wider graphic communications sector. But in a sense, that’s nothing different or remarkable; it is more of a constant these days. This need to respond to constant change is also one of the things that makes PacPrint so valuable – it really is a ‘once in four year’ opportunity to see how technology is responding, and to set your direction for the short to medium term. AP: Tell us about the theme, Connect AF: We think Connect really captures what businesses need to do to make the most of future opportunities in what we all know is a very dynamic and challenging industry. We are not alone in expecting a future characterised by constant change. Business leaders and experts across virtually every industry share that expectation and, in fact, believe the pace of change will continue 32

March 2017 - Australian Printer

Adrian Fleming: PacPrint chairman

to accelerate. No matter who you talk to – educationalist, scientist, entrepreneur or business specialist – they will tell you that innovation and progress always happen at the intersection of technologies, expertise, skills and experience. To get to that point, connection is obviously critical. The question for business owners and key decision makers, then, becomes not only, ‘how do we do what we do, better’ but ‘how must we change what we do to better suit the market of the future…and who can we collaborate with to find the right combination for success?’ Events like PacPrint allow us to not only consider the skill sets and technologies which we will need, but also help to foster a flexible mindset with new ideas and inspiration, opportunities to learn from, and consult with, product and industry specialists, and the chance to connect with the people who can best advise us and, potentially, collaborate with us. AP: What will be different in 2017 – what can we look forward to? AF: This is the first show which will be organised by Visual Connections, who took over from Reed Exhibitions after the PrintEx show in Sydney in 2015. While Reed has done an outstanding job over the years, I think that the in-depth knowledge and understanding of the industry which the Visual Connections team brings to the event is really showing. We have responded to feedback from previous shows in planning for this year, and the most obvious change will be that this year’s show will run only for four days, with no Saturday opening. And to ensure everyone has a chance to come, we have organised a late close at the show of 7pm on the Wednesday evening, when we will also have complimentary drinks and finger food for visitors to add an extra incentive to come in after work. The technology itself also continues to change. As well as the very latest solutions for general commercial and digital print, we will see a lot for the wide-format sector – boosted by the co-location with the Visual Impact sign and display show – and specialist solutions for labels, packaging and other key sectors. Importantly this year, we’ll start to see really viable options for 3D print applications and also explore emerging functional print solutions – in fact, there will be a very exciting display of printed solar cell technology which we’re expecting to generate enormous interest.

PacPrint 2017: opening for business May 23-26

AP: How is the exhibition itself looking? What should we expect to see? AF: It is looking full. We have about 15,000 square metres of space in total, and the exhibition is already 95 per cent booked. There is still space available, and we have new exhibitors coming in every day, so we expect it to be fully used by the time doors open in May. The showcase at PacPrint 2017 will be extremely comprehensive, with a range of innovative technologies and solutions from leading suppliers across every sector. As usual, it will be an end-toend display, with solutions on show for everything from planning and prepress, to print and production, media and consumables, finishing and many other tools businesses can use to improve efficiency, lift productivity and sustain their profitability. Visitors will also be able to connect with a range of ancillary services, business services, industry organisations and even government represented, providing additional resources for businesses. We are delighted with the calibre

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EXHIBITIONS

The Inside View revenue streams. 3D and functional print solutions are a great example of that. AP: What about education and networking? AF: This year’s PacPrint Forum Series is, I believe, one of the best we have ever offered. Each morning, we will have a keynote session to tackle big issues like the future, leadership and facing challenge. The speakers for these are all outstanding, and I would encourage everyone who can come along to do so. In the afternoons, we will have panel discussions and technology and sector-specific sessions, which will provide further information and hands-on advice from experts and industry leaders on topics from new technologies, to business marketing and development, leadership, grants and tenders. Workshops will also run on specific topics and technologies. There will also be plenty of opportunities to network and catch up with industry friends. The National Print Awards presentation dinner will be held on the Thursday night, Women in Print will be holding their breakfast on the Wednesday morning, and of course there will be a number of supplier functions and our special Wednesday evening event. AP: Any final message for people thinking about attending? of exhibitors who will be at the MCEC in May, and grateful to them for their continued commitment to the show – it is a significant investment for them, but their commitment guarantees the value to our visitors and will deliver an impressive show. AP: What are the target visitor numbers for 2017? AF: It is a little too early to give any absolutes on numbers, but early indications are strong and certainly we are expecting them to be similar to 2013, notwithstanding the continuing consolidation in the industry. At this point, we are getting hundreds of registrations a week and tracking well against the 2013 registrations – so if I had to pick a number, I would say we will see around that 12,000 or 13,000 figure by the end of the exhibition. Having said that, we are not really focusing on overall numbers but rather on the quality of the visitors. PacPrint is a B2B show which is really designed for decision makers. The days of bringing the

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whole team are probably over – today, we know that it is the owners, senior management and other key staff who prioritise their attendance at the exhibition because they recognise its value. AP: Why make the time to come – where is that value? AF: Chiefly, to see, experience and compare the latest technologies and solutions, all under the one roof, and to evaluate how those solutions might best suit your business. And, of course, to take advantage of opportunities to learn and to network with colleagues, competitors and friends from across the industry. But further to that, I think one of the great benefits of PacPrint is that you often find things you weren’t looking for. It’s an opportunity to ‘happen across’ technologies you may not have considered, or to see things you’ve heard about but haven’t yet had a chance to evaluate. The result is a chance to identify new ways to improve what you already do, expand your product portfolio or create profitable new

AF: To those who are considering attending, I can only offer genuine encouragement. Come along, and come with an open mind. Be prepared to investigate what you know, have conversations with as many people as you can, and take the chance to look at things you might never have considered; you simply don’t know where your next big idea might come from. Practically speaking, I would encourage people to register early, take advantage of the information which is under the visitor section of the PacPrint website to plan their visit and set up meetings with suppliers, and of course to bring colleagues and friends. I can assure you that you will not be disappointed. PacPrint 2017 is co-hosted by Printing Industries and Visual Connections and will be held at the Melbourne Convention & Exhibition Centre from May 23-26. Confirm your attendance today with the easy online registration at www.pacprint.com.au or find out more and keep up with the latest news on the PacPrint 2017 website. Australian Printer - March 2017

PAPER

All in good time Spicers say its new promotion invites readers to grab a hot beverage and be entertained by this photo book that will take them on a trip down memory lane …

VER 16 pages consisting of 99 recycled images from yesteryear have been reproduced to announce – and celebrate says Spicers – the new status of Monza Recycled as a stock made from 99 per cent recycled fibre that is certified FSC. Kerri Turner, Spicers marketing co-ordinator says, “This book treats you to retro travel pics and vintage-esque images of cars, fashions, artbooks, property and corporate publications – representing the applications Monza Recycled is often used for. When you hold this book in your hands and appreciate the images, you would never know that this stock boasts 99 per cent recycled content.” Designed for printers and specifiers alike, this one-stop piece acts as a convenient reference tool for printed and creative collateral on Monza Recycled. “We have always been a fan of Monza Recycled”, says Mark Bentley from Amanda Roach Design, the creatives behind the piece. “It is our go-to stock for annual reports and a lot of other corporate communications. It is a reliable sheet, it prints well. The surface is good. Now that it is 99 per cent recycled, it has even more of an edge in terms of its environmental credentials.” The book features a range of grammages including the newly added 400gsm, and displays a variety of printing techniques. “Adams Print embraced the whole project,” explains Bentley, “Drip Off Matt / Gloss Varnishes, Gloss Black Foil Stamps, Satin and Gloss Aqueous Varnishes have all been used to demonstrate Monza Recycled’s features.” Delineating the sections are tipping sheets, which in some instances have full solid colours printed to represent the main-stay colour for the specific application. “Monza Recycled is an all-round great paper,’ concludes Turner. “Being 99 per cent recycled and one of the first papers in Australia to achieve FSC certification has only added to that, as this book demonstrates. It really is a beautiful piece.” Spicers is confident readers will find the images interesting and amusing, and they encourage people to take their time to enjoy the book.

Recycled: Monza promotional book

Quick facts about Monza Recycled  Accurate reproduction of colours  Matching text and cover options  Digital sheets available  FSC Mix certification  New 400gsm  Covers all corporate needs  Ideal for art books, book covers, brochures, calendars, catalogues and magazines 34

March 2017 - Australian Printer

Recycled: images from the past

australianprinter.com.au

FINISHING

Hunkeler Innovationdays places finishing first

ROUND 6000 visitors from 50 countries made the trek to Lucerne to experience Hunkeler Innovationdays 2017. What they witnessed comprised demonstrations of the world’s leading edge finishing technologies; latest innovations; and informative programmes aimed at making finishing count.

The Horizon stand at Hunkeler Innovationdays ran a number of impressive finishing lines

Currie Group SUPPLYING HP Indigo, Horizon, and Scodix in Australasia, Currie Group sent its finishing expert Robert Petersen to Lucerne. He points out that Hunkeler has shared a long association with Horizon. He says, “Horizon really had an impressive display. It featured the Smart Binding System for continuous-feed digital print, producing short-run, variable books of different size and thickness from a roll with no manual touch points. A Standard Hunkeler UW6 unwound a pre-printed roll, then a Hunkeler CS6-HS rotary cutter cut the roll into sheets. The Horizon AF-566F folder then folded the parent sheets signatures, which went to the Horizon BBS-40 for stacking and gluing into book blocks before it presented them to the Horizon SB-09V nine-clamp Variable PUR Perfect Binder. The system delivered the bound for three-knife trimming on the HT-1000V zero-makeready variable trimmer. “From cut sheet to a finished product, they ran it as variable data, with mark readers on all the covers and blocks so they could do security checks and the book block was also checked to match the cover.” Digital enhancement specialist Scodix did not have equipment at the event but showed a range of its digital finishing enhancements. The company focused on providing a visual and tactile experience with nine different applications.

Canon CANON presented three of its digital production presses including the first showing of the new Océ ProStream continuous feed colour inkjet press. The ProStream was put through its paces, printing roll-toroll, producing a range of material including direct mail, books, catalogues, and brochures. Canon also demonstrated its latest flagship sheetfed devices – the imagePress C10000VP toner press and the Océ VarioPrint i300 inkjet 36

March 2017 - Australian Printer

This year’s Hunkeler Innovationdays brought finishing into focus for visitors and exhibitors

press. The Océ Prisma suite drove all three production systems. Peter Wolff, senior director for Customer Groups Commercial Printer and Production CRD at Canon Europe, says, “We’re here at Hunkeler Innovationdays 2017 to inspire printers to unleash the capabilities of digital print to meet their customers’ commercial objectives.”

Duplo DUPLO shared a stand with its partners Schneider, showcasing the PFi Di-Cut 300, iSaddle 2 Duetto System and the DC-646i. At Hunkeler, Duplo talked about the PFi DI-CUT 300’s ability to die cut, kiss cut, crease, perforate, slit, hole punch, and round corners all in one process for both digital and offset printed sheets. Duplo says it is the most cost effective system for producing custom-shaped pieces with faster job turnaround and minimal set up times. As for the saddle stitching iSaddle 2 Duetto System, Duplo says it has the advantages of flatter publications from the old generation saddle capability with the added ease of use of touch screen technology.

Heidelberg, Muller Martini, and Polar HEIDELBERG, together with Müller Martini and Polar, presented a range of finishing solutions aimed at print shops and bookbinders at the companies’ combined stand. The focus for all three

manufacturers was on solutions for the economical finishing of short production runs from digital printing operations. One highlight from the joint booth was the Digital Presto II saddle stitcher from Müller Martini with an integrated Heidelberg Stahlfolder TH 56 producing brochures live. Visitors also saw the Stahlfolder BH 56 buckle plate folder in action. Heidelberg calls it a reasonably priced but professional machine giving printers the opportunity to upgrade their folding operations. Fast job turnaround solutions for sheet cutting and book trimming included machines from Polar, the D56 programmable guillotine and the BC330 three side trimmer. Meanwhile, on the Kodak-booth a Hunkeler machine produced two jobs, showing quick job changes together with the Inlinefolder Stahlfolder TH 56.

Hohner HOHNER focused on the Foldnak Compact Line, with the company sharing a booth with its Swiss Foldnak dealer GOP. Hohner says that all four Foldnak Compact Line modules work in line for high-quality bookletmaking. The Robo-Feeder reliably processes the print products via a collecting bridge to the Foldnak Compact for stapling, folding and trimming. The SP 100 Compact presses the booklet spine into a square shape, which gives the stapled booklet the appearance of a bound product. Continued on page 38

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FINISHING Continued from page 36 According to Hohner, the Foldnak Compact Line suits both digital or offset printing agencies producing high-quality booklets in frequently changing print runs.

Over 6000 visitors made their way to Lucerne for Hunkeler Innovationdays 2017

HP HP announced the launch of the new HP PageWide web press, a platform for publishing, production mail and commercial printing. It operates at a maximum duty cycle of 48 million full-colour impressions per month and a speed of 122 mpm. HP also demonstrated its flagship HP Indigo 12000 digital press, which is supplied in Australia by Currie Group.

Hunkeler AS the host company, Hunkeler highlighted its own innovations with a raft of technology from many of the other 90 companies that came to the event. These included the new POPP8 generation, which has a maximum web speed of 180mpm; its modules process full-colour printed matter on coated and uncoated standard paper.

Konica Minolta KONICA Minolta marked its debut at Hunkeler Innovationdays by focusing on complete workflows, integrated solutions, and a new automated marketing tool, Markomi. Markomi allows users to generate business by using ready-made campaigns, content and workflows that can be personalised to the user’s needs. Konica Minolta also showcased its latest portfolio expansions, the just launched AccurioPress C2070 and MGI’s Meteor Unlimited Colours which it says is the only product on the market combining a printing engine with a premium in-line foiling solution. Konica Minolta shared a dedicated inkjet area together with partner Industrial Inkjet, illustrating how its inkjet heads and technology create new value for their customers.

Palamides GERMAN bindery equipment manufacturer Palamides showcased its smartliner240 lay-flat book production system, a perfect binder which offers a new eco-friendly option for commercial and inplant printers to produce short run ondemand lay-flat soft back books and book blocks for casing-in. It has a format range from smaller than A6 to larger than A3 with spine thicknesses from 3mm to 40mm. Because it operates with water-based cold glue, it requires no venting; uses less power, and produces recyclable books. It needs little in the way of adjustments or housekeeping maintenance because it runs cold glue delivered through a nozzle system. 38

March 2017 - Australian Printer

Ricoh RICOH presented its continuous feed and cut sheet production presses, as well as new software solutions. The Ricoh ProTM VC60000; demonstrated roll-to-roll and roll-to-cut finishing capability with dynamic perforation enabled by Hunkeler systems. Ricoh also showed the Ricoh ProTM C9100 colour cut sheet digital production press. A broad range of pre-printed and show-produced samples demonstrated creative possibilities, including perfect bound books and the guide for the Speed of Light photography exhibition. Posters, postcards, loyalty cards and statements were also on show, alongside a direct mail application featuring three different duplex A4 mail pieces output to different devices.

Schneider SCHNEIDER partnered with sister companies Multigraf and Duplo, presenting finishing solutions for brochure production. The companies together produced the world’s first combination of the Touchline CP375 Duo and TCF375 with Mistral Feeder PFM for creasing perforating and folding, all in the one operation. The Multigraf Touchline CP375 DUO is capable of performing up to 20 creases and 20 perforations simultaneously in a single run. It comes equipped with two creasing tools (male/female) and a cross perforating tool. An optional strike perforating tool can be added for increased versatility.

Screen SCREEN demonstrated its latest models from the Truepress Jet520 range of high-speed roll-fed inkjet presses, introducing important new features and functionality. Screen’s latest Truepress, the Jet520NX model, integrated near-

line to a Hunkeler roll-to-stack solution featuring the HL6 laser module and printing value-added transactional applications. This new press, equipped with newly developed five-inch printhead module, supports a maximum resolution of 600 by 1200 dpi plus advanced ink volume control. It can be fitted with an extra printhead for a fifth colour that enables the use of MICR black ink and other special inks.

Xeikon XEIKON highlighted its security print capabilities with its flagship Xeikon 9800 duplex press. Xeikon says the 9800 demonstrated its combination of quality, speed, versatility and TCO. The 21.5mpm one pass duplex, web fed press delivers 1200 dpi on media up to 512 mm. The security value demonstration centred on a personalised mailer and a high value personalised entry ticket. The company highlighted the opportunities offered by security features such as variable data, UV clear toner, barcode, spot colours, microtext, guilloches, and raised images.

Xerox XEROX showcased its inkjet products, the Rialto 900, the Trivor 2400, and the Brenva HD Production inkjet presses. The Rialto 900, about 4.6m long, has a rated speed of 48mpm, and Xerox claims it has the greatest productivity per square metre in its class. Xerox also claims its Trivor 2400 is the most productive fullcolour system in a small footprint, printing at 168mpm, with greater configurability than other models. The company says the Brenva HD exists in intersection of where inkjet meets cut-sheet, and accommodates up to eight different paper drawers; and handles stock weights from 60220 gsm and up to a B3 Plus sheet size.

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WIDE FORMAT +Plus March 2017

Business at the speed of Epson

See us at

Wide Format News

Outdoor siphoning TV advertising budgets

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WIDE FORMAT: NEWS

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Starleaton offers newest ColorPainter range FOLLOWING the acquisition of DES, Starleaton has added the OKI ColorPainter range of eco-solvent printers to its offerings, while OKI expands its operations in Australia. An economy version of the M-64s has been added, the E-64s, offering speeds of 22.9 sqm per hour and a 1080dpi resolution, bringing

the ColorPainter range up to six models in 64-inch, 74-inch and 104-inch variations, says Starleaton. Ben Eaton, CEO, Starleaton Group says, “We are finding that many of our customers are being asked to be one-stop shops for everything, but they are required to match output to the same high standards. OKI’s

Fespa to become yearly event

oOh! surges to record highs

Fespa: now annual event THE Fespa global wide format print expo will now be held every year, as opposed to biennially, replacing Fespa Digital on the odd years. Fespa 2017 will take place in Hamburg, from May 8 to May 12, while the following two editions, 2018 and 2019, will take place in Berlin and Munich respectively, also in May. Fespa says the decision was made in consultation with exhibitors and visitors to create one comprehensive yearly destination event, covering all technologies, processes and applications. Fespa Digital was focused on digital wide format technologies. Roz McGuiness, divisional director, Fespa, says “By unifying our European events and removing the digital distinction, we can focus all our energies on delivering the same event experience for all participants, every year. For our visitors, it ensures that whatever the year, wherever they are in their investment cycle, they can attend a trusted Fespa event.”

OUTDOOR giant oOh!media has experienced another strong year of growth on the back of digital, and commits to progressively digitising their assets. Results skyrocketed on the back of the company’s digital strategy, however oOh! says classic print media is still a core part of its business. As it currently stands, 45.6 per cent of oOh!media’s total revenue came from digital, up by 50 per cent from 31.6 per cent last year. Print accounts for $182.8m of oOh!s $336.1m revenue for the year to date. Brendon Cook, CEO and managing director, oOh!media, says, “Like for like classic inventory was relatively flat which is an improvement on the year prior where it was down by mid-single digit figures. “Classic inventory will continue to rebound as it did in 2016 as advertisers understand how to mix classic and digital campaigns and revenue continues to grow in the sector. “As we see campaigns become shorter, more flexible and with more creative unmissable ideas, we are seeing strong print sales resulting.” In its CY 2016 results, revenue is $336.1m, up 20.1 per cent from last year’s figures, with an underlying EBITDA of

ColorPainters fit in that world and are packed with automated features to keep uptime to a maximum. The cliché word is workhorse but really, the M-64s in particular is a thoroughbred too.” Meanwhile, OKI is expanding its Australian operations to cover its industrial product range, a move which Starleaton

says has been significant in helping achieve its own business objectives. Tom Leggatt, product manager, Starleaton says, “OKI has taken away the pain of having to order in containers of stock, and we now have fixed pricing in Australian dollars, so we do not worry about the fluctuation with the yen.”

Static oOh! advertising: highly creative $73.5m, up 27.4 per cent from last year, an underlying NPATA of $35.6m, up 24.8 per cent from the prior year, and a full year fully franked dividend of 14.0cps, up 47.4 per cent. Gross profit is $144.9m, up 30.3 per cent from CY2015. oOh!media currently owns more than 14,000 static panels, and more than 8,000 digital screens. In CY 2015, the company owned 5,000 digital screens. The company says this year’s acquisition of Cactus Imaging displays that the company still recognises the value of static advertising, despite major investments in digital.

Brendon Cook, CEO, oOh!media says, “Classic panels are still key to our business. The acquisition of Cactus Imaging strengthens our core business and will allow oOh!media to recognise several supply chain efficiencies in the classic print outdoor market. “While delivering on our digital strategy is an important element of growth, our portfolio of over 14,000 classic panels contributes to the scale and diversity of audiences. Linking Out Of Home physical assets with mobile, online and social, continuing to expand our reach for clients and build a worldleading audience-led solution.”

Fespa sets jetboat wrap challenge FESPA has teamed up with the Haugaard Racing Team to invite printers to create a wrap design for a Formula 4S speed boat. The winner will receive a free trip to Hamburg, where they will have the opportunity to meet driver Sebastian Haugaard in person and see the racing boat being wrapped with their design. The winning wrap will be used at the 2017 World Formula 4 UIM Powerboat Championship, as part of its World Wrap Masters competition. 40

Sebastian Haugaard: boat racing wrap Fespa’s World Wrap Masters sees vehicle wrappers competing on both quality and volume of work, with past winners hailing

March 2017 - WIDE FORMAT +Plus

from Mexico, Hungary, Poland. With no Australian winners to date, vehicle wrappers here have a chance to make history.

Interested printers needed to produce an attention-grabbing design that includes the number 22 as well as the racing team’s logo, and the Hexis (the World Wrap Masters sponsor) logo. Fespa says entries will be judged by Formula 4 race boat driver, Sebastian Haugaard, and World Wrap Masters head judge, Ole Solskin Ravn. The winning design will be announced on Friday March 17, and will be used in the World Wrap Masters final during Fespa 2017 in Hamburg May 8-12.

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WIDE FORMAT: NEWS

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Outdoor siphoning TV ad spend PROMINENT media buyer and CEO of IPG Mediabrands Australia, Danny Bass says that the decline in TV advertising has come from media agencies switching spending over to outdoor media, which has been growing at a stellar rate for the past decade. Bass says that despite the common perception that the online world is dragging dollars away from TV the reality is that Facebook and Google are inaccurately blamed for the decrease in advertising spend elsewhere.

He says, “Outdoor used to account for 5-10 per cent of a client’s media spend, it is now creeping up to 30-40 per cent, even higher in some cases.” Bass says, ““Facebook and Google have been blamed for a lot of the woes affecting traditional media. But where do they think the rise in outdoor has come from? It has not come from print because there is nothing left. Where has outdoor’s growth come from? It has come from TV.” Australian newspaper behemoths Fairfax and News

Corp are seeing revenues decline alongside readership and sales, while the out-of-home industry is reporting surging year-onyear growth. Simultaneously, Facebook and Google offer increasingly targeted advertising, but Bass does not believe the online mediums offer the same exposure, or ability to build a brand. “I do not think Facebook and Google are growing at anywhere near the rate that people think it is from a display perspective; a brand perspective”, says Bass. “Why is that? Outdoor has

done a really good job. It is a less complex sale, you are not talking about audience fluctuations you are not talking about audience guarantees as such. It is an easy concept for agency people to get their head around. “The interesting thing about outdoor now is as it moves towards digital boards, the issues around accountability, viewability, the currency of it are growing. They have gone from a static board that sat there to a display which might have five pieces of creative on it, and you are paying more for it.”

oOh! merger to start in May

RolandDG launches latest vinyl cutter

THE proposed merger between oOh! Media (OML) and APN Outdoor (APO) is set to be implemented in May should OML shareholders vote in favour. The merged group will have revenues of $1.6bn, its expected to generate value accretion for both sets of shareholders, driven in part by cost synergies of at least $20m to be realised on a run-rate basis within two years following implementation of the merger. APN says the proposed merger combines two complementary portfolios to create a leading, diversified out-of-home and online media group with value accretion to be shared by both companies’ shareholders. The merged group will have an enhanced geographic presence across Australia and New Zealand with 8,900 digital and 63,200 classic screens and panels across metropolitan and regional locations, with digital conversion continuing. Furthermore, a $400m debt facility has been confirmed to support future growth for the merged group.

ROLAND DG Corporation is launching the GR-640/540/420 professional vinyl cutters as the latest additions to its CAMM-1 series. According to Greg Stone, Roland DG Australia Product & Marketing Manager, the GR series has been redesigned to deliver better cutting quality and productivity due to increased accuracy, speed, media versatility and additional cutting features. Roland DG says the new ergonomic L-shaped design of the integrated stand and machine provides the stability required to ensure precision cutting even at high speed. The redesigned cutting carriage, blade holder and other core mechanisms enable the machines to achieve a maximum cutting speed of 1,485 mm/s and up to 600 gf of downforce for cutting through dense media with a single pass. Models are available in 64” (GR-640), 54” and 42” cutting widths to allow users to pair them with the inkjet printers they are currently using. Stone says, “In addition to sign making, cutting now

Ergonomic: Roland GR 640 / 540 / 420 vinyl cutters includes the production of window and vehicle graphics, window tinting and car protection film for automotive restyling, personalised apparel, labels and decals, packaging prototypes, paint/sandblast stencils and more. The breadth of applications demands the ability to handle a wide range of materials of varying thicknesses, such as window films, high intensity reflective materials, heat transfer materials including flock and glitter, cardboard, and sandblast mask.” The GR series is equipped with electronic pinch rollers that

can adjust the pressure to 10 pre-set levels at the touch of a button for smooth feeding of any media thickness. The overlap cutting function allows for up to ten times overlap cutting for difficult-tocut substrates. The tangential emulation function delivers corner cutting quality for cutting sharp letters in thick materials. Stone says that since 1998 Roland DG has sold more than 440,000 vinyl cutters around the world. “I am positive that the GR series will boost the quality and efficiency of customer work.”

APN says digital to overtake print APN Outdoor’s full year result for 2016 sees its revenue up 10 per cent at $330.9m, above its target of 8.5 per cent to 9 per cent. Its digital revenue rose by 50 per cent to a third of the total revenue for 2016 with 34 per cent of the total revenue, compared to 23 per cent in the year prior. The company says the growth in digital will continue, and part of it will be at the expense of 42

print, which will see a declining revenue. Richard Herring, CEO, APN Outdoor says, “The ongoing shift to digital will drive revenue growth. The conversion of APN Outdoor’s Classic sites to large format Elite digital screen is attracting greater revenue. However this growth in revenue will be partially offset by the resultant reduction in classic format revenue and production and installation services.”

March 2017 - WIDE FORMAT +Plus

Its statutory NPAT is up 18 per cent to $48.4m, underlying EBITDA up 18 per cent to $86.7m above the guidance range of $84-$86m and the underlying NPATA is up 20 per cent to $51.8m. During 2016, the company installed 35 new large format digital Elite screens, 32 of them were installed during the second half. APN Outdoor successfully integrated acquisitions of iOM and Metrospace, and announced

transformational merger with oOh! Media to create a leading out of home and online media group, expected in May 2017. Herring says, “The strong growth in the business over the past 12 months was due to the continued roll out of digital screens within APN Outdoor’s Australian and New Zealand footprints. Digital screen revenues now represent one third of group revenues.

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WIDE FORMAT: APPLICATIONS

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How much for the application? Knowing the true costs involved in film application can help printers play their part in growing this industry sector

ODAYâ&#x20AC;&#x2122;S print market forms part of a highly competitive business environment. And the pressure to supply cost effective digital prints continues to drive down prices in our market, in common with similar markets across the world. In an ideal world, the technical performance and quality of the film would form the sole consideration in vinyl selection but, with current market conditions, the cost of consumables plays a significant role in purchasing decisions. Advances in technology have seen self-adhesive films becoming considerably cheaper over the years. And, while you can achieve cost reduction by squeezing margins, the sad reality remains that a market that demands increasingly cheaper prices creates a greater likelihood that you will face a supply of cheaper quality films

Denise Nathan, Mactac in Oceania

Printers who are only supplying the print material may only be focused on the print production costs And though production of economical films seems easier, a level of quality still needs to be inherent in the film to ensure that the film performs. The film forms the foundation of any print campaign. If the foundation is weak, then the risk of failure increases. When the cost of any print job is analysed, the self-adhesive film only makes up a small percentage of the overall cost. One of the more substantial costs is the labour involved in applying the decal. So, while the price of the film

is an important consideration, how the film impacts on application time can equally be important. Films that are easier to work with and can be applied faster will have a positive impact on labour costs. In fact, a more expensive film can end up contributing to an overall lower job cost when it contributes to a reduction in the application. Self-adhesive manufacturers who have already made a considerable investment in supplying quality materials know that there comes a point where producing at a very low price requires too great a compromise to the performance of the film. Instead, they have developed films that allow the applicator to save time. The true cost of a film is not the price per metre but the contribution the filmâ&#x20AC;&#x2122;s attributes to make to the whole job from start to finish.

Easier application ONE of the first types of films that focused on the labour reduction benefit was the introduction some years back of bubble free adhesives. These films have a special adhesive structure with channels that enable air to escape during application. This allows for easy and fast application as the applicator doesnâ&#x20AC;&#x2122;t need to have any concern about trapped air bubbles during application or about spending time afterwards piercing air bubbles. Bubble free films can offer good initial repositionability and wrinkles can easily be pushed out. Bubble free adhesives also eliminate the need for wet applications. Films that are easier to work with and can be applied faster will have a positive impact on labour costs 44

March 2017 - WIDE FORMAT +Plus

Continued on page 46

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WIDE FORMAT: APPLICATIONS

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Continued from page 44 Applying films with water slows down adhesion and bonding as it takes time for the water to evaporate. For more demanding applications, this is not ideal as the film can shift before the adhesive takes hold. Bubble free type adhesives are available on a wide variety of films from monomeric to polymeric, vehicle wrap films, cast and glass dĂŠcor products. While the adhesive makes the film much easier to apply the general characteristics of the top sheet and the types of applications they are used for, such as vehicle wrapping, still makes these films best suited for experienced and professional installers.

Opportunities in point of sale THE point of sales market continues to offer significant opportunities for the print market. With the high volume, lost cost demands, and regular change-outs of campaigns, supplying printed point of sale on material that any retail person can apply is hugely attractive to end users. As well as needing an adhesive that is easy to apply, the films top sheet needs to have a thickness or rigidity to it to aid with fast and smooth application. To service this sector, heavy weight top sheets with low tack repositionable adhesives that can be applied, and re-applied a multitude of times, ensures that anyone can lay down the film on a flat surface. If they get the positioning or location wrong, the graphic can be removed and reapplied without issue. Other adhesive systems entering our market include dot adhesives. Using this technology, the film is coated with adhesive in a dot pattern

The cost of consumables plays a significant role in purchasing decisions making it easy for anyone to apply the graphic on any flat surface, even by hand and remove or reposition. Today, it still surprises me to see so many sale and promotional signage applied with huge bubbles in retail stores, especially on glass windows. Using these adhesives ensures a professional look is maintained at all times, regardless of who is applying the film. Clients can save considerable costs as they do not need to co-ordinate a team of applicators for a campaign roll out.

Take-off savings AS well as saving labour costs during application, there is the opportunity for significant cost savings when it comes time to remove the graphic. You need to know that this forms part of the cost of any campaign and that effective removal relies on

Cheaper quality films can cost you more in the long term as they may not last 46

March 2017 - WIDE FORMAT +Plus

more than just using a removable adhesive. The industry definition of a removable film is based on adhesive strength (low adhesion values) and how much adhesive is left behind once the film is removed. In order to be considered removable it must not leave more than 30 per cent of adhesive behind. 30 per cent is lot of adhesive to clean on a vehicle, or building or wall and is a lot more work than using an adhesive that leaves none. A similar principle applies to permanent films such as long term car wrap films. Just because a film is coated with permanent adhesive doesnâ&#x20AC;&#x2122;t mean it cannot be removed easily with minimal to no adhesive residue. A high grade car wrap film can conform and perform perfectly for years and still remove easily with no adhesive residue. Removal factors include the technical qualities of the film; the ability of the top sheet to come off in large pieces; and the cohesion level of the adhesive. The cost of removal can have high impact on the end user. Sometimes the cost of removal can be as costly as the initial application. It doesnâ&#x20AC;&#x2122;t need to be this way if the right film is chosen in the first place. The unfortunate side of these benefits is that the value can get lost at the print stage. Printers who are only supplying the print material may only be focused on the print production costs and the pressure to be competitive in the part they play. However, it really does pay to consider and discuss the whole campaign with the end user. If printers can sell the value of their film selection past printing to application and removal, then it can relieve some of the pressures on their own margins and increase profitability. It will also allow better quality films to used ensuring a professional end result. Ultimately, a greater understanding of the entire process will benefit everyone in the industry.

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Buyers Guide:

Wide Format

Emerging marke Personalised wallpapers represent a significant market opportunity for wide format printers, reports Gareth Ward

HEN Benny Landa declared ‘everything that can be digital will be digital’ back at Ipex in 1993, it is doubtful he was thinking about wallpapers. But almost 25 years later inkjet press manufacturers in particular are thinking big about wall coverings. It is a natural progression for inkjet: from printing photos on the desktop, to posters and now to entire rooms or walls. Each product generates more uses for ink. The time is right for wallpaper production to become digital, and if you have a printer from the likes of Epson, HP Latex, Roland DG, Mutoh, Mimaki, Ricoh you are able to produce personalised wallpaper. There are other trends. In the 1960s/70s and into the 1980s, most homes had rooms covered in wallpapers. That has given way to painted surfaces and now perhaps to decor with a printed feature wall. The proliferation of house focused television programmes, homestyle magazines and especially websites like Houzz.com, Pinterest and Instagram, has spread the idea of interior design. Everyone wants their living space to be personalised and to project their character, and anyone can be an interior designer. This is a trend that digital printing can tap into. Conventionally, wallpapers are a high volume relatively low cost product distributed to consumers or householders via warehouses and larger retailers. Gravure or screen printing has dominated with producers creating their own colours, often with slight variations (hence the need to check batch numbers when purchasing wallpaper), and printing is in blocked colours, up to 12 at a time. But the trend in decoration, the desire to eliminate wastage through over production and the need to find machinery to replace the ponderous gravure lines, is all leading to digital means of production. John Corrall, managing director of integrator IIJ, believes these conditions make a switch to inkjet printing almost inevitable. His company designs inkjet presses and adds systems to production lines using Konica

Opening new opportunities: wallpaper printing for a London bar restaurant

March 2017 - WIDE FORMAT +Plus

Minolta heads. He likens wallpaper to the ceramics market where once the ink and therefore costs of production fell below a certain point, that market switched en masse to digital printing. He says: “A couple of years ago were were doing market research into the laminate market and the spin off from this was the discovery that wallpaper production might be interesting for us.” What he found would be familiar from elsewhere in printing: shorter and shorter production runs increasing the relative costs of each makeready; difficulty with colour management and consistency; large amounts of waste inherent to the process; high costs of machinery. Digital can change the paradigm. This is pretty much what HP found when it investigated the market, with the further realisation that current production methods are not suited to reproducing subtle colour gradations, and suffer repeat lengths driven by the size of cylinder used. This favours high volume production, and makes production of bespoke designs expensive. Again digital can address these issues. Six years ago HP made its first steps into the market with its first Latex presses. These, says Terence Ragunath, business development manager for the Decorations division of HP, are suited to wallpaper production.

The printed result meets required wallpaper standards designed to ensure there are no harmful substances in the ink or coatings that may come off when rubbed or that may leach into the atmosphere over time. The water based Latex inks that HP’s roll to roll presses use are suitable where UV cured inks are ruled out. Old style solvent inks are also unlikely to meet the specifications required, though aqueous, eco-solvent and low solvent inks will meet the conditions . HP has developed WallArt software to support wallpaper design, including the ability to calculate how much material will be needed for a room and to visualise what it will look like once the chosen design is in place. However Ragunath warns that the software generally is not intuitive enough for general use. That will be a barrier to adoption he reckons, though the number of online websites offering wallpaper or murals printed to suit a room’s dimensions suggests that he is not entirely right. The immediate opportunities for general printers to exploit start with wall murals, a cartoon character for a children’s bedroom, a scene from nature to bring the outdoors in for a living room perhaps. Inkjet printing is also ideal for feature walls where one element is enlarged for maximum impact: instead of

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Buyers Guide:

Wide Format

et in wallpapers

Less can be more - a move away from 1970s repeat stylepersonalised wallpaper a repeated pattern of small roses across a wall, chose a single flower for maximum impact instead. HP has learned that the brilliant colours its equipment is capable of are not always what is needed in the home decor market. Colours like this can be too strong to live with comfortably. It makes more sense to tone down the impact. The phrase ‘fading into the wallpaper’ is not to be ignored. According to Ragunath, HP will not be adapting its T series PageWide presses for wallpaper production although it did this for corrugated box printing. The wallpaper market is not large enough to warrant the development investment HP would have to make and secondly the ink adhesion to the surface of the substrate is not robust enough to withstand the treatment a wall might suffer from rubbing over an extended period. Inkjet printing is not the only technology suited to wallpaper printing. Xeikon has come up with a wall decoration package of software and hardware to accompany its single sided 3500 electrophotographic presses. There is no problem with the toners used as these have been passed as food safe, but the reel is slightly narrower than the wallpaper industry is used to. Its production speed comfortably exceeds current inkjet

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machines, which has led to adoption by WallVision, a €60m turnover Swedish company that ships under premium brands around the world. It now has two Xeikons which sit alongside conventional production lines. However, despite the appeal of Xeikon’s technology, inkjet printing is going to be more widespread and is more suited to entrepreneurial start ups that will steer the market for the immediate future. HP is not alone in having technology that is suited to this market sector. Epson’s SureColor S series presses are being used in wallpaper production in a number of locations where printers have teamed up with interior designers as a way to generate demand for the print. This market is not averse to paying a decent margin for a product that is personalised, tweaking the patterns that the interior designer has come up with to suit a client brief. This is a powerful argument in favour of digital over analogue print processes. Then there is the absence of a repeat pattern which will excite designers working in this market. However for the printer working on interior design can be a frustratingly lengthy process. The large interior design firms working on residential projects may make a pitch and secure a contract months ahead of

construction led alone decoration. The printer’s involvement may only be needed at the very end of the project even though he was appointed 12 months or more earlier. Private commissions or commercial work can have a faster turnaround. Restaurants, bars and coffee shops are opting for faster decoration refreshes driven by the availability of digital printing and suitable materials. The Epson SureColor printer is highly suitable for wallpaper printing. It can offer nine colour printing, uses eco solvent inks that are durable, safe and have a wide colour gamut. Printing edge to edge is essential for wallpaper printing. The sharpness of the finished product makes the machine highly suitable for mural printing. Paul Restarick, Epson Europe specialist, points out that the take up reels are controlled under tension to prevent stretch across the printed paper. Any stretch across the width will make it difficult to achieve the matching that is necessary when joining the drops together. This is a function also of the paper used. Some papers are apt to stretch, something that may not be noticed until the material is applied to the wall when a seamless joint at the top of the roll may be far from Continued on page 50 WIDE FORMAT +Plus - March 2017

Buyers Guide:

Wide Format

Continued from page 49 a match at the bottom. This has ensured that Duramark materials have gained recognition for their reliability and quality. There are different substrates with varying characteristics for different styles of wallpaper, some with tactile finishes, some designed for rapid removal and repapering of the wall. Another consideration in this market is how the substrate and ink will react when paste is applied to the reverse of the paper. Some inks have been known to run when water has migrated from the back of the paper to its surface. It is not worth hoping that an untested product will do the job to jeopardise a lucrative contract. Roland DGâ&#x20AC;&#x2122;s eco solvent presses are a good entry point for the wallpaper printer. Online business wallpaperink.com selected the Roland DG when embarking on an online wallpaper business six years ago. Demand rose quickly and it added to the fleet of machinery, with both HP and Roland DG machines. Much of its production is of room sized murals selected from a gallery of licensed images and sized to fit the dimensions of the customerâ&#x20AC;&#x2122;s room. Allowance is made for any doors, windows and so on, the design printed and wrapped for delivery around the globe. The end customer receives the chosen mural in a sealed PVC bag, along with a wallpaper seam roller, pencil, tape measure, smoothing brush, knife and fitting instructions. There is also an installation video to ensure that there can be no confusion as to how to use the product. Murals intended for a childrenâ&#x20AC;&#x2122;s room will also be laminated as an extra step for durability. However the impact of using Epson, HP Latex, Roland DG, Mutoh, Mimaki, Ricoh or other low solvent or latex printers is going to be relatively minimal in volume terms compared to the production capacity of a gravure press. It is this that has made conventional producers reluctant to invest. It is this that IIJ with Konica Minolta is hoping to address. Konica Minolta has proved that its printhead technology can be effective in textile printing, a market that is a close cousin to wallpaper printing and where Konica Minolta has a substantial market share. Corrall reckons that a commercially effective printing machine will need to be 1.4 metres wide to print rolls two across, will need to run at around 70 metres a minute and will need to be effective on almost every stock that is available. Only then will the tipping point for wallpaper production to become a digital sector be reached. And should the commercial wallpaper producers switch to digital production, the impact will lift demand for digitally printed wallpaper from smaller niche producers. This is not a question of if. It is only a matter of time. 50

Personalised wallpaper to personalise life, the major trend in the me era

Cost effective individual wall coverings to individual taste

Digital wallpaper printing means choosing what you want, not what is available

Gives a room any look you want, and all from a wide format printer

March 2017 - WIDE FORMAT +Plus

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Buyers Guide: Wide Format

Cactus looks to Durst Rho for five metre fabrics Wide format printer first in Australia to have five metre printer for fabrics

Vibrant and solid colours: Durst Rho 512

T took Nigel Spicer, general manager at Cactus Imaging and his team 18 months of researching to find the perfect large format fabric printer, before the company purchased the Durst Rho512, a wide format printer. The five metre wide printer was installed at the company’s Silverwater premises late last year and according to Spicer, this is the only five metre wide fabric printer running in Australia. Spicer says Cactus wanted a printer that met the needs of the company but would allow them to grow and develop with the market, “After so much research we found the Durst met our requirements for now, but will grow with us in the future.” This new wide format printer is opening creative doors for Cactus giving it an opportunity to expand its customer base. “The beautiful thing is that not only can it replace a printer, it brings on new opportunities to print on a high-end fashion fabric and self-adhesive poster as well as our core business billboards. This printer does make us more enticing, it works with our current client base and allows us to develop new markets and clients, everyone has been impressed,” Spicer says, adding “We have picked up a couple of new clients because of the vibrancy of the colours and solidness of the blacks. "This level of hig quality printing ability has made a big difference to what we have been able to do,” he continues. The Durst has helped Cactus acquire new clients including fashion retailers and interior designers. Cactus has already used the whole

five metre width for outdoor billboards, these uses has Spicer calling the printer ‘nimble and versatile’. Spicer says this printer is helping the business with versatility, capacity, the ability to reach new clients with new and exciting options that they have not been able to provide in the past. Before it made the decision to buy a Durst printer, Spicer and a few others headed to the Durst headquarters in Austria to see the printer for themselves. “This is our first Durst machine, we went to the factory in Austria and we were impressed with the facility.” It took nearly a month for operators to learn the ins-and-outs of the machine, even then they are still teaching themselves bits and pieces. “The Durst loads and operates differently to our equipment, for our operators it was a whole new skill they had to learn. It took three to four weeks of training.” Spicer has nothing but good things to say about the wide format printer and has a secret project in the works, “We have recently tested a new product and we are really

happy with the results.” In July last year, oOh! Media bought Cactus for $6.1m and Spicer says oOh! has been more than helpful with the development of Cactus. “Since oOh! has been on board it has been fantastic, we have got an owner who knows our business, is collaborative and creative. In regards to the backend, it has been giving us backhouse support and the guidance has been immeasurable,” he says. “The merger has been a real shot in the arm for all the staff; a real good pick up for them. We have known oOh! and CEO Brendan Cook for 20 years, not only good clients but good people. The merger was a natural progression, something we are proud of.” Spicer has been working at Cactus the company founded by his father Warwick Spicer and Keith Ferrel, since 1996 as a production manager, working his way up the ladder, doing a stint developing Cactus in South East Asia and New Zealand, before landing his current position of general manager in 2008. Cactus Imaging is still one of the largest outdoor media printers in Australia.

Durst Rho 512R ACCORDING to Durst the Rho 512R is the most productive five metre roll to roll UV printer ever made. Matt Ashman from Australian supplier PES says, “The Durst Rho 512R provides versatility and flexibility for every type of print service provider, even a PSP that would never consider a five metre printer. Five metre printing probably accounts for 10 per cent of the wide format market, but it is an essential 10 per cent that brings in additional business. 52

“With this in mind Durst designed the Durst Rho 512R for ultimate multiroll capability. The Durst Rho 512R runs five metre wide media at speed up to 350 sqm per hour, and it can also run multiple rolls. The Multi Roll option enables three 1.6m full width rolls to be printer and tensioned simultaneously with separate queues, so completely independent jobs can be run on each queue. The rolls are independently tensioned and wound so all rolls stay perfectly in control

March 2017 - WIDE FORMAT +Plus

no matter the length of roll loaded. This triple roll functionality is carried forward with two more multi-roll options, Dual Roll, two 2.5 full width rolls and the asymmetric dual roll where a 3.2m roll and a 1.6m roll can be run simultaneously, with the same features as all the multi-roll options. “The Durst Rho 512R at Cactus also benefits from three independent resolutions for different applications, up to 800dpi, textile capabilities, automated double sided and

guaranteed unattended lights out operation. Cactus has optioned for the inline cutting and six-colour configuration, White ink is also an option it may chose as an upgrade at a later date. “With the versatility and outstanding print quality the Durst Rho 512R can be relied upon to produce banner at an incomparable speed, and high quality photo quality backlit skins for retail and cosmetic applications, all in one device.”

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Buyers Guide: Wide Format

SureColor 64" now Pantone certified

PSON’S flagship 64” roll-to-roll signage printer, the SureColor SC-S80600, has just become Pantone certified and joins the industry leading SureColor Prographics range with coverage exceeding 98 per cent. Craig Heckenberg, general manager, Business Division, Epson Australia says, “This is a significant development for the durable signage market. Outdoor material can finally be produced digitally with true and accurate colour. With the SureColor Signage range prints can be produced with brighter imaging and a wider colour gamut than previously possible with either solvent or competing ink technologies. We are proud of this achievement, and it is great to see the Pantone label on another one of our printers.” The SC-S80600 has been designed for high colour reproduction on a wide range of substrates including vinyl, canvas, film and paper. It is part of a range of three models that also includes the cost effective SC-S40600 and the high speed SC-S60600. All feature what Epson says is superior quality imaging with simpler, faster and more efficient operation. Prints can be produced using less ink and less

Pantone certified: Epson SureColor SC-S80600

The Epson 64” printer reaches new levels with Pantone certification

power, at faster production speeds, and with significantly faster drying times. Jobs can be turned around in the same day at reduced cost and higher quality. The SureColor SC-S80600 features the latest PrecisionCore print heads and use UltraChrome GS3 Eco-Solvent ink. It supports resolutions up to 1440x1440dpi and is driven with Epson Precision Dot Technology for precise and predictable output. The heads are self-cleaning and unlike some competing technologies do not require regular replacement. Epson says the ink produces prints with an exceptional level of brightness and outstanding gamut range. The company is pitching it at those printers who require maximum colour, and says the newly Pantone certified SC-S80600 provides unparalleled performance. The SC-S80600 supports rolls up to 45kg which can be loaded by a single operator complete with auto skew correction. Auto media set-up enables faster and more accurate configuration with spot jobs completed up to 45 per cent faster. A new Epson Control Dashboard application enables easier control while providing access to downloadable media settings, user guides and operator tutorials. A printhead guard provides

protection against head crashes while collecting any dust and fluff that may be carried by media. There is also an air circulation system which reduces static buildup while removing airborne dust and ink droplets. A fabric wiper automatically engages as required to ensure that printheads and the headguard are kept clean and operating at maximum performance. All in all these technologies combine to enable better print quality, reduced wastage, and a 50 per cent reduction in maintenance and cleaning. With the constant search to lower running costs very much at the forefront of the industry, the SC-S80600 delivers here too. It uses less power than its predecessors and considerably less than competing signage printers. The SC-S80600 also uses up to 15 per cent less ink than previous models, 25 per cent less than competing solvent models and 50 per cent less than competing ink technologies. The ink is also cheaper than its predecessor. The SureColor SC-S80600 is backed with a ‘head-n-all’ oneyear on-site warranty. Cover can be extended using flexible, comprehensive and cost-effective Epson CoverPlus packages up to as long as five years. It sells in Australia for prices starting at $24,995 ex-gst.

Epson creates a better dye-sublimation printing solution EPSON has launched three new dye-sublimation printers to help users produce superior-quality textiles and promotional goods simply, reliably and cost effectively. The new range is also designed to enable production of interior décor with imaging onto hard surfaces. Epson says these new models enhance its dye-sublimation line-up by offering printers the chance to expand their production capabilities with enhanced production flexibility, improved colour and lower running costs. The new SC-F6200 replaces the SC-F6000 with support for a new High Density Black ink (HDK), a new High Quality Print mode and a new bulk waste system. It is designed for sheet based production, and is particularly suited to custom clothing, merchandise and hard surface work. The new SCF7200 replaces the SC-F7100 with support for the new HDK ink and HQ Print mode. Epson says this 64" machine is designed for roll based production and is particularly suited to custom fabric and soft 54

March 2017 - WIDE FORMAT +Plus

signage work with an adjustable output heater and precision auto take-up. The new high speed SC-F9200 offers almost twice the performance of the SC-F7200 with dual print heads, dual high-capacity Continuous Ink Supply Systems (CISS) and a maximum print speed of just over 100 sqm per hour Craig Heckenberg, general manager, Business Division, Epson Australia says, "With these new models, we have utilised the latest Epson engineering advancements to deliver outstanding colour, precision and performance to our customers. With its new and enhanced capabilities, the SC-F6200 opens up a plethora of new possibilities in the merchandise, home and office decor markets with the ability to print custom graphics and high resolution photos onto substrates that include metal and wood. The SCF7200 and F9200 offer significant opportunities to the roll-to-roll textile and soft signage markets with scalable, cost-effective production."

All three printers use Epson's PrecisionCore TFP printhead to produce what Epson says are outstanding, accurate prints with superb colours and clarity. These work in tandem with the UltraChrome DS ink-set to help users achieve the best-possible results. Epson developed the new High Density Black ink to enable deep, neutral blacks and dense colour for intense images with reduced ink consumption. Dye-sublimation customers purchasing these products will benefit from a complete Epson printing package. The hardware, software, print head, ink and sublimation papers have been made and are supported by one manufacturer to ensure everything works together seamlessly. The printers are offered with optional ErgoSoft software that has been customised for Epson meaning users are ready to start printing straight away, without the need for further investment. The Epson SureColor SC-F9200, SC-F7200 and SC-F6200 printers are backed with full factory warranty and service support.

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Quality, Simplicity and Speed

THE NEW EPSON S-SERIES SIGNAGE RANGE Introducing Epson’s new roll-to-roll sign and display printers incorporating the latest technologies for quality signage made simpler, faster and more cost effective. • Fast media loading with automatic set-up and skew correction • Self cleaning Print Heads and Advanced Auto Tension Control • Next generation ink produces prints with superior gamut and gloss for maximum impact • Reliability guaranteed with warranty packages up to 5 years

For more information visit: www.epson.com.au/signage

See us at Stand E40

Buyers Guide: Wide Format

The Screen Truepress Jet W3200 HS at Flash Graphics, Sydney

Screen speed

INCE its release in 2015 Screen GP’s Truepress Jet W3200UV series of flatbed UV printers have proved popular locally and globally. When first previewed at Fespa 2014 it was shown as an 85 sqm/hr model. By the time of official release at Fespa Munich 2015, this had risen to 150 sqm/hr for the HS high-speed variant. The printer is made by Screen’s subsidiary company Inca Digital in the UK, who consider it mid-range because they make other models under the Inca badge all the way up to a super high 900 sqm/hr in productivity. Premiered at drupa 2016 was the Mark II HS variant of the W3200UV HS model, which is capable of up to 230 sqm/hr in Billboard mode - for viewing at distances of five metres or greater, with 150 sqm/hr producing sellable closer-inspection prints. All W3200UV machines in the field are upgradeable from the original 85 sqm/hr and can also be retro-fitted with the factory roll-toroll option, which tucks neatly away under the flatbed when not in use. At the other end of the speed scale, a 22-pass Superfine Photo mode delivers what Screen says are stunning photo-realistic results with smooth skin tones and fine detail, at 15 sqm/hr. There is also a multi-layer print mode that builds up to eight layers of UV ink to create attractive raised image tactile results. 3D lenticular printing is also available for so called moving images.

Screen’s w3200uv MKII breaks the mid-range speed barrier

March 2017 - WIDE FORMAT +Plus

Rigid media up to 3200mm x 1600mm can be printed and, with the roll-to-roll option, roll media up to the full 3200mm wide, or smaller rolls. A major uptime feature is the automated nozzle mapping and cleaning:- optional but, according to Screen GP’s managing director Peter Scott, considered essential for ANZ installations. The automated nozzle cleaning keeps the Fujifilm Dimatix printheads in peak condition by purging, flushing and vacuuming them without any need for operator intervention. Nozzle mapping is another productivity-booster by identifying a blocked nozzle if it occurs and assigning another nozzle to take over. This is especially important for long production runs and continuous operation is assured.

Productivity with quality “THE key to the W3200UV’s success is productivity with quality,” says managing director Peter Scott. “It takes productivity to new levels for the 3.2 metre sector, while maintaining high image quality and uptime. “Built by our Inca Digital subsidiary in the UK as a specific Screen machine, it and uses Screen’s own inks for flexibility and wide colour gamut. The SI inks have the best ink adhesion on a variety of substrates, including polycarbonate and ACM without the need for primers, while the WJ inks add an extended colour gamut to flexibility and adhesion.” Scott reports that there are now 12 Truepress Jet W3200UV flatbed UV printers installed across Australia and New Zealand,

with more in the pipeline through dealers Graphic Art Mart, Fujifilm NZ and Fuji Xerox Australia. The basic CMYK inkset can be expanded with Lc,Lm plus a special white ink with excellent density and consistency. Day/night backlit panels are therefore of a high standard by printing front and back images at differing densities, with a white layer in between. Another feature is the ability to print retail window films on both sides with different graphics and no showthrough. This is achieved by two white layers and a black layer in between the front and back images. By controlling the UV ink curing speed with the use of a shuttered system, matte, silk and gloss surface effects can be achieved from the same inkset.

See it at PacPrint THE 3.2 x 1.6 metre bed of the W3200UV features retractable register pins and six-zoned area vacuum control for excellent registration of printed boards. Four vacuum levels ensure lay-flat with everything from warped boards to lightweight foils that require light vacuum hold-down. The table itself is unusual in that it moves to-andfro, instead of the ink carriage which moves side to side. This improves accuracy and speed particularly for bi-directional printing as linear motors instead of belts are used. Screen claims that its table-mapping technology and print-to-shim mean that its 3200 table is the flattest in the market. It will be at PacPrint.

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Now available from Fuji Xerox Australia and GAMart.

• • • •

Up to 230 sqm/hr Industrial 3.2m wide R2R CMYKLcLmWW Automatic non-purge cleaning system

See us at Pacprint on stand D67

• • • •

Intelligent nozzle mapping technology Accurate double-sided registration Powerful 6 zone vacuum Spot silk, 8 layer multilayer, relief printing

To see for yourself what this amazing combination of speed, quality and consistent productivity can do for your business, call 1300 305 118

www.screenaust.com.au

Buyers Guide: Wide Format

ImagePerfect 2557, a highly transparent Cast film has already been tested in the European marketplace

Spandex targets the perfect image ETTING a perfect, and highly durable, image on to window graphics has just become easier and more affordable thanks to Spandex. The company has introduced ImagePerfect 2557, a printable, highly transparent 50 micron Cast film, specially engineered for applications on windows, glass panels, and mirrors. Russell Barnes, national product development manager for Spandex Asia Pacific, says, “While ImagePerfect 2557 is new to Australia, the product has been available in Europe and the UK for some time. It has been fully tested in the marketplace there and the

Spandex has introduced a durable ultraclear film that prints on all technologies: ImagePerfect 2557

Perfection at a glance SIGNMAKERS and print professionals looking for opportunities in wide format printing need only look around their neighbourhoods. Spandex says we can expect to see ImagePerfect 2557 on windows in offices, seminar rooms, trade shows, shops, shopping malls, dividing walls, vehicles, and in many lifestyle and event business locations, such as bars, restaurants, hotels, casinos, cinemas, theatres, and sports arenas. As with other signage and wide format opportunities, the application is only limited by one's imagination. The company says the features and benefits for 58

ImagePerfect 2557 include:  Up to eight-year outdoor durability  36-micron Polyester film liner  50 micron Cast film  Solvent adhesive  Available in 1.37m /1.52m width & 25m /50m length  Ultra-clear film: no need to contour cut complex shapes  Printable across all printing platforms  Cast film delivers a far more durable product, compared to other branded clear films that are PET-based  Unprinted areas of the product allow for a completely clear view through the material

March 2017 - WIDE FORMAT +Plus

results are outstanding. “It provides high levels of print quality with a large colour gamut that ensures colourful images with vibrant area in-fills. Unprinted areas of the product allow for a completely clear view through the material which means that complex shapes do not need to be contour cut. Spandex says ImagePerfect 2557 is ideal for both decorative and functional applications on glass, including interior design applications; branding and advertising opportunities; point of sale and promotional advertising; information placement; and for enhanced privacy screening. Barnes points out several features that set ImagePerfect 2557 apart from other products targeted for the same purpose. He says, “A major issue with the vast majority of these ultra-clear products is that they are PET products, essentially polyester, so they don’t offer great exterior durability – maybe two years at the most for many of them. Image Perfect 2557 will give you up to eight years’ outdoor durability. “For those people in the industry who have been looking for a solution to long-term external glass applications, whether decorative or functional, this is the one.” He sees the film’s versatility as a benefit that signage and print companies will appreciate. He says, “Another advantage for anyone using this film is that it will print on all technologies. So it doesn’t matter what kind of technology you have in your print or signage shop. This product has been specially created for digital printing on large-format inkjet and is suitable for printing

with eco solvent and solvent inks, as well as UV-cured and latex inks.” ImagePerfect 2557 doesn’t require overlamination. Barnes says, “Quite a few people currently use ultra-clear laminates for overlamination. These have the ultra-clear characteristics but they don’t work all the time. I have done a comparison of clarity on application with ImagePerfect 2557 and other leading brands. What I have noticed is the clarity of this product gives it an edge over its competitors.”

Market demands IN Australia since 1999, Spandex has a massive range of products and works at understanding the specific needs of the local market. Barnes says, “We have access to such a large and diverse range of the products in the Spandex portfolio that we can respond accurately to the demands of the market. Here in Australia, we take particular care to bring in the lines that are applicable to our market. “In the case of ImagePerfect 2557, we could see a real need in the market for this kind of film. Despite its characteristics, ImagePerfect 2557 comes at an affordable price. He adds, "In this quite tight economic environment, signage companies and print shops need to find cost-effective products that can save time and add to their margins. At the same time, they rightfully demand quality. This film delivers in all those areas.” He concludes, “We believe that, given its quality and pricing, ImagePerfect 2557 will quickly fill the gap in the Australian market.”

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INTRO OFFERDUCTORY

ImagePerfect™ 2557

NEW PR ODUCT

Cast Clear Graphics Film

This NEW addition to the ImagePerfect™ range is ideal for both decorative and functional applications on glass, including interior design, branding and advertising opportunities, POS/POP promotional advertising along with long-term external glass applications. • Ultra-clear film, so complex shapes do not need to be contour cut • Printable across all printing platforms • Cast film delivers a far more durable product, compared to other branded clear films that are PET-based

To take advantage of this Jurassic offer from Spandex, exclusive to Australian Printer readers, please call us on 1800 683 311 or email orders@spandex.com.au

RRP JURASSIC PRICE

1.37m x 50m

1.52m x 50m

$1294.65

$1436.40

$906.00

$1005.00 EX-GST

Must mention this Ad to receive this price! Offer available until 30th April 2017. No other discounts apply. No rainchecks. Not available to Spandex distributors or resellers. One roll only per customer.

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