Australian Printer November-December 2019 by The Intermedia Group

Australian Printer

November/December 2019

CBS & Kale choose RMGT Martin: Driving innovation at Spicers Labelexpo review: Leading with labels 40 years @ Printgraphics Printgreen

1950-2019

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COVER STORY

CBS Printing, Kale Print invest for the future

Targeting 20 to 30 per cent revenue boost is the team behind CBS Printing (above)

Ryobi MHI Graphic Technology (RMGT) LEDUV presses drive growth on both sides of the Tasman

ith two familyowned printers, two countries, and five Ryobi presses between them, CBS Printing, based in Smeaton Grange, NSW, and Kale Print, based in the Bay of Plenty in New Zealand, have recently invested in RMGT 9 series A-1 size presses, purchased through Cyber. It is the fourth Ryobi press for CBS Printing, and Kale Print’s first. sprinter.com.au

For CBS Printing, the incoming Ryobi 924 LED will triple its print output capacity, while creating efficiencies in its lean 8-up format. For Kale Print, installing the first RMGT 920ST-4 LED-UV press in New Zealand comes with clear wins: instantly dried prints, improving plant performance by eliminating the need for anti-set off spray powder in the manufacturing process. Both installations offer a window into the advantages of RMGT’s thirdgeneration LED-UV curing, and the applications and markets that open up with the technology: short-turnaround times, better print consistency, and cost efficiencies that come with the low-energy curing. CBS Printing have three Ryobi presses already in their operation, the 754D, 525GX and 522GX-NP presses. As Nathan Wilson, general

manager, CBS Printing explained, “In the past 15 years we have been running Ryobi presses, purchasing our first from Cyber in the mid-2000s. “We have always been able to secure a good deal through Cyber when getting a machine, and every time we go in, their offer has been the pick of the bunch. “Having everything under the same name gives us other bonuses, whether it is for parts and service, and getting a sense of familiarity across machines, making training simpler.” At CBS Printing, selecting to invest in a Ryobi press through Cyber is a market-proven move. With the familyrun company targeting a 20 to 30 per cent increase in turnover revenue over the next twelve months, bringing jobs in-house is a key part of its plan. Continued on page 4

Australian Printer - November/December 2019

COVER STORY Continued from page 3

Consistent performer: CBS chooses to boost production with RMGT after steady success The new press allowing CBS Printing to compete in the 10,000 to 20,000 run size, complementing short-run boutique packaging. “The big players in the market want orders of 500,000. We want to work with smaller companies, that might package biscuits or meals in smaller volumes, and then help them grow their business through the print and packaging component. By helping them grow, they remain loyal, and a rising tide raises all ships,” Wilson said.

Market experts in LED-UV Ryobi regards LED-UV as a proven, well-established technology that is making print sites run more efficiently and more environmentally-friendly. As the pioneers of LED curing, first bringing the technology to its offset presses in 2008, Ryobi has now moved into its latest generation of LED-UV curing system, featuring a long life time of 150 million prints. Now, electrical consumption of the curing units is 6.4kw, barely one tenth 4

of a conventional UV system, with a lifetime that is more than 10 times longer, at 15,000 hours. With no heat, or ozone, and no exhaust duct, the unit only takes one square metre of space, and does not require a mercury lamp, allowing it to meet environmental considerations. Since 2008, the company has installed more than 500 machines worldwide, while in Japan, over half of its new machines are equipped with LEDUV technology. The company said LED-UV uses 93 per cent less power than standard UV. While digital print often steals the headlines, RMGT continues working steadily towards its goal of full automation. It classifies levels of automation from zero to four. Zero represents non-automation, where an operator makes all the decisions throughout pre-setting. It then rises to assistance, on level one, partial automation on level two, an automated driven system on level 2.5, conditional automation at level three, and full automation at level four.

November/December 2019 - Australian Printer

Moving with the times CBS Printing was founded in 1977 by Geoff Wilson, who was joined by his brother Stephen Wilson in 1986, with each of those brothers then bringing their sons into the business, who are still working there today. The business now has 18 staff members, operating from a location purchased in 2014, which was double the size of its previous premises. The next-generation of Wilson leadership has a simple philosophy: working with current marketing trends, and taking a broad-minded outlook on what the industry is doing. “You also need to invest in the latest technology and processes,” Nathan Wilson contended. CBS Printing uses a combination of Ryobi offset presses and Ricoh digital printers to maximise the effectiveness of their client’s campaigns. This reflects a change in print marketing trends from a ‘pay and spray’ approach, to specialised, personalised, targeted campaigns. sprinter.com.au

COVER STORY

“We have seen a decrease in large, bulk print runs. Now, it is much more important to understand your clients’ business goals, and be able to give input from a campaign/marketing/ design/fulfillment perspective. “The right campaign, targeted to the right people, personalised, gets much better results than bulk unaddressed. An offset machine used with a hybrid approach with digital can allow for that personalisation. This is where our new press will shine. We print the shell of the campaign on our Ryobi press, then use our digital presses to personalise it by name, number, image.” The instant drying with no spray powder allows for quick movement of the prints from machine to machine. “For our new press, the concept of LED-UV has been of interest, the benefits of drying time, being able to print on more matte stocks has been key. It is about operating efficiencies, and removing spray powders and conventional things needed on an offset press. It is a change for us; we have not been there before, but have seen others do it. From what we have researched, it will definitely bring productivity to the table,” Wilson said.

Early adopters over the ditch At Kale Print, which operates out of the Bay of Plenty in New Zealand, the newly-installed 920ST-4 LED is the first RMGT press in the company. While it had previous H-UV presses, experiencing instant drying, the new LED dry-to-dry printing system is offering vibrant colours, and further improved lead times. The biggest advantage has been in labour, where the new press only needs one operator. With its increased automation, this frees up a second staff member to work on other jobs, presses, and tasks within the business. As Brent Kale, production manager at Kale Print, explained, “The RMGT purchase completes our commitment to offering a full end to end solution for traditional offset printed products and services for clients, both locally and nationally. Having A1 capabilities, as well as being an independent family business, has meant we have become the first choice in filling the gap for many other printers. “Some of the other added benefits include much lower power consumption, low heat emissions, less paper set up, and no odour. “We are now taking a lot of work off the digital machines and doing them offset simply because it is quicker and cost efficient. We are also seeing savings on plates and blanket too. “Another feature of the RMGT is its capabilities of printing on packaging board, plastics and synthetics with ease, an already growing market for us. sprinter.com.au

“We have been rapt with the whole experience, working with the expert team from Cyber. “Right from our first site visit in Japan, investigating the machine, through to having the new machine installed into our plant within a few months, everything went smoothly with install. “We were up and running quickly, producing our first commercial print job within three weeks of the machine arriving in containers. “With an already existing A2 HUV press, we were already accustomed to the improved plant performance from instant drying. No anti-set off spray powder in the manufacturing process is a real winner.” The RMGT 9 A1-Size offset Ryobi press can reach speeds of up to 16,200 sheets per hour. The new press comes equipped with a large 55-inch display so operators can easily monitor the jobs being printed and functionality of the press. The PDS-E SpectroDrive is used to measure colour and feedback the correction values to ensure colour matching is maintained during the run. A Wi-Fi tablet system allows operators to view the machine while working at different areas of the press during production such as the feeder. Cyber said the RMGT LED-UV system produces no ozone or heat; there is no need to duct the press and, with instant on/off operation and no warm-up of the system required, providing 15,000 hours of diode life and trouble-free operation. Kale explained, “You don’t require any anti-set off spray powder so you can make even more savings as the press and the environment stays free

of the dreaded spray powder. This in turn means less press maintenance and downtime. Of course, wear on the press is significantly reduced.”

Two different printers, same tangible benefits CBS Printing and Kale Print are separated by the Tasman, operating in different segments, with a different market share. While CBS Printing has now installed four Ryobi presses, it is the first toe in the water for Kale Print. CBS is aiming big with its increased capacity – a 30 per cent increase in turnover. Kale Print has a different goal with its installation, to offer a full end to end solution for traditional offset printed products and services for clients, both locally and nationally. For both the Wilson and Kale families, the RMGT 9 series is an investment which ticks the boxes, opens up applications, and increases efficiencies within the business. Offset printing has always been a constant pursuit of perfection, a repeatability that customers will pay a premium for. While digital printing gets attention, accolades, and a steady stream of ‘offset-quality’ pronouncements, offset is still the holy-grail when it comes to quality. The latest technology from forwardthinking manufacturers like Ryobi MHI Graphic Technology (RMGT) considers power-savings, manpower, and flexibility. The A1-size is a winner with a lot of trade operators also, who aggressively target efficiencies to carve out margins in a tight industry.

Kale ready to print: Michael Elgar (l) with Gavin Kale (r) and the RMGT 920ST-4 LED-UV press

Australian Printer - November/December 2019

AUSTRALIAN PRINTER NOVEMBER/DECEMBER 2019 ¢ CBS and Kale invest in Cyber

Ryobi MHI Graphic Technology LED-UV presses drive growth on both sides of the Tasman p3-5

¢ News

Australian Printer’s comprehensive news section p12-14

¢ Hilton Laminating: Making the move to foiling

How the company wows clients with short-run foiling p16

¢ GEW LED UV arrives in Australia with Pressology Transforming an offset press with GEW’s LeoLED UV curing system p16

¢ PrintLocker personalises print

Company founders explain how it runs a successful e-commerce business producing on-demand t-shirts p18-19

¢ Business News

Australian Printer’s comprehensive business news section p20

¢ Print Diary

All the big events and trade shows for the year p21

¢ drupa Essentials: Anja Roehrle

How digital pre-print opens a new era for brand protection and brand activation in e-commerce p22-23

¢ Women in Print: Sarah Moore

Discussing the influence of print and signage in people’s lives p24

¢ People in Print: David Martin

Spicers CEO explains why sustainability is the driving force behind the company’s growth p26-27

¢ Carr Group’s Green Initiative

Aims for 100 per cent diversion of waste goods to landfill with its new recycling programme p28-29

Advertiser’s Index

¢ Real Media Collective: Is print media dying?

Kellie Northwood talks about what it means for print p30-31

¢ Dave Fellman: Thrifty with time If time means money, are you making the most of time? p32

¢ Deborah Corn: Improving print sales

Putting new and improved sales strategies in place p34

¢ Meqa Smith: Maximising ROI Delivering quality leads and higher sales conversions p35

¢ Andy McCourt: Changes in labelling

Ways for printers to capitalise on growth in packaging p36

¢ Labelexpo 2019 Review

Key insights from one of Europe’s biggest trade shows p38-47 The largest, most international show to date Labels and package printing showcased the latest in advancements p38-39 Top Labelexpo 2019 news The latest from Canon, Heidelberg, Xeikon, Miraclon, Mark Andy, Bobst, OMET, MPS, Konica Minolta, Roland, Durst, HP, Screen, Epson, and more p40-44 Reactions to Labelexpo 2019 Attendees talk about the value that Labelexpo brings p46 Jet Technologies hosts dinner at Labelexpo Brings together partners from the Asia-Pacific region p47

¢ 40 years in printing

November/December 2019 - Australian Printer

Printgraphics Printgreen clients visit its office to celebrate p48-49

¢ Classifieds

The Australian print industry’s biggest marketplace p51-66

EPSON �� 41 Foyer Printing �� 56 Fuji Xerox �� 8-9 Fujifilm �� 8-9 Gecko Sticker Signage �� 60 Graffica �� 61 Graph-Pak �� 59 Graphfix Trade Solutions �� 66 Guru Labels �� 53, 56, 64 Hero Print �� 44-45 Hilton Laminating �� 51, 57 Hosking Australia �� 54 HVG �� 15 Jetmark �� 33

CMY

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

Admag �� 55, 56 All Work Crane Services �� 56 Allkotes �� 20 Böttcher �� 21 Clever Trade Products �� 62 CTI Colour Printer �� 51 Cyber �� OFC, IFC, 11, IBC, OBC D&D Mailing Services �� 50 Davis Print �� 52 Dockets & Forms Australia �� 58 Doctor Sticker �� 51 drupa �� 11 Durst �� 37 EH Manufacturing & Alltab �� 58, 62 6

CONTENTS

Kornit Digital �� 17 Label Line �� 62 Lifhart �� 62 MT Envelopes �� 52 National Auctions �� 65 Periodical Press �� 54 PHE �� 65 Pressology �� 49 Real Media Collective �� 25 Ricoh �� 7 Screen �� 35 Stewart Graphics �� 52 Taylor Signs �� 63 UV Consulting �� 64 sprinter.com.au

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NEWS Editor’s Comment

Two weeks of travel and three tradeshows later (yes, I attended ProPak Myanmar, Pack Print International 2019 in Bangkok, and Labelexpo Europe 2019 in Brussels all in a stretch) and one thing is certain – labels and packaging are the current ‘in things’ for the print industry. I agree that all the three markets are very different – Myanmar is a developing country with plenty of potential in packaging, and Bangkok is one of the more developed ASEAN market and functions as a central trade hub for Asia Pacific. As for Europe, it is usually the region to lead the pack in terms of seeing the latest technologies from most of the printing conglomerates. But however different, all three of the trade shows in the different regions had one thing in common; the need to educate and tap into the opportunities presented within labelling and packaging, especially as the industry goes through a period of change. If these three shows are anything to go by, the printing industry should, if it hasn’t already, not only be dipping its toes in this lucrative business, but taking a swim in it.

Consolidations rife as companies get acquired Within just days of each other, two major acquisitions were announced – Southern Colour and Fuji Xerox Asia Pacific made big moves by acquiring Rooster IMC and CSG respectively. Both acquisitions (and others more in the news section) mark major moves in the industry, showing that consolidation is happening within the printing industry and that to survive, businesses should evolve. Southern Colour acquired Rooster IMC, with some staff moving over with the purchase, and parent company Southern Impact Group set to take over the Mount Waverley site, formerly owned by Geon prior to Rooster IMC. As part of a major shakeup for the group, subsidiaries Southern Colour, Impact Digital and Intelligent Media will be branded and operational as Southern Impact by the end of the 2020/21 financial year. Southern Impact has seen strong growth in recent years, launching its digital packaging business, Onpack, in 2017, which will continue under its own name. Rooster IMC was the first B1 printer in Melbourne to achieve ISO colour certification, first founded by Narash Gulati as part of the OCA group. Southern Colour managing director Rod Dawson said, “Our label and packaging business will also be onsite but will remain branded as Onpack as we continue the amazing progress this business has

Shrinking industry: Major moves are taking place within the printing space as companies get acquired made since being launched in 2016. Most of our businesses are currently needing additional space to accommodate growth. This opportunity will provide us with the space we need to continue to grow in our traditional and emerging markets as well as entering new sectors of our industry. “As in the past with our Group, continued investment in technology and gaining operational efficiencies will deliver a powerful manufacturing site for years to come. We believe that this is a great outcome for staff, customers and our suppliers.” As for Fuji Xerox Australia and Fuji Xerox Asia Pacific, it entered into an agreement with CSG to propose an acquisition of the latter for $140.8 million. Under the agreement, Fuji Xerox Asia Pacific has proposed to acquire all shares of CSG by way of a Scheme of Arrangement under Australian law. The proposed acquisition will be for a cash consideration and the

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

Scheme is expected to be completed by mid-February 2020. Once complete, the acquisition will see Fuji Xerox Asia Pacific acquire all of CSG’s shares and CSG becoming its subsidiary. The CSG brand is expected to continue operating as a whollyowned subsidiary. According to Fuji Xerox Australia managing director Takayuki Togo, the acquisition reflects the company’s desire to deliver growth and expand its customer base into Australia’s SMB sector. “This delivers on our strategy to broaden the Fuji Xerox offer to a diverse range of organisations across various businesses with the addition of relevant software, solutions and services that customers are now demanding from print and document providers. About 90 per cent of the companies in Australia and New Zealand are SMBs and this acquisition allows Fuji Xerox to reach those customers with its solutions,” Togo said.

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NEWS

Visy buys Norske Skog Albury mill by Paul Brescia Norske Skog has sold its Albury paper mill used to produce newsprint for $85 million, with the mill set to cease the production of newsprint by the end of the year. In addition, 183 employees are set to be made redundant, at a cost of $34 million to the company. The closure reflects the market reality of overcapacity, with Norkse Skog able to produce much more newsprint than needed between its Australia and New Zealand operations.

Neopost changes name to Quadient by Sheree Young Neopost has changed its corporate name to Quadient. The new branding strategy is designed to integrate the organisation with an aligned corporate brand platform so clients can better leverage the full range of solutions on offer and simplify and solidify customer interactions. Quadient Australia managing director Stuart Macdonald said the change is a result of evolving customer expectations. “As expectations evolve to meet and match always-on customer existence, building a strong connection requires a focus beyond physical channels,” Macdonald said.

Almost half of the Norske Skog newsprint between Australia and New Zealand is being sold onto the export market, where the company sees very small returns. Consumption of newsprint in Australia has fallen by an average of 11 per cent over the past 10 years, according to IndustryEdge. While newsprint demands have fallen, e-commerce has seen a strong rise in packaging demand. Visy has not yet fully outlined its plans for the site, though the sale included its water rights,

with the mill located on the banks of the Murray River, and access to 400,000 tonnes of wood each year for virgin fibre pulp production. Combine that with the potential for the site to be transformed towards the production of packaging grade papers, and there is potential for some jobs to return to the region. The Albury site also has recycled fibre operations, further adding to its value, with Visy committed to the 2025 packaging target. Norske Skog CEO Sven Ombudstvedt said, “The

closure of Albury will address the substantial imbalance between newsprint production capacity and customer demand in Australasia and unlock the Albury mill’s position as an ideal candidate for conversion into packaging grades.” Workers at the Albury mill expected the closure. Norske Skog will continue its production in Boyer, Tasmania and Tasman in New Zealand. Albury had an annual newsprint production capacity of 265,000 tons.

Signage One buys HP and Aristo kit by Hafizah Osman Signage One has purchased new kit from Celmac in a bid to expand its market reach. Signage One director Craig Maddren said the company purchased a HP R2000 Latex flatbed, and an Aristo TL1925 cutting table with conveyor. Signage One is a branding design and manufacturing company based in Goulburn and services the region. The deal with Celmac follows an existing partnership between both companies. “Over the years, I bought a HP 750 and all my supplies from Celmac for the machine,” he said. “The company’s after sales service has always been efficient. That’s why I went with Celmac again.”

A bigger play in the packaging space is why Signage One bought the new kit Celmac NSW state manager Jonny Rumney said Signage One wanted to upgrade its old UV Flatbed, which coincided with a major job win. “Overall, Signage One can expect more productivity, faster turnaround times for

larger jobs, and no danger to the operator with harmful inks, which is better for its customers and for the environment.” Maddren added that the purchases are a “major investment” for a regional player making its push into the packaging space.

Currie Group and EVOK3D announce partnership by Sheree Young Currie Group has entered into a partnership equity agreement with EVOK3D, with executive chairman David Currie saying it represents “exciting business opportunities” in new markets for both companies and customers. EVOK3D is HP’s 3D Production Specialist Partner in Australia. 12

Currie Group executive chairman David Currie (l) with Yana Carmody (middle) and Joe Carmody (r) of EVOK3D

November/December 2019 - Australian Printer

Currie Group executive chairman David Currie said, “The strategic partnership represents exciting business opportunities in new markets for both companies and our customers.” EVOK3D managing director Joe Carmody said, “To meet growing demand, we needed to scale the business and Currie Group is ideally positioned having disruption in this space.” sprinter.com.au

NEWS

PT Store acquired by Charti by Paul Brescia Charti has acquired PT Store, an industry veteran servicing all of Queensland and Northern New South Wales with LFP supplies and services. It is the second buy for the company, first founded in 2016 by David Cheng, having previously acquired Stanton in early 2019. Charti also sells Océ gear in Queensland, adding the printers to its line-up 10 months ago, complementing its Epson, Mimaki, and Canon printers. For the past 25 years, PT Store has sold the HP Designjet’s full range, also having had access to Royal Sovereign Lamination’s range of equipment. The company said it nurtures strong partnerships with local and state governments. Charti managing director David Cheng said, “I am extremely excited to welcome PT Store into the Charti Group as we

introduce new sets of skills, products, and customers, into our business. This expansion ties in greatly with our aim to become a one-stop-shop for all printers around Australia. “Moreover, we are thrilled for this opportunity to provide a greater offering to PT Store’s existing customer-base, too, which I’m confident they’ll love.” PT Store owner Ray Deppeler said, “An agreement was easily reached when it became apparent that customers would benefit greatly from the combined services to be provided by both organisations. “PT Store will offer an enhanced range of media supplies, including a range of Charti & Rojo Pacific product lines.” Effective since 1 August, PT Store, now operating under the Charti banner, will offer both Epson and Mimaki hardware, in addition to consumables and support services.

Pakko installs Aust first MTEX digital printer by Sheree Young Pakko has installed a four-colour MTEX digital box printer, which has quickly opened new revenue streams for the operation. Pakko owner Nina Nguyen said the move follows the need to go beyond being a traditional box manufacturer. By adding Australia’s first four colour CMYK MTEX digital printer, supplied through Neil Southerington at Graffica, Pakko has been able to turn a box quickly and easily into a fully marketable product for a reasonable price. The fact that a printing plate is not needed substantially reduces costs, making it suitable for this custom and short-run packaging space. “Our mission is to bring creativity and colour into every box and make it meaningful in every experience,” Nguyen said.

Pakko owner Nina Nguyen (r) with general manager Tony Ong (l) Pakko general manager Tony Ong said the decision to buy the MTEX was already paying off, letting it print logos and other marketing material directly on to a packaging carton given the MTEX’s ability to handle 1m wide stock. “That was basically the key reason for buying the press,” Ong said, adding this is now the third digital printer owned by Pakko. “We’ve got the capability to do majority of the work in house, which means we can now speed up work.”

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Australian Printer - November/December 2019

08.10.19 15:00

NEWS Labor pushes for phoenixing laws by Paul Brescia The Australian Labor Party is attempting to force through a vote on phoenixing laws first proposed by the Turnbull coalition government in 2017, in which directors are given identification numbers so that they could be tracked, making the transfer of assets simpler to identify. The Director Identification Number (DIN) proposal had bipartisan support prior to the dissolution of parliament, with shadow assistant treasurer Stephen Jones noting, “Phoenixing is a widespread and corrupt practice, hurting employees, legitimate small businesses, and denying the tax office revenue, costing over $5 billion a year. Australian Small Business and Family Enterprise Ombudsman Kate Carnell has supported the DIN laws, noting, “The dilemma actually is not whether we do this but how”.

Durst Oceania opens its doors to partners by Hafizah Osman Durst Oceania recently invited its partners to its new premises, with Durst Group CEO and co-owner Chrisoph Gamper and head of service Christian Casazza attending the launch to mingle with guests. The new office, in Melbourne’s suburb of Tullamarine, is headed by Durst Oceania managing director Matt Ashman. “Australia is a very important market for us and having Matt here, who has worked with us for more than 10 years, has enabled us to further service this region and customers directly,” Gamper said. “Labels and packaging is growing in Australia, just like it is all around the world. “For us, this means new opportunities arising and there is still a lot that we can bring to the market – not just from the machines side but also the software, portfolio, and optimisation sides. That’s what we are

Durst Oceania managing director Matt Ashman (l) and Durst Group CEO and co-owner Christoph Gamper (r) going to focus on for the next few years.” According to Gamper, Durst as a company is looking towards growth and making a bigger impact in the industry that it plays in. “Durst is a 100 per cent independent company, and we want to stay 100 per cent independent. We’re not striving to go public even if we have market giants knocking on our doors every day. We have been in operation this way for about

80 years and we intend to operate like this, even if it means that we have to reinvent our business – we have done so four times in our existence and are in our fifth revolution now. We strive to be here, and stay.” Gamper said moving forward, the company will work more closely with customers in the country. “We’re here to support our customers to be the service provider and help their customers prosper.”

Finsbury Green to take majority of Waratah staff

HVG brings Dispa paperboard to Australia

by Sheree Young

by Paul Brescia

Finsbury Green executive chairman Peter Orel has confirmed a majority of Waratah Group staff, including a select number of senior staff, will move across as part of his buy-out of the failed Melbourne printer that is now in voluntary administration. Waratah Group was recently placed in voluntary administration after a rocky 12 months which included facing wind-up action by the Australian Tax Office over unpaid debts earlier this year. Orel has confirmed that his business, Finsbury Green, has purchased the client list of Waratah Group, some of its plant and equipment and will employ a majority of its staff, including some senior members. He could not 14

confirm whether Waratah Group directors Moody and Abbey Aboughattas or chief executive officer Brett Chalmers would join Finsbury Green. “We are taking a majority of staff and some plant and equipment; I am not sure [how many staff] at the moment. It’s all happened very quickly,” Orel said. He added that the deal includes the purchase of Waratah Group, Waratah Brand Service and Embassy Print Solutions. Superannuation payments for staff at Waratah Group, which are outstanding, would now fall to the appointed administrator, Shane Deane of Dye & Co in Hawthorn East, to work out. “Acquiring the customers and offering employment to staff is really all we are doing,” Orel said.

November/December 2019 - Australian Printer

Dispa – a sustainable, shortterm paperboard solution – has been made available to all printers in Australia through HVG Graphics Media. The engineered paper board, produced by 3A Composites, features an atypical structure of embossed, formed paper, with the company targeting it at short-term promotional campaigns. The FSCcertified board features two thicker outer layers, two embossed layers in between, and one thin paper layer in the middle, can be printed using digital or screen technologies, and can be easily recycled. As such, Dispa is suited to hanging signs, display and POS/POP applications, and photo mounting. HVG said it is also ideal for direct double-sided

print, and is fast and easy to process by die-cutting, guillotine, or digital cutting tables, without the need for any special tooling or techniques. From a sustainability perspective, its recyclability, paired with the FSC guarantee that it has been produced with responsible forest management in mind, aims to give business an edge in winning business within the government, corporate, and not-for-profit spaces. HVG Graphics Media general manager Richard Lucas said, “As far as sustainability goes, shortterm signage can pose concern to the consumer. So, this stable sheet is the perfect green solution for internal short-term signage as it is constructed with ethical certification, and can be easily and responsibility disposed of in Australia”. sprinter.com.au

Need a sustainable solution for promotional campaigns this festive season? Lightweight, stable, and smooth. DISPA delivers everything you want and more. With a 100% ecological and ethical position amongst sign and display boards, thereâ&#x20AC;&#x2122;s no better time to make the change to DISPA.

FINISHING

Making the move to foiling Wow your clients by offering short-run foiling

What is corona treatment and why is this important?

ver wanted to add foiling to your lineup but have been a little daunted to learn a new skill? Here’s a basic outline of a few processes, how they work, and what advantages they offer. Transfer foiling is the process of using heat and pressure to transfer foil onto exposed toner. It is also known as sleeking or fusion foiling. The foil is supplied in rolls to suit laminators with an uptake roller. Unlike the traditional hot stamping method, you do not have to produce individual blocks. Rather, you have full control over the graphic you wish to foil and the work is completed entirely in-house, reducing costs.

Can I use my existing laminating machine to foil? Yes, as long as your laminator has an uptake/rewind roller. If not, then you may be able to have one fitted or look at an affordable machine upgrade. Hilton Laminating’s testing has shown that a chrome roller works best, as it allows for even heat distribution

Standing by foiling: Hilton Laminating’s Katie O’Connor, Michael Tschuemperlin, Peter Foley, and James Peck and a smooth, mirror finish. Heat and pressure are the two main factors when looking at a machine and its potential for foiling with successful results. Hilton recommends that you use a speed of 3m/min with a temperature of 95-100 degrees for foil and 85-90 degrees for holographic and pattern film. While maximum pressure should always be used, this may need to be adjusted if scuffing appears. As a tip, you should always run test sheets first before you get started.

A corona treatment is a surface modification technique that uses a low temperature corona discharge plasma to impart changes in the properties of a surface and is designed to increase the surface energy of plastic films, foils and paper in order to allow improved wettability and adhesion of inks, coatings and adhesives. As a result, the materials treated will demonstrate improved printing and coating quality and stronger lamination strength. All of the film at Hilton Laminating is corona treated.

Why do I need to print 100 per cent black toner on grayscale? When you print in colour then foil, you will see registration marks appear all over your print. We print in black to avoid these registration marks which are there to prevent replication of certain documents. These registration marks affect the results of the foiling. To guarantee great results, Hilton recommends switching to 100 per cent black toner on grayscale.

GEW LED UV arrives in Australia with Pressology Transform your offset press with GEW’s LeoLED UV curing system

EW has launched its latest innovation for sheetfed offset printing. Named the LeoLED UV curing system, GEW distributor Pressology managing director Peter Sage said the solution is “positioned to transform the economics of UV for commercial printers by being faster, greener and cheaper than any other comparable system currently on the market”. “LeoLED represents the next generation for LED UV curing and is set to have a significant impact in this highly competitive market,” he said. He added that LED offers a range of advantages and LeoLED technology is at the forefront of advancements. He said, “LeoLED technology has been redesigned and refined for simplicity and offers excellent value, while at the same time delivering maximum power and dose of UV energy. “As a result, there has never been a better time for printers to refresh 16

their offset press with an LED UV curing system. There are any number of reasons for you to consider LED. For example, with LED, you can print on plastics, films and other difficult substrates. The instant drying achieves sharper dots and more vibrant colours, particularly on uncoated papers.” It also eliminates the need for spray powder or sealers and cuts out the problem of marking and scratching. Sheets come off the press immediately ready for finishing, enabling LED printers a competitive edge by being able to offer faster job turnarounds. Post-press space requirements are also greatly reduced. “The compact profile of the LeoLED lamp head enables it to be easily retrofitted to almost any offset press. The design brings several new benefits, which include the 50mm width window giving a long dwell time and waterproof sealing for easy cleaning. “It is also resilient to dust and ink ingress. The LED array delivers electrical power at 88W/cm and an intensity of 25W/cm2, with minimal light loss due to the direct UV path. Also, a water-cooling system gives LeoLED the ultimate operating capability and reliability in its class.”

November/December 2019 - Australian Printer

LeoLED can also be configured in a modular lamp array, a customisable arrangement of LED mounting positions on a press. Lamps can be freely moved between any position to change curing configuration and adapt to the job at hand. Sage added that, for highly demanding applications, such as B1 LED coating at 18,000sph, multiple lamps can be placed in tandem at the end of the press. He said, “This modular LeoLED configuration offers the ultimate in flexibility and enables GEW to deliver the highest energy dose in the market, at the best value. The new lamp head is built to GEW’s usual exacting standards, using state-of-the-art manufacturing techniques, for robust performance and reliability. “When in operation, continuous remote monitoring of the lamp and LED characteristics ensures reliable operation and fast technical support. LeoLED diodes are designed to run over 20,000 hours and GEW offers the longest LED warranty available: up to three years, irrespective of running hours. The Pressology team is looking forward to discussing LeoLED with customers as soon as possible.” sprinter.com.au

PRINTLOCKER

Personalised print puts

Booming business: Melissa Trewella (l) and Marino Tribuzio (r), founders of PrintLocker

Successful e-commerce business produces ondemand t-shirts out of a print site that looks like a Silicon Valley start up

alking into PrintLocker, you almost immediately get the feeling that this is not your typical print business. With bright marketing around the place, a mostly female workforce, and a well-thought out design, you could be forgiven for thinking you’ve walked into a tech start up. There’s even a ping pong table, though the staff say they’re often too busy producing work to use it. Credit goes to the owners of the business, Marino Tribuzio and Melissa Trewella, who have developed a strong brand online, with some 1700 followers on Instagram, and a big social media focus in their marketing efforts. The custom t-shirt printer was 18

founded six years ago, with a small printer in Tribuzio and Trewella’s basement. Both had previous experience in commercial printing, with Tribuzio having just sold his business, Print Supply. Trewella had previously been working in the signage segment of the industry. From just having a small apparel printer and a website, they then moved to larger premises, including a shopfront within nine months. They took over the shop next to them, put a hole between them, outgrew that, and now they operate out of their 1000sqm facility in Alphington, Victoria. Tribuzio explained, “We are e-commerce and mostly retail, with some wholesale. It is a fledgling market. When we left commercial print there were thousands of businesses, and it was cutthroat, whereas the custom t-shirt market was emerging. It was massive in the US, but still emerging in Australia, meaning we were able to come in on the ground floor.” The move to an online business model was made easier by Tribuzio’s previous experience selling print to customers through a web portal. It was no small feat to build up the business from a small Anajet printer,

November/December 2019 - Australian Printer

and a heat press. PrintLocker then added a Brother DTG device, and then a second, eventually moving up in scale to investing in a Kornit Storm, which was soon followed by a second. Now, both of those devices have been upgraded, with PrintLocker producing most of its t-shirts through a dual set-up of Kornit Storm Hexa devices. The advantage was quality and colour — CMYK, plus white, red and green, from CMYK plus white. Combined with the recirculating ink ability, it became more efficient, giving cost savings along with a better print, producing up to 170 light, or 85 dark garments per hour, with web-toprint enabled. As local distributor Kiwo explained, “The ink recirculation mechanism reduces the need to purge printing heads, increasing the lifespan of the printing heads, and significantly reducing waste and ink costs.” PrintLocker’s website has also been revamped four times, and it is remarkably straightforward to use, with a great user experience. There are graphics you can add to t-shirts, simple pricing with bulk discounts, and additional items to pad out the shopping cart: stubby holders, aprons, mugs, bags, or beanies. sprinter.com.au

PRINTLOCKER

PrintLocker ahead Tapping into the trend Personalisation is increasingly important for printers to value-add, particularly in the garment printing space. Clothes are a representation and expression of personality, value, and taste, and the ability to offer a product which speaks to customers on an individual level is powerful. As global wide-format association Fespa noted, “Investment in high-end digital printing equipment is allowing fashion cycles to accelerate, delivering photo realistic images and bespoke detailed garments. Fast turnaround on digital presses means shorter initial runs can be ordered. This allows retailers to place swift re-orders on fast-selling stock, resulting in reduced warehousing costs and less risk of wastage of unsold inventory. For online retailers this model can be extended even further, with garments printed in very short runs as soon as orders have been placed. Speed is the key priority in textiles, similar to other segments. The Fespa Print Census showed that faster production is the driver for investment for 69 per cent of textile print businesses. “These developments align neatly with the changing nature of the fashion industry. A more competitive and interconnected world of fashion consumption means that the industry has now moved well beyond the traditional two-season (spring/summer, autumn/ winter) model. Instead, each of these can now be divided into multiple miniseasons, with new collections and launches for each. “Changing trends in the fashion industry are also the key drivers behind new direct-to-garment presses, optimised for different types of clothing. Service providers in the garment customisation sector can leverage the capabilities of these machines to enhance their print offering, while advances in web-toprint ordering and job management software allow them to adopt justin-time (JIT) delivery approaches to support their business. In fact, the fashion industry is discovering that a JIT model has multiple benefits in terms of cash flow, investment, reduction in stock holding, minimisation of warehouse space and general operational efficiencies.” Over at PrintLocker, this means 500-600 shirts every single day, mostly sent through e-parcels, with some courier services used interstate. Capitalising on the growth in consumer demand for local artists and designers, sprinter.com.au

PrintLocker also offers affiliate stores. Artists can sell their products, on their own white label website, with the orders being filled by PrintLocker, and shipped directly to the customer. Merchandising and branding for existing companies also offers new opportunities, in Sydney’s Inner West for example, cafes, bakeries, and restaurants are now commonly selling t-shirts with their own designs.

Strong service gets repeat business As printers who interact with customers would know, most are generally bad when it comes to sourcing the correct, high-resolution images needed to get a quality printed piece. What works on a screen, does not always translate to the substrate. Almost all custom t-shirt printers will have a self-verification box that customers need to tick, which confirms that they have supplied a suitable resolution image, in the correct format, that are not copyrighted. The general attitude in the industry, Trewella explained, is that once that box is ticked, any poor-quality print is the error of the customer, not the company. PrintLocker sees it differently — every t-shirt produced represents their brand. It’s why their graphic designers, Bianca, Sara and Karen, spend so much time chasing customers and working alongside them to make sure the final product is perfect. When there are errors in the file, they fix them, source replacement images, and contact customers if the end product is not going to be perfect.

Trewella explained, “We usually have to go back to customers and ask for high-res files, otherwise we will do it ourselves if we need to. “With vinyl transfers, we always need vector files from Illustrator.” Tribuzio said, “We promote ourselves on Father’s Day, Mother’s Day, with Facebook and Instagram posts, and boosting them when big occasions arise. Our brand has grown and we get a lot of repeat business. “Customer service is our priority. All of our team are brilliant with customer service and it shows with repeat business and five-star Google and Facebook reviews. We never let our customers go unhappy; if we make a mistake we fix it and if they get lost in transit we replace it. “Apart from the smaller consumers, we print for companies, organisations and schools as well. The customer base is very broad. “Whatever you can think of, we have printed. We are not judgemental; as long as its not copyrighted or endorses any form of hate speech. We have not knocked back a lot; there has to be a line somewhere, but people are allowed to express what they want on their t-shirts.” As for what advice they would give to commercial printers looking to diversify into custom t-shirt printing, Tribuzio explained, “It is not something you can add on, leave in the corner and work on with a few t-shirts now and then. It is a business; it is all encompassing and something you need to devote time to. For a larger print company, you can set up a department specifically for it. It would be an ideal add-on business then.”

Feeding the Kornit Storm Hexa: Renni Anastassiou

Australian Printer - November/December 2019

NEWS: BUSINESS NEWS Local and global print stock watch Sep 10 - Nov 10

ASX (AUD$)

Price

Amcor IVE News Corp oOh!media Ovato Redbubble Wellcom

14.10 0.10  16.74 2.05 0.01  2.40 20.80 0.30  21.75 2.58 0.045  5.22 0.051 0.0 − 0.22 1.80 0.34  1.9 6.84 0.020  6.90

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Adobe 261.09 5.75  313.11 204.95 Apple 239.96 0.55  242.20 142.00 Canon 27.13 0.03  31.60 25.49 Fujifilm 43.47 0.10  51.63 36.53 News Corp 14.19 0.19  14.32 10.85 Xerox 30.36 0.40  30.51 18.58

Orora sells Australasian fibre business to Nippon Orora has entered into a binding agreement to sell its Australasian fibre business to a wholly owned subsidiary of Nippon Paper Industries for $1.72 billion. Orora said the Nippon Paper offer fully values the Australasian fibre business, which includes the B9 Paper Mill, fibre converting, specialty packaging, cartons, bags, functional coatings and Orora WRS packaging distribution. The completion of the transaction is expected to occur in early 2020 and according to the company, will not result in the loss of any “meaningful operational or customer related synergies”. Orora managing director and CEO Brian Lowe said for Orora’s fibre business team, the combination of the Orora Fibre business with Nippon Paper Group’s subsidiary, Australian Paper, provides “great opportunity for both

groups” to expand into new sectors and broaden their value proposition. “The binding offer from Nippon Paper Group fully values the Australasian fibre business with reference to the benefits expected from the asset refresh program that Orora has undertaken in recent years and the prevailing outlook for the business,” he said. “Following completion, Orora is expected to be a more streamlined group of businesses.” The fibre business’ transition to Nippon Paper is expected to result in some redundancies, according to Orora chairman Chris Roberts. “Orora will now focus on its Australasian beverage and North American businesses, which both have a strong long-term growth outlook and provide opportunity for superior returns on capital for shareholders,” Roberts said.

Adobe Fujifilm 350

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Agfa 3.99 0.072  4.10 3.13 Heidelberg 1.16 0.041  2.15 0.84 Koenig & Bauer 33.04 2.20  50.00 28.24 Metsa Board 5.88 0.020  8.54 3.86 UPM 28.21 0.38  30.29 21.10

Agfa

Metsa Board

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November/December 2019 - Australian Printer

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DRUPA ESSENTIALS

Packaging in an eA study found that more than 25 per cent of what’s sent to customers in transport packaging is thin air

Digital pre-print opens a new era for brand protection and brand activation in e-commerce

he ongoing digitalisation and the associated changes in consumer shopping behaviour have a major impact on the design and construction of packaging. Mass-produced products lose their attractiveness. Brand manufacturers, retailers and logistics providers are adapting to the new challenges of online trading. They receive strong impetus from the packaging industry, which has a lot to offer when it comes to e-commerce packaging made of corrugated board with innovative solutions and stateof-the-art print technologies. 74.4 billion: this is the number of shipments that courier, express and parcel (CEP) services carried worldwide in 2017, according to the latest figures in the annual Pitney Bowes Parcel Shipping Index – this is roughly 17 per cent more than in the previous year. This surge in parcel volume is being fuelled by the continuing boom in e-commerce. Already by 2020, it is expected to exceed 100 billion parcels in the thirteen industrial nations surveyed. In view of such volumes and growth rates, it becomes clear: Packaging has long since emerged as a key component in the e-commerce logistics chain.

The empty space economy The report ‘The Empty Space Economy’, drawn up by Forbes Insights in collaboration with the international 22

packaging specialist DS Smith, revealed that nearly every package shipped online contains empty space. 60 per cent of executives surveyed felt that more than a quarter of what is sent to customers in transport packaging is in fact, thin air. An enormous amount of extra material is also used – both for the overbox and the filling material. Consumers are becoming more and more critical of this. Brand manufacturers and retailers are also increasingly addressing the issue of packaging optimisation. The reasons are obvious: lower material and logistics costs, less transport damage, more sustainability and an improved customer experience.

Tailor-made for every channel The development of optimised e-commerce packaging solutions from corrugated board is by no means trivial. They pass through a completely different supply-cycle than goods that go into retail. There is often a lack of reliable data to provide information on the actual loads during transport. Online shipping places the highest demands on the packaging, as the goods are not only expected to arrive at the customer undamaged but also ideally to inspire the customer about the product and brand in such a way that they will share this positively on their social media channels. DS Smith started early to deal with the peculiarities of the delivery cycle, the trends and insights around e-commerce. Today, in addition to its extensive know-how, the company has developed and offers a whole range of special e-commerce solutions and innovative technologies. These include the exclusive DISCS testing

November/December 2019 - Australian Printer

standard, which simulates the real loads within the so-called ‘last mile’ and, on the basis of the knowledge gained, allows the material and design of the packaging to be matched to the respective supply-cycle and its specific requirements. The innovative Made2fit packaging solution ensures, for example, that package sizes can be adjusted manually or fully automatically according to the volume of the products to be shipped. And this is possible in all three dimensions.

E-commerce is slimming down Innovations like these generate real added-value in the e-commerce supplycycle. As online distribution becomes more and more important for the consumer goods industry; there are hardly any manufacturers who do not need special e-commerce packaging for their products in order to optimise their processes. Single-item shipments lead to new challenges in fulfilment. To streamline processes, packaging specialists like DS Smith came up with a number of great ideas. The e@ Box, for example, combines product packaging and overpack. On-site filling of the boxes with the branded product takes place directly at the manufacturer’s premises. This saves valuable time and cost in logistics. At the same time, the all-in-one solution for shipping single items always has the right size and strength – regardless of whether cosmetic products, chocolates, shoes or cordless drills are shipped with it. In addition to high product protection and convenient handling, the clever box-in-box system guarantees one thing above all: that the online shopper will remember the sprinter.com.au

DRUPA ESSENTIALS

-commerce world produced in just one print run. Even last-minute changes of the artwork are now easier, because printing plates are simply no longer necessary.

The surge in parcel volume is being fuelled by the continuing boom in e-commerce

Brand protection

DS Smith started early to deal with the peculiarities of the delivery cycle unboxing of the product as part of a positive brand experience.

Brand activation in focus Product lifecycles are getting shorter and shorter, also because start-up companies are launching ever new, ever more stylish products onto the market. Mass-produced products lose their attractiveness. Shoppers’ brand loyalty is fading and ecosustainability aspects are becoming increasingly important. All this creates new challenges for the industry. Today’s customers want to be inspired and courted by individualised products that are as sustainable as possible. It is more important than ever to focus on the customer and tailor business processes, products and shopping experiences to their needs. And this is precisely where transport-packaging made of corrugated board can bring strong, new accents to a manufacturer’s brand. When it comes to customer centricity, digital pre-print and its associated flexibility open up a new dimension of interaction. And this is no longer true only for short, but now also for medium and long print runs. Attention-grabbing interior prints and seasonal campaign motifs also sprinter.com.au

enable a differentiated and more emotional customer approach in e-commerce. Smart packaging informs, entertains and networks the online shopper. A scan of printed Quick Response Codes, for example, can provide information about growth areas, as well as tips for the optimal preparation of the product ordered online. In the same way, consumers can gain access to bonus programs or social media platforms where influencers showcase the product or provide helpful video tutorials, for example on make-up applications, as well as on the installation or commissioning of complex products. Thanks to so-called mosaic printing, even individual shippingpackages can each be given a unique, individual design in digital pre-print. Thus, thousands of unique copies are

Digital printing technology also has a lot to offer in terms of brandprotection: secure QR codes are not replicable and provide a reliable method of verifying whether a product is genuine or counterfeit. It makes sense to combine this with a tamperevident closure on the corrugated cardboard transport packaging. Printed, serialised codes allow packaging to be tracked, but also verified. In addition, this can be used to ‘marry’ product and packaging with each other, for example to record individual batch numbers, production data and production times. This also makes traceability much easier to implement in the event of a recall. Watermarks can also be printed on the transport-packaging in digital pre-print, which enables hidden coding in the printed image. When used selectively, this can in turn be used to check whether it is an original product or not.

Next stop, the birth of omni-channel packaging Modern technologies and changing consumer habits are bringing about constant changes in e-commerce. Offline and online are increasingly blending into each other. Already today, industry, physical retail and pure online players are investing in the development and expansion of their omni-channel initiatives. The relentless, continuing networking of the online and offline worlds has far-reaching effects on the entire supply cycle. In the packaging sector in particular, there will be more and more demand for comprehensive, integrated solutions that work equally well on store-shelves and in online retailing. Anja Roehrle is a marketing and communication manager at DS Smith. She has worked on award winning projects, ranging from regional to global, integrated and multi-channel activity, from short-term campaigns to longterm marketing strategy, in national and international environments, for businesses in the B2B and B2C space, spanning a large variety of industries.

Australian Printer - November/December 2019

WOMEN IN PRINT

Sarah Moore The positive impact and influence of print and signage in people’s lives should be shared, she says

It is great, though, to see growing support for positive change within print.

aving been with Visual Connections for more than 10 years, the company’s business development manager, Sarah Moore, has seen her skillset in print develop tremendously. Her career started after she completed Leisure Management studies, then working for charities and venues including the Sydney Convention & Exhibition Centre, which she says was “amazing during the Sydney Olympics”. She also managed national conferences and trade shows for companies and associations for over 10 years. Moore then landed a role within event management in Visual Communications when its CEO, Peter Harper, approached her for the role to oversee the Visual Impact trade shows. “As I had some background in the industry, I jumped at the chance,” Moore said. Since then, she has been with Visual Connections, with Moore stating that she has seen the company through many changes. “We’ve seen so many changes – from the merger between VISA and GAMAA to form Visual Connections, the growth of our team, and adding PacPrint and PrintEx to our trade show portfolio,” she mentioned. “Each change has required me to develop new skills. More recently, I’ve needed to shift from the detailoriented focus of events to a broader outlook as business development manager, looking at the business, our members and how we can support the industry. It’s a new challenge, but I’m enjoying it.” The success of the organisation’s first PacPrint in 2017 stands out for Moore, particularly given the small size of the team at that time. “The best thing, though, has been building relationships with members, fellow associations and our contractors – there are some wonderful people in this industry!” she said. “I have also been involved in education initiatives with ASGA, REA and Aussip, which has always provided highlights, and I can never 24

Print is more accommodating and welcoming of women than some other industries: Sarah Moore, Visual Connections forget how amazed students are when they visit our shows.” But what excites Moore the most in her role is watching the development of technology and the possibility that it provides. “Most people don’t realise how positively print and signage influence their daily lives; I’m excited to share that impact.” As a woman in print, Moore said there isn’t one person she looks to for inspiration as there is a wealth of knowledge she receives from both men and women in the industry. “I am lucky to have knowledgeable, genuine, positive people in both my personal and professional life, who have worked hard to build great things and who inspire me every day,” she added. “Working with our members, the industry’s suppliers, every day, and learning more about the diversity of the industry and their businesses is what I find most interesting. “And it’s exciting to work with a positive, engaged board that is committed to growing our Association and supporting the industry’s future.” Moore said the print industry has been more accommodating and welcoming of women than some other industries.

November/December 2019 - Australian Printer

“I’ve worked in other sectors that I’ve found to be far more dismissive. It is great, though, to see growing support for positive change within print, and to feel that in my own roles,” Moore mentioned. “Having a great boss is a key, of course – Peter is very supportive and encouraging of what is a majority female team.” According to Moore, there are many ways that women in print can give back to the industry and lead the charge. “There are so many ways to contribute. Most recently, I’ve been working closely with the Women in Print patrons to coordinate events across the country – a really wonderful initiative,” she said. “It is so important for us to find ways to support and encourage, rather than undermine, each other.” Moving forward, Moore aims to work more closely with the Visual Connections board to grow and strengthen the industry. “We aim to provide even better support to our members through exposure and networking events, training and education initiatives, and promoting our industry,” she said. “There’s so much to do – and I’m looking forward to being involved for many, many years to come.” sprinter.com.au

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PEOPLE IN PRINT

Leading Spicers wi Sustainability is the driving force behind Spicers’ growth, with its CEO David Martin at the helm

picers is being kept busy. Following its launch as part of an ownership transition with Kokusai Pulp & Paper (KPP), Spicers CEO David Martin is taking the company on a new strategy and direction, with sustainability at the heart of it. “We’ve grown for the first time in many years; it’s across the board. We’ve targeted our products, so our product ranges have become smaller but more targeted to what is most relevant for our customers,” he mentioned. Martin said the company has refined its product range to bring to market products that provide better solutions to customers’ challenges and deliver more on sustainability. For example, the media supply specialists displayed its high-end specialty graphic materials, including Re-Board, 3M Window and Graphic films, Ace Outdoor, Yupo, Palboard, Digitac and Corflute to PrintEx 19. “With 3M Di-noc, you can deliver a look of marble or woodgrain to almost any surface. It’s a product that’s rocketing in demand. The sustainability message is key with ReBoard. It’s completely recyclable and there is an amazing level of structural integrity to the product,” he said. “So, what this allows us to do is target architecture as well as print – so pop-up stores, etc. At the moment, you can serve the market with what you have but at Spicers, we’re always looking for what gives businesses a better outcome. “The drive for us is to reduce reliance on products using fossil fuels. There is a fibre based and compostable approach to our range selection and we know it is a more sustainable source, unlike fossil fuels.” However, Martin said there are some applications in the market that can’t be covered with fibre-based products, such as clear packaging (water bottles). For these sort of applications, he said businesses need to be very specific with what they expect from those products and how they can be used sustainably. “You have things like coffee cups 26

The Spicers team at PrintEx 19: (l-r) Glenn Makary, Julian Bowdler, David Martin, Gary Smith, Justin Wiles, and Jack McFarlane that could be phased out if people use keep cups. But the problem with keep cups are that they’re not all glass – there are some plastic ones out there and once again, that’s fossil fuels,” Martin said. “What we’ve done, to better this situation is work on a product that has a coating, making it impervious to water and fully recyclable. We’ve been trialling the product and will be bringing it to market shortly. “Obviously switching from coffee cups to keep cups affect a number of businesses. So, with this solution they can still offer single-use cups, but in an environmentally sustainable way. “There are also some coffee cups in the market where they require industrial composting – that’s not a neat solution as they need to be collected separately and then go through an industrial process. Not everyone has that knowledge of where to put the cup because of its various materials.” As such, Martin said there needs to be in place an extremely simple collection system. “It’s the same with plastics that are numbered – you don’t know where the different ones (the two, the three and the five that you find at the bottom of plastics) go,” he mentioned. “Paper has been through negative press cycle that plastics is about to go through. So, if we can get back to

November/December 2019 - Australian Printer

fibre packaging, we know that it is recyclable and we’re a step closer to being the right answer. “We have a key strength in that our value chain is FSC (Forest Stewardship Council) certified and so the perception of sourcing control is now a complete non-issue.” To further drive the value of sustainability, Martin suggested that industry education around the topic of sustainability be stressed upon in Australia. “It may take some new legislation to promote recycling and sustainability and infrastructure that needs to support the sustainability message,” Martin stated. “The governments have some work to do – it will take some work from them in terms of the way that products are collected. We’re currently putting glass with plastics and paper all in one blue bin but that eventually goes into landfill. “Even when we talk about glass, you can’t mix green with clear or brown glass, for example. They need to be separated. “If you understand what’s happening upstream, then the consumer has to be inconvenienced just a little bit to streamline the process and make it easier across the entire chain. “There is no way we can become more efficient in recycling and allow the consumer to have the same level sprinter.com.au

PEOPLE IN PRINT

ith sustainability of personal convenience, yet it’s the right thing to do. End of street collection, separated glass, plastics and fibre, that’s more efficient yet a little less convenient.” As for the industry, he said that the drive towards sustainability is there, but it’s now about the capability of other factors to support it.

Moving forward One thing that Martin is driving internally is to find ways for Spicers to help customers find the next step in their growth ambitions. “For example, with customers that are in sign and display, we’re encouraging them to enter into architecture and interior design. It’s the new ideas that we bring in, along with our product set,” he said. “The big question for our customers is – what’s next for your business? And it’s obviously going to be a different answer for most. We want to help take customers somewhere where their business will grow. “So, if they’re not growing in a certain sector, we will try and help them diversify in a manner which best suits them, and we hope to serve their needs as they grow. “The market is also diversifying, so when we internally train our people we make sure that they have cross disciplinary training. “So, for example, if they’re trained on paper, we ensure that they’re also

The Spicers stand at PrintEx 19: An array of solutions for the customer trained in packaging or labels. We’ve taken on new approaches, but the underlying message is us doing what’s right for our customers.” The company is also in the midst of strategising the next best move for the business. “We delisted in the middle of July and the capital injection for us, from our new owners, will be put towards investment into the business,” he said. “There hasn’t been much cash available to the business over the

past three years. The idea behind that was to get the business to a point where it was providing an acceptable return. Now, we’re looking forward to what we can do with this capital injection, mainly focused on productivity opportunities and new growth inventory. “There’s a lot of excitement around the business related to our new products and we’re looking forward to what we can bring to the table, for the industry as a whole.”

Pursuing a deep-running passion outside of Spicers When he’s not pushing the sustainability message and growth at Spicers, David Martin focuses on his background in music. He almost quit his job when he was 19 years of age to pursue a career in music and was involved with a four-piece band having recorded a number of originals. The band, Ground Zero, was a hit in Adelaide and he played for them for about six years, in the ‘80s, when live music was huge. He also co-created, Big Kahuna, joining forces with four other executives from various industries in 2008. “Big Kahuna went on for about 10 years. We were all leaders of businesses and that’s why we came up with that name,” he said. “The group was made up of NEXTDC’s CEO and managing director Craig Scroggie, former Intel A/NZ managing director Philip Cronin, former Motorola Solutions A/NZ sprinter.com.au

3 in the corner: David Martin (r) and his band members John Staines (middle) and Shani Weiss (l) channels director Vince Chiappazzo, Complete Music Australia managing director Mark King, and AIIA CEO Ron Gauci. “We were doing pretty well, we had gigs on the Gold Coast and the Crown Casino, to

name a few. It was a good run with those guys,” he said. “We would play at paid gigs, then use that money to sponsor charity gigs. We raised quite a lot of money for various charities.” Now, Martin has started a new band with two other musicians. “We’ve only just kicked off; we’ve named ourselves ‘3 in the corner’ and we play an eclectic mix of blues, R&B and new music. I found my band members John Staines and Shani Weiss on Bandmix, a website for musicians,” Martin said. “Music has been in my family for generations – my grandmother taught piano, my mother played piano and so did I, along with both of my brothers,” Martin said. “My kids play the piano as well; it must be genetic. I actually played bass in Ground Zero. It’s my release.”

Australian Printer - November/December 2019

GOING GREEN

Carr Group launches amb

The Green Initiative aims to facilitate the diversion of waste goods from landfill into a positive end-of-life solution

Supplier to the wide-format industry aims for 100 per cent diversion of waste goods to landfill with its new recycling programme

arr Group has launched an ambitious recycling and recovery programme for the grand format segment of printing. Established from a manufacturing background in coated and specialty fabrics, Carr Group is a supplier to industries across Australia, New Zealand and North America, with one of its core sectors being the grand format digital print industry. As Carr Group business development and product manager Kai Hennig explained, “Across Australia, we warehouse goods in Brisbane, Sydney, Melbourne and Perth. “By utilising our footprint and reach, it is from within the digital print sector that we will launch what 28

we believe to be the first environmental programme of its kind – our Green Initiative.” The company’s Green Initiative will represent a suite of individual programmes, starting with its Fossil Fuel Offset endeavour. The Green Initiative is designed to facilitate the diversion of specially developed and approved waste goods from landfill into a positive end-of-life solution. Hennig is unabashed in the end goal, noting, “Our target is clear – through collaboration with our valued stakeholders we want to achieve 100 per cent diversion of our approved industry goods away from landfill”. “We have structured the programme to have diverse solutions, capable of growing and evolving, and through continuous development to accommodate all industry goods. We hope by setting the platform, like minded organisations collaborate with us to achieve this.”

Fossil fuel offset Working with stakeholders, Carr Group plans to capture both in-house print production waste and end of

November/December 2019 - Australian Printer

life campaign goods. These waste goods can be converted into a Process Engineered Fuel (PEF), which is then supplied to facilities operating cement kilns and used as an alternative to coal. Carr is also aiming to be as transparent as possible throughout the process, reporting back regularly to its customers to demonstrate how it is effectively enhancing its corporate social responsibility. “Our stakeholders can leverage off this, for example, with printers able to clearly demonstrate to their clients, that they are environmentally responsible and offer various end-oflife solutions,” Hennig said. “We plan to capture as much commercially useable data as possible, giving valuable information back to our clients (and their end clients) that supports their corporate social responsibility programmes, for use as marketing material or within tender submissions. “We plan to report back to each client on a quarterly basis on volume diverted away from landfill, fossil fuel offset credits, and other valuable industry specific data, among other things.” sprinter.com.au

GOING GREEN

mbitious Green Initiative

How Carr Group’s Green Initiative works

Picking print for the launch Carr Group operates in multiple sectors, but chose to launch the program within print. This was done intentionally, Hennig explained to Australian Printer, “As an industry we face some unique challenges. End of life campaigns have corporate branding which may not be appropriate for repurposing, plus the various ink types and imbedded colours (in the case of dye sublimation printing) present challenges for circular economy. “With our foundation programme, we can offer a viable and positive endof-life where goods ultimately end up being incinerated and diverted from landfills. “Our research showed Europe to lead in environmental solutions, but even there it seems the most viable sprinter.com.au

and scalable solution is incineration of waste goods, capturing the energy released for conversion into electricity. It seems commercially viable wasteto-energy solutions are still under development in Australia. “Within Australia, there are some great innovations being developed. We are already in communication with various organisations for some of these innovations and it is our hope that through establishing our Green Initiative, we will be wellplaced to participate in new environmental solutions when they ultimately become operational. “Carr is a central point for the industry; we believe we are well-positioned to facilitate true environmental solutions. A common perception seems to be that just by transitioning to a product deemed to be more environmentally friendly, you are

improving the environmental impact. “We intend to not only offer solutions, we want to fully develop the knowledge and understanding of our stakeholders through education and promotion of the benefits.” Carr Group has also co-launched some product innovations, approved for use within the Green Initiative. Carrflex Future Banner, available in two quality grades, is a 100 per cent PVC-free banner with matching Keder Edge. It provides a solution for use in the billboard and banner advertising sectors. In addition to this, it has also launched Carrflex Silicone Welt Edge, an item that can be used in unison with its approved range of Polyester Textiles for SEG display systems. For both products, there is no need to remove the edging for the goods to be included under the Green Initiative.

Australian Printer - November/December 2019

REAL MEDIA COLLECTIVE

Is print media dying and Here’s a question to ponder over your morning macchiato: What’s the future of media and what does it mean for print?

or most people, including those sitting in the boardrooms of the world’s leading media companies, the truth to the above question is that the answer remains a very large shrug. The amount of disruption in every section of the media landscape has led us to the point where a lot is being said and a lot is being done, but no one truly has the answer – we continue to seek the ‘Holy Grail’. Whichever way you look at it, there’s no single media platform that’s the ideal fit for the millions of Australians that crave a regular stream of content. Print, online, mobile, social, video, experiential, voice, etc. – the number of available channels has exploded in the past two decades, and brands, our customers, are still struggling to know how to use each channel, including the established and hard-working ones like print, to maximum effect. However, we can take a few clues in a report published recently by magazine trade body FIPP and paper manufacturers UPM. Handily titled The Future of Media, the report paints a picture of a media landscape that’s been turned upsidedown by digital. But where once the question on publishers’ lips was ‘print or digital?’, now it’s ‘what role does print play in the print, digital and experiential mix that allows us to maximise audience engagement, cross-selling and revenue generation?’. Doesn’t trip off the tongue quite as easily, but it’s a far better assessment of the current situation.

Google uses direct mail to engage business audiences 30

Amazon’s catalogue shows that digital-only brands are turning to print

Not all doom and gloom The good news is that print remains at the heart of the business strategies of most major global publishing houses. According to the report, between 60 to 80 per cent of publisher revenues are generated from print, with 58 per cent of subscribers describing themselves as primarily print-orientated.

are sticking with print for a deeper, more relaxing read. “Print is a lean-back experience that gives the consumer a break from the intensity of the digital world,” Hearst Magazines president Troy Young said. “It plays a really important role in saying, ‘This is important, this has a place in culture, so take a moment to read and think about this’.”

Consumers now expect to access content on a wide range of platforms, which all have to link up seamlessly to add layers of multi-media content to the original print work. In the US, the top 25 print magazines reach more people than the top 25 prime-time TV shows (Carat Insight, 2017), while in the UK, almost 25 million adults read news brands daily and 36 million read magazines every week (PAMCo, 2017). The key to print’s enduring appeal is its simple and accessible nature, and its unrivalled ability to draw the reader in and absorb them completely in content that’s been commissioned, written, edited and designed by editorial experts – people who know a great story and how to keep you hooked until the very last word. Compare that with a 140-character tweet or a brief online feature surrounded by ads specifically created to distract, and you can see why people

November/December 2019 - Australian Printer

But while it’s clear that print remains popular and fulfils a key role in the lives of millions of people, for many publishers, the business model of a print-only magazine or customer profile magazine just isn’t sustainable.

New expectations Consumers now expect to access content on a wide range of platforms, which all have to link up seamlessly to add layers of multi-media content to the original print work. For Bauer Media, this network of complementary media driving revenue is called the 360 Model, where different channels, products and brand extensions revolve around the print product, engaging the core sprinter.com.au

REAL MEDIA COLLECTIVE

if so, what’s our future? audience while bringing in new readers and enticing them to get closer to the brand. “The best example of this is Motorcycle News,” explains Rob Munro-Hall, group managing director of Bauer Media. “That sells 60,000 copies a week as a newspaper, but also has a website that gets two million unique users. Then we also have a shop on the website, an insurance product, and four motorcycle shows, all under the same brand name.” Another fascinating development is ‘reverse publishing’, where previously digital-only brands are using print to reach new and existing audiences, taking their online content and repurposing it in print. From Amazon – with their Christmas toy catalogue – to Facebook’s Grow magazine, brands that have made billions from online media are now turning to print for its highly respected, trustworthy status. Add LinkedIn and Google using direct mail to engage business audiences, Uber and Airbnb publishing their own print magazines to gain more marketing time with their customers, and Net-a-Porter and Asos launching publications to compete with the newsstand fashion titles, and you have a clear trend that adding more weight to the arguments for print media. So, what is the future of media and what will print’s role be? How will we consume content in 10 or 20 years? Frankly, your guess is as good as mine. Technology none of us can envisage could come along and make current content channels obsolete. Consumer tastes and preferences may change entirely, driven by economic necessity, climate change or urban social movements. Artificial intelligence could even determine

Facebook’s magazine aims to engage audiences in a different way which content is appropriate for each person at any one time based on tranches of personal information held in vast datacentres. But going on the current trends and developments of the past century, the one constant in all this change will be print.

Kellie Northwood is the CEO of The Real Media Collective, an industry Association representing the paper, print, mail, publishing and distribution companies across Australia and New Zealand. Northwood also holds the executive director position for the Australasian Paper Industry Association (APIA). For more information contact: 03 9421 2296 or hello@thermc.com.au. www.therealmediacollective.com.au

Airbnb takes a different approach sprinter.com.au

Its unique ability to appeal to all the senses at once, along with the finely-honed craft that goes into making it and its strong environmental credentials, make it tough to beat for engagement, entertainment and the sheer enjoyment of reading. And, of course, I, like many Australians, love it.

Australian Printer - November/December 2019

FELLMAN

Be thrifty with your time If time means money, are you making the most of your time?

have just returned from Scotland, where the printing industry is alive and well – but facing all of the same challenges that it is in Australia. I was told that competition is extreme, from a combination of local, offshore and online competitors. I was told that it has been hard to lure new, talented people into the industry. And I was told this by one printing company owner: “I have problems and I have opportunities. What I don’t have is enough time to deal with hardly any of it.” The Scots have a reputation for being “careful” with their money. I asked this printer if that was a fair description of his attitude. “Oh yes,” he said with a smile, “I am that thrifty Scot they tell all those jokes about.” Then I asked him: “What’s the difference between time and money?” He thought about that for a moment. “You can spend them both, I guess, or you can save them both. Is that what you’re getting at?” “Partly,” I said. “But while you can save time in one sense, you cannot in a larger sense. “You’re ultimately going to spend all of the time you get. The question is, are you going to spend it – invest it – wisely.”

Saving Time Please think about the whole concept of saving time. You cannot store it in a bottle, to be used at a later date. But you can make more of it available in the short term by using less of it on any task. You can “save time” by driving a more direct route, and less time in the car can give you more time at your destination. You can “save time” by working faster, or by working more efficiently. You can also “save time” by delegating. Saving money has both short-term and long-term implications. In the short-term, spending less on one thing gives you more to spend on something else. In that regard, the old adage that “time is money” holds perfectly true. In the longer term, you actually can store money under your mattress or in a bank, to be used at a later date. There is a difference, though, between saving and spending and investing, and that is the crux of my message. 32

You’re ultimately going to spend all of the time you get, but are you spending it wisely?

Successful Investment There is another old adage about having to spend money to make money. Is it fair to say, then, that any money – or other resource – spent in pursuit of making money can be classified as an investment? Is it also fair to say that any money – or other resource – spent in pursuit of happiness, or any other goal, can similarly be classified? Time is that other resource, and being thrifty with your time still requires you to spend it. Just spend it wisely, so that it can ultimately be categorised as a successful investment. Here is my recommendation for a “thrifty” time management strategy. Before you spend time on any task, assign it to one of these four categories:  T1: Something that is obviously important and critical to reaching your goals  T2: Something that is definitely important, but probably not critical to reaching your goals

November/December 2019 - Australian Printer

 T3: Something that is possibly important, but also possibly a time-waster  T4: Something that is probably a time-waster Please go back to my Scottish printer’s comment about not having enough time to deal with his problems and/or opportunities. After I explained to him about T1 through T4, I asked him to look back on his previous day. He admitted that he had spent a significant amount of time on T3s and T4s, and that five minutes of thinking and categorising might well have saved him from at least an hour of essentially wasted time. I then asked if he could have completed his T1s and T2s in any less time, applying that “savings” to other problems or opportunities. His response was to smile at me rather sheepishly. “Perhaps I’m not that thrifty Scot,” he said. “It seems I’ve been wasteful. My mother would not approve.” Dave Fellman is the president of David Fellman & Associates, Raleigh, NC, US, a sales and marketing consulting firm serving numerous segments of the graphic arts industry. Contact Dave at dmf@davefellman.com. Visit his website at www.davefellman.com. sprinter.com.au

TALES FROM THE PRINTERVERSE

Improving print sales The end of the year means new and improved strategies need to be put in place for better sales from leads

he end of 2019 is here and almost everyone I have been speaking with is looking at sales numbers and measuring their business performance. Strategies and plans will be put into place to achieve or exceed this year’s goals. If you are getting ready to crank sales efforts by breaking out your prospecting list, here are three stats from the Hub Spot Sales blog to help you sell smarter:

1. More than half of prospects want to see how a product works on the first call I think this is great news for printers! I am a big fan of showing, not selling. This stat opens the door to put some effort into opening new customer doors with the work you can produce. Think of creative ways to get samples in prospects’ hands before you call. You can find out a lot about people on social media. Do they like dogs or cats? What college did they go to? Any recent posts they wrote or shared or liked you can tie a sample to… or create to increase the chance of a connection? Showing what you can do is imperative, showing what you can do and making it all about the prospect… priceless.

2. Almost 6 in 10 buyers want to discuss pricing on the first call You have done your homework, sent a stellar sample pack and got the prospect on the phone. Consider that a yes. Stop selling. Now it’s about working out the details. The longer you put off discussing costs, the quicker the prospect will start distrusting you. My suggestion here is simple – send rough estimates for the samples in the pack, based on a realistic set of three quantities for that prospect, their business or their client list – which you should know. If you don’t, guess. Another option is to ask the prospect for three quantities so you can prepare rough 34

Strategies and plans need to be put into place to achieve more print sales from leads costs to review during your call. I prefer the first because it shows you did your research, and in some cases, you can educate a buyer on why you picked the quantities you did based on your technology, or a new technology they have not used, yet.

3. It takes an average of 18 calls to actually connect with a buyer That is insanity; sales stalking is not a strategy. I lived on the other end of those calls and voicemails for more than 25 years. If customers need you, want to learn more about your offerings and are interested in connecting with you, they would. Stand out by staying out of their voicemail. Send the coolest samples, send them topical, relevant information about how your business helps people

November/December 2019 - Australian Printer

just like them, get as many of your customers as possible to tell your story for you, and give them a reason to pick up that phone, or reach out to you.

Apply so they buy! Using this data, you can strategise to maximise your chances of success. You can also invest some time for human-to-human interaction at industry and networking events where prospects gather. Invite customers and prospects to join you and use your time together to establish yourself as a thought leader and educator. Bring them to fairs to see print possibilities they didn’t know existed or host your own show-and-tell. Try something new, create something unique, and make it about them every step of the way. Deborah Corn has more than 25 years of experience working in advertising as a print producer. She is the Intergalactic Ambassador to The Printerverse at Print Media Centr, a Print Buyerologist, international speaker and blogger, host of Podcasts From The Printerverse, cultivator of Print Production Professionals, Head Girl in Charge at Girls Who Print, host of #PrintChat, the founder of International Print Day and the founder of #ProjectPeacock. sprinter.com.au

OP-ED

Maximising ROI on marketing spend

very client I’ve ever worked with is looking for more quality leads and higher sales conversions. They have also all been disappointed by the results they’ve achieved from their previous investments in marketing and felt it was all just a guessing game they could never win. If you feel the same way, you’re not alone. The number of digital tools and new tactics is growing and when you’re trying to run a small business, it’s near impossible to keep up with it all. I’ve got some good news for you though. The most powerful thing you can do to dramatically improve the ROI on any marketing activity you’re investing in is to work on improving the effectiveness of your message. Think about your marketing activity as a loud hailer; your message is whatever you say into it. The different channels or tactics you use amplify your message. Customers are busy, bombarded by marketing messages and only care about what you can do to change their situation from what it is to what they want it to be. If your message is pretty much the same as your competitors, just with a different logo; it will blend into the noise. You need to ‘break the script’ to get their attention. Say something they hear (or read) and think “Yes! That’s for me”.

Customers need clear, compelling and conversational answers Here are the questions I get my clients to answer when we first start to work on their messaging: 1. What problem do you solve or what transformation do you create? Think about what your customer’s situation is without your service and then what it’s like once they have whatever it is you can provide. 2. Who do you solve it for? Be as specific as you can here because it will mean you can create a message that truly connects with your ideal customer. 3. How do you solve it? What is it

that you do differently or in a special or unique way? Do you have a particular approach, process or guarantee? Your customers want to know the answers to these questions in clear, compelling and conversational language when they land on your website, see one of your ads, or talk to a sales person. They don’t want to have to sift through a ton of information about other things to find it either, so make it easy for them and you’ll be amazed at the difference in results. To unlock profitability through emotional engagement in marketing and communications, Meqa Smith launched The Unforgettable Agency, which she currently heads as its strategist.

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Australian Printer - November/December 2019

OP-ED

Labelling – an industry in change The growth in packaging has given printers opportunities within the labels space

he resilience of the label printing market in the face of the overall downturn in commercial print has been quite remarkable. This has been largely due to the driving factors of growth in packaging, the variety of FMCG products, export success for New Zealand and Australian wines, the entry of ‘micro manufacturing’ – craft beers for example and the marketing possibilities offered by digital label production. As the recent Labelexpo Europe in Brussels showed, labelling has never looked better. HP was the show’s largest exhibitor, with over 2000 square metres, a telling statistic of where the industry is headed. Interestingly, both HP and Xeikon launched digital ‘stand-up pouch’ solutions, seen as a high-growth area for the wider web digital presses. With pouches, the label is the pack! The reliable research group Smithers Pira gauges the global label industry at US$42 billion, growing at four to five per cent per annum. It may be higher since labels can and are produced on wide-format ‘print and cut’ devices and there has been a recent proliferation of benchtop narrow web label printers. These can find their way ‘in-house’ and are hard to track. In Australia and New Zealand, labelling is at around the $1 billion mark and growing. Also, wide format ‘print and cut’ devices are increasingly printing labels. I am often asked “is label production printing or packaging?” My answer is usually: “It’s brand management using printing on packaging”. This is the label industry’s great strength – it is not tied to print that is replaceable by the internet or screens; brand promise and statutory information must be on the product and its packaging. Maybe one day we will see thin, inexpensive label ‘screens’ that speak to consumers and show video – AR (augmented reality) labels coded to link to smartphones already exist but for now, flexo, offset, gravure and even screen process, together with digital are the print production technologies of choice. Having said that, last Christmas, Coca-Cola produced a limited edition of labels that ‘lit up’ when touched, using OLED thin film technology. 36

Digital label production leads the way regardless of a downturn in commercial print

Presses becoming ‘hybrid’ Since 2017, annual sales of digital label presses have exceeded those of conventional flexographic and offset litho. Digital may be slower but, when coupled with embellishing and converting, the market loves digital and just buys more of them. Rako Group of Germany, part of the $400 million All4Labels Group, installed 11 HP Indigo digital label presses not so long ago – including two of the 760mm wide 20000 models. They also have three Nilpeter/ Screen inkjet digital hybrid lines. On the inkjet side, Screen has seen good success with its Truepress Jet L350 series, with one UK label printer – Springfield of Hull, now running four of them. Digital removes the need to make plates, and this is not just a time-saver but reduces both material costs and make-ready labour. Locally across A/NZ, the big groups of Multicolour, Label Masters, CCL, QLM and

Hexagon have all expanded their digital capacities considerably. But how have the conventional label press manufacturers reacted to the digital challenge? The answer is very well – with hybrid digital/conventional converting presses. The irony is, the digital vendors were dragged into hybrid at an early stage when customers said: “okay, digital with white ink added is fine, but we want embellishing and converting too – lamination, spot UV, embossing, foils and metallics, and slitting, matrixstripping and rewinding.” Now the conventional narrow web manufacturers are incorporating digital units into their converting lines and calling them hybrid presses.

What’s next? Now that conventional label press manufacturers are ‘best buddies’ with digital, the converting companies are getting in on the act and dropping digital units into their finishing lines. Then we have the ‘pure digital’ label vendors, led by HP Indigo’s liquid toner but under increasing pressure from inkjet and dry toners from Xeikon, Konica Minolta, Screen, Durst, etc. Inkjet UV looks like the highvolume winning technology long-term as it can add more colours, white ink coatings and can run faster than tonerbased electrophotographic systems. Another trend sure to grow is faster, safer laser die-cutting of labels. This will marry well with digital as lasers can take instructions from digital workflows whereas rotary dies cannot. It’s an exciting time to be in labels and flexible pouches – managing the rapid changes is what it’s all about!

Hybrid label press partnerships In reality, and despite the hype, all digital label converting presses can be hybrids, combining embellishment and converting with digital imaging. What has made a difference is that conventional flexo press makers are now adding digital stations and calling them hybrid. Here are some industry examples:

November/December 2019 - Australian Printer

Gallus/Arsoma with Fujifilm (Labelfire) Nilpeter with Screen (Panorama) Mark Andy with Konica Minolta (HD inkjet and also Digital One dry toner model) Omet with Durst and Fujifilm (Xjet) MPS with Domino (Symjet) Bobst/Gidue with Radex/Fujifilm (Mouvent) Colordyne with Memjet

Andy McCourt has been in the Graphic Arts industry for more than 35 years, here in Australia and in Europe. He has introduced new technologies, analysed markets, helped run trade events, edited trade media and has papers published all over the world. sprinter.com.au

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LABELEXPO REVIEW

Labelexpo 2019: the largest, mo

One of the many halls of Labelexpo 2019 where attendees walked around to learn more about the latest in labelling technology

One of the world’s largest label and package printing trade shows in Europe showcased the latest in advancements

he landmark 40th anniversary edition of Labelexpo Europe 2019 closed on a high note, with its largest, most international show held to date. A total of 693 exhibitors took part in the show, which took place between 24 and 27 September, at Brussels Expo in Belgium. Spread over nine halls and covering almost 40,000 sqm of floor space, up from 37,600 sqm in 2017, the show presented the largest offering of label and package printing technologies and live demonstrations seen. This included the fast-growing areas of hybrid printing, flexible packaging and automation. About 37,900 visitors from 140 countries flocking to the fourday show – a substantial increase on 125 in 2017. India, China and Japan were especially well represented with large 38

visitor delegations. Eastern Europe also showed a stronger representation compared to 2017, in particular Croatia, with a 51 per cent increase, Lithuania (36 per cent), Romania (25 per cent), and Russia (14 per cent). Major press manufacturers announced multiple sales on a daily basis, including: HP’s 200th HP Indigo 20000 Digital Press sold to a Slovenian converter; Domino’s seven-colour N610i inkjet press sold to a Belgian converter; and Lombardi’s sale of five Synchroline 430 presses during the first two days of the show. It also included Gallus’ sale of three presses into India; Konica Minolta’s AccurioLabel 230 toner label press, sold on day one and which also debuted at the show; Grafisk Maskinfabrik’s DC350 digital converting line and a SR350 inspection slitter rewinder sold to a UK converter; Grafotronic’s laser die-cutting system sold to an American label converter after launching the machine at the show; and Screen’s first Trupress sold into Germany. Indian machine manufacturers did particularly well, with UV Graphic Technologies selling seven Ultraflex UFO presses, Multitec selling its full servo S1 press to a Russian converter,

November/December 2019 - Australian Printer

and Monotech Systems selling three Colornovo presses, one each in China, Europe and Asia. Chinese manufacturers also fared well, with sales highlights including label press manufacturer Wanjie’s sale of a printer to a converter in Spain. Rhyguan sold three finishing systems on day one – one to an Italian converter and two to companies in Germany. Demonstrating that the show has evolved from a labels show into a wider package printing show, flexible packaging innovations were much in evidence on the show floor. Press launches included OMET’s new X7 flexo printing machine for labels and flexible packaging with 670mm (26-inch) web width, and Lombardi unveiling its Invicta i2 line, designed for flexible packaging in the mid web sector. Nilpeter launched its 17-inch wide FA-Line press featuring cold foil, lamination and their new high-speed semi-rotary die-cutting unit. Hybrid machinery was another key trend in evidence, with launches including Bobst, which unveiled its new Master DM5 hybrid label press, and MPS, which launched a new 17-inch sprinter.com.au

LABELEXPO REVIEW

most international show to date edition of the hybrid EF Symjet press. Mark Andy unveiled a new entry-tomid-level digital hybrid press. Labelexpo Global Series managing director Lisa Milburn said, “We are delighted that our 40th anniversary edition of Labelexpo Europe has been our largest, most international to date, especially as it is now rapidly moving forwards into a show that encompasses not just labels but also package printing. “This was clear from the incredible array of flexible packaging innovations and hybrid machinery on the show floor, giving label converters ever more options to diversify their businesses. “The feedback we have received from visitors and exhibitors alike has consistently highlighted the superior quality of the leads, enquiries and contacts made at the show, with an incredible number of deals sealed on the exhibition floor and 83 per cent of space already booked onsite for Labelexpo Europe 2021. “This demonstrates that the global label and package printing industry remains as vibrant as ever, and that this show – 40 years on – is still a vital platform at the forefront of the entire supply chain.” The show’s main feature, the flexible packaging arena, drew in large crowds at every one of its eleven live demonstrations. At the neighbouring Sustainability Insight Café, visitors saw how they might boost their green credentials with a gallery of the latest in sustainable innovations. Reflecting increasing interest from Asia, and with just two months until Labelexpo Asia 2019, Labelexpo Europe 2019 also hosted its first China Day on day one. This saw representatives from more than 100 label printers and converters from China visiting the exhibition, including the vice-president of trade association PEIAC, key show partner to Labelexpo Asia 2019. Labelexpo also housed an education stream, the show’s most extensive to date, which drew in attendees eager to boost their industry knowledge. Three expert-led Label Academy hosted master classes covered hot topics around inks, coatings and varnishes; digital label and package printing; and flexible packaging, while a workshop covered self-adhesive label materials. At Labelexpo, Milburn also presented further details about the newest addition to its portfolio, Labelexpo Mexico 2021, along with its new Brand Print global series of events aimed at printers of promotional materials and collateral for brands. sprinter.com.au

The Gallus stand had a constant stream of visitors

Nilpeter showing off its latest solutions

OMET’s stand at one of its demonstrations

Australian Printer - November/December 2019

LABELEXPO REVIEW

Canon launches new Océ LabelStream 4000 series Canon took the wraps off a new label conversion machine, the Océ LabelStream 4000 series at Labelexpo. The solution is an industrial scale UV inkjet conversion platform for self-adhesive labels and selected flexible packaging applications. It comes in two print widths – 330mm and 410mm, and is based on inkjet DNA and aims to adapt to changing market dynamics by delivering on time, cost and value. Canon product line manager Roland Stasiczek said digital printing for labels and packaging

Gallus unveils two new Labelmaster presses Gallus, a Heidelberg Group company, launched two new upgraded models of Gallus Labelmaster presses, the Gallus Labelfire and the Gallus Smartfire. The Gallus Labelfire is designed for digital production of narrow web products, especially self-adhesive labels. As for the Gallus Smartfire digital label printing press, it is said to be ideal for short runs that are constantly changing as this press is a cost-effective, professional solution for anyone who is looking to move into digital label printing.

Canon product line manager Roland Stasiczek decreases run lengths, waste and cost reduction, as well as reduces turnaround times.

“As a result, the new Océ LabelStream 4000 series delivers on time and is combined with the ability

to individually change contents and artwork, whilst enabling the shortest possible time to market,” he said. “Rapid job changeover, customised content and inline finishing and embellishment will give customers a boost while meeting the most demanding supply chain challenges. The Océ LabelStream 4000 helps change challenges into opportunities. “It can be used as a digital roll-to-roll or as a hybrid machine. When it comes to hybrid." It is available in Europe, with global rollout to follow.

Xeikon and UPM Raflatac bring labels and packaging online Xeikon presented a new ‘smart label’ solution developed and created in partnership with UPM Raflatac and Magic Add. The cloud-based application enables track and trace capability for labels, to help brand owners wanting to bring labels and packaging online. Xeikon product management director Jeroen Van Bauwel said many industries are producing ‘smart’ products to meet current trends. “More and more brands want to say ‘we are providing the authentic product’. In creating this smart label solution for brand owners, we have worked with UPM Raflatac

Xeikon’s Jeroen Van Bauwel and Trevor Crowley and Magic Add to put the ‘smart’ part into label design,” he said. Van Bauwel added that engaging with the

consumer through smart labels has endless creative possibilities, which includes showing origins and compositions of food.

Miraclon unveils Kodak Flexcel NX Ultra

Mark Andy debuts Evolution Series

Miraclon, the new home of Kodak Flexcel solutions, introduced its next generation Kodak Flexcel NX Ultra Solution. The Kodak Flexcel NX Ultra Solution is an addition to its Flexcel NX product family and has the advantages of the imaging and print performance capabilities of the core Flexcel NX technology. It is a solvent-free, VOCfree, water-based processing solution that allows printers to create a press-ready plate in less than an hour.

Mark Andy added a new Evolution Series to its suite of flexographic offerings. The new series is a platform powered by Mark Andy engineering and technology, providing converters with a scalable production solution designed to serve their business needs today, while providing adaptability to the needs driving future business growth. The Evolution Series is available in 13 and 17-inch web widths with production speeds up to 230 m/min.

Enabled by Kodak Ultra Clean technology and developed by the Miraclon team, the Flexcel NX Ultra Solution is, according to the company, the first aqueous solution that provides consistent, highperforming flexo plates in a high volume, and low maintenance environment. The solution also includes the Flexcel NX System for imaging, paired with the new Flexcel NX Ultra Processing System and new Flexcel NX Ultra Plate.

November/December 2019 - Australian Printer

Mark Andy Flexo chief business officer Tom Schelmbauer said the Evolution Series is a strategic addition to the company’s flexo solutions by providing full servo technology previously unattainable to this wide of a range of the market. “Full servo flexographic printing is now within reach for all converters,” he said. “This technology, with the highest possible quality and engineering, has been a longstanding and noticeably absent request." sprinter.com.au

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LABELEXPO REVIEW

Bobst launches new hybrid press Master DM5 Bobst revealed its new hybrid press Master DM5, aimed at combining digital and DigiFlexo printing in a single press. The Master DM5 is a combination of digital flexo and Bobst’s Mouvent inkjet digital technology. Bobst senior innovation advisor and hybrid and label program manager Federico D’Annunzio said the solution heralds a new era in label printing. “Two of the greatest benefits of the Master DM5 are its productivity and reliability. It represents a total flexo-digitalconverting integration, with non-stop productivity, and the highest press uptime in

OMET showcases its XJet, powered by Durst OMET launched several technologies at Labelexpo, with the show stealer being the XJet powered by Durst. The solution is a OMET hybrid machine flexo + digital inkjet, which the company says is the first and only line on the market able to print shrink labels with combined technology. OMET XJet powered by Durst is the hybrid printing machine that offers the widest range of in-line multi-process technologies for finishing requirements.

Bobst senior innovation advisor and hybrid and label program manager Federico D’Annunzio the industry,” he said. “It prints at speeds of up to 100 m/min at the highest quality, 1.200 x 1.200 dpi.

MPS and Domino partner for wider hybrid EF SYMJET press MPS and Domino partnered to launch a wider version of their hybrid MPS EF SYMJET press. The new MPS EF SYMJET press comes with a fully integrated 17-inch new Domino N617i unit with the established MPS EFA flexo platform. The press will be equipped with five flexo stations, digital cold foil, a Kurz cold foil unit for single images and optical effects, lamination and die-cutting. In Australia and New Zealand, MPS is distributed by Nekkorb. Its managing director Frank Brokken said

MGI, Konica Minolta unveil JETvarnish 3D Web Color + press

The new JETvarnish 3D Web Color + press MGI and Konica Minolta took the wraps off a new JETvarnish 3D Web Color + press. It is said to be the world’s first inline label and flexible packaging solution for high-definition digital CMYK colour printing, personalised 42

Full digital automation means that only one press operator is needed to print high added value label jobs,

in short and medium runs. “Job changes on-thefly, without stopping the press, are possible for flexo, digital, die-cutting and stripping processes. All analogue tools (print cylinders, flexible dies) are changed automatically. Waste stripping is also fully automated. “Eliminating traditional analogue bottlenecks, the Master DM5 is the very first digitised ‘non-stop’ label press.” The digital print engine inside the Master DM5 is made up of Mouvent’s proprietary Cluster Technology – integrating Fujifilm Dimatix Samba print heads.

2D/3D dimensional textures and variable embossed foiling applications. It features semi-rotary cutting and slitting functions, as well as both corona treatment and flexo primer coating stations for substrate diversity.

November/December 2019 - Australian Printer

Nekkorb managing director Frank Brokken the new MPS EF SYMJET press will generate a lot of interest in the local market. “We’re trying to offer a

one-stop-shop to wideweb and label printers and this new solution fits right in."

Roland debuts new VersaUV print and cut machine Roland showcased its VersaUV LEC2-300 print and cut machine at Labelexpo. The new unit replaces an older model, the VersaUV LEC-330 and is a UV printer, together with sharp, precision contour cutting capabilities. It works for one-off and short-run production of custom labels, decals, prototypes and one-of-akind personalised items with a premium-look on a wide variety of media.

The Eco-UV ink used by the unit is designed to adhere to a broad range of media, including adhesive sheets for stickers and labels, special PET or PVC-based substrates, and textiles, Japanese paper, leather, tarpaulin sheet, etc. The device can also automatically counter cut any shape printed around graphics, photos or text to produce adhesive labels, stickers, and custom-shaped displays without using a die punching machine. sprinter.com.au

LABELEXPO REVIEW

Durst launches its Tau RSCi series Durst expanded its RSC platform of UV inkjet label presses with the addition of a new inkjet digital label press. The Tau RSCi UV made its first debut at Labelexpo, alongside the company’s new dedicated label workflow and prepress software. The advanced modular Tau RSCi UV inkjet digital label press comes in three variations – with print widths of 13, 16.5 or 20 inches and a higher printing speed of up to 100 linear m/min. New features for the RSC portfolio include a high opacity white print mode for an increased screen-like

HP and Kurz partner for DM-Jetliner HP and Kurz have partnered in the creation of a new DM-Jetliner, a solution for digital inline metallisation on paper and label materials. The machine aims to let users transfer metallisation effects onto paper and label materials during digital printing. The transfer process is said to be integrated seamlessly inline into a digital printing machine – upstream from the digital colour printing. Once the foil is applied with a UV-curing adhesive, the substrate can be overprinted within the printing machine.

Durst Oceania labels and package printing sales manager Paul Sanelli opacity and a high speed white mode that allows high speed printing of all colours, including white.

In addition, it has added new features to the Durst Workflow Label, combined with the adapted Durst

Smart Shop and integration packages, to help to fulfil Industry 4.0 standards and drive forward the expanded Tau RSC portfolio. Durst Oceania labels and package printing sales manager Paul Sanelli said Durst has created a product platform to address customer applications. “We’ve now expanded our portfolio of solutions. The main driver behind the RSCi range is to offer flexolike productivity at 100 lineal metres per min with the renowned RSC high print quality through 1200 x 1200 dpi actual resolution,” he said. The units will ship in Q2 2020.

Screen unveils its Truepress Jet L350UV SAI inkjet system Screen Graphic Solutions took the wraps off its new Truepress Jet L350UV SAI inkjet system for label printing. The press is an upgrade from the Truepress Jet L350UV and features improved colour reproduction and scalability. Screen Australia managing director Peter Scott said since the release of the Truepress Jet L350UV, adoption has of short runs has been accelerating, creating a need for better print quality than ever before. “So, the Truepress Jet L350UV SAI enables significantly richer colour expression and is available

Screen Australia managing director Peter Scott in a line-up of four models that can be selected according to the production environment,” he said.

The units will come in the S, E, Z and LM models, which will be launched sequentially from Jan 2020.

Winners revealed at 16th Label Industry Global Awards

Epson leads the way in sustainable inkjet innovation

Avery Dennison, Esko, and GMG were among the category winners honoured at this year’s 16th Label Industry Global Awards. The awards aim to recognise the most innovative, influential and successful work from the label and package printing industry across the globe in the last twelve months. Mike Fairley, chair of the judges, said, “On

Epson introduced its latest range of inkjet label printers for on-demand, commercial and industrial label printing markets. The first is the global launch of four new ColorWorks on-demand digital label printers (the ColorWorks CWC6000Ae, CW-C6000Pe, CW-C6500Ae, and CW-C6500Pe). Epson also launched a new Epson SurePress

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Some of the winners at the Label Industry Global Awards behalf of the judging panel, I would like to congratulate all our finalists."

industrial label press (L-6534VW) for label converters looking to expand their operations by offering high-quality self-adhesive labels with a wide choice of substrates. It also launched two new all-in-one LabelWorks industrial label makers (the LW-Z5010BE and the LabelWorks LWZ5000BE for PC and smart device use).

Australian Printer - November/December 2019

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LABELEXPO REVIEW

The value that Labelexpo brings

Sappi Southern Europe self-adhesives sales manager ― Michele Penna We produce speciality paper for the self-adhesive market and the flex pack market. We predominantly produce dye sublimation paper, in addition to graphic and inkjet paper. Labelexpo is one of the most important tradeshows for us to be in as our customers for the selfadhesive market are here. One of the biggest trends that Labelexpo has picked on, is self-adhesive. Many of our manufacturing partners are also here, in addition to the printers who are our end customers. It’s a one-stop shop that allows us to connect and do business with them all. We have been at this show multiple times and it’s given us plenty of leads to follow up on every single time. This show has brought in more end users and distributors for us from various countries, which gives us the opportunity to expand our network.

Jet Technologies director ― Jack Malki The show was fantastic; it got a great turnout, as always, and I met many of our clients from Australia and New Zealand. There are about 70 of them at Labelexpo this year. That’s always a highlight for us in a two-year cycle. There has been a lot of strong interest in our new digital inkjet, the L350 SAI, with our partner Screen, and it shows that the industry is still performing very strongly. Screen has just launched an upgrade to the SAI, so it’s remarkable because users can get up to 40 per cent more run speed and a wider spectrum of colours. It’s going to be released shortly but will really change things substantially – you’re not doing short runs anymore, you’re well and truly into the medium-run market. So, the show has been great for us to get that message out.

PrintIQ global sales director ― Adrian Fleming

Esko marketing vice-president ― Danielle Sauvé

This is the first time we’re showcasing at Labelexpo Europe. We were at the Chicago show previously and found it to be valuable, so decided to showcase in Europe. Our primary product is the PrintIQ Management Workflow Solution (MWS) platform, and we’ve spent the past nine to 12 months tailoring the solution for the labels and packaging market. The digital printing space is ingrained into the labels market now so having an MWS system that can handle both traditional printing methods and digital methods is a big message that we received. Customers also needed a solution that scales across multiple disciplines across labels and other elements of their business, not just packaging, so we are now delivering on it. And the show has been great; people are liking what we’re showing.

Labelexpo sits right in our sweet spot in terms of having the most solutions for this labels and packaging segment and graphic arts industry. We only invest in a few big events every year, and Labelexpo is one of them. Just a few weeks ago, we launched our cloud-based Software-as-a-Service Share and Approve solution, which is a very simple workflow tool for this market to get approvals quicker in order to meet lead times. Labelling has been one of the first few segments to adopt digital print and therefore, has resulted in the need for it to adopt more automated tools to feed that digital element faster. So, Esko is digitising the packaging value chain, not just for those that are making packaging. And this show allows us to get that message out. We’ve had a lot of energy at our booth and many orders signed.

CRON Europe international marketing manager ― Isabel Shuxue Zhou

Trotec Laser strategic segment development manager ― Axel Rieckmann

This is the third time for CRON at Labelexpo Europe. This time, we brought our full label printing line-up to showcase what we have in narrow to mid web space. CRON got into the labels market in 2015 following labels’ expansion in print. This is now a market we detected for our huge format solution, the HDI 2000, which we will launch at the end of the year. So, Labelexpo, for us, is our opportunity to do some ground work and market research about how that will fit in to the needs of the industry. We have already used this opportunity to target customers, especially those that have taken a keen interest to our solution and have spoken to us. In Australia, we go to market with the Currie Group and we’re looking for more flexo partners with a good service team to bring our solutions to market.

Our main products are laser engraving systems for non-metal applications, for cutting and engraving, but also marking on metal. We have brought one of our prototypes onto the show to see what the industry’s reactions are. From the conversations we’ve had, we know that all customers want to grow their business but for us, the opportunity is in where we can help them do that – what new application can we offer. This is our first time at Labelexpo. We’re branching out of cutting and engraving – it will still be our main focus – but also into labels as we see a huge growth potential in this space. The response at this show has been great as the concept of laser cutting is relatively new for this industry. It fits a niche and as the market heads towards more short-runs, digital will help customers.

November/December 2019 - Australian Printer

sprinter.com.au

LABELEXPO REVIEW

Jet Technologies hosts dinner at Labelexpo

et Technologies recently hosted a dinner at Labelexpo, bringing together its partners from Australia, New Zealand and Indonesia. Guests mingled over drinks and food, and had conversations around all things labelling and packaging. le (DS Labels) Belle and Mark Sprou

Steve Horne (K Malki (Jet Tech &B UK), David Morris (K&B nologies) USA), Jack

Gorman lmakers Group), Lee Adam Bamford (Labe ert Greik (Labelmakers Group), (United Labels), Meind nologies) Jack Malki (Jet Tech

Jef f Morris and Trevor Co sprinter.com.au

James Malone Nankervis (Onp(Label Power), Michael ack)

na and Naomi , Jeniaty Satjawigu djo, William Yani JS ro nd He d) te Be (Sea r Label) with Tina Bongso (PT MasteT Menara Cipta Profilindo) (P ni and Hedy Ya

Hamish Kincad e (Albel & Litho Savidan (B&F Pa NZ), Penelope pers NZ)

Lars Beck (Kocker & Be (K&B UK)

on (Elna Press)

ck GMB), Rober t North

Australian Printer - November/December 2019

MILESTONES

Printgraphics Printgreen cele

Printgraphics Printgreen leadership: (l-r) Mark Terrill, Nigel Quirk, and Sam Keen

Victorian printer throws open its doors to show its newly installed offset press

o mark 40 years in printing, Melbourne-based commercial business, Printgraphics Printgreen, recently invited its clients for a tour of its office. The company’s director Nigel Quirk said the company has been increasingly focusing on its clients and their needs, and this milestone was the perfect opportunity for the business to showcase its operations and build closer relationships with them. “Longevity is based on success and after 40 years we are happy to be investing into the future again,” he said. 48

“Our focus over the last 40 years has increasingly become about understanding what our clients’ needs are, especially in the areas of publishing, retail and associations, and what we can do to support them. “So, we recently opened the doors of our business and encouraged guests to come in and see how we work and how much care we take with every project. “We created an immersive experience; so, guests were taken on a tour of the business and got to know what drives Printgraphics Printgreen.” Printgraphics Printgreen was created in 1979 by a then 30-year-old man by the name of Ray Keen, who arrived in Melbourne as a migrant from England. He struggled to find work and when down to his last $0.20, was offered a job as an office clerk at Leigh-Mardon, a large printing firm. Keen’s love affair with ink on paper started, with the printing process fascinating him and resulting in him taking himself to night school to study the Theory of Printing and eventually

November/December 2019 - Australian Printer

becoming an estimator, followed by a production manager. Soon after, in March 1979, Keen partnered with Peter Norton to buy District Offset Printing and changed its name to Printgraphics. In 1985, Printgraphics acquired its first contract for a monthly magazine, The VACC Journal, so a SORD was purchased (a single colour A1 size press). In 2002, Keen and Mark Terrill partnered and moved the business to its current and larger premises in Mount Waverley. At that time, Printgraphics started becoming more aware of its responsibilities towards the environment. It started seeing itself not only as a printer but as a leader in environmental awareness and as an educator in environmental practices. In 2016, Quirk and Sam Keen purchased shares in the company and are now directors of the company alongside Ray Keen and Terrill. “There have been many new systems, presses, equipment and new technology implemented over the last sprinter.com.au

MILESTONES

ebrates 40 years in printing 40 years. Today, the business employs over 50 people,” Quirk said. “Most importantly, all of these changes have been focusing on providing clients with expert print solutions and service with an environmentally inspired conscience. “As a responsible printer, we are actively interested in the environment and the wider community that we live in. We are committed to environmental responsibility and are internationally accredited with ISO 14001 – Certified Environmental Management. “So, when buying from Printgraphics, you know you are buying from a printer that has the highest environmental policies and certifications in place.”

A new solution In building on the understanding for “amazing service, quick turnarounds and a genuine and real commitment to the environment”, the company also recently invested in a new offset press. “With these factors in mind, we invested in a brand new eight-colour Komori G40 perfector, to run alongside our ten-colour Komori, which is itself a recent addition,” Quirk said. Both solutions were supplied by Print & Pack. As the business currently operates for 24 hours on weekdays and is having its operations function more on weekends, Quirk said the new kit replaces a straight six-colour, providing the business with additional capacity. “A full cost and environmental analysis lead us, again, to the reliability and environmental-focused Komori Press. We are investing for the future,” he said. Quirk added that attendees of its open week learnt a lot about Printgraphics Printgreen’s operations and business. “We received comments like, ‘Thanks for taking time to show us your new press. We returned to the office rather excited about printing presses and it was great to see our catalogue being printed too’. It was a good validation for us,” he added.

Printgraphics Printgreen account manager Sue Marshall (l) and printer Jason Uildriks (r) with guests

Printgraphics Printgreen account manager Denis Weekly (r) showing guests the newlyinstalled press

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sales@hoskingtrade.com.au Syd 02 8755 7800 | Mel 03 9017 3266 | Bri 07 3137 1488

November/December 2019 - Australian Printer

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November/December 2019 - Australian Printer

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laminating

The Super Starglazer has everything you need to produce quality laminating and stunning foiling that will leave a lasting impression. The Super Starglazer equipped with its chrome roller and dual temperature control will produce a mirror like foiling ﬁnish. This foiler / laminator can also produce single or double sided laminating. For more information about foiling, what it is and how it can work for you, contact us at hilton@hiltonlaminating.com.au and we will send you our free ‘Everything you need to know about foiling’ guide. View the Superstarglazer in action: https://www.youtube.com/watch?v=GyFNU_Lbixc

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QTY

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FOURTH COPY

Paper Type

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/ 20

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Numbering

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Perforation

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Front Print Colour

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Backing Board

$11.38

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November/December 2019 - Australian Printer

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Amba

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Australian Printer - November/December 2019