Australian Printer November 2018 by The Intermedia Group

Australian Printer

November 2018

PARTNER OF EL TH NN E A

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HP CH

Large Format Production South Pacific

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2018

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Neopost Australia Continuing a dominant display with their fifth win as HP Channel Partner of the Year: Large Format Production Business South Pacific “To say we are a proud team would be an understatement”, says Karen Kavanagh, Marketing Director at Neopost Australia. “To win HP Channel Partner of the Year, Large Format Production Business South Pacific once is an achievement in itself. For this to be our fifth year in a row to be awarded such an accolade is truly superb”

Knowledge, Expertise and Partnership “Our team prides itself in offering an all-rounded, all-encompassing experience when working with our customers and I believe this award is reflective of our success at partnering with our customers, positioning us as one of Australia’s leading Wide Format players. At Neopost, it‘s not just about supplying the technology. From business management to back office operations, streamlining workflow to colour management expertise and application insights; we offer consultation, knowledge and advice at every stage of our customer’s print process. We believe this approach strengthens our position as a leading partner to the Australian print Industry”, states Kavanagh.

Pulling in the Power Panel “Neopost Australia is proud of the partnerships that we have developed and built over the years. These partnerships have allowed us to bring together some of Australia’s leading experts in the print industry to help us package all of the knowledge our customers need, to help power, sustain and grow their business”, says Kavanagh. Very few suppliers to the industry have been able to bring the levels of expertise that we have, to customers. This year alone we have partnered with HP, Tharstern MIS & Two Sides Australia to deliver the latest insights and information to the Australian market, to help support business profitability and productivity.

Another stellar year “Its fitting that we have been recognised with this award as we come to the end of what has been a really fantastic year”, states Raj Dang, Sales Director at Neopost Australia. “We have had a strong, successful 2018, with the placement of several HP Wide Format solutions amongst both new and existing customers. We had a massive reaction to the launch of the new HP R-Series, introduced a huge array of new medias to our range and completed the first two ‘Power of Print’ roadshows – that brought the very best in print industry expertise to our customers, across the country”.

Evolution of the Industry “Our business has evolved as rapidly as the market has”, states Morgan Quinn, National Sales Manager, Large Format at Neopost Australia. We have branched out considerably this year, supporting customers with new innovations and ideas across Design and Décor, Customised Print, New POS ideas / medias - all of which allow our customers to cross sell more print to their customers and attract new clients. Our aim is to achieve continued success for Neopost by ensuring our own customers are successful – as we assist with new opportunities to help our clients grow revenue and attract new customers.

Neopost & HP: A Winning Team “This year we celebrate 10 years of HP Latex, and Neopost Australia was one of our founding partners in 2008”, says Zoran Novakovic. “For over a decade, the team at Neopost Australia has consistently delivered great sales results, high service standards and above all, a superb customer experience. This award is well deserved, congratulations to the whole Neopost team!” – Zoran Novakovic, Country Manager Australia & New Zealand, HP Large Format Production Printing.

About Neopost – Neopost Australia is one of the leading partners to the print industry. Specialising in Large Format and Print Finishing solutions and with over 10,000 customers, we deliver exceptional solutions and customer support via our network of 120+ sales & support personnel throughout Australia. 6 November 2018 - Australian Printer www.neopostgraphics.com.au

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Australian Printer - August 2018

AUSTRALIAN PRINTER NOVEMBER 2018 ¢¢ News

Australian Printer’s comprehensive news section p10-18

¢¢ Print Diary

All the big events and trade shows for the year p20

¢¢ Blue Star opens Huntingwood

Australia’s most automated print site is now online, capable of producing four milion pages an hour p22-23

CONTENTS

¢¢ Wide Format: News

The latest news from the rapidly moving and fast growing world of wide format printing p36-37

¢¢ Cactus adopts Acuity Ultra

First Australian print shop to install latest grand-format Fujifilm press, picked for high quality to target fashion space p38-39

¢¢ Buyers Guide: Industrial Printing

¢¢ National Specialised Print Awards

As document printing shrinks, new forms of print are rising up to fill in the gap for print shops p40-41 Durst Digital specialists applying knowledge from high-demand ceramic printing industry to other segments p42 Fujifilm Membrane switch graphic overlays can now be completed profitably, on short turnarounds with inkjet, says Fujifilm p44

¢¢ 3D Printing

¢¢ Buyers Guide: Labels and Labelling

¢¢ Man Anchor

From a few social media posts to a non-profit organisation, Steven Gamble is helping people talk about their mental health p24-26

Imagination Graphics takes top prize in annual Konica Minolta awards p28-29

Industry analyst Andy McCourt calls for printers to embrace 3D printing, and seek out profitable ways of using the systems p28

¢¢ Fellman: Avoiding the slow no If it feels like a customer is wasting your time, they probably are not going to buy from you p32

¢¢ Paper prices pushing publishers

With many technology options, picking the right method for individual jobs is key, reports Gareth Ward p46-47 Screen Digital label press range grows with low-migration inks, chill rollers, and nitrogen purge systems p48

¢¢ Classifieds

The Australian print industry’s biggest marketplace p52-64

Global increase in paper pricing is hitting publishers hard p34

p24-26

Advertiser’s Index

p38-39

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

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November 2018 - Australian Printer

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Mimaki �� 9 MT Envelopes �� 52 National Auctions �� 63 Neopost �� FC, 6-7 Novagraphics �� 63 PHE �� 54 Photo Electronic Services �� 43 Printmac �� 57 Printstuf �� 52 Real Media Collective �� 33 Realview/Partica �� 50 Screen GP �� 49 Stewart Graphics �� 58 UV Consulting �� 60 australianprinter.com.au

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NEWS Editor’s Comment

The need to reproduce and distribute physical forms of information quickly will always remain, and the drive of competition will ensure that people are always seeking to improve their processes. More important than the machines though, are the people running them. The highest achievers are getting the best out of themselves, and their employees. Looking after yourself, or your employees is about supporting each other, recognising when someone is doing it tough, and lending a hand out to help. It means asking the hard questions, and being prepared for hard answers. Mental illness is not a problem separate to the workplace, just as a broken wrist isn’t. There is a three-page feature in this edition of AP where I speak to Steven Gamble, the national sales manager of Bottcher, who now splits his time between print and his mental health initiative Man Anchor. In his words, “A simple conversation could potentially save a life”. Look after yourself, seek help when needed, and take note when your coworkers have a change in behaviour. Start the conversation, let them know you are there to support them.

Family remember doting dad Cliff Royle Victorian print innovator Cliff Royle, founder of Shannon Books, RoyleBind and Purple Press, passed away suddenly on November 6, and has been remembered by his family as a doting father, gifted storyteller, keen guitarist and a man who loved life. Royle turned 60 in September but his foray into print began in his teens when he bought a press and set to work in the garage of the family home in Shannon Street at Box Hill, giving rise to the name of his first company. Royle was interested in ideas and trying out new ways to do things and in 2012 he broke new ground with a digital innovation that enabled photo books to be printed on the front and back and inside covers and protected it with a triple patent. “It is the only different process in existence. I have spent five years of my life developing this,” said Royle in 2012, describing the secret manufacturing method as simpler, quicker and less space-intensive than traditional methods. His innovations won him international and national acclaim, including most recently the $10,000 Konica Minolta National Specialised Print Award in 2017 for his Photo Book Panorama. His sisters Cathie Smith and Ally Wilkinson have remembered their brother as

Creative innovator passes: Cliff Royle, 1958-2018 a creative and intelligent man who always spoke with pride about his teenage daughter, with whom he would often play guitar and sing. “He was so proud of her and they used to play music together and sing,” reminisces Smith. She says they would often go camping as a family together and Royle would regularly play his guitar and sing, often at an adventurous location of his choosing. He was also highly social and “mixed with people of all walks of life”. Smith also remembers his early days starting out in the garage at home following in his father’s footsteps, who was also a printer. Smith says, “He started his first business in the garage of our home on Shannon Street (at Box Hill) and that’s where the name

Australian Printer - 68 years in print Tel: (02) 9660 2113 • Fax: (02) 9660 4419 • Managing Director: James Wells • james@intermedia.com.au Group Publisher: Brian Moore • brian@i-grafix.com Associate Editor: Paul Brescia • paul@australianprinter.com.au Contributors: Dave Fellman • 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

Shannon Books originated. “He took a lot of initiative in his businesses. He was a really interesting, intelligent and creative guy who really loved life.” Royle founded Shannon Books and RoyleBind before launching personalised promotional products business Purple Press, which went into liquidation in September 2018. His funeral was held in Melbourne on Tuesday, November 20 at Tobin Brothers Ringwood. PIAA chairman Walter Kuhn has expressed his sympathy to Royle’s family. Kuhn says, “The Board of PIAA were particularly saddened by the news of Cliff Royle’s passing. “We send condolences to his family.” Readers can contact Lifeline Australia on 13 11 14.

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@AusPrintEditor • australianprinter.com.au Copyright: Australian Printer content is subject to copyright and cannot be reproduced without written permission of the publishers. Views expressed in Australian Printer are not necessarily those of the publishers, who accept no responsibility for actions undertaken as a result of information herein Printer Media Group Pty Ltd: 41 Bridge Road, Glebe, NSW 2037 Postal Address: PO Box 55, Glebe, NSW 2037 Printed and Finished by: Hero Print, Alexandria, NSW 2015 Mailing & Mail Services: D&D Mailing Services, Wetherill Park, NSW 2164

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NEWS

Special T acquires Green and Gold printing Two Sydney printers are set to join forces with Special T Print acquiring Green and Gold in what Special T owner Corey London has described as a perfect match. London says he’s been a long admirer of Green and Gold and its owner

Printers welcome Frydenberg’s loan support Printers have greeted the federal government’s plan to securitise $2bn in business loans for small and medium sized enterprises positively, saying it is a good first step towards giving operators another option to expand and stay relevant. The federal government’s Australian Business Securitisation Fund mirrors the same action it took when securing residential mortgages and warding off a recession in the 2008 global financial crisis. Federal Treasurer Josh Frydenberg unveiled the plan in a joint statement with federal Minister for Small Business Michaelia Cash said it would reduce funding costs to small business owners and provide a back up so they don’t have to remortgage their homes. “The Australian Business Securitisation Fund will invest up to $2 billion in the securitisation market.”

Adrian Blessington and is looking forward to the two companies combining their knowledge, experience, expertise and customer service commitment. London says, “We have known each other for 20 years and Adrian has been

in the printing game for a long time. We share the same drive and are both all about service. “We have a common theme which is basically to service our customers properly and give them what they want.

“Both of our companies form great relationships with the clients and it makes sense to merge with a company that’s a little bit older than mine. “We are nimble, adaptable problem solvers for our clients.””

Norman J Field retires Norman J Field has retired from printing, following a career spanning some 62-years with multiple innovations. From buying a small Rotaprint machine in 1960, Field went on to achieve a list of Australian and worldwide firsts, culminating in the Media Super Industry Legend Award at this year’s National Print Awards. In 1960, Norman decided to start his own print business, aptly named Norman J Field & Company, with a staff of just two people. This number would grow rapidly over the coming years, while he and a German printer he’d hired became the first people in Australia to print 200-line screen, while everyone else was printing 85. In an interview with award sponsor Media Super, Field says, “This gained us enormous credibility in a short period of time.

Celebrating: Elly Wilson (l) and Norman Field (r) “We were printing quality brochures for GMH, Ford, Chrysler and Kodak, and for most of Melbourne’s advertising agencies.” One industry member recalls him saying, “Let the world print to a standard, and I will just better it”. Field also won a prestigious worldwide Kodak competition for lithographic printing in 1970, after which Field was flown to New York to teach Kodak his process.

When the business was eventually sold, 20 years after its inception, there were 165 people on the payroll, spread across two factories. One of Norman’s prints is hanging in Buckingham Palace because Prince Phillip liked it so much when he saw it hanging in Parliament House. His company was also the first in the world to print 500-line screen, choosing a Kenneth Jack painting.

Clashes prevent consensus on Graphic Arts award The four-yearly review in into the Graphic Arts, Printing, and Publishing Award looks set to remain unresolved, as the AMWU has withdrawn its submission, claiming the Ai Group had no intention of working constructively to update competencies. The AMWU had the support of the PIAA across updating competencies, with the plan to tie them in with Award rate classifications. The Ai Group contends that any changes to the classifications of wage structures could have a significant effect on 12

businesses, but that it had no issues with updating the Printing and Graphic Arts Industry Training Package. All three are players in the Industry Reference Committee responsible for updating the award. On discussing why the AMWU decided to withdraw its application, Lorraine Cassin, national print division secretary, AMWU, says, “The current competencies in the Award do not reflect the current industry developments in digital and 3D printing. We had made this application with the support of

November 2018 - Australian Printer

the Printing Industry Association of Australian (PIAA). “Unfortunately, it became clear in the course of our application, that the Australian Industry Group (AIG) had no intention of working constructively with the AMWU and the PIAA to update the competencies in the Award. The behaviour of the AIG indicated to us that they would fight this application at all costs. “On the basis of the above, we decided to withdraw our application and instead pursue our objectives by working with the PIAA on

an implementation guide for classifying employees. The implementation guide will be a resource for employers to classify employees in a way that is in line with our modern industry standards. The Ai Group has refuted this characterisation, with Stephen Smith, head of workplace relations policy, Ai Group, noting, “Contrary to the misinformation that the AMWU has been circulating about Ai Group’s position, Ai Group’s proposed award variation will not have any impact on the Printing and Graphic Arts Industry Training Package.” australianprinter.com.au

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NEWS

Griffin Press signs $56M deal Griffin has signed a fouryear contract with Penguin Random House, worth $54m, extending its current agreement with the global publisher. The deal covers popular hardcover and paperback

books by leading authors including Dan Brown, Tim Winton, Fiona McIntosh, Leigh Sales, Lee Childs and James Patterson. As part of the media, marketing and printing group PMP Limited, Griffin

Auspack selects conference speakers

New picks complete PIAA board

The 2019 edition of Auspack will feature a new conference around sustainability, innovations in technology and design, systems thinking and factories of the future, launched as part of Packaging and Processing Week 2019. The 35+ speakers selected for the conference include Dr Michael Okoroafor, of McCormick USA; Stephen Koukoulas, a former senior economic advisor to the Prime Minister; Dr Katie Spearritt, CEO of Diversity Partners; with Craig Reucassel, speaker, writer and comedian best known for his work on ABC’s TV program War on Waste and with The Chaser, as the conference MC. Mark Dingley, chairman, Australian Packaging and Processing Machinery Association (APPMA), which owns Auspack, says, “We are excited to present the inaugural Auspack Business and Industry Conference in 2019. This great new education and information sharing opportunity for industry is another fantastic initiative in line with industry demand.”

Richard Celarc, Tom Eckersley, Kevin Pidgeon, Martin Guilliamse and Theo Pettaras have joined the PIAA board, as it completes its succession planning, first started with the appointment of John Georgantzakos earlier this year, and continued with Sarah Leo taking the South Australia position. Andrew Macaulay, CEO, PIAA, says, “Modern organisations are expected to have succession planning, and this is a process the PIAA has been undergoing, under the direction of Walter Kuhn, as it sought a younger, energised board that can take the industry forward.” Theo Pettaras, owner, Digitalpress, and incoming NSW board member, PIAA, says, “I am proud of the opportunity to be elected on the national board. I think with my experience and enthusiasm, I can make a significant difference. I think I have a lot of contacts in the industry and I want to reach out to every one of them and tell them how important print is. “I want to unite us all as a print community, to start engaging with each other, talking about our hardships and discussing things

Press has extended its printing capabilities and integrated more closely with its parent company. Adrian O’Connor, CEO, Print & Distribution, PMP Australia, says, “It’s a really exciting time for both Griffin

and the wider PMP group, as we broaden our services to reflect changing industry demands. The publishing industry has changed rapidly, PMP’s investments over the past two years have helped Griffin develop.”

Working together for printers: Theo Pettaras, Andrew Macaulay (r) openly. I think education is important, I want to bring out influential speakers to talk on things us printers can learn, such as trends that are happening overseas or new markets we can look into.” Tom Eckersley, managing director, Eckersley Group, says, “I have always been involved in the PIAA, we used to have regional councils before board members, and thought it was the appropriate time to re-engage considering some of the changes the industry is working through. “We are in a world of change, and we can influence and navigate printers through that change.

“First I want to get an understanding of the challenges that faced the previous board, then positively influence that with my input. “We need to unite the various factions of our industry as much as we can. We need to come to terms in a more holistic way with the challenges that are facing us, from a consumer and supplier point of view. “Profitable sustainability is not a dirty word, we need to continue to focus on that, and keep that in mind in everything that we do.” Eckersley says that each state faces common challenges.

Impact Labels passes Coles trial Impact Labels has been approved to provide labels for Coles Supermarkets as a preferred flexographic label printer, one of two in the country. The company was asked to participate in the Coles Forum to develop a benchmark certification for their print suppliers across 14

packaging and labelling. This involved a trial to ensure Impact’s printing solution satisfied Coles’ packaging and labelling requirements. Impact achieved a 97 per cent accuracy in the matching of PMS and special colours, leading to the successful supplier certification. Impact Labels uses

November 2018 - Australian Printer

Jet Technologies’ UV flexographic printing solutions, including Pulse Roll Label Products’ PureTone FPC (Food Packaging Compliant) UV flexo inks which are used to print food and beverage packaging, and which the company says fulfil the total colour gamut required to

comply with Coles’ print quality standards. Byron Hughton, managing director, Impact Labels, says, “Impact is looking at the big picture in being able to prove to Coles, and other brand owners and retailers, what we can do to optimise colours using a standardised process.” australianprinter.com.au

NEWS

KD Print Group moves to processless CTP Melbourne-based KD Print Group has upgraded to a Cron H Series multi-cassette unit, with processless plate technology through supplier AGS. It is part of a series of investments from KD Print Group to become more environmentally sustainable. The company also installed solar panels on its roof, reaping the benefits of solar power, completing most of its printing during the day. It also monitors its energy use, and has upgraded to energy-efficient equipment, while creating an aggressive power-saving plan. Chris Mullins and Peter Stilburn, directors, KD Print Group, says, “AGS has provided us with printing supplies that have less environmental impact, such as vegetable-based inks.”

Penrith Museum of printing reopens The Penrith Museum of Printing has been officially reopened following a ceremony on November 21 featuring some 95 people in attendance, the first to experience the newly renovated space. Taking 12 months and costing some $120,000, the Museum funded the renovations through its tours and other activities. Run by a team of volunteers, including Bob Lockley, former group director of print and distribution at Fairfax, the Museum was born out of the closure of a local newspaper, The Nepean Times, founded in the 1880s. Many of the original presses are still in working order, as the only fullyfunctional museum of its kind in Australia. Delivering a speech to guests, Lockley noted, “The footprint of the Museum was increased by 130sqm

Delivering speeches: Bob Lockley (r), with Ralph Bennett (l) to accommodate more equipment, including a foyer which proudly displays the Copper Muriel of Guttenberg’s Workshop donated by James Cryer. Also, the last front page of The Age in Hot Metal in 1988, donated by Fairfax, and a Gestetner duplicator donated by Craig Dunsford from PMP. As I said it has been a mighty effort by a

small dedicated team and the ongoing support from the Penrith Paceway, Fairfax Media, SWUG, Screen Australia, the Museum volunteers and to the many friends of the museum, too numerous to mention. “A special thank you to Stephen Brique, who for 13 years worked hard for the museum, and who recently retired as president.”

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Australian Printer - November 2018

NEWS

Fujifilm launches new B2 digital press Fujifilm has launched its third generation B2 inkjet press, the Jet Press 750S, capable of 3,600 B2 sheets per hour, can be equipped with food-safe inks, and capable of handling coated and uncoated offset stocks. The previous model, the

Jet Press 720S was among the first B2 inkjet presses to gain a foothold in the market, with over 150 Jet Press installations worldwide. With the continued, steady increase in demand for short run work, Fujifilm says the introduction of the

APCO seeking guideline consultation

Whirlwind to create NSW digital hub

The Australian Packaging Covenant Organisation is inviting Australian Institute of Packaging members and industry colleagues to participate in its Sustainable Packaging Guidelines (SPGs) Consultation. The Sustainable Packaging Guidelines (SPGs) were originally published in 2011, and have played a role in driving sustainable design practices across the industry. A spokesperson from APCO says, “The SPGs are currently under review to ensure they effectively assist the industry to review and optimise their packaging. With the recent announcement of the National Packaging Targets, the review of the SPGs is an opportunity to ensure that APCO delivers detailed and targeted resources to support you in our common journey towards the targets.” APCO facilitated a workshop on August 29 in Sydney to collect views on the sustainable packaging principles.

Whirlwind Print is developing a new digital production facility in NSW, with its Sydney business Lindsay Yates being fully integrated and now set to operate under its parent company’s name. The company will be moving its Sydney production from its current site in Artarmon, northern Sydney, with most of its offset production to be printed at its site in Knoxfield, east Melbourne. Some specialist work will remain in Sydney. Whirlwind declined to comment on where or when it will adopt the new premises. The new site, which Whirlwind is calling its NSW Digital Super Hub, will house its B2 Indigo press along with some new additions to a suite of other equipment. Andrew Cester, managing director, Whirlwind says, “We will be moving our digital work to a new site in Sydney as the current site is unsuitable. We are also investing more in digital, across binding and specialist equipment, the growth there is ongoing”.

Jet Press 750S means that more and more jobs are going to fit the sweet spot of this new industry-leading press. A spokesperson from the company says, “The target for this press is not the toner-dominated, on demand

market where runs of ones and twos predominate. The Jet Press 750S is likely to be highly competitive for print runs up to 5,000, depending on ink coverage, allowing it to out-perform offset presses in high quality, short run print jobs.”

Lindsay Yates to operate under Whirlwind brand: (l-r) David Shoppe, Andrew Cester, Gis Marven and Paul Richardson On the decision to split its offset and digital work by states, Cester says, “Our site in Melbourne is three times the size as our facility in Sydney, and highly certified for environmental and safety. We can produce work faster there. “The move reflects our commitment to the future needs of our NSW customers by enabling us to offer them the latest in print production technology. “This integration has been well planned. To ease disruption our customers will continue to work with

their current Key Account Manager and Customer Experience Representatives. “Whirlwind has the bigger brand, we wanted to bring the services of Lindsay Yates under the one umbrella, and bring the two businesses together.” Whirlwind’s acquisition of Lindsay Yates took place a year ago, with the Melbourne company wanting to propel itself to the top of the high end creative space. Lindsay Yates stayed relatively the same immediately after the deal, with almost all 50 staff and equipment remaining.

Snap sees prepress savings with EFI Snap West Melbourne has automated its prepress work with EFI JobFlow, finding that 80 per cent of jobs can now be processed by customer service consultants. The remaining 20 per cent, says Al Babicka, co-owner of the store, can be processed by skilled operators, when the files need to be touched. Babicka says, “Ten years ago, 80 per cent of our 16

business was traditional offset printing. Today, that represents 6 per cent of our turnover. The rest is all digital. We run high-end digital machines, driven by EFI Fiery, coupled with a commercial bindery. “In the digital space we do lots of small jobs with fast turnarounds. We get a job in, and sometimes within an hour or two, we need to turn that around and deliver it. “We spent some time

November 2018 - Australian Printer

looking at different workflow solutions. Fiery JobFlow is a part of the same workflow family with Snap’s webto-print solution, EFI Digital StoreFront. Digital StoreFront also integrates into the back end of our operations, which is EFI PrintSmith, and to the Fiery servers that run our digital machines. We wanted a seamless flow from client order, to putting it on the machines, to print.”

Babicka says his part of the Snap Franchise Group does a lot of corporate and government work, and describes competitors as price focused. Addressing productivity is the way his Centre is working to bring down the cost to manufacture. “When a job is on the press and we are printing, that is the area we do efficiently and quickly. “Often, the delay is getting it on to the machine.” australianprinter.com.au

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NEWS: BUSINESS Local and global print stock watch Oct 22 - Nov 23 ASX (AUD$)

Price

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

13.40 1.21  16.42 13.4 0.64 0.12  0.88 0.52 2.07 0.05  2.43 1.98 17.90 1.37  21.90 14.93 4.09 0.78  5.64 3.96 0.18 0.04  0.79 0.18 1.25 0.31  1.84 0.64 0.055 0.013  0.055 0.02 5.10 0.05  5.52 4.03

Change

Fairfax

0.8

0.7

0.6

NOVEMBER 2017

NYSE (US$)

Year Low

News Corp

0.9

0.5

Year High

NOVEMBER 2018

Price

NOVEMBER 2017

Change

Year High

NOVEMBER 2018

Year Low

Adobe 257.00 2.78  259.78 148.92 Apple 215.49 25.09  191.83 140.63 Canon 31.53 0.17  37.94 27.30 Fujifilm 41.56 1.50  41.76 35.86 News Corp 19.21 3.74  21.75 10.94 Xerox 27.45 2.12  41.20 25.33

Apple

200

180

160

NOVEMBER 2017

DAX (EURO)

NOVEMBER 2018

Price

Fairfax Media shareholders have voted 88.6 per cent in favour of the $4bn merger with Nine Entertainment Co with the two media giants tipped to join by the end of the year. The vote in Sydney came despite a last ditch application by former Domain chief executive James Catalano for a 19.9 per cent stake in Fairfax Media to ward off the proposal. After the vote, Fairfax Media chairman Nick Falloon issued a statement to the Australian Stock Exchange (ASX) saying shareholders had unanimously supported the bid to merge the two companies and that the merged entity would deliver a stronger digitally focussed media organisation with a compelling multi-platform audience reach. The merger now must go

before the Federal Court of Australia for final approval. If that is granted, Fairfax Media proposes to lodge that to the Australian Investment and Securities Commission (ASIC) the following day. Fairfax shares will be suspended from trading on the ASX from the close of trade on Wednesday November 28. Before the vote, Fairfax Media released a statement to the ASX advising shareholders to vote for the merger saying Mr Catalano’s offer did not constitute a superior proposal under the terms of the scheme. “The letter from Mr Catalano does not constitute a Superior Proposal under the terms of the Scheme Implementation Agreement between Fairfax and Nine, therefore the Fairfax board is unable to consider it in any event.”

Xerox

220

140

Fairfax shareholders a clear yes on merger with Nine

NOVEMBER 2017

Change

Year High

NOVEMBER 2018

Year Low

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

Agfa

UPM

4.5

4.0

3.5

3.0

2.5

NOVEMBER 2017

NOVEMBER 2018

99 Carnarvon Street,Silverwater NSW 2128 Tel: (02) 9648 2022 allsyd@allkotes.com.au NOVEMBER 2017

November 2018 - Australian Printer

NOVEMBER 2018

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HEADER - FRANKLIN GOTHIC

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PRINT INVESTMENT

Franklin Web opens VE-owned Blue Star Group has officially opened its Franklin Web NSW site at Huntingwood, in Sydney’s west, the biggest investment in Australian print in recent memory. Completed across the short timeline of 144 days of construction, work on the web offset print facility started production in October 2017 with the final phase now completed with the commissioning of the second 80 page manroland Lithoman press. IVE now has world-class catalogue production plants in both Melbourne and Sydney. Warwick Hay, managing director, IVE Group says, “The new Huntingwood plant’s capacity, when combined with Franklin Web’s site in Melbourne, gives us the production flexibility to meet customer demands across the nation. “IVE Group has invested $50 million building the new production facility to support our customers as catalogues are proven to be Australia’s most effective media channel. “Franklin Web is the cornerstone to our expansion into the catalogue market. The final phase of the project delivers a competitive advantage for our customers and expands our world-class operation, futureproofing the business.”

Opening the site: (l-r) Darryl Meyer, group general manager, Web Offset; Geoff Selig, executive chairman, IVE Group; Warwick Hay, managing director, IVE Group

Australia’s most automated print site is now online, capable of producing four million pages an hour

Non-stop production: manroland 80pp Lithoman press 22

November 2018 - Australian Printer

Spearheading production are two new manroland 80-page Lithoman presses, the first of which was commissioned in October last year. The second press has now been installed, delivering additional capacity and security to the company’s NSW and QLD customers. Dennis Wickham, managing director, manroland Goss Australasia, says, “The 80 page Lithoman presses are all fully automated, with automatic cut-off control, glare density control, and ink-cut off systems. It produces 50,000 impressions per hour, and up to 100,000 copies per hour in direct. “With an 80pp press you get flexibility, it is wider, with more tonnage, and a lower cost per copy. “We had a compressed installation timeline, a normal timeline would be 12-15 weeks, depending on the configuration. We completed in the installation in 11 weeks, from the start, to its first production running. Manufacturing, shipping, and installation was compressed to meet the deadline. “In Australia, we have a strong service base, and look after our customers for the longterm life of the press, and we see it as a long-term partnership. I look forward to bringing the level of service that manroland

brings, to our new Goss customers with the completion of the merger. “The industry in Australia has a long-term future. People do not invest this sort of money without seeing a strong future in print.” The colossal Lithoman presses are an example of first-class engineering and high-tech automation, as seen by Australian Printer first hand. Franklin Web says the presses’ specifications ensure greater quality control and faster speed to market, and that with two identical presses in Melbourne, customers can be assured of consistent production in speed, colour and quality. Franklin Web hosted clients and members of the industry to tour through the site earlier this month, and pointed to its high levels of automation. Despite going through some four tonnes of ink per day, the factory is typically staffed by less than 20 people, with most repetitive manual labour now completed by robots, and quality control measures handled through software. All prepress for the facility is completed off-site, with the digital plate files then sent over, with IVE calling it a true “lights-out” print site. Printed sheets are taken off the presses via a conveyor belt, directly to its postpress, and australianprinter.com.au

PRINT INVESTMENT

automated supersite

Robots in action: All stacking is completed by robotic arms, produced by Gämmerler and Kuka finishing equipment, with the Huntingwood site designed with catalogues in mind, but also built to handle large-run magazine production. Even its waste processes have been automated, with all off cuts and paper waste separated throughout production via a vacuum, and sold off to be made into newsprint, without manual intervention. Darryl Meyer, group general manager, Web Offset says “The grand opening of the Franklin Web NSW plant is a momentous occasion. We have worked closely with our contractors over the past few months to put the finishing touches to the site. The result is a contemporary, clean and bright manufacturing plant that employs the latest technology from some of the world’s most respected suppliers". To ensure production from the two 80 page Lithoman presses is not limited by finishing bottlenecks, IVE has installed a Muller Martini Corona binding line, capable of handling 15,000 cycles per hour, two Muller Martini Primera saddle stitchers, able to handle 25,000 per hour, along with two Rima log stackers, supplied through Graph Pak. Everything is designed with failsafes in mind, so that australianprinter.com.au

if one machine fails, all work is automatically diverted to the next, with the nearby Silverwater site operating as an additional contingency. Jacky Ng, managing director, Rima-Systems, Far-East Singapore says, “Australia is a big focus for Rima with automation. People are realising with automation you can cut out a lot of manpower and resources. The Franklin Web and Blue Star sites now have a lot more automation going on, and will have similar systems going in around Australia in 2019. “Customers realise log stacking is beneficial across both postpress, and with the connected saddle stitching and binding lines. You also save a lot of paper, as it is protected in the log, not exposed to the environment, and human error.” Tom Ralph, managing director, Graph Pak, says, “It is an absolutely mindblowing, fantastic site to see. To be a part of it from its grassroots to its success now has been over-thetop sensational. We had similar success with the Blue Star plant in Silverwater, and to keep it all going, and everyone smiling, is good. IVE have been great to deal with, totally professional, and it is always a pleasure to work with them. Geoff Selig, executive chairman, IVE Group, says, “It has been a massive year for the business, following from decisions we made prior to the last 12 months. The rollout post the acquisition of Franklin Web and AIW, the final shutdown of AIW, and integration with Franklin NSW, the establishment of the $50m facility that we have now opened is the most significant in our sector in a very long time, and a huge vote in confidence for the sector itself at the end of the day. “At times there is some negativity around, so it is a vote of confidence in the sector. That has been big for us. “The rollout of our large format web offset Franklin Web strategy has been a critically important part of the last 12 months for the group, as has the acquisition of the SEMA business in early September last year. That was part of

our $56m capital raise that we did in August last year, $20m went towards the second press at Franklin Web NSW and ancillary equipment, and then $23m went towards the acquisition and subsequent integration of SEMA into our Blue Star Direct business across the Eastern Seaboard. “It is always challenging going from a private company to a public company, but if I look at our growth, in revenue, earnings, and even organic growth, which was six per cent, high for our sector, we have a lot to be proud of. “This is a good example of why we did the right thing by going public. If you think of the $120m we spent on Franklin Web and AIW, then the $50m we put into this facility, plus our Blue Star Display business in Victoria that we have put a lot of money into, we have spent the best part of $200m over the last 24 months. “I think large format web offset is a good fit for our business, and expands our retail vertical. “That is the message at the AGM, and the annual report, we have done what we said we would do, and that is a nice thing to be able to say. “I said at the AGM last year that we would not have any capital raise in the future, and we have not in the past 12 months, I do not envisage one any time soon. “Our debt over the next couple of years comes off quite dramatically, as we generate a lot of cash, without impacting our dividend policy, we will have surplus cash. If we look to do some bolt-on type acquisitions, or even larger acquisitions, we can fund those with our existing balance sheet. We will not need to raise fresh capital, or do an equity raise by issuing more shares. “We still have a pipeline of acquisitions, but we have held them back a bit as the business has been executing on what has been in front of us, and it needs to catch its breath a little bit. We can not keep going at 110 per cent every day of the year, year after year, so I think it is important for the team to catch our breath.”

Australian Printer - November 2018

MENTAL HEALTH

Man Anchor making

iscussions of mental health are moving into the mainstream, but Australia is yet to reach the point where it is treated as no different than a broken leg, or sprained wrist. Perceptions of mental illness as weakness, particularly in men, remain prevalent enough to discourage people from seeking help when they may need it the most. Many people are actively working everyday to break down the stigma around mental illness, including Steven Gamble, the Bottcher sales manager who has now split his life between print and his non-profit organisation, Man Anchor. For Gamble, a desire to affect positive change has grown into an organisation which encourages people to connect, talk about their issues, and educate community groups and businesses on the importance of robust mental health screening, and check-ups. Gamble explains, “Man Anchor started after a conversation with my partner, who works in marketing. It was clear that people’s lives were completely ruled by how people perceive them on social media. From young kids, to people in their 50s, they look at the way they live their lives, and portray their lives on social media. “I thought, imagine if you could create a space for men that disrupted that unrealistic feed, and give them a second to think about themselves, what they are doing in life, and how they are treating themselves. “I thought about the life that I have lived personally and people that have been in my life. I thought about the ups and downs people go through with health, mental health, and cancer, and wanted to create something to make positive change in people’s lives. “I started it online through social media accounts. I had only ever had Facebook, and no Twitter or Instagram, which I thought was for the Kardashians. I did not know the value of it, or naively what an influencer was. “I worked out that you can 24

From a few social media posts to a non-profit organisation, Steven Gamble is helping people talk about their mental health

November 2018 - Australian Printer

Men and women involved: Steven Gamble (second from right) discussing Man Anchor reach a lot of people, quickly, and make them pause for a moment and think about what is going on through one little glance at a post. If you get the right person, at the right time, it can really make a difference. “I started Man Anchor accounts without telling anyone, because I did not know how it would go. Almost immediately I started getting positive feedback, 10 or so likes on my first post. For me as a social media beginner, I thought I have absolutely killed it, little did I know I had a bit of work to do. “I worked out that to reach more people, you have to engage a lot more. So I started building it slowly, and getting a lot of positive feedback from men and women on the messages I was putting out on mental health, prostate cancer, and bowel cancer, and encouraging them to start conversations with their friends and family. “That morphed into me coming up with the #LetsTalk concept, which starts simple conversations around men’s health. It might be me sitting with you, asking: When is the last time you had a bowel cancer check? When is the last time you had your prostate checked? That might lead into questions around how your mental health is when you notice something is not right. “When you are brave enough to talk about mental health, it

opens up the floodgates, and more people are willing to talk about it. There still is a taboo, where we sometimes cannot talk about mental health, because we are too scared to offend someone, or say the wrong thing. With #LetsTalk, it was designed to take away the stigma, take away the barrier, and normalise the conversation between friends and family.” From here, Gamble became creative, starting up an ambassador program, giving people hats, cards, and materials, and setting the ambassadors loose on BBQs, and family events. The printed materials had their desired effect, with the apparel getting people to ask the question: “what’s that about?” Gamble admits, “Funnily enough it looks almost like ‘lets stalk’, but it stops people, and gets them to have that awkward conversation. “Nine times out of ten, someone tells their own story, or opens up about something they are going through at the moment. It has unlocked and empowered people to have conversations they normally wouldn’t. “Now we have 150 ambassadors around the country, men and women, split around 70/30 per cent. They are starting conversations within their own circles, and it works as a beacon where they promote it australianprinter.com.au

MENTAL HEALTH

a difference

Support comes from industry: Matt Aitken, COO, IVE Group (r) with Steven Gamble, founder, Man Anchor, (l) on their social media. “Man Anchor has gone further down the mental health path because it is something I am particularly passionate about. I have had many people in my life with mental health issues, and have seen the full spectrum of mental health. For those people, I know that when they are well, they are on top of the world, but when their mental well-being is suffering they can fall down pretty far.” The worst possible outcome of mental health issues, and illness, is suicide, which is sadly the leading cause of death for Australians between the ages of 15 and 44. It outpaces disease, car accidents, overdoses, while over 65,000 Australians make an attempt at suicide each year. In 2017, there were 3128 people that died of suicide, according to ABS data, 75 per cent of which were men, and the remaining 25 per cent women. For Australia’s Indigenous peoples, the suicide rate is more than two-times higher than that of nonIndigenous Australians. While the majority of suicides are men, approximately six per day, when you look at attempted suicides there is a more even distribution. Female suicide is also at a 10 year high, at approximately two per day in Australia. These are tough numbers to grasp, and most people have had their lives affected by suicide, australianprinter.com.au

either directly or indirectly. Gamble has sought advice from established mental health organisations like the Black Dog Institute, Lifeline, and factored it into the workshops that Man Anchor runs. He explains, “We run community projects, including Lets Talk workshops, where we talk about the power of conversation, and unlocking conversations with people, and the outcomes of conversations. We talk about stigmas for men and women, and the barriers we have to overcome. “Our workshops for men get bunches of guys together in cafes, bars and lofts. We have one or two beers in a relaxed inclusive atmosphere, and talk about why it is important to have these sorts of conversations, and the benefits of having them. It can be from 10 to 50 people in a room, and those are sponsored by Furphy, a beer from Lion and personal care product Nad’s For Men. “The key is to make the conversation more natural, taking away the potential negatives, focusing on the positives, and making the guys aware that it is okay to talk about men’s health. “I have had so many emails after the workshops where people have said you’ve given me the confidence to speak to my partner, friend, family member, or GP. You never know who is coming to see these talks, and who it has affected, and what it’s done. You also don’t know what their role is in the business world. We have had people from CEOs to CFOs that have taken the idea and asked me to speak to the men and women in their business. “It has been rewarding to hear people relay the message and to speak to businesses, helping them build a new culture. “In October we launched our mental health first aid courses, run by Mental Health First Aid. We have a facilitator, and have been able to negotiate competitive pricing, where we can incentivise businesses to do mental health first aid courses. “A mental health first aider is someone similar to a St John’s first aider – someone that has the skills, tools, and confidence

to help out in a crisis, or when a mental health situation occurs where an employee might have a breakdown or crisis at work. “It gives you the skills and confidence to assess and support them until they can seek clinical, professional help. “So it does not give you all the answers, but it does give you some confidence, and help in building that rapport, and getting them to seek professional help.

Support from the industry Gamble says the work he does would be impossible without support and understanding from his employer, Bottcher Systems Australia and managing director Mitchell Mulligan, first and foremost. He has also gained support from people in the printing industry like Matt Aitken of IVE Group, who has introduced mental health first-aid courses to the business. Aitken says, “Steven Gamble, who heads up Man Anchor, for which I am an ambassador of, will be providing their first course to us, with 20 of our staff completing a mental health first aid course before Christmas. “We already have a number of our staff in the business that have their mental health first aid certificates. One of the things that we recognise is that mental health for our employees, and our people, their families, the communities that they live in, is just as important as first aid and workplace health and safety in our business. “We need to better equip our leaders, and our people to better understand, engage, and deal with employees and staff who are experiencing mental health issues, and challenges, whether that is themselves, or through the workplace, or a family situation. “I am sponsoring the roll out of Mental First Aid in our group with the rollout of Man Anchor at the forefront. “When we put staff through the program, we are funding someone else from a not-forprofit to experience the same program. For the 20 staff that Continued on page 26

Australian Printer - November 2018

MENTAL HEALTH Continued from page 25 I put through that program for Man Anchor, 20 people from sporting clubs, not-for-profits will be put through the same program. Most of them cannot afford to do a program like this, but they are critical parts of our community where mental health challenges play themselves out. We need people to be able to ask questions, and engage their colleagues accordingly.”

Signs to look out for There are a few common signs that you may notice in a friend, a loved one, or even yourself that might reveal a struggle with mental health. Behaviour changes might include that they are withdrawn, not able to complete tasks, are relying on alcohol or drugs, have a lack of concentration, or are abstaining from social events. You might feel, or have their feelings described to you as being overwhelmed, feeling guilty, irritable, frustrated, lowconfidence, unhappy, indecisive, disappointed, miserable, or simply sad. There are physical signs that can manifest also, from being tired all the time, feeling sick and run down, experiencing headaches or muscle pain, a churning stomach, a loss or change in appetite, or significant weight loss or gain. But how do you start the conversation when you have noticed the signs? Gamble says, “You have to be honest, open, and show empathy. It could be something like: ‘John, I’ve noticed that you haven’t been yourself lately, is everything okay? You know if it’s not I’m always here to talk and support.’

Strong presence in sporting teams: Man Anchor community meeting

Starting the conversation: Ambassador packs 26

November 2018 - Australian Printer

“Do not freak out if they do reach out, just listen, let them talk, give them time to contemplate what they have to say. Do not be dismissive, do not be judgemental, and be aware of your own unconscious bias.” Gamble refers to the ‘same-same, but different’ theory, which suggests that as individuals the way we view and breakdown experience and information is different. You may have the same ethical and moral beliefs as someone in your life but the way they are affected by a situation or crisis can be completely different to your own experience.

Business case for mental health investment Research has shown that businesses that invest in the mental health of their employees get a great return in productivity, with less sick leave taken, and a better workplace culture. So for Gamble, this means he can pitch the programs to businesses on multiple benefits. He says, “I only read the other day that the return on investment for mental health in businesses is close to $4.30 for every dollar spent. That is across sick leave, and productivity in the workplace, so this represents a good return on investment in a business space. “For every person we put through in the mental health first aid course, it creates and funds a position for someone in the community to do it, so a netball club, surf lifesaving club,

or football club. So businesses are also helping give people in the community these skills. “We are in talks at the moment with a number of sporting associations. The corporates, and business get the skills, and feel really good about being able to give back to the community. “I have set myself a goal of 100 places from October 2018 to October 2019. That means 100 corporates, funding an additional 100 places in the community. “We also sponsor award systems to build cultures in sporting teams, where conversations about mental health can happen everyday. At the end of each match, when they give out man of the match, they give an additional award and say, ‘We are here to support you both on and off the field, if you feel like you need to talk to anyone, we are here to listen’. “It really breaks down barriers, if you are playing football or soccer with someone, it creates the opportunity to reach out and start that conversation. It has worked, we get a lot of feedback from players and coaches.” The takeaway message from the work Gamble has been doing is clear — take note of your workmates, loved ones, and family, and make an effort to talk, clear the air, and share how you feel. Let’s talk about mental illness, let’s talk about men’s health, and let’s work towards an industry where people feel free to express how they are feeling. australianprinter.com.au

NATIONAL SPECIALISED PRINT AWARDS

Imagination Graphics tops

magination Graphics has been crowned the winner of the Konica Minolta National Specialised Print Awards 2018, for its Hamptons pop-up book. The Marrickville, Sydney based printer beat out the winners of each state, including Whoyou Creative in South Australia, Tako Print Solutions from Western Australia, Tennyson Print from Queensland, Revolution Print representing Victoria, and Elect Printing as the ACT competitor. Accepting the award for Imagination was Emmanuel Buhagiar, known as Budgie, who thanked his team, and dedicated the win to them, saying that all he had to do was sell it.

Sydney printer edges out competition with pop-up Hamptons book

Buhagiar says, “I am gobsmacked — up against all of these other great printers — this is just sensational. “I have to say, I only sell. All of these awards belong to my staff. They have a passion for printing and they know what I want to get out of my machines and what to sell people and give them, whether it is a one-colour business card to a full colour annual report, it has to be top shelf for me. “I would like to thank Sue, the two Davids — Procter and Cooke, the best rep in Australia, Devan, and his mate Chris who have always looked after me. I love being a part of the Konica Minolta organisation. From the day that Sean Crichton-Browne walked in nearly 10 years ago with the 6500 to now. I never thought in a million years we

Top prize winner: (l-r ) Emmanuel Buhagia r, Imagination Graphic s, Dr. David

November 2018 - Australian Printer

would end up here. “It has been a great journey and I personally believe the business has grown because of the equipment I have got from Konica, the style of printing and the quality of printing as you can see and what we presented the last few years digitally has been very good. I am happy to be part of the family. “The Hamptons book was a very hard job, and we only had about three weeks to complete it. It came through creative designer Alison Ward, after we were recommended by another print shop who do great quality digital work. “Low res images to start with, a die-cut house to be built and we did whatever we could do to get his job out, and at the beginning of the year. The AccurioPress does good print.

Cooke, Konica Mino lta, Sue Threlfo, Konic

a Minolta

australianprinter.com.au

NATIONAL SPECIALISED PRINT AWARDS

Konica Minolta awards “The customer did not want it on a coated stock or an uncoated stock, so we came up with Splendorgel from Spicers. It was a little bit expensive but he was happy with it and even wanted a picket fence pocket at the back! So he threw everything at us.” Sue Threlfo, general manager, Production and Industrial Print, Konica Minolta acknowledged the people that travelled from every state and the judges — Real Media Collective CEO Kellie Northwood, Kenneth Beck from Carbon8, Anthony Parnemann of EFI as well as Konica Minolta’s Darrell John. There was a record number of entries for this year's awards with 245 entered for 2018. Threlfo says, “We have the great joy of seeing the amazing work that Konica Minolta customers are sending in, it has

been very exciting for us and we realise how challenging it is to judge a winner. “The categories this year have been expanded, with digital flat sheet, digital print bound books, digital brochures, digital labels and digital embellishment. “The NSPAs is a celebration of our customers and it is way for us to recognise their creativity combined with the Konica Minolta engines to produce such amazing work for their customers. “It is the only vendor-run awards event that we are aware of and we are very proud of that. “We have never seen such quality before and as a result the judging was challenging. “I came in to witness the judges hard at work, as the categories and jobs in this year's awards are diverse.

nnyson Print; Karen Simpson, Te n: pio am ch d lan Crowned Queens Konica Minolta Dr. David Cooke,

Pipping Perth printers: (l-r) Crystal Ngan, Dickson Cheung, Tako Print Solutions; Dr. David Cooke, Kon ica Minolta australianprinter.com.au

“They judge the quality of the document against the category and there is scoring that is collated, all done in secrecy so that each does not know what the other is judging. “Even our judges did not know the winners.” Dr. David Cooke, CEO, Konica Minolta, also thanked the attendees, and announced that the company was in the running to win an award of its own. Cooke says, “The night before the event, we received a call from the Human Rights Commission and have been informed that we are one of the five finalists for the Australian Human Rights Award.” Konica Minolta, under Cooke’s leadership, has been working to stamp slavery out of its supply chains, and compelling other businesses to do the same.

Standing o Whoyou Creut in South Australia: (l ative, Dr. D avid Cooke-r) Greg Pace, Emilia Pace, , Konica M inolta

on, John Schreenan, Victorian victors: (l-r) Leon Wils t Prin Revolution

Australian Printer - November 2018

OP-ED

3D or not 3D, this is the question

hen you see Aldi selling 3D printers for $299, it’s hard to rationalise that printing businesses used to fabulous sheet speeds from 40-tonne machines costing in the millions, could take 3D printing seriously. However, as with sheetfed printing itself, you can buy a Heidelberg, KBA, Komori or manroland or a $99 inkjet printer from Officeworks. 3D printing, or additive manufacturing, is a multisegmented sector appealing to almost all parts manufacturing industries from aviation to robotics and even medical ‘parts’. Because it has the word ‘printing’ in it, printers are naturally drawn to its possibilities but, the mindset understandably is, ‘how many items can I print, at what margin?’ It’s more complicated than that and the closest we have thus far seen to an industrialscale 3D printer of appeal to core industry print businesses is the Massivit 1800 and 1500 from Lod, Israel company Massivit3D, whose chairman is none other than Amos Michelson of Creo fame – virtually the inventor of computer-to-plate in the mid1990s. Massivit’s extra large 145cm x 111cm x 180cm (H) build capability has endeared it to progressive wide format sign and display shops such as Sydney’s Composite Displays, whose managing director Bruce Scott ordered his at first sight when launched at drupa 2016. In only two years, well over 60 have been installed around the world and the introduction of the smaller, slower (single head) and cheaper Massivit 1500 is sure to boost numbers. The next big step in the evolution of 3D printing as applied to the graphics industry comes from Mimaki. Under the theme ‘Shape the Future in Colour’, Mimaki showcased its advanced colour additive manufacturing technology at the international additive manufacturing expo, formnext 2018, from November 13-16 in Frankfurt, Germany. Called the Mimaki 3DUJ553 3D printer, it opens the world of colour-managed 3D 30

Used by printers: Massivit 1800 — supplied in Australia by Graphic Art Mart

ANDY MCCOURT

Profitable 3D business models are still under development

November 2018 - Australian Printer

printing to bureaux, designers and product developers, reaching unparalleled levels of photorealism due to its fine detail and extensive colour capability – previously only achievable by printing film ‘wraps’ and applying them to 3D printed objects. “The colour range and vibrancy combined with the ability to match colours with such accuracy opens up some very exciting application possibilities,” states Bert Benckhuysen, senior product manager at Mimaki. “For instance, skin tones – where the slightest variations can easily be detected by the human eye – are reproduced with photorealistic quality as Mimaki meets the accuracy of scanning equipment with absolute precision. Spot colours too can be created for brands with exacting requirements.” Now 3D is talking graphic arts language – colour and ICC profiles! Mimaki’s 3DUJ-553 3D printer prints in over 10 million colours and the results are consistent and repeatable, they claim. Build size is smaller than Massivit at 500mm x 500mm x 300mm but product strength is

comparable to ABS plastic, using UV-cured photopolymer resins with inkjet printing heads. There are many options in between the Aldi low-end and Massivit/Mimaki high-end and certainly, there is benefit in printers using basic 3D printers to learn the ropes and a new suite of files to manage but, in order to develop a profitable business model – higher-end devices from names such as Stratasys, 3D Systems and others are called for. Apart from the graphicsbiased 3D printers, the main function of 3D additive manufacturing still appears to be rapid prototyping. Short-runs of actual objects is possible – so capably demonstrated by the PIAA at the National Print Awards this year with the miniature Gutenberg presses – but the profitable business model is still under development. If you want to play and learn about 3D printing, by all means head for Aldi or Officeworks but if you want to get serious from the word go – give Graphic Art Mart, PES, (Massivit) Konica Minolta (3D Systems) or Mimaki a call! australianprinter.com.au

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The NSF Excel can be used to flat foil stamp, blind and foil emboss, die The NSF Excel can be used to flat foil stamp, blind and foil emboss, die cut and HSFF (high speed foil fusing). cut and HSFF (high speed foil fusing). The Excel is one of three press models produced by THERM-O-TYPE. The Excel is one of three press models produced by THERM-O-TYPE. •Up to 5,500 impressions per hour •Up to 5,500 impressions per hour •Windows 10 computer control with touch screen interface •Windows 10 computer control with touch screen interface •Store and recall set up information for up to 500 programs •Store and recall set up information for up to 500 programs •Step and repeat up to eight positions per sheet •Step and repeat up to eight positions per sheet •Dual programmable foil draw •Dual programmable foil draw •High capacity feeder with pre-load feature •High capacity feeder with pre-load feature •Impression pressure adjustment •Impression pressure adjustment •Optional: inline waste stripping attachment •Optional: inline waste stripping attachment

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FELLMAN

3 Tips To Avoid The Slow No

ne of my clients introduced me to a new sales term recently. "The ‘slow no’ is the worst,” he said. “That describes the situation where you put a lot of time and effort into developing a new client and it drags on and on and then you end up not getting anywhere. You would be much better off knowing right from the start that you are barking up the wrong tree.” I agree, although I am not sure that you can always know right from the start. Still, any time that you are unlikely to succeed, especially in something that involves a long chase, you are better off figuring that out sooner rather than later.

Yup, It’s A Duck! One of my high school teachers introduced me to the Duck Test about 50 years ago. If it looks like a duck, swims like a duck, and quacks like a duck, then it probably is a duck. Here is how that applies to printing sales. If it looks like a poor use of time, based either on instinct or past experience, then it probably is a poor use of your time. When I reviewed my client’s most recent ‘slow no’ experience with him, he admitted that there were at least a couple of points during the long process where he should have realized that he was wasting his time. “I have definitely been there and done that,” he said, “but I guess I did not learn everything that I could have from the experience.” Tip #1: Learn from experience, and recognize the patterns of both failure and success. When experience — or instinct! — tells you that you should be looking for a better opportunity, do just that!

Applying the duck test: If it looks like a poor use of time, it probably is

DAVID M. FELLMAN

Fellman says when experience or instinct tells you that you should be looking for a better opportunity, do just that

Customer Management I remember a conversation I had with another client some years ago. We were talking about customer management. Her position, as I recall, was that firm customer management is critical because (a) it is part of great customer service, and (b) because it is the best way to keep your customers from making you crazy. This particular client seemed never to be afraid to tell 32

November 2018 - Australian Printer

a customer: “Here is what I need from you” or “This is not what I want from you”. At this point on today’s conversation, I would like us to separate the ‘slow’ from the ‘no’. If you can accelerate the process of getting to the final decision, you are probably better off. And you can often do that by setting expectations and accompanying timelines. “Can I ask you to let me know by (some specific date)?” is a fair question for a salesperson to ask. Tip #2: Do not be afraid to manage your customers, with “firm” being a key word. Yes, there is a line that you do not want to cross, but again, if you are unlikely to succeed, you want to know that sooner rather than later.

Probability Of Success Now let us move from the ‘slow’ to the ‘no’ and give some thought to how you can actually measure your probability of success. On one hand, you can guess at it. On the other hand, you can simply ask the person who is most likely to know! This might be thought of as a ‘trial closing’ question, and it is a question you can ask at both at multiple times and multiple points in the selling process: “Based on where we are right now, what would you say are the chances that you will move

forward with this project and that I will get the order?” A high likelihood would suggest that you hang in there. A low likelihood suggests that you might be heading for a ‘slow no’. A high likelihood of the buyer moving forward with the project coupled with a low likelihood that you will get the order should at the very least get you thinking about what you could be/should be doing differently to increase your probability of success. Tip #3: Don’t guess, ask! There is a huge difference between I think I have a chance and I know I have a chance. Remember, too, that this can be measured more accurately than just good or not-so-good. I frequently ask my own prospects to give me a percentage, and I have learned that I can often sell myself into a 50% likelihood but almost never into a 10% chance. Just like you, I want more clients to say ‘yes’ than ‘no’, and especially ‘slow no’! Time is money. This all comes back to using your time wisely! Dave Fellman is the president of David Fellman & Associates, Raleigh, NC, USA, a sales and marketing consulting firm serving numerous segments of the graphic arts industry. Contact Dave at dmf@davefellman.com. Visit his website at www.davefellman.com australianprinter.com.au

THE REAL MEDIA COLLECTIVE.

3 BECAME 1 APIA / TSA / ACA NOW TOGETHER AS THE REAL MEDIA COLLECTIVE.

‘Real’ representing the physicality and tactility of print. ‘Media’ defining our position amongst the broader media channels marketers invest in. ‘Collective’ as the industry unites to grow.

Become a member and gain access to customers, research, content and more. Send us a note on hello@thermc.com.au, or give us a buzz on 03 9421 2206 or send us a letter (we love those too! PO BOX 5231, Burnley, Vic 3121). w w w.t h e r e a l m e d i a c o l l e c t i ve . c o m . a u

PAPER PRICING

Paper prices pushing publishers

he cost of paper has sharply risen recently and its impact has been felt by printers across Australia. With as much as 50 per cent of a book’s production cost going to paper stock, solutions are needed to limit the impact on the book industry and readers. Paper mills worldwide, especially in Europe and Asia, have raised prices. It is now affecting prices domestically, with the last two years displaying a steady incline in local paper prices. An increase in 2017 was recorded as between 6-8 per cent and then two increases in 2018 have been recorded at 6-8 per cent and 5-7 per cent. Suppliers have been working hard to mitigate the severity of the increases, but some of the costs have inevitably been passed onto printers and publishers. According to Richard Celarc, executive chairman, Opus Group, there are three main reasons. “The cost escalation is due to an increase in paper pulp pricing (overall there was a 23 per cent increase between March 2017 and March 2018) coupled with the weakening Australian dollar. There’s also been the rising freight and energy costs experienced in Australia. And to add salt to the wounds, constraints on supply due to government reforms in China.” On top of the factors resulting in the price of paper going up, paper stock options are reducing too. There’s been a discontinuation of three key bulk stocks for art paper and uncoated woodfree paper, and an increase on pricing for the best alternative equivalent. Celarc says, “These changes in stock availability and cost have surprised us. It has been the perfect storm this year. And unfortunately we’re expecting more price hikes in 2019. This is truly a here-and-now issue for printers and Australian publishers.” Thad McIlroy, international publishing researcher and consultant, says, “Pulp and paper is best viewed as a commodity and its pricing matches the commodity model: 34

Going up: Paper prices globally

Book printing heavily hit by increase in raw material costs

November 2018 - Australian Printer

cyclical price increases largely instigated by the suppliers. With the overall decline in print manufacturing since roughly the turn of the millennium, the paper manufacturers have been scrambling, and struggling, to match supply with demand, and hence to maintain prices at profitable levels. “They have finally managed to pull enough supply out of the market for prices to increase based on demand. But demand will drop in the face of the prices so equilibrium will once again be reached. The question is, how long will that take? Because of long lead times in adding (or subtracting) manufacturing capacity, it will be several years.” Opus Group notes, “The reduction in supply is partly due to paper mills either closing down or switching from manufacturing graphics paper to packaging in search of better margins.” Back in Australia, the companies most affected by these paper changes are the bigger publishers, but while the smaller publishers will see price increases, there’s more agility with their shorter print runs. From the Australian printers’ perspective, there is a real threat of losing contracts to overseas suppliers. However overseas suppliers often require three months’ lead time, which doesn’t work for local publishers’ project timeframes. Larger publishers are under contract with printers, and within these contracts there’s a “rise and fall” clause for the cost of stock but a 23 per cent increase is massive when you’re

spending roughly $6m annually on paper and printing. Louise Sherwin-Stark, CEO, Hachette Australia & New Zealand says: “We endeavour to print as much as possible onshore. This strategy is not limited to our Australian books, as printing the bulk of our international frontlist improves our speed to market, reduces our freight costs, particularly expensive and environmentally costly airfreight. Printing locally is the best option to ensure Australian readers can access the books they want to read as soon as possible and supports the local print industry and jobs. The sharp increase in paper prices is a major concern.” Printers like the Opus Group are actively working towards solutions. Celarc explains, “Our first objective is to be honest with publishers and work collaboratively with them to find outcomes that benefit both parties. If we work together, we are more likely to find the best case scenario out of the difficulties. “Our publisher clients have been really understanding. They’re remaining loyal and contributing to finding ways to keep the business in Australia. There’s been good negotiation and problem-solving going on.” To take these one-on-one negotiations to the broader situation, Celarc says he would like to see a round table to discuss the price and availability of paper with publishers and suppliers, printers. Another solution? Opus Group would like to see the conversations that were started with parliamentarians at the Print2Parliament event in October to continue. Celarc explains, “We shared with those parliamentarians present at the event the journey of the book printing process – something that many of them had never experienced before. “We want our leaders to understand the process of sourcing paper and printing in Australia and also its value economically. There are investment solutions to be discussed that could safeguard the printing industry in Australia.” Source: Australian Publishers Association australianprinter.com.au

WIDE FORMAT +Plus

November 2018

Cactus installs Australiaâ&#x20AC;&#x2122;s first Fujifilm Acuity Ultra l

oOh! picks leadership team l Create Apparel buys new press

WIDE FORMAT: NEWS

Create Apparel moves forward with new press Sydney apparel printer Mark Yammin could not be happier with his new Israeli-made Kornit Storm 11 direct to garment printer which has allowed his business to expand without taking staff time away from other jobs. Create Apparel, in Sydney’s west, began in 2002 as a supplier of sports clothing but has since added custom t-shirt printing to its repertoire.

The company had been supplying short run jobs with a smaller press but in order to achieve larger quantities and a higher quality product further investment was needed. After checking out the products on offer, the decision was made to purchase the Kornit Storm 11 through Australian distributor Kissel & Wolf. This press, installed in

oOh! media lights up classic billboards

Restructure sees Adshel CEO to the door post merger

Outdoor advertising company oOh! media has launched two new roadside campaigns with strategically placed lighting appearing to increase in luminance as the night gets darker capturing the eye of audiences, printed by Cactus Imaging. The campaign for Jeep Australia’s new Cherokee also includes 2D extensions on either side to create mountains, illuminated stars and a backlit tent that at night shows two people inside. The campaign for energy company Lumo follows similar lines and uses a lamp protruding from the billboard to shine a light on the ‘U’ in the “You’re the U in Lumo” copy. To further enhance the U, it was offset from the billboard and backlit. Noel Cook, oOh!media’s chief commercial director oversaw the rollout and says the use of lighting increases audience engagement and has added to the spectacular impact of the billboards.

Outdoor advertising giant oOh! media has announced its new executive leadership team with Adshel CEO Mike Tyquin set to depart the business at the end of the year. Noel Cook, oOh!media’s CEO, says executive overlap created after this year’s $570m Adshel takeover had unfortunately resulted in a number of senior executives leaving the business. He says the company’s long-term strategy will now be directed by a new executive leadership team and a senior leadership team. “We are blessed to have a depth of talent who will be vital to the success of the business moving forward, although unfortunately the overlap in talented senior executives means some will not be staying in the business such as Adshel CEO Mike Tyquin who will finish at the end of the year to pursue other opportunities,” Cook says. “The ELT brings together talented leaders who will drive the next chapter of oOh!media as a major Out of Home and online company.

March this year, along with an Adelco industrial textile dryer has allowed Create Apparel to supply much larger orders of custom t-shirts, delivering a better deal and a superior product to customers. Yammin says, “Before we were using a small printer and doing the work on a much smaller scale so this has put an end to that.” Crucial to the purchase

decision was a press that did not require more than one person to run it. “We wanted something where we could get a new system in and we wanted to expand but we didn’t want something that would drain our resources,” Yammin says. “This is a one-man operation. One person can do all the printing at a high rate and that is the reason we went with this set up.”

Leading the merged entity: Brendon Cook, CEO, oOh!media “They will be supported by an equally talented Senior Leadership Team (SLT) which we are in the process of finalizing. The SLT will support the ELT in the execution of oOh!’s strategy to grow the overall market whilst maintaining our market leadership.” Cook paid homage to Tyquin and thanked him for his contributions. “Mike is a talented business leader and has been a big part of the Out of Home evolution for many years,

both leading Adshel and at the helm of EYE in Australia and New Zealand. “Over the years Mike has been instrumental in establishing Australia’s first Out of Home rail proposition, delivered the world’s first small format digital network and in recent times was behind Adshel’s digitisation, data and automation transition and has been a great fellow board member of the OMA. Mike has been a true leader and contributor to the business.”

Mimaki opens Queensland showroom Mimaki Australia has officially opened its Brisbane showroom, bringing its total to three around the country. The new showroom is located 4a/20 Smallwood Place Murarrie QLD, and saw its first attendees earlier this month. Tomomitsu Harada, general manager, Mimaki Australia, says, “We would 36

like to thank our QLD dealer network for their engagement to Mimaki and being a part of our official opening. This increased investment from Mimaki into the QLD market is a sign of our commitment to our network and customers that the Mimaki brand is here to stay. We boast the largest range of wide format engines in the

November 2018 - Australian Printer

industry and we are driving hard to increase a leading position in the marketplace.” On what printers can expect to see in the new showroom, Brad Creighton, national marketing manager, Mimaki, says, “We have a range of our SG market and IP, our industrial products. In the SG we have our new UV-JC series printer cutters,

and a CJV-300, which is our eco-mould-solvent printer cutter. “Within our industrial segment, we have our bestselling entry level, 8x4m LED flatbed printer, the JFX200-2513, which crosses over into the sign and display market. “We also have bundled cutting functionality,” australianprinter.com.au

WIDE FORMAT: NEWS

Sign Essentials adds Mimaki

GJS celebrates 40 years

Mimaki Australia has appointed Sign Essentials as its newest dealer, covering all products, across Queensland, Northern New South Wales and the Northern Territory. Sean Strange, general manager, Sign Essentials, says, “We are delighted with our Mimaki appointment. Mimaki has some fantastic products that fill a few gaps in our existing offerings. We are particularly excited with the new UCJV300-160 and UCJV150-160. “These innovative printer/ cutters with UV-cured inks offer the ability to output high quality graphics in excellent time without the need to out-gas. This decreases production times significantly which is great because we all know deadlines are getting shorter and shorter.” Sign Essentials will offer sales, training, support and service for Mimaki, as they do with their existing range of products.

Western-Sydney based GJS is celebrating 40 years in business, and says it plans to mark the milestone with activities for customers and staff at its Revesby office. The company was founded by Graham John Stone in 1978 after he returned from active service in the Vietnam war. During his deployment, GJS says Stone utilised his printing skills for the creation and dissemination of strategic allied communications as well as aerial photography. Upon returning to Australia he continued with print by reconditioning and selling used screen printing equipment. The business took off quickly and Graham was soon manufacturing his own screen printing equipment to keep up with demand. By 1987 GJS was manufacturing some of the world’s largest screen printing machinery, including the AUSJET 5000 jumbo dryer.

australianprinter.com.au

Celebrating the milestone: GJS staff After two decades in the screen printing space, in 1999 GJS went online with what it says was the Australian print industry’s first website and e-commerce platform, Greg Stone, managing director, GJS, says, “Digital is in our DNA and always will be. GJS has always had

a measure of what the next big thing will be in digital decoration.” In the last five years GJS has doubled its headcount with additional team members in New South Wales and new teams in Queensland and Victoria, and has set a goal of doubling again in three to five years.

Australian Printer - November 2018

EARLY ADOPTERS

Cactus Imaging boosts

actus Imaging faced the same problem many printers on the market find – how to decide on which press to go with, when there is not much to distinguish them on the market. With volumes of work increasing, and set to grow further as parent company oOh!media adds extra sites, the team at Cactus had to find a superwide press that allowed them to keep up with the jobs as they come in. What they settled on was something not yet seen in the Australian market, the Fujifilm Acuity Ultra, the latest 5m offering from the established print company and ink manufacturer. Available in five metre and 3.2 metre models with up to eight colour channels, including white, the Acuity Ultra uses a new, high-quality, low film weight Uvijet GS Fujifilm ink. Greenguard approved, this ink has been especially designed to deliver the highest quality and is fully emission-compliant for interior graphic display work. With a 3.5 pl drop size ensuring the highest possible quality, the Acuity Ultra is ideal for the high-end indoor display market, especially for luxury brands, with Fujifilm calling the quality comparable with litho and leading water-based ink systems. Based around conventional UV technology, it also runs at much higher speeds than LED cured machines, but as the vacuum table is efficiently watercooled, there is not an excessive build-up of heat on the print plate, meaning no shrinkage. With a throughput of up to 236sqm per hour, the machine is capable of printing on three rolls simultaneously, as well as printing super-wide format graphics up to five metres in width. In addition, linear motors ensure smooth edge-to-edge printing with no vibrations at the end of the run. Keith Ferrell, general manager operations, Cactus Imaging, says, “Predominantly it was about quality, it has a 3.5 picolitre head, and white ink. 38

Fujifilm Acuity Ultra 5m press opens up high-end graphics, as company tackles fashion market

November 2018 - Australian Printer

Standing by Australia's first Acuity Ultra: Keith Ferrel, general manager operations, Nigel Spicer, general manager, Cactus Imaging “It will certainly help us with extra capacity in fabrics, and the POS area. We do a lot of interior decorating prints now, it will enhance that along with pointof-sale and fabrics.” “It is aimed at the highquality work we are diversifying into. “It prints at up to 1200 x 1200 dpi, so it is exceptionally good. “I first saw the machine at Fespa in Germany recently, and then went to the UK and talked with Fujifilm over there about it, and went to their ink plant. “It has multi-roll capability on a serious number of substrates. “When you do long runs with UV lamps sometimes the platen gets quite warm, and it does affect media from a drying perspective. With the Ultra, the platen is actually cooled, which gives it better consistency over longer runs.” Troy Neighbour, senior product manager, Graphic Systems, Fujifilm Australia, says, “The Fujifilm Acuity series has long been known for its

quality and reliability and, by adding this super-wide model to the range, we are now also offering customers a big step-up in quality and productivity. “With the extra width, the option to print on three rolls simultaneously and the ability to print at high speeds with no compromise on quality, the Acuity Ultra will appeal to larger businesses and major luxury brands, helping them to boost production levels and revenue in this highly-competitive sector.” Ferrel says, “It will allow us to diversify into other areas of print we are in the periphery of at the moment, and give us the capacity to target more high-end clients. Fashion is one of those areas, along with the fabric market more broadly. “In Europe, fabric is a highgrowth area, it is still in its infancy in Australia. We believe that with this machine we will have the capacity and quality to target these clients.” It is not the first Fujifilm wide-format press for Cactus, as australianprinter.com.au

EARLY ADOPTERS

fleet with Acuity Ultra

the outdoor specialist has been running a Fujifilm Uvistar for some time, recently producing the Australia's largest current piece of print on the press. The 2000sqm building wrap met the latest fire rating regulations, and was the first in Australia to do so. The project involved many rounds of R&D, working closely with the ink manufacturer. Ferrel says, “We have had a great experience with the Fujifilm Uvistar, it has given us more confidence to go with the Acuity Ultra. It is a competitive market with equipment, and further down the track we will look for more. “There is not a lot between the top-end printers at the moment. The 1200 x 1200 dpi was a plus, but the multi-roll capability and substrate flexibility was the real catalyst for us. “It allows you to print three rolls up to 1.6m wide, with different images on each roll. This means you can use the full 5m width of the printer on longer print runs. australianprinter.com.au

“For transit pieces, we might have a thousand linear metres. Instead of printing one roll up, you can print three rolls up, meaning you get the job done a lot faster, with a lot better colour accuracy. “While there are a number of printers with multi-roll, they tend to have tension issues, while the Acuity Ultra has solved that drawback.” UK Printer Echo House was one of the first print shops globally to install the Acuity Ultra, for its work in the luxury, exhibitions, and museum spaces. It has now been running the press for several months. Mark Cardwell, chairman, Echo House, has high praise for the Acuity Ultra. He says, “Since it was installed, we’ve been pushing the machine to its limits. “Our customers include some of the best-known luxury goods, retail and cosmetics brands in the world. They are hugely demanding customers who know what they want and won’t settle for anything less. They expect the very best quality, as well as rapid turnaround times and excellent value for money. To retain customers like these, and to give them confidence they are getting the best possible value for their money, we have to make sure that our technical capabilities are as advanced as possible. “The Fujifilm Acuity Ultra has proven itself to be the perfect new addition to Echo House,” Mr Cardwell continues. “We’re using it to print a huge range of quality general signage and POS work, taking full advantage of the five metre width to print superwide substrates, and to print to multiple rolls simultaneously as the occasion demands. The ability to print white ink has been fantastic for ultra-high quality backlit applications. “We have seen a significant overall boost in productivity and we have no doubt that this investment has put us in a stronger position to retain our high-value client accounts and win new work in a very competitive marketplace.” “We have a successful relationship with Fujifilm that goes back more than a decade and it was this partnership that

led us to become the first in the world to install the Acuity Ultra. "We never stand still, we’re always looking to the future, and in our experience Fujifilm has exactly the same attitude. "The opportunity to directly feed into the development process for this new machine is hugely exciting and gives us the chance to provide even more value to our customers.” Founded in 1994, Echo House, based in south-west London in the UK, offers a full end-to-end service, from design, to production and installation. For this, it is able to call upon a full spectrum of inhouse production facilities, from the finest large format print equipment, to stunning multimedia fabrication capabilities. The success Echo House has had with its new five metre, super-wide format Acuity Ultra since its installation in June 2018, has led the company to develop a new phase of its partnership with Fujifilm, seeing a brand new machine installed. The new printer, which is still in development, will form a new addition to the Acuity Ultra range. With precise specifications still to be confirmed, this smaller format model is set to offer the same print carriage configuration and deliver the same level of quality at comparable speeds to the 5 and 3.2 metre models currently available on the market. Cactus is finding that an increasingly digital outdoor market has shortened the amount of time that printed collateral stays on display. Essentially, this means that turnaround times are shorter, with a single site now rotating its print two or three times as often. Owned by oOh!Media, which has recently completed its purchase of Adshel, Cactus has found the volume of print it is producing has been only rising. While oOh! has become increasingly digital, its Q3 results noted an increase in print volumes, and revenue. For Ferrel, “The Acuity Ultra has helped us by giving capacity and speed to meet ever tighter deadlines in the outdoor market.”

Australian Printer - November 2018

BUYERS GUIDE: INDUSTRIAL PRINTING

Industrial print opens up

n Australia, as elsewhere, the trend has been to find opportunities for obsolescenceproof printing. Future prosperity in Australian printing will largely depend on how well print providers adapt to integrating impressions with indispensables – from merchandise on retail shelves to infrastructure, to signage at sports events. Much of that will also include the printing of ‘intelligent’ media, where electronic circuits are ‘baked in’ or integrated with the printing process, enabling an item on a supermarket shelf or a real-estate board to communicate with smartphones or other devices to provide way more data that can be – or needs to be – printed on the substrate. Christian Maas, co-managing director of KBA-Kammann, the packaging and labels arm of German press manufacturer KBA, defined industrial printing recently as “part of a multi-step industrial production process within which its task is to decorate products, to enhance the appearance of them and to add information”. And at the coalface, Frank Schäfer, sales director of Kroenert, a printer in Hamburg, Germany, reports, “Our core business is building and developing coating systems. We have long been supplying flexo printing units with these systems as standard components for reverse-side logo printing, such as for silicone papers or self-adhesive products. At the same time, we are driving industrial printing forward as a potential growth segment, focusing especially on printed electronics.” It’s a brave new world for printers, and the successful ones will be the adapters who have the pluck to think outside the frame.

As document printing shrinks in a world where everything that can go online seems to be doing just that – utility bills, invoices, bank statements, annual reports, loads of marketing collateral – what’s a printer to do?

Vendors have their say Australia’s printing technology vendors are partnering with print businesses in “industrial printing”. For example, Matt Ashman, sales manager for Durst ANZ, which offers a comprehensive array of wide and grand format 40

November 2018 - Australian Printer

Printing entering manufacturing: Inkjet tech being used in electronics inkjet printers, reflects, “I think we are in the age of industrialised printing – with large POP/POS and packaging print companies, but more and more it is becoming the case that companies which use printing as part of a manufacturing process don’t have ‘printer’ as their main business title, and where the print device becomes part of an integrated line”. He points to the Durst Tau RSC narrow-web label press, which is capable of 89 linear m/min, and the Durst water technology for cocurated printing with the SPC 130, capable of a blistering 6,000sqm/hr. “The Tau RSC is breaking down barriers in the traditional flexo and toner label industries. Combining with white ink and creative media choices, it is enabling high quality foil, spot-colour and gloss embellishments to be archived at the print stage.” Ashman sees the directto-container market as “an interesting area that will grow”, but he still believes much of this demand will be met by the increasing sophistication of label printing itself. And then there is the market for printing integrated chips, and the technology that Australian vendors will someday soon be offering to their printer customers. “At present we don’t,”

reports Ashman, “but our teams are looking into many areas of development, such as smart ink and intelligent ink.” How can printers in Australia enter these markets? “The cost of entry has never been more competitive,” says Ashman, “and this is the time to diversify your business and make the leap.” Leonhard Kurz Australia is at the forefront of enabling digital print with industrial processes used for packaging and durable manufacturing. At PacPrint last year, Kurz demonstrated its DM Liner, a purpose-designed press that applies foil to most digital print. David Murphy, Kurz Australia’s national sales manager, remarked, “The DM liner provides excellent results for short runs and variable information. The specific foils applied, besides displaying high gloss levels, also enable overprinting – to offer stunning results.” Murphy explained at the time that the tooling was particularly suited to foil embellishment and blind embossing. “The nano-embossing is extremely impressive, as it changes the foils’ structure to provide stunning results and offer movement that catches the eye.” For Greg Stone, Roland DG Australia product & marketing manager, industrial printing is best described as australianprinter.com.au

BUYERS GUIDE: INDUSTRIAL PRINTING

bold new surfaces

“printing that is used within the manufacturing process, for functional or decorative purposes” – and he sees some exciting innovations in package printing, such as package proofing and prototyping. “Producing realistic package prototypes has historically been expensive, as it required specialised proofing equipment, or uneconomical and time consuming set-up of production equipment,” he explains. “UV printing technologies are simplifying this process, making it less expensive and more efficient to create effective package prototypes that perfectly match the final product. UV printing allows users to create realistic samples quickly and using virtually any material, including final production stock. The option to print mock-ups with white and gloss ink, and embossed effects on-demand, offers real versatility to the packaging sector and gives printers and design agencies the freedom to produce creative prototypes without escalating costs.” Stone also sees customisation of retail packaging as a promising new field. “There has been a recent growing trend of in-store personalisation of packaging in retail outlets. With an increase in variable-data capabilities, and affordable australianprinter.com.au

printing technology that allows for print-on-demand options, retailers are offering personalised print packaging as a way to differentiate themselves, attract customers to their stores and provide them with a memorable shopping experience.” And he finds a lot of potential in printing direct on to containers. “Advancements in UV ink technology have allowed for greater ink adhesion on a wide variety of substrates. Printing direct-to-container can be more economical, by removing a step in the packaging process, that is, label application, and lowering material costs. In addition, it offers greater flexibility for short runs and customisation.” Stone’s advice for printers interested in these new areas is that UV printing technology has become incredibly affordable, and with low running costs, and general ease-of-use, printers are able to expand and diversify into these markets, allowing them to quickly realise ROI.

Cool Aussie ideas With the technological tools available and also becoming increasingly affordable, printers are realising niche opportunities in industrial printing are limited only by their imagination. There’s the Melbourne restaurant, School of Seven Bells, that a few years ago wanted to extend the look of a vintage timber ceiling that wowed the diners and brought people in. It wanted that look in other parts of the interior. The trendy Chapel Street eatery managed just that, with the help of Melbourne printer All About Graphics. Mark Burley, who with Chris Duke is co-director of Collingwood-based All About Graphics, explained the process. The ceiling was photographed using ultra high-res imaging and the image was printed on an adhesive substrate, which was applied to the ceiling of the bathroom. The faux or printed version was even given peeling effects to impart the aged look of the original. The digital photography was reproduced on HP Wallpaper, a pre-pasted

non-PVC laminate requiring only water to install and remove. It is printed using HP’s aqueous Latex inks, which All About Graphics achieved on its HP L26500 60in machine. All About Graphics also applied HP Wallpaper to floors and walls featuring in VIP bus tours for major events such as the Big Day Out. And at Melbourne art gallery, The Substation in Newport, HP Wallpaper was applied, with an artist then embellishing it with creative works. At Next Printing in Sydney, laminates from US developer Mactac have opened up a new POS market. General manager Romeo Sanuri speaks of Mactac substrates being used with Re-board, a patented recyclable made from post-consumer waste. On its HP Scitex FB7600, Next can print on 10mm and 16mm Re-board laminated with Mactac wood-grain and brushed aluminium-look substrates to create display furniture. That is what was done for a POS contract in which client Toshiba promoted a new computer range. The finished display, with the printed elements from Next, was a full 3D piece with LED inserts. And Sanderson, a Melbourne wide-format printer, used Spicers X-Board to construct and brand-print an array of showstand accoutrements, including planter boxes, coffee tables, bar tables, stools, a coffee cart, signage, a 2.4m-high monolith and display stands carrying brochures, for a Clean Energy Week expo. All items were printed on the company’s 1.2 x 2.4m flatbed UV digital press. David Leach, founding CEO of Sydney’s Look Print, has for years been excited about processes such as printing on concrete and glass and says growth and maturation of UV inkjet, a non-contact technology, creates opportunities to print on textured and uneven surfaces. “There’s enormous capacity in the marketplace.” So whether it’s that giant stadium sign, a café ceiling, or a batch of sports uniforms, the quality of the work must be matched by efficient handling for an end-to-end service that keeps customers coming back for more – and telling others.

Australian Printer - November 2018

BUYERS GUIDE: INDUSTRIAL PRINTING

Durst applies industrial ceramic knowledge

or Durst, the increasing industrialisation of print is happening two ways simultaneously – industrial methods are coming to printers workflows, and print technology is being introduced in industrial manufacturing, notably across textiles, ceramics, labels and packaging. Matt Ashman, sales manager, PES, the distributors of Durst machines in ANZ, says, "The industrialisation of print is a new thing, particularly in businesses that are looking to streamline their workflow, and increase efficiency, by industrialising the process. “In Europe, over the past five to 10 years, companies have identified that they need to be more focused on being proactive rather than reactive, putting systems in place for their product lines, the services they offer, and industrialising those to the highest degrees possible. “Wide format has been the big winner in this focus on industrial production process. We see companies working with us to integrate and develop new handling solutions and line integration with loading and unloading being the biggest area for development. That makes great challenges for all our businesses, as well as opportunities. “Durst has had many years working in the true industrial arena with ceramic tile industry, creating its Gamma range of industrial ink jet printers nearly 10 years ago. This gave us such an insight into an industrial business where “printing’ was not the purpose of the business, but a component of a larger business. “The Gamma range prints onto the fragile pre-fired base tiles made from local clay, using special ceramic inks. It is jetted in a similar way to how any wide format ink jet printer works, but on a much faster scale and with huge pressures of production. The Gamma printer runs at speeds in excess of 45 linear metres per minute and must run with 99.9 per cent uptime, as the ceramic line cannot be shutdown due to the high temperature ovens that finish the tile.” Unfortunately, it is not a big industry in Australia, due to the need to have the raw 42

Failure unacceptable: Durst Ceramic printers need a 99.99 per cent uptime guaranteed

Industrial methods are coming to print workflows, while print technology is being used to help manufacture

November 2018 - Australian Printer

material, the clay close by. This industry is however huge in the Mediterranean region, South America and the USA. What Durst has learnt in this fast-paced industrial sector has helped produce solutions tailored for other industrial segments that are seeing growth in Australia, textile, labels and packaging are ready for the industrial digital revolution, which Durst provides solutions within. On the textile side, Ashman explains, “There is a trend to produce fabrics for soft furnishings and apparel digitally. If you are decorating a fabric in Australia, you can make the garment, or the sofa, bedsheets, curtain, in Australia. It is something that is being repeated globally. “The advantage with digitally printed textiles is that designers and marketers only order what they need. Industrial fabric decoration, done the traditional way, has long lead times, with a minimum order quantity in the length of kilometres. With a Durst digital textile decorating press, you can order one metre, because it is done digitally. “The Textile Hub, in Sydney is a good example of this model, as they have installed Durst machines to grow in short-run textile manufacturing. They have in-house fabric decoration, cutting, and garment production, all in Sydney. “This is going to be a big growth market in Australia, industrial solutions that use print. “The demand for ethical fashion, and locally sourced products is going to boost that. “Traditional decoration of fabrics is done in emerging countries and requires a huge amount of energy and water.

"This is not good for countries like Ethiopia, Indonesia, that struggle with water supplies. “With a modern inkjet, industrial decoration the need for water is extremely reduced with new pigment technology. “With digital production, you only produce what you need. With traditional methods, if 5km is produced, and it is not popular, it has to be destroyed, thrown away, and wasted. “There are a surprising amount of people producing short run apparel digitally from single shirts to fully-designer garments, printed using dyesublimation in Australia. "It is going to grow and evolve. The technology is affordable now, production costs are commercial, so there will be more players coming into this market.” Labels and packaging too are something Australia does well and has done for many years, but digital, on demand technology can bring huge advantages and innovation to these segments. Durst has two product lines that focus on this market, the Tau label range and Delta with corrugated printing. Australia has huge industries, producing products that all need packaging and a label on them. Ashman continues, “Durst has listened long and hard to the needs of traditional flexo label producers and have come up with a solution that can replace flexo or can live happily alongside it with the Tau.” Ashman says that these are exciting times for business owners and entrepreneurs who have the vision to see the future growth. He notes that with the help of new methods and technologies, Durst will allow businesses to realise those industrial futures. australianprinter.com.au

BUYERS GUIDE: INDUSTRIAL PRINTING

Switching to inkjet for graphic overlays Fujifilm says its UV inkjet technology is better suited than screenprinting for varying run lengths, variations, and winning business

rinters know ink on paper, but even digital devices have printed components that you can produce. For Fujifilm, membrane switch graphic overlays (MSGOs) represent a smart market to target for UV inkjet technology. A membrane switch is the bridge that connects the user to a machine, device, or other equipment. Basically, they are the buttons you press on electronic devices, serving as the control panel. The graphic overlay, or the membrane switch overlay, is the part of the control panel that is visible to the user, defining each location for specific switches and controls, meaning it plays a significant role in the user experience. Explained simply, it is the skin on top that allows you to see which button does what. Traditionally, these have been produced using screenprinting technologies, but with UV inkjet presses, such as the Fujifilm Acuity LED1600II, printers can easily and instantaneously produce samples which allow them to win business, featuring multiple options without set up costs. Troy Neighbour, senior product manager, Graphic Systems, Fujifilm Australia, explains, “Not only can UV inkjet solve many of the problems you may face with printing MSGOs, it comes with additional benefits. Unlike screenprinting, with inkjet you can create complex graphics such as gradients and photographic images. This expands the possibilities for customers and may inspire them to be more adventurous with their designs. “For long runs that require vast numbers of the same design – screenprinting may, for the 44

New applications for inkjet: Membrane switch graphic overlays

November 2018 - Australian Printer

time being, be the best solution. However, Fujifilm inkjet technology is now so advanced, and the quality so impressive, that it is an economical addition to the many print production lines, especially if you are having to juggle different run lengths.” Elitronik, a printing company based in Turkey, switched out its screenprinting processes for Fujifilm inkjet, and found that its turnover tripled. Its entire production of MSGOs was getting bottlenecked at the overlay printing stage, with many jobs requiring in excess of eight colours, some as many as 17. With each colour requiring a separate screen, the prepress processes involved with screenprinting meant that the lead-time to deliver jobs was long, and the total turnaround for some jobs hitting 7-10 days. An added problem was supplying samples and short runs to other customers whilst in the middle of larger jobs. The setup involved in preparing screens for a sample was labour intensive, and resulted in the screen equipment being unavailable while the sample was created. After installing a Fujifilm Acuity LED printer, the company managed to cut down shifts from three to one, reducing errors from worker fatigue in the process. Its production times were cut from seven to ten days down to three, and are able to complete jobs as a whole, or in sections depending on a customer’s needs.

Müge Basarir, owner, Elitronik, says, “Screenprinting has reached an advanced point in some respects, but it is a limiting technology in other ways. In short, it is costly and time-consuming work. In the past when a client asked for a sample, we had to charge them because it was an expensive process. We used to wonder why our sector would not develop further when all other sectors were going forward. Would this profession always depend on the human element and semi-automatic machinery?” She says, “While we were researching, we found two companies abroad that were working with a new generation of print machines, and did not know if it would work for us due to the initial investment required. Later, we crossed paths with Fujifilm and had the opportunity to try their demo machines after a preliminary meeting. We had a six-month trial with the Acuity LED 1600, printing continuously and trying everything to see if it worked. Everything went smoothly, but we found it hard to believe it could possibly be so easy, fast, and inexpensive.” For industrial printing, UV inkjet is opening up a raft of opportunities, which Fujifilm says Australian PSPs can take advantage of with select investment, targeting growth areas like membrane switch graphic overlays. australianprinter.com.au

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BUYERS GUIDE: LABELS AND LABELLING

Finding the sweet

ales of digital printing presses have overtaken those for conventional presses in Europe according to Finat, the pressure sensitive labels organisation. Depending on your definition of what is a digital label press, the numbers of presses sold may have even broken this barrier a year or so ago. The definitions are becoming blurred at both ends. At one end come labels printed on low cost machines, often derived from OKI toner engines, or running Memjet or Epson printheads, that have been aimed at internal printing though are now capable of printing labels for commercial purposes. At the other end there are more and more providers of analogue label presses, including Heidelberg subsidiary Gallus, that are including inkjet print engines as hybrid machines. The Heidelberg Labelfire 340 includes flexo print units for laying down backgrounds with the brand colours or opaque whites where flexo excels, and then after printing the digital elements for short batches of labels, comes foiling, screen printing and varnishing using conventional technologies. It is a comprehensive production platform that addresses the demand for shorter production runs without loss of quality that comes with fully digital label printing because some aspects of label printing are simply better with flexo or letterpress. Not every label printer needs this versatility, especially those that are new to label printing. Heidelberg this year partnered with Memjet on the Smartfire as an entry level label press without the embellishments that the Gallus machines carry. The company says it would not be doing so if the quality of the Memjet head did not match expectations associated with the Heidelberg brand. Memjet has become the printhead of choice for lower cost inkjet presses. These have become too numerous to record and are aimed at inline printing, standalone units or integration with more complex production requirements. 46

Turning a profit with labels: Ensure you are running the right system for the job

GARETH WARD

Flexo, toner and inkjet each offer advantages, it is about finding what works for you

November 2018 - Australian Printer

One benefit of the technology is its use of water based inks, inherently safer for food labelling than UV inks. The majority of inkjet presses use UV cured inks. These are preferred because they will print on films as well as papers. The arrival of cool running LED UV will extend the range of printable films into more heat sensitive substrates or perhaps to run thinner films, so being able to print more labels on the same weight of material on a roll, thus improving efficiency of the process. The inkjet process has improved significantly in other areas. The presses can run faster thanks to improvements in the printheads used, and 1200dpi resolution is now standard. The most widely used are the Kyocera KJ4, Fuji Samba, with some running Xaar printheads. The UK company is now introducing a new head which will run faster and will be capable of printing with water based inks. Currently Epsonâ&#x20AC;&#x2122;s SureColour machines run with aqueous inks, running much slower than UV cured presses which can reach 75m/min, but with high optical quality.

It is not alone in opting for water based inks. Mouvent, a technology company that is associated with Bobst, is introducing label presses with water based print heads. These were announced more than a year ago at Labelexpo in Brussels. Now the first units will reach beta sites in the first part of next year. At the higher speed end of the digital presses, Uteco has Sapphire, a press running with Kodak Prosper print heads and aimed at flexible packaging as much as labels. At Labelexpo others demonstrated how inkjet presses like Sapphire are moving higher volume applications, away from the merely short run. Durst upgraded its Tau 330 to be able to run faster and with better consistency, taking inkjet into flexo press territory. Domino already considers that its N610i is a drop in replacement for a flexo press, taking on the runs that are too short to be practical in flexo, but are above the short runs that digital printing is meant to handle. Screen too is in this category with the L350. when first introduced this was a self contained inkjet press, running australianprinter.com.au

BUYERS GUIDE: LABELS AND LABELLING

spot for labels

Market opening up: Short run, artisan food and drink expanding label opportunities roll to roll. Now it is part of a label production line including inline finishing with Digicon units from AB Graphics to apply embellishment, slitting and rereeling in line. It features the sort of quality control systems and colour management that runs across Screen’s product range including computer to plate, wide format inkjet and continuous feed inkjet. The L350 does not as yet feature as part of the growing hybrid approach to label printing. Durst has teamed up with Omet to create the XJet, combining short run capability of fast set up flexo and personalisation or even shorter run capability of inkjet. With an inline finishing system included, maybe with laser cutting, the labels are ready for inspection in a single process. The business model is about faster delivery from order to despatch of labels in a just-intime mode where the orders are received via a portal directly into a scheduling system, and jobs can be turned around within a few days or faster. Significantly, the customer or converter is not involved with stock holding. Flexo press manufacturers australianprinter.com.au

have responded with increased automation to make shorter runs simpler to cope with. Others are introducing digital presses to supply label converters happy with their UV presses, but needing something to handle short runs. MarkAndy’s DigitalOne is a toner press which meets this need, most machines pairing up with higher speed flexo presses. Konica Minolta plays to the same market: entry level for those new to labels or as a press to partner a conventional machine. The AccurioLabel 190 is its second generation press and has increased installation beyond 150 worldwide for KM. This leaves the two main players in digital label printing, HP Indigo and Xeikon. The latter extended its footprint at the end of last year through the acquisition of Jetrion from EFI. This has given the company the largest footprint of inkjet label presses across the world, simply by virtue of the fact that Jetrion was the first to market with an inkjet press. In recent years the press has been overtaken by faster presses able to print at higher resolutions and it felt somewhat unloved within EFI. Xeikon will

not develop the Jetrion platform but will use the user base to sell newer inkjet presses, while corporate owner Flint gains access to ink and consumables business. On the toner side, Xeikon has introduced a wider version of the CX3 30 m/min inkjet press. This is the CX500 running a 520mm web at the same speed to give a productivity that is out on its own. In the next year Xeikon will begin rolling out elements of its Fusion concept. This has the label press as part of an end to end label production system including embellishments, screen printing units for printing an opaque white, varnish and foil units and so on, controlled through a single interface. Yet while Xeikon is increasing its share of what is still aa growing market, Indigo remans the comfortable market leader in digital printing. Shortly after the first sheetfed Indigos were launched, the company introduced a web version for labels and developments have continued since. The WS6800 and 6900 use the series 3 engine configured for label production. The addition of a decent metallic silver has followed the introduction of an opaque white and now GEM, Indigo’s inline digital embellishment technology. This includes an inkjet applied clear ink acting as a varnish or adhesive for other applications as a fully digital production line for highly decorated labels. A tandem version of the press, the Indigo 80000, will also increase productivity by printing the same image simultaneously to more than double the throughput of two standalone presses. It runs inline with an AB Graphics Digicon which is designed to run a lot faster than the 80m/minute that is required currently by HP. HP will be looking over its shoulder at the proliferation of inkjet presses coming to market and calculating what it needs to do to stay ahead of the curve. So far everything has worked, making the Indigo not just the most successful digital label presses on the market, but one of the most successful – full stop.

Australian Printer - November 2018

BUYERS GUIDE: LABELS AND LABELLING

Screen L350UV press range grows creen GP Australia entered the digital label press sector in 2013 when the Japanese parent company released the Truepress Jet L350UV model at Labelexpo Europe. Since that time, over one hundred machines have been installed worldwide, with the Australia-New Zealand area punching well above its weight with five installs and more in the pipeline. The L350 and its successors have also garnered technical awards from Printing Industries of America’s InterTech Technology organisation (2017) and more recently, from the Japanese Society of Printing Science & Technology (2018). One early-adopting customer in the UK, Springfield Solutions, based in Hull, now has four L350UV inkjet presses. So, what is it about Screen’s Truepress Jet L350UV series that has made it so successful, winning awards and repeat customers?

With multiple options, Screen has addressed the varying needs of individual label print shops

Inkjet with benefits The first obvious aspect of the L350UV that differentiates it from the majority of digital label presses is that it uses UV-curing inkjet to print labels. Admittedly a late-comer to digital labels, Screen opted for inkjet over the market dominance of toner in both liquid and powder forms. HP Indigo’s liquid toner undoubtedly ruled production digital label production for many years, with Xeikon’s electrophotographic powder machines a distant second. Screen already had a firm foothold in inkjet technology, having been the first company in the world to commercialise high-volume full colour reel-fed inkjet with its Truepress Jet 520, released in 2006 and now with well over one thousand units shipped. This was aimed at the transactional, promotional, book printing and direct marketing sector and printed across a 520mm web. In its latest iteration, the Truepress Jet 520HD with SC inks, Screen has achieved near-offset quality on standard offset stocks and, yes, more awards. 48

November 2018 - Australian Printer

Versatile: Screen Truepress Jet L350UV+

Logical move into labels Digital label production is a growth area from both a market demand aspect, and also by displacement of previously flexographic or offset printed labels in shorter runs with variable content such as barcodes, QR codes, versioning and micro manufacturing. While there existed some inkjet label printers in the market, these were mostly slow, narrow web machines that had evolved out of the marking and encoding sector. The L350UV presented good production speeds of 50 mpm across a 350mm web, with UV-curing inks on a wide variety of substrates, in full wide-gamut CMYK and, most importantly – white ink.

Listening to the market Screen has earned a reputation in the global graphic arts sector, for manufacturing equipment to very high engineering standards, making it high-productivity with optimum uptimes. Today, the lengthy prepress and flexo platemaking stage of conventional production, is colliding with the easier alldigital method of file preparation and streaming directly to the press. However, the press must be up to the task in terms of quality, registration, substrate choice, application and productivity. Screen now offers three versions of the L350 to address these issues: • Truepress Jet L350UV: the original model and foundation stone of later versions, running at up to

50 metres per minute across a 350mm web (or down to 100mm) with 322mm print width and a repeat length from 50.8mm, to 2,400mm. Printing is with a CMYK inkset plus white ink. Curing is by LED UV for ‘pinning’ and metal halide for final cure. • Truepress Jet L350UV+: As per the basic L350 but printing at up to 60 metres per minute and with the optional addition of Orange ink to further extend the colour gamut achievable. It features a chill roller which enables the printing of thinner substrates that are susceptible to warping under heat. A web cleaner and corona treatment option is also available. Four-step grayscale printheads print at 600dpi with a droplet size of just three picolitres. • Truepress Jet L350+LM: The ‘LM’ is for Low Migration and refers to a special ink/ curing system that optimises this version for food packaging where the substrate comes into closer contact with the food. A nitrogen purge chamber drives out oxygen at the curing stage as the O² can inhibit curing. By accelerating the curing using nitrogen, the inks exhibit low migration properties through the substrate. • Rip & front-end: Bundled with all L350s is the Equios Rip, Screen’s versatile front-end that can work in harmony with all third-party label/packaging workflows, or be configured into a workflow itself. australianprinter.com.au

Labels, Wide Format

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Since its beginnings 150 years ago, SCREEN has been concerned above all else, with precision in graphic technologies. The vision of Saigiro Ishida in 1868 endures today for our customers to enjoy higher uptimes, greater reliability and precise reproduction.

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SCREEN Truepress Jet L350UV+LM digital label press with low-migration inks

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KNOWLEDGE

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Australian Printer - November 2018

To advertise please contact: Carrie Tong on 02 8586 6195, Email: carrie@i-grafix.com

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November 2018 - Australian Printer

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Australian Printer - November 2018

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PH 1800 632 200 54

November 2018 - Australian Printer

australianprinter.com.au

FREE UP YOUR BINDERY STAFF HIGH SPEED ATTACHING SERVICE

aryâ&#x20AC;&#x2122;s Building Maint e St M nan ce We O er

Qualit y Work At Sensible blePrices Pric es

gemoney.com.au

Terry Dunn

Phone:

0428 443 751

Email: tdunn_sbm

O ce:

4777 5528

@hotmail.com

Wanted

LATE MODEL HEIDELBERG, KOMORI, ROLAND AND KBA PRESSES FOR LOCAL AND EXPORT MARKET “THE LONG PERFECTOR SPECIALIST”

MACHINERY RECENTLY EXPORTED OLD

LD O S

OLD

C STO

HEIDELBERG SM52-5H

HEIDELBERG SM74-5

KOMORI L528

KOMORI L540

2013 POLAR 56

POLAR 55EM

POLAR 92ED

POLAR 92EM-MONITOR

POLAR LIFT

POLAR JOGGER

POLAR TRANSOMAT

POLAR 115EM-MONITOR

POLAR 137EM-2 & EMC-MONITOR

POLAR 155EMC-MONITOR BIG SIZE 2 METERS

POLAR 115ED

POLAR 137ED

MACHINERY FOR SALE

K CTP EX STOC ERG HEIDELB TTER E SUPERS POLAR 92XT

STAHL T52-4 DIGITAL

MULLER MARTINI 1509 6+C

For more details contact Paul Carthew: Printmac Corporation, Unit 5, 9 Hume Road Smithfield 2164 Phone: 0418 239 303, Email: printmac@iimetro.com.au

Quality a Tradition Since 1882 Finance available to approved purchases

ACN 056 121 718

does your trade label printer offer you all this... • Double sided service labels • Metallic foil labels • Barcode labels • Variable data labels • Consecutive numbered labels

You c LO

E TRAD ONLY

be a gu an

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e m i t lead

• Labels on rolls • Labels on sheets & singles • Vinyl labels • UV stable labels • Outdoor labels

• CMYK + White • Light-fast toner • Wide range of substrates • No length restrictions • FDA food safe labels

G Y PRO

Call 1300 852 646 trade.gurulabels.com.au

MACHINERY FOR SALE 1998 Schnider 115 E with side loader

1993 Roland R 105 5Col RCI.R/Matic 1+4 P

87 Schnider 76 SC air table programming

2007 Polar 115 XT top of the range with air table, large side tables

1990 Roland R 202 2col R/Matic Damp 29”

1995 Polar Jogger 40”with roller

STEWART Graphics ACN 088 963 240

November 2018 - Australian Printer

1996 Bobst 102E Cutter Creaser

2017 Seal 62 Pro D – Link Laminator 61” wide AS new comes with STOCK shown

Ph: Rob Stewart on 0410 463 885 Email: stewartgraphics@gmail.com australianprinter.com.au

GRAPH-PAK GRAPH-PAK SUPPLIER PROFILE SUPPLIER PROFILE

Since 2006 GRAPH-PAK PTY LTD has provided the highest quality products to printing companies in Australia & NZ. Our mission is to provide advanced reliable and functional equipment solutions that will aid our customers to maximise their business potential.

Post Press - Bindery

Maintenance & service Engineering Services, Mechanical, Electrical, Service & Maintenance of all Press & Bindery Equipment Relocations and Installations.

RIMA SYSTEM – Bindery & Press Compensating and log Stackers, Rotary Trimmers, Conveyors and Robotic Palletisers.

Printing CIVIEMME-SYSTEM – Is the standard for vertical log stacking technology. The product portfolio includes innovative GRAPH-PAK is proud to announce and efficient solutions for the processing another blue chip supplier has joined our portfolio. of printed products into saddle stitchers and perfect binders. THERMOTYPE – Digital Finishing Equipment – Hot Foil Stampers, Business Card slitters from desk top to full industrial as well as the worlds most flexible finishing machine the TSL2 which can die cut, kiss cut, perforate score in cross directions, emboss, guillotine, drill holes, endless capabilities.

environMental D.W. RENZMANN GROUP Environmental Solutions for washing of parts, print units and industrial components as well as solvent recovery and distillation.

laMinating & sPot Uv & Uv varnishing

COL-TEC – Flatbed Collating Systems, Inline Finishing – Fold-Stitch-Trim. BUSCH – Pile Turners, Waste Conveyors, Table Banding Machinery, Ink Mixers and Automatic Punching Machines.

AUTOBOND – World Leaders in Thermal and Waterbased Laminators. Multi purpose machinery, UV & Spot UV. D&K EUROPE - High Quality Thermal laminating Equipment.

Specialising in Capital Equipment Sales, Service, Engineering Solutions and Consumables.

Our offices are located throughout Australia.

gUillotine & PaPer handling eqUiPMent

TRANSPAK – Manufacturer of strapping machines for the print media markets, inline & office solutions.

SCHNEIDER SENATOR – German built global house hold branding famous for precision cutting, reliability and quality Guillotines ‘‘78 – 155’’, lifting, jogging, sheet transport systems, layer and robotic palletising systems.

ROLLEM – The leader in offset and digital print conversion for over 50 years, the most respected name for slitting , scoring, creasing, cutting, numbering die cutting, inline with Digital Press finishing solutions. PHOTO BOOK TECHNOLOGY – World Leader in Digital Finishing Photo Book machinery supplier – “Mitabook’’ Casing in, MitaMax Lay Flat binding, MitaFold – mark free folding machinery SBL GROUP – Global blue chip suppliers for Die Cutters, Folder Box Gluers, Hot Foil Stamping Platten, Paper to Board Laminators built to the highest standards.

Waste reMoval TRS – Trim removal systems & bailers, conveyors, engineering solutions.

B.MATIC - World leader in the production of friction feeders, paper counter and flag inserter machines for paper, cardboard and plastic sheets.

KOHMANN – Manufacturer of carton converting machinery and window patching machinery.

AZON – Award winners of UV Direct to Substrate flat bed printers for objects up to 30 CM in Height, Direct To Garment printers, Direct to Substrate printers with IR Drying.

PRODUCT OF THE MONTH NEW PRODUCT OF THE MONTH D&K EUROPA Glue-Tech PB LAMINATOR The Thermotype SA1420 is a unique sheet to sheet

gluer which provides  Single and Two sides customers in onean pass with efficient and cost effective method of producing  High Quality Lamination thick printed products.  Foil over Digital Inks and Tonersproducing premium value When  User friendly business cards, for example,  Auto feed print Auto two. Sheetsheets, then customers glue theand sheets back to back or  Digital Offset use cutsheet sheet over the top  540a xdie 740 max for special effects.

A wide range of used equipment is also available for purchase. If you have used product to sell, please contact us. Specialising Capital Equipment Service, FOR FURTHERin INFORMATION PLEASESales, CONTACT OUR Engineering HEAD OFFICE Solutions and Consumables.

info@graph-pak.com.au Unit 14/20, MetaEnquiries: st, Caringbah, NSW 2229, email: info@graph-pak.com.au

Toll Free: 1300 885 550 www.graph-pak.com.au

Amba

Australia’s leading supplier of High Performance replacement lamps for all types of UV curing systems

UV curing lamps

Experience Amba Lamps Plus – Performance Quality + Service UV Consulting Pty Ltd Unit 3 41-49 Norcal Road Nunawading Victoria 3131 Ph: 03 9874 7455 Web: www.uvconsulting.com.au

MORE Bang for YOUR Classified Advertising BUCK! ALL Australian Printer Classified Ads also appear on the australianprinter.com.au website; drive your marketing dollars further, with an ad in AP Classifieds! Email Carrie today: carrie@i-grafix.com

We are the specialist in carbonless paper printing Delivery AU Wide MAX $20

Price per book. All prices plus GST and freight. (Black or Reflex Blue only)

QTY

NCR BOOK JOB ORDER QUOTATION FORM FROM

Tickets

Job Name

Duplicate 50 sets

Triplicate

LHS

Paper Type Paper Colour

TOP

LHS

TOP

NCR Books

NOTE

LHS

Perforation

N/A

TOP

LHS

TO Quarter Bound Blue

Red

Left Hand Side

Other Standard 500gsm

Glue

Loose

Green

Black

Blue

Red

Blue

Red

box board

300gsm white board 500gsm box board

Fan-apart

N/A

Other

Top

300gsm Soft Cover Crocodile Board

Back Cover Inserter Card

Front Print Colour Back Print Colour

Perforation

N/A

Numbering Book Binding Type Binding Tape Colour

Backing Board

Paper Colour Front Print Colour Back Print Colour

Perforation

N/A

Binding Side

FOURTH COPY

Paper Type Paper Colour Front Print Colour Back Print Colour

Perforation

Front Cover

$11.38

Other

THIRD COPY

Paper Colour Front Print Colour

TOP

/ 20

Set / Book

Quadruplicate

Paper Type

Notepads

Quadruplicate 50 sets

QTY

Duplicate SECOND COPY

Paper Type

Triplicate 50 sets

Single

FIRST COPY

Back Print Colour

Duplicate 100 sets

Size

Copy / Set

DATE

Deliver To

Qty

Matching Front

Green

White

Green

Cover

Inserter Binding

Other

Grey

Other Wrap-around

Loose

PRICE INC. GST. DELIVERY INC. GST.

Duplicate 50 sets

Duplicate 100 sets

Printing in 1 colour, Reflex Blue or Black

Triplicate 50 sets Quadruplicate 50 sets

A6/DL QTY

Duplicate 50 sets

Duplicate 100 sets Triplicate 50 sets

Quote & order online:

Normal turnaround 5 working days. Paper colour:

www. dockets-forms.com FREE CALL 1800 666 088

November 2018 - Australian Printer

Your Printing Partners australianprinter.com.au

STOP

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send us your valid best quote and we will do our very best to match or beat it!

G LT Y PRO

Earn a discount with our

Loyalty Program

Did you know that we can ship direct to your customers with blind packaging? instant online quotes use our Hero Stock Matt 76

7 day dispatch locally produced

Switch to guru for Guaranteed lowest prices online 24/7

Call 1300 852 646

trade.gurulabels.com.au

.au

Established 7 years. Serving a wide range of customers we pride ourselves on punctuality, reliability and customer satisfaction.

Providing a full rage of services including: 3 Machinery handling 3 General crane hire 3 Forklift hire and transport 3 Packing and unpacking of containers

Complete factory relocations:

Specialising in a wide range of machinery from Engineering, Metal Work, Printing & Packaging

To advertise in the classifieds please contact Carrie Tong

All aspects of printing machinery

E: ben@allworkcranes.com.au

Ph: 02 8586 6195 Email: carrie@i-grafix.com

19/09/12 12:26 PM

November 2018 - Australian Printer

australianprinter.com.au

WANTED:

ALL PRINTING & BINDERY MACHINES, CASH PAID

HORIZON VAC-100 STITCHER FOLDER LINE

2 X POLAR 78E

2011 SM52-2 (1 MILLION IMP) URGENTLY WANTED HEIDELBERG SM52, 74 & 102 MACHINES KOMORI 26, 28 & 40 MULTI COLOUR RYOBI & ROLAND 4,5 & 6 COLOUR POLAR, ITOH, WOHLENBERG & SCHNEIDER MULLER MARTINI 335, 321, 235, 1509 & PRIMA STITCHERS HEIDELBERG & STAHL FOLDERS, CYLINDERS ALL HORIZON FINISHING EQUIPMENT & BINDERS

VALUATIONS: PRINTING VALUATIONS FOR INSURANCE & SALE OF BUSINESS CONDUCTED AUSTRALIA WIDE HEIDELBERG TI40 4X4 FOLDER

2 X HORIZON VAC-100 TOWERS

MASTERCARD/VISA/AMEX ACCEPTED

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

• • • • • •

Printing Blocks Foiling Blocks Stamping Dies Solid Mounting Photopolymer Plates Embossing Blocks

24 HOUR Turnaround

Please call for a Free Quote Newspaper Gauge 14 Gauge 8 Gauge 1/4 Gauge

1mm 2mm 4mm 6mm

Unit 20/ 17 - 21 Bowden Street, Alexandria 2015

Tel: 02 9699 7976 Fax: 02 9310 5914 E: production@novagraphics.net.au Unit 10, 42 Harp St. Belmore, NSW 2192

australianprinter.com.au

ACN: 001 269 647

ABN: 454 001 269 647 Australian Printer - November 2018