ProPrint August 2017

People Technology Business

www.proprint.com.au August 2017 $8.00

STAR BUSINESS

NCP Printing Newcastle’s only A1 printer enjoying harmonious relationship with Bright

Thinking outside the box.

How Ricoh’s Andy Berry is improving work life and what that means for print.

Full story page 20-22

FOCUS: LABELEXPO

Label printers turning digital Sticky Labels latest label print business to add digital power SPECIAL FEATURE

Electricity analysis as industry suffers Printers struggling as power costs soar, ProPrint assesses the state of play in electricity ALSO INSIDE...

Comment: Trade Clowns Downtime: Print Awards QA: Graduate of Year

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EDITOR’S LETTER WAYNE ROBINSON

High finance high stakes Giant corporations are not the only ones that can suffer from internal accounting irregularities, but neither are they exempt from them.

Two of the biggest in our industry, Fuji Xerox and EFI, are currently battling through the consequences of the quaintly termed irregularities, and both will suffer from that painful battle. EFI saw its stock price demolished when revelations first appeared, plummeting 45 per cent in one hit. Fuji Xerox is having to write off $450m in its books thanks to the goings on in Australia and in New Zealand under former CEO Neil Whittaker's watch, although as it earns $500m a week that is not as big as it sounds, its reputational damage will be far bigger.

The Fuji Xerox story is instructive to say the least, and reveals the damage a sales at any cost strategy can do, and the propensity of people to consider themselves untouchable if

CONTENTS

the numbers are looking good. It also reveals that burying your head in the sand, as Fuji Xerox head office in Tokyo appears to have done, is no solution to anything, and will only make matters worse, as the perpetrators become increasingly emboldened.

It became a brazen attempt to work the books by local management The full 356pp investigative report into Fuji Xerox is just released, and is a remarkable read, revealing what it says became a brazen attempt to work the books by the local management, inserting fictitious figures, avoiding recording losses, forward booking sales, counting asset sales as revenue, while at the same time paying themselves what the report says were massive amounts of salaries and commissions, while treating

themselves to spectacular lunches, paying family members, as the people with oversight in Tokyo simply ignored the issue, or covered it up, or even promoted those responsible.

The story may seem to belong the world of fantasy, but no, it is 2017, a major corporation, and yet it went through all this and more. You may ask where its auditors - now sacked and senior management - now also sacked - were at the time.

We may also think it could not happen to ourselves, but accounting irregularities, fraud or theft can happen to any business, large or small. The Australian business landscape is littered with the corpses of good small businesses who suffered fatally, because of a malevolent staffer given too much rope, while the business owner was too busy running the business and pounding the streets for sales to think that there may be a problem building. Watch out.

STAR BUSINESS

p 30-31

24-26 NCP Printers

4-6 Update The monthly round-up of all the major news from Australian print

Newcastle based printer is enjoying a harmonious bilateral relationship with owner, Bright Print

8-10 Monthly debrief

28-29 Escaping the Darkness

Recap of all the major developments published on proprint.com.au since the last issue of ProPrint

Why is the energy crisis happening and what can printers do to avoid being left with no power?

12 ProPrint Online

BUSINESS FOCUS

What has been causing our readers to hit the keyboard this month

32-36 Labelexpo ProPrint looks at the opportunities the latest digital press labels presses are bringing

14 Comment: Kirgan Kirgan shares a cautionary tale about trade printing

TECHNOLOGY GUIDE

15 Reader Response

42-45 Digital Print

With PacPrint finished what do our readers think of print's future?

15 Comment: Gettler

COVER STORY 20-22 Ricoh

Bullying can affect every workplace, but managers have to take responsibility and stop it

16-18 Downtime Part 2 of the behind the scenes pics from the National Print Awards

www.proprint.com.au

p 56

Andy Berry, new CEO at Ricoh, believes once printers have determined their purpose they can build a winning strategy. VP Peter Williams highlights the company's inkjet strategy.

Developments in digital printing are continuing apace, ProPrint presents the latest solutions

POSTSCRIPT 56 Print's Past, Diary, Q&A Sarah Kennedy at Colorcorp tell us her favourite season and what yuou will find her doing over the weekend

August 2017 ProPrint 1

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1 2 3

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THEY’RE INTERACTIVE Apart from being a fabulous online documentation of your job, online pages can be linked to advertiser websites, or any URL of your choosing.

Ideal for product catalogues and business directories.

THEY RETAIN CLIENTS So handy for your clients as an online back up to printed publications. Lock your clients into ordering through you.

AUSTRALIA’S BEST TRADE PRINTER

UPDATE

PIAA: retail electricity market could crash

by Athina Mallis

The PIAA has told the ACCC unsustainable increases in electricity prices and unreliable electricity supply are a serious and immediate threat to the survival of print businesses and to print industry jobs.

It cited numerous examples including one of its large Melbourne-based members which faces an increase from $120,000 per annum to $360,000 per annum once its existing contract expires on 31 December 2017, which it pointed out was is a three-fold and totally unsustainable increase.

The comments were made during a submission into an inquiry by the ACCC into retail pricing and practices in the national electricity market. Treasurer Scott Morrison directed the ACCC to investigate this issue.

Andrew Macaulay, CEO, PIAA says, “We have relayed to the ACCC some of the compelling and potentially devastating examples of electricity price increases which members have given us – anything from 5 to 6 per cent, up to 200 per cent.

“The ACCC will be concerned to know that many of our members have incurred these increases despite decreasing the amount of electricity they use. For example over a five year period, a regional Queensland member,

Warning the ACCC: Andrew Macaulay, PIAA CEO

Lotsa Print and Signage, has paid 27 per cent more for electricity, despite having decreased consumption by 18 per cent.

And that has meant turning air conditioners off – in far north Queensland.

Without using less electricity, our member would have been paying 40 per cent more.”

Macaulay says, “It is clear that the major electricity suppliers and distribution networks have witnessed their customers’ reduced power consumption and have consequently adjusted their prices to maintain and increase their revenue against the trendline of decreasing power use. This is not sustainable. Either power companies will have to take a hit in value and revenue, or their customers, including our members, will have to do so.

“If the current scenario continues, the consequences for employment will be dire. The sooner that Governments can force or encourage a readjustment to this conduct, the less damage will be done to industries like print, which rely on competitive power prices.”

The PIA A says its submission addresses the impediments that print and associated businesses face in engaging with the electricity market and gives the ACCC evidence from members for the ACCC to use in recommending improved outcomes for print and

associated businesses who are trying to choose and buy electricity services.

With this Inquiry, the ACCC cannot intervene in a dispute between an individual consumer and a retail provider.

The ACCC’s role is to prosecute an entity which it considers is breaching trade and consumer laws; and to recommend to the Federal Government some changes in retail practices in the national electricity market.

For the past six months the PIAA has been constantly lobbying the government on its unstable energy prices and energy security for its members.

The ACCC has been holding public forums on its electricity supply and prices inquiry during the end of July and beginning August, the PIAA urged its members to attend to speak to the representatives about the current electricity problem.

Following the forums, a summary of issues discussed will be published on the ACCC website.

Mary-Jo Fisher, director of government relations, PIAA says, “The aim was to get members along to the forum so the ACCC commissioners can hear from our industry first hand, and we expect the feedback and information our members will make first and foremost is on the issue about cost of energy and reliability of supply.”

MADE AN IMPRESSION HANNAPAK Iconic family owned carton printer bought by US giant IVE Takes Pacific Magazines contract from arch rival and former Pac Mags sister company PMP ANZPAC Hong Kong investor buys 100 year old business, ending uncertainty over future

UPS & DOWNS FUJI XEROX Printer developer suffers dip in sales following revelations of accounting irregularities in NZ AUSPOST News that the company continually restated its letters accounts is not welcome

4 ProPrint August 2017

Sydney based printer digitalpress launched its 350 page cookbook, Dish, with all of the profits going towards the Starlight Children’s Foundation. Theo Pettaras (rear right), owner of digitalpress teamed up with local designer Kelly Shields and got 44 chefs from prominent Australian restaurants to put in their childhood stories of food memories, and the recipe for a signature dish. “We coordinated chefs from some highly regarded restaurants such as Longrain, the Apollo and Otto Restaurant. When 16 chefs became 44 we had to stop taking submissions. No doubt there is a second print run in the pipeline.” Pettaras says the company printed an initial 500 and has presold already half of them, “It looks like we will sell out of the first run. It has taken nine months to produce this and it all came down to one little launch.” www.proprint.com.au

UPDATE

Avant Card bought by distribution co Mr Moto

by Athina Mallis

Arts and entertainment distribution company, Mr Moto has bought Avant Card, and is contining its postcard printing activity.

SOS Print + Media group has been its printing partner since 2009 and will continue to do so under Mr Moto.

In 2016, Avant Card says it distributed 15 million postcards to more than 1,500 venues across the country, all printed by SOS. Sam Dell’Aglio, director at Mr Moto says, “We are going to keep on using printer SOS Print + Media group at the moment. We have already started all the jobs that have been booked in past three weeks. Nothing has changed, not looking to move printers in the future, we struck a deal with Michael to continue going. They have got nine years’ experience under their belt.”

Avant which has branches around the country announced it was having to close its doors, but a week later Mr Moto came into buy the business.

Pat Mackle founder and managing director of Avant Card says, “There was such an outpouring of support from clients and the public to keep the free postcard concept alive. Being the number one player in the café scene and the obvious client similarity, I approached Sam at Mr Moto to ascertain his interest in a buy-out of displays.”

Michael Schulz, director at SOS Print + Media Group says, “Every year we printed millions of postcards for the

27% Rise in electricity prices for Lotsa Print despite its consumption falling by 18 per cent p4

Avant Card lives on: Owner Pat Mackle

company, all offset, from our facility in Alexandria.”

Avant Card was founded 25 years ago, and claimed to reach more than six million people each week through its cards.

Schulz says, “We started working with them about ten years ago. They were one of my favourite customers as they tried out new designs and had a different way of distributing marketing content.”

The management team at Avant blames the digital realm for putting the pressure on its company and taking market share from its biggest customers; art and culture, festivals, events and exhibitions.

Mr Moto opened 1985 has a national presence. Mr Moto says Avant will be part of its Drawcard business, offering clients a stronger out of home presence with a distribution network including cafes, bars and arts and cultural institutions.

AusPost figures clouded under restatements

by Athina Mallis

According to the AFR, national postal giant AusPost restated its accounts a whopping 49 times in the six years that Ahmed Fahour was CEO, clouding the ability of outsiders to assess the actual performance of its three key business; letters, parcels and retail, and making it easier for AusPost to present its case to win support for its strategy of moving away from mail.

By contrast in the five years prior to Fahour’s arrival the AusPost accounts were restated just once, leading to raised eyebrows when the 49 reastatements were revealed.

The AFR says that the analysis by William Ammentorp, a former banking analyst and funds manager who now manages his own investments showed that the restatements changed the reported financial performance of the operating segments, with generally adverse outcomes for letters, although they did not affect the overall bottom line. The analysis revealed that the nonstop restatements made the performance of the letters business look worse www.proprint.com.au

PRINT BY NUMBERS

Restatements: Under Ahmed Fahour’s tenure Auspost restated its accounts 49 times compared with once in the six prior years

than it was and made the parcels business look better. The period in question was the period when Fahour was campaigning for a focus onto parcels and away from letters, which ultimately resulted in AusPost doubling mail prices and halving delivery services.

According to the analysis in annual reports in the five years between 2011 and 2016 the Parcels 2014 result was the only instance of earnings before income tax and net interest (EBIT) being the same for an operating segment in the year reported as well as in the subsequent years’ annual report. In each of the other 18 instances operating segment EBITs were re-stated.

The AFR analysis says that in 2012 letters revenue was down by $299m due to restructuring, in 2013 further restructuring sent the performance down by $113m, and further restructuring in 2014 sent letters down by $4.2m, while the 2015 report shows yet more restructuring sent letters down by another $145m.

49 Number of times that AusPost restated its accounts during the Fahour years p5

$75m Price paid by US packaging giant WestRock for the Hannapak business p6

2700 Number of sheets per hour that the Heidelberg Primefire 106 digital B1 press produces p8

3.5 Tonnes of cartridge waste that Roland DG has saved from going to landfill p9

5 Number of years that NCP has been under the ownership of Bright Print Group p24-26

7000 Linear metres crossover point on new HP Indigo at Peacock Brothers p32-38

10 Digital printing systems in the Technology Guide p39-46

August 2017 ProPrint 5

UPDATE Fuji Xerox bosses apologise to staff

Anzpac sold to Hong Kong investor

by Athina Mallis

Apologising: Fuji Xerox top brass in Australia

The president of Fuji Xerox and the president of Fuji Xerox Asia Pacific have been in Australia to apologise to the company’s staff over the failure of its corporate governance, which allowed sales at any cost culture to develop under the tenure of former Australia and New Zealand CEO Neil Whittaker.

President Hiroshi Kurihara said the company had now put systems in place to ensure that culture and accounting irregularities could not happen again, and says it is appointing a chairman for Fuji Xerox Australia from Japan.

Sunil Gupta, managing director of Fuji Xerox Australia said the issue was now behind it, and says the company is focused on being a service and solutions provider, with graphic arts its priority.

Long established carton printer Anzpac Services has been bought by Hong Kong investor Jerome Chan, who is taking control from owner of the past nine years New Toyo Group.

Steve Arduin, head of operations at Anzpac says he does not know Chan, who is thought to have little previous connection to packaging. He says New Toyo were looking to sell Anzpac.

“New Toyo’s focus is on tobacco in Asia Pacific, it removed machinery from the Anzpac factory to assist the company in doing that over there. We have been put on the second fiddle trying to sell the business.”

Arduin says, “The deal was completed on August 1. Nothing will change with the premises and equipment.”

Around half the 75 staff were retrenched when ownership changed hands, with the previous owners taking care of the redundancy packages.

New Toyo bought Anzpac for $60m from British American Tobacco nine years ago.

Last November Anzpac shut down its Australian gravure printing operations, moving the work to New Toyo locations in Vietnam and Malaysia, this move resulted in several redundancies of longterm employees.

Anzpac: bought by Hong Kong investor Jermone Chan

Anzpac was founded in 1900 as Deaton & Spencer, it made its name in the latter half of the last century as a cigarette packaging printer, its owners sold to its major customer Rothmans in 1986, which became part of British American Tobacco in 1999.

In 2004 it installed the world’s longest KBA 142 press, but the move coincided with the beginning of the downturn in domestic cigarette consumption. The legislation to plain packaging led to New Toyo moving the cigarette packaging offshore as most of the KBA could not be used.

Anzpac is now a pure litho printer work ing for food a nd beverage companies.

WestRock buys Hanna for $75m

IVE takes Pacific Mags from PMP

by Athina Mallis

Printing giant IVE Group has won the Pacific Magazines contract from its major rival PMP, signing up a deal lasting four years.

Pacific Magazines is the number two magazine publisher in the country, with a 35 per cent market share. Bauer is number one, with almost 50 per cent, its titles are printed by PMP. Losing the contract will be a bitter blow to PMP, which was originally the same company as Pacific Magazines, with Pacific Magazines and Printing formed in 1991 when Rupert Murdoch span off his magazine business. Seven Media bought Pacific Magazines in 2002, leaving PMP solely as a print business. The contract includes the entire stable of Pacific Magazine regular mastheads.

Production will be managed through IVE businesses Blue Star Web and Franklin Web. IVE is currently constructing a new print site in Sydney’s west for the NSW Franklin Web operation. Warwick Hay, managing director, IVE Group says, “Our capacity to provide high quality on time delivery for a range of publications is underpinned by our current $40m investment programme.”

Hannapak, the largest independent folding carton printer in the country, has been bought by US paper and packaging giant WestRock.

WestRock has been a Hannapak customer for the past 18 years. It has paid $75m for the business, located in North Richmond NSW, and owned by the Hanna family since its inception by Charles Hanna half a century ago.

Hannapak company converts approximately 30,000 tons of paperboard into folding cartons each year on a suite of highly specified manroland presses.

The business has been led in recent times by Sam Hanna, son of Charles, who will join WestRock, and continue to lead the now acquired operation.

Steve Voorhees, chief executive officer of WestRock says, “Hannapak has built an outstanding folding carton business in Australia based on superior capabilities and customer service.

“We have a strong relationship with the company and the Hanna family, based on an 18-year partnership as one of our key converting partners in the region, and we are excited about the clear cultural and operational fit between the two companies.

6 ProPrint August 2017

Sold: Hannapak now owned by WestRock

“This acquisition expands our geographic footprint to better serve global and local customers, and will enable us to improve WestRock’s beverage packaging business in the region while expanding our participation to a variety of other attractive end markets.”

The sale lessens further the number of major independent folding carton printers in Australia, with rivals Colorpack and Graphitype both being bought by US packaging giants in recent years, Colorpack was bought by US Graphic Packaging last October, and Graphitype sold its packaging arm to CCL five year ago.

WestRock operates around the world and has some 45,000 staff in more than 300 operating and business locations spanning North America, South America, Europe and Asia.

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UPDATE JULY - AUGUST TIMELINE

Monthly debrief ProPrint recaps the developing print industry stories since your last issue. Stories are breaking every day

July issue July 2017

People Technology Business

www.proprint.com.au July 2017 $8.00

STAR BUSINESS

12 july FUJI XEROX DMS WINS $27M TOLL CONTRACT Fuji Xerox Document Management Solutions (FXDMS) has claimed victory in the $27m toll notice tender with the NSW Roads and Maritime Services. FXDMS was the incumbent, the new contract is set to run until November 2018. The work will be produced in Australia. Three months ago FXDMS won a major $79m contract with the Australian Department of Defence. FXDMS is owned by the same company Fujifilm that owns digital print engine developer Fuji Xerox Australia.

17 july FALLER RESERVES HEIDELBERG PRIMEFIRE FOR PACKAGING German packaging company August Faller Group has put its name down for one of the first Heidelberg Primefire 106 digital colour carton presses, ordering it for the company’s pharmaceutical packaging branch. Heidelberg says the company will obtain the machine sometime next year.

Primefire 106 is Heidelberg’s digital carton press, launched at drupa. It is in a race with Benny Landa’s nanopress S10 to be the first B1 digital printer onto the market, a race that Heidelberg has been leading for some time. Primefire 106 uses Heidelberg feed, sheet transport and delivery, combined with Fujifilm inkjet technology to produce B1 sheets at 2,700 an hour.

19 july PITNEY BOWES BRINGS RISO GD DOWN UNDER Print and mail company Pitney Bowes is partnering with print solutions expert Riso bringing the Riso GD onto Australian shores.

Customers will have the options of two printers the 9630 offering fast speeds and the 7730 offering lower operating costs. Pitney Bowes says the 9630 has fast printing functionality with a rapid and stable paper supply.

Data Direct Former AB Note boss buys renovators delight, transforms to powerhouse FOCUS: WIDE FORMAT

Sign of the times What are the new market opportunities emerging for wide format printers?

TECHNOLOGY GUIDES

PACPRINT AND POSTPRESS DIGITAL The latest developments in print technology ALSO INSIDE... $8.00 (inc GST)

Comment: Changing supplier Downtime: Print Awards QA: Richard Eastaugh

“I have been working there for 30 years and turned 73 the other day”

News happens every day at

proprint.com.au

13 july DIGIWEDOO SELLS TO FINSBURY GREEN After 30 years in business, Digiwedoo owner Mike Minahan has sold his print and print management company to print, mail and marketing company Finsbury Green.

Minahan says age was a factor when deciding about the business. “I have been working there for 30 years as the founder and owner, and turned 73 the other day.

The takeover starts on Monday, I would imagine it would take two to three days to get it sorted. A lot to do of course. It will not be that much of a disruption to our customers.” Digiwedoo clients are mainly designers and advertising agencies.

Minahan says the eight full time staff will continue working with Finsbury Green but will be moving to the Finsbury Green premises in Thebarton, five minutes out of the city. “The company is just in a different premises and serving the same customers.

It is business as usual.” Minahan says, “I wish all our loyal staff the best for the future.” Digiwedoo began as a pre-press specialist, and moved onto print and print management. Its equipment includes an HP Indigo which will be moving to Finsbury Green. Finsbury Green specialises in print, direct mail, marketing services, transmedia, logistic and print media.

18 july APN SIGNS NEW DIGITAL AGREEMENT APN Outdoor has penned a deal with digital transit technology company XTD, with the outdoor giant increases the scope of its partnership with XTD, as the content sales agency for XTD’s digital screen networks in the Melbourne and Brisbane metro rail networks. The new agreement is set to run for the next 18 months, with consideration for an additional extension term of 18 months.

APN is investing strongly in digital signage, its digital revenue rose by 50 per cent to a third of the total revenue for 2016 with 34 per cent of the total revenue, compared to 23 per cent in the year prior.

APN Outdoor’s full year result for 2016 saw its revenue up 10 per cent at $330.9m.

XTD installs and maintains what it claims is the world’s most advanced digital media systems designed for metro transit environments. The company owns and operates the system in Melbourne and Brisbane and is also currently operating a trial system within the metro tail network in New Delhi, India. The new agreement is set to run for the next 18 months, with consideration of an extension.

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Registered users get access to premium content 8 ProPrint August 2017

www.proprint.com.au

UPDATE

“We have been able to significantly reduce the amlount of empty inkjet catridges ending up in landfill”

24 july

ROLAND SAVES 3.5 TONNES OF WASTE Roland DG has saved 3.5 tonnes of cartridge and associated consumable waste from landfill since it started its cartridge recycling programme last October.

The waste has been collected in Roland DG collection boxes, located in major dealerships at large customer sites across the country. The materials collected equate to laying 127.93km of TonerPave, a low cost, lower carbon footprint asphalt developed from recycled materials, including the toner collected from within the ink cartridges. Greg Stone, product and marketing manager at Roland DG Australia says, “We are pleased to see that our Cartridge Recycle Programme is having such a positive impact on the wide format industry, and the environment as a whole, and that we have been able to significantly reduce the amount of empty inkjet cartridges ending up in landfill.”

There is no cost for customers interested in getting involved, Roland DG says All they need to do is drop their empty cartridges at a participating local dealer or Authorised Roland service agent.

QLD REVIEWING PRINT MANAGEMENT PANEL The Queensland state government is putting its print management panel under the spotlight as part of its state-wide review of procurement practices. The PIAA is meeting with the government over the issue. CEO Andrew Macaulay says, “The discussions we are having in QLD have significant importance to QLD printers, and is the second time we have had to protect their interests in this area.” Walter Kuhn, president of Printing Industries Association of Australia says, “The critical element in this review is to ensure that the government has direct engagement across the industry sectors. Printing Industries will be working on members’ behalf to ensure that the value of the printed material continues to be recognised amongst this critical sector.”

24 july

19 july PIAA CHANGES PRINT AWARDS The PIAA is changing the National Print Awards (NPA) and the state based PICAs, making the categories that is says properly reflect the industry, increase engagement with audience and introduce wider promotional communication.

The PIAA says it is also changing the procedure for entering the NPA, with entry now only for the winners of the PICAs, which are now open. The PICA awards will be given in October and November.

Andrew Macaulay, CEO at PIAA says, “The Printing awards are a tangible demonstration of the exceptional capability within the printing industry, and we have done a good job at celebrating our success. The timing is right to use our awards programme as an inspirational vehicle to promote the industry to a much wider audience. The impressive creativity and production of work in our industry deserves to be shared to key influencers, in the choice of communication channels such as advertising and marketing agencies, clients and policy makers.” www.proprint.com.au

25 july

20 july

BRIGHT ACQUIRES ITS SIXTH COMPANY Sydney and Newcastle based Bright Print Group (BPG) has acquired 20 year old Oxford Communications (OCG). Debbie Burgess, director at BPG says, “We will be taking in all 31 staff members. Most of the equipment is coming across to the company, and Oxford owner James Camelleri will decide what to do with the premises.” Burgess says Camelleri will be coming on board to the company playing a senior role in the business. She says the reason BPG bought the company is it is a good fit for BPG. She says, “BPG is looking forward to the merge as it will be positive for both companies.” Sydney based Oxford Print Group is the sixth company BPG has acquired. The company has a track record of buying businesses and investing in them. BPG has been running for more than 50 years employing 120 staff members in both its Sydney and Newcastle location. Burgess says BPG is not necessarily a printing company more a communication group housing different formats such as digital offset, promotional work, packaging, point of sale, online print management and warehouse distribution. OCG has been running since 1997, specialising in small format and large format printing.

POST CAMPAIGN GETS HUGE RESPONSE Mail advocacy group Keep Me Posted has received 1,000 reply paid postcards in response to a flyer campaign placed in Post Offices across the country in support of its current campaign to stop utilities, banks and telcos charging for paper bills.

Keep Me Posted says the response is unanimous, Australians want to be kept posted. The flyers provided information on paper billing and statement fees, and gave consumers tips about what they can do to challenge them. It also aimed to garner support for the campaign with a Reply Paid postcard that supporters can return to the campaign’s office. Kellie Northwood, executive director at Keep Me Posted says, “The response to the pamphlet is overwhelming.”

25 july DRUPA CENTRE TO INVEST $1BN German exhibition centre and drupa host Messe Dusseldorf is building a new multi-functional hall with conference facilities and a fully glazed new south entrance complete with a translucent, LED-lit canopy roof, and adjacent underground parking.

The construction should be finished by June 2019. The investment in this new Complex South totals €140m. By 2030 Messe Düsseldorf will invest a total of some €636m in its premises – almost $1bn.

Werner Dornscheidt, president and CEO of Messe Düsseldorf says, “With the start of construction we have taken an important step towards the complete modernisation and renovation of our premises at our homebase; and we continue adapting the exhibition centre to our customers’ demands and requirements thereby increasing our service excellence even further. And as always this is done without any subsidies.” From the new south entrance visitors can enter new Hall 1 right away. With a length of 158 metres, a width of 77 metres and more than 12,000 square metres of space without supports. The next drupa is in June/July 2020.

“And as always this was done without any subsidies”

August 2017 ProPrint 9

UPDATE JUNE - JULY TIMELINE 26 july

31 july

BARELLA SHUTS DOORS Victorian forme supplier Barella has closed down, with owner Barry Murphy saying ongoing health issues and a declining market causing him to pull the plug.

Barella has been around since it was opened by Murphy in 1976. He says during its heyday they employed seven people, and before they closed it was down to two. Murphy says, “I am 72 years old, I retired three years ago so I could have a major operation and have a three month recovery period. There is also deterioration within the printing industry.” He has had more joy with his premises, selling both factories, to two different entities. He says forme work is going overseas.

CANON SUPPORTING NATIONAL TREE DAY Canon Australia held its fourth annual National Tree Day planting initiative partnering with the Ryde Council, planting more than 350 seedlings at the Field of Mars reserve.

Twenty Canon staff took part in the event planting seedlings which will provide food and shelter for small birds and animals in the area. Yusuke Mizoguchi, managing director of Canon Oceania says, “People’s strong connection to nature is important, and in today’s world I believe companies like Canon, play a crucial role in giving back to their community and natural environment. Being part of the annual Tree Day planning initiative is important to all of us at Canon Australia, and really brings to life our company values of contributing to positive change.” As part of an ongoing commitment to preserving the natural environment and encouraging biodiversity Canon will also supply over 800 employees Australia-wide with Seedsticks native seed packs, so they can plant their own seeds at home or in their community.

27 july

Members have responded with robust and healthy discussion

PIAA AUSPOST TALKS BEGIN The PIAA AusPost breakfast talks have taken place in Sydney, Melbourne, Perth, Adelaide, Hobart and Brisbane. More than 150 members attended the event. Andrew Macaulay, CEO at the PIAA says, “I am thrilled that Printing Industries has been able to create this opportunity for direct engagement between our members and Australia Post, and that industry has come out and supported the initiative. Australia Post have openly shared their plans and some of the innovation soon to hit the market, and members have responded with robust and healthy discussion. We have appreciated printers being upfront about the business challenges they have experienced.”

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Registered users get access to premium content 10 ProPrint August 2017

31 july HEIDELBERG EYES €3BN TARGET German press giant Heidelberg held its AGM for the 2016-2017 financial year announcing to its shareholders the company is aiming for group sales around €3bn by 2022, up by 20 per cent from the current €2.5bn. Rainer Hundsdörfer, CEO at Heidelberg presented the company’s digital strategy, outlining future direction for Heidelberg with a strategic focus on technology leadership, digital transformation, and operational excellence. Following what the company says is the successful turnaround with a return to sustained profitability, the company has set its sights on a further significant improvement in profitability, to net profit after taxes of over €100m.

31 july MAGAZINE PRINT ADS BETTER FOR BRANDS A study commissioned

by Magazine Networks shows advertising campaigns which include print magazines in their media channels have a 22 per cent increase in brand trust. According to the study conducted by research firm Fiftyfive5 adding print delivers greater uplift than the average uplift of any other two media channel combinations. There was a 55 per cent increase in brand favourability and a 29 per cent increase in purchase intent.

Printed magazines in Australia have been hit hard by the digital onslaught, with some closing down and some migrating to digital only. Magazine Networks says its study aimed to measure brand health and ad impacts metrics across 24 brands in categories such as FMCG, automative, retail, pharmaceutical and furniture/ appliances. The impact of pairing print magazines with other channels had more than nine times more likely in brand interest with newspapers.

Visual Connections has donated $45k to Holmesglen Institute digial print training centre

01 august VISUAL CONNECTIONS FOCUS ON STUDENTS Industry suppliers association Visual Connections has donated $45,000 to the Holmesglen Institute digital print training centre in Victoria. The Visual Connections board unanimously supported the decision. It comes just a week after the association teamed up with education provider REA to promote print in the classroom. Mitchell Mulligan, newly appointed president at Visual Connections says, “On behalf of the Visual Connections members I am pleased to confirm our support for a training facility that will promote the industry’s digital technologies in a wide array of applications, across all sectors”. They are also partnering with Re-Engineering Australia (REA) to highlight the multitude of sign, graphics and print industry careers to students.

This announcement is part of a long-term strategy at REA to form connections which bring industry and the classroom closer together, and promote the development of employability skills and innovation.

Visual Connections president John Wall says the association represents a vibrant yet relatively unknown industry, “REA Foundation has proven that it can speak the language of young people.”

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UPDATE

ONLINE

THE PROPRINT ONLINE POLL

Do you think the new Yes 6% AusPost CEO Christine Holgate will help Has anyone the printing helped the industry? industry lately? 31%

social media

LinkedIn

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No 32%

» Members 2,685 NOTABLE POSTS: » Notable posts: Print 2017 does it again with the most exciting global print media channel development initiative of the decade– by Danny Moloney

Twitter

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I’ll wait and see 31%

» Followers 3,576

I cannot believe it 8% Why does Australia Post hate the print industry so much? 14%

What do you think about AusPost restating its figures I am not to make letters surprised at all 61% seem worse than they are?

It’s happened now but let’s start telling the truth AusPost 17%

Depending if I have anything better to do 4%

Will you attend the ACCC public forum on its inquiry into electricity prices?

No 21%

Facebook

www.facebook.com/ProPrintAustralia » Likes 1,415

TOP POSTS » ProPrint: Anzpac sold to Hong Kong

investor » Adel Salama: Just sad » ProPrint: Spicers raise prices, Ball &

Doggett waits » Peter Sturmer: Ball and Doggets

have already increased the price of Grange by $50 per tonne. It’s Australian Paper that have increased locally made paper.

Web comments

Yes 4%

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Why bother, they will not do anything after 71%

Get involved. Have your say. Join the debate. Vote now.

This week’s poll is up on the proprint.com.au homepage.

12 ProPrint August 2017

NOTABLE MENTIONS AND RETWEETS » @onlinePRPixie: Canva launches printing service in US, interesting move » @patmcgrew: congratulations to @digital_press publishing charity cookbook » @keepmepostedau: Over 1,600 postcards and counting RE: Keep Me Posted received 1,000 postcards in support of its campaign

» Printing companies need to start making plans to install generators that can power their plants electricity shortages will become more common and a loss of production even if they only install smaller units that can keep the computers and admin running it is a must - commenter ARI on PIAA: electricity retail market could crash » I know it’s been going on for a long time, but every time I see Fuji Xerox winning a tender I still shake my head in disbelief that a company that stitches you up for hundreds of thousands of dollars by selling you there equipment, paper and click charges then turns around and becomes one of your biggest competitors in the market. commenter JK on Fuji Xerox DMS wins $27m contract www.proprint.com.au

UPDATE COMMENT

Clowns in the trade BADEN KIRGAN

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his is a story about trade printing and the dangers of dealing with some of the clowns in our industry. Back in 2013 I had a massive, temporary surge in sales. I have several printers I have known for years and who help me out with overflow work, but this run of good luck was so huge I needed more capacity.

A friend recommended a printer close to me who was touting heavily for trade work in the print zines. I contacted the owner and got some quotes. They were not great – some jobs I was only breaking even – but it was more important that I get the jobs done. Over the course of a few weeks we sent them over sixty thousand dollars’ worth of work, but once the surge passed we walked away.

There were a few reasons - they continually broke their commitments on delivery, which is death. Their quotes changed depending on how busy they were, which is a practice I detest.

And when we had a legitimate issue with their accounts department, before we could get to a resolution they kicked us off account and put us on COD, which would not have been so bad, except they had work in the factory they had taken on account but were now holding hostage to COD. But the real kicker was that every time they sent us a pallet of boxes, they used make-ready sheets slipped between the layers to stabilise the pallet. Nothing wrong with that, except they were make ready sheets from other printers’ work.

If I was the kind of person to take every advantage, I now had the print format, design and pricing structure for tens of jobs belonging to other printers. Happy days – except I was smart enough to realise that if they were kind enough to send other printers’ work to me, they were probably also sending my work to other printers.

Once we had everything out of their factory that was it. I would like to say they missed me but they have gone on, buying bigger and bigger presses and advertising heavily in the trade press for

14 ProPrint August 2017

Kirgan shares a cautionary tale about trade printing

trade work. Fast-forward to 2014 and we had another surge. The owner reached out to me and I politely refused his assistance, given the awful previous experience. Imagine my surprise when I started to hear from my clients saying they had been approached by the owner directly. When they demurred, saying they used us, he sent the following email: I appreciate your loyalty with Jeffries Printing and we are not here to change that. However, we are here as a back-up if you ever need as we provide high quality printing at competitive prices and with fast turnaround times.Please keep us in mind for any overflow work. We have also printed for Jeffries in the past when he has been at capacity and had to outsource work.

Most clients laughed it off, and I have always been open with them about how we deal with overflow work, but some of them were both annoyed and disconcerted to have my supplier contacting them like this. Imagine how I felt.

You never know what some people will do with your information

Now this company is big on marketing itself to the print industry and I get an email from them once a month or so, as well as reading about them every once in a while in the trades when they have moved or bought a new piece of gear. Every time I hear their name I shake my head and wonder about who they are screwing over now, but so long as it is not me it is live and let live. But I recently ran into the owners again. I was standing with some clients at a function when the owner came up and introduced himself as a printer who used to do work for me but not anymore because ‘Baden does not like me anymore for some reason’. Gobsmacked, I stood there while he took one client aside, and within earshot told him he ‘did not want to take any work away from Baden but that he had a press and machinery that could things do no one else could do and when could he come and give a presentation’.

Let me remind you – this guy advertises himself heavily as a trade printer, the last time I worked with him was in 2013, and he thinks it is cool not only to approach clients via email, but to actually steal them from me when I am actually standing there talking to them.

The owner walked away and my client and I started laughing at what had happened, then the client got a text. It was from the trade printer, asking exactly when he could make that meeting happen.

What a guy.

Baden Kirgan is managing director of Jeffries Printing Services

www.proprint.com.au

COMMENT UPDATE reader reaction After attending PacPrint what are your thoughts about the future of the printing industry?

Roger Kirwan, owner, Kirwan Print Group I imagine some printing company owners would reflect after the show and will look to join the many other successful print companies who have altered their business model and are now creating strong and sustainable futures for themselves. They realise that the need for them to manufacture everything is not necessarily there.

There is no way they can invest in all this latest equipment across all these ranges of products that their sales people may at any time be asked to provide. The customer is theirs, the relationship and trust is already exists – so to say No to a customer is opening the door to others and is commercial suicide. Better to outsource.

Gavin Wilson, managing director, LuxeFilms Yes, because we are all about print enhancement so we are jumping the print up a level. So it is all about enhancement for us. We have had a lot of interest at PacPrint.

Mick Rowan, director, PrintIQ To be honest, I didn’t to see a lot of what was on offer, apart from a few of our partner’s stands. However, gauging by the numbers on our stand, there are a lot of companies out there that are both positive and passionate about the future of print.

As an example, we demoed to 140 businesses throughout the show, with hardly a break, and I would have to say that the reactions that we received were more than just encouraging; they justified our investment in the industry. Does that make me personally positive?

Absolutely. www.proprint.com.au

LEON GETTLER

Stopping the bully Bullying can affect every workplace, but managers have to take responsibility to stop it

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ullying can happen anywhere, and that includes any printing business. It is not acceptable. Not only does it affect an individual’s health and ability to do their work, it also has an impact on the organisation. Low productivity, absenteeism and even physical illness can seep through and damage the company’s brand name, goodwill and bottom line. It is the job of managers to short-circuit bullying and stop it from happening.

According to Comcare, employers have a duty of care. Under the Occupational Health & Safety Act, they are required to provide an environment ‘that is safe for the employer’s employees and without risk to their health’.

Lawyers say bullying has to be treated like a health and safety issue which means printers need to apply standard work health and safety risk management principles (just as they do to other hazards in the workplace) Printers need to implement 360 degree performance appraisals so that the views of everyone, including those who are being bullied, are made known. They should also:  Provide supervision and training around the prevention of bullying.  Have clear cut performance management and disciplinary processes  Offer training, counselling and support to the perpetrators in the interests of helping them change behaviour.  Make sure that legal counsel is on hand.  Ensure that all the managers and supervisors understand the whole process of return to work plans.  Managers need to know they are expected to be supportive of workers who claim to have been bullied The printer can have several strategies to address bullying.

1. Acknowledge that bullying is a common problem in all organisations. Give the perpetrator the names of

managers and professional counsellors who are available for confidential discussions immediately after the bullying episode.

2. Offer the perpetrator the chance to enrol in courses to improve communication, participation in team meetings and assertiveness.

3. Follow up the courses by offering them the opportunity to take part in practical exercises in which they can role-play difficult conversations with colleagues and other managers. It is important that they have experience of hearing the right words come out of their mouth.

4. Send a colleague with an employee to support them during difficult meetings. The colleague can subtly set the meeting back on track if the perpetrator loses control of the conversation. The colleague can later test the performance of the employee by offering an objective perspective.

5. Encourage the perpetrator to exercise their skills outside the organisation in an industry association event or in a volunteer capacity for a charity.

6. Appoint the perpetrator to special projects that focus on the work tasks they enjoy and perform well.

Praise good performance publicly to build the employee’s profile in the organisation.

7. Set aside time for regular meetings with the perpetrator and let them know that you are available for confidential discussions of any problems that may arise in the future.

8. Remember that bullying can lead to serious psychological damage.

If the perpetrator continues to display moodiness out of proportion to recent events, increased irritability and frustration, has trouble accepting minor personal criticisms or is taking unnecessary risks, remind them that professional counselling is available.

Bullying is found in every workplace. Printers facing this problem need strategies in place.

August 2017 ProPrint 15

UPDATE DOWNTIME

The 34th National Print Awards Held during PacPrint in Melbourne, Adams Print came out on top with 7 gold medals. Check out part two of our behind the scenes coverage of print’s night of nights.

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1. (l-r) Dudley Scott, Scott Print and John Scott, Scott Print 2. (l-r) Jessica Harcourt, Scott Print and Jessica Macauley, Scott Print 3. (l-r) Nicole Danger, Press Print and Brooke Soutar, Adams Print 4. (l-r) Brooke Soutar, Nadine Hibbert and Shane Soutar, all Adams Print 5. Lynda Gould, PEP Central and Craig Dunsford, PMP 6. Russell Fray, Chapel Press and Ali Vivien, Chapel Press 16 ProPrint August 2017

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UPDATE DOWNTIME

The 34th National Print Awards 2

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1. (l-r) Amy Smith; Vivad; James Weaver, Vivad; Vinnie Vitetta, Vivad 2. (l-r) Luke Wooldrige, Kodak and Hugh Chisholm, Blue Star 3. (l-r) John Mitchell, Westcare and Jay Brown, Westcure Print 4. Sarah Leo, Openbook Howden and Wayne Hogg, Openbook Howden 5. (l-r) Gerri Tsernakis, Publicity Works and Meredith Bradley 6. (l-r) Robert Soutar, Adams Print and Tim Mahoney, Spicers 18 ProPrint August 2017

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COVER STORY

Thinking of purpose Andy Berry, new CEO at Ricoh, believes once printers have determined their purpose they can build a winning strategy

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he new managing director of Ricoh in Australia Andy Berry has spent the last three years consulting businesses from major corporates to small start-ups, in strategy, leadership, and design thinking, all aimed at solving what he calls wicked problems, in other words situations that need resolving but have no clear answers because there are so many variable factors at play. Sounds a bit like the printing industry which is in a period of tremendous change, in business and social environments that are also going through a period of tremendous change.

Berry says, “How do businesses plan for the future when we do not know what the world will look like? What do we want the customer experience to be, what will they expect? Businesses used to be able to plan for the next three or five years with some degree of certainty in the analogue world, today that is not the case as none of us can know how the social and technological landscape will look, but one thing we do know is that it will not be the same as today.

“So how do we deal with that, we start by having a strategic conversation.

As a leadership team you start to try 20 ProPrint August 2017

and imagine what the world of the future may be like, you start to coalesce as a group around a hypothesis, create situational conversations, and especially immerse yourself in the world of your customers.”

Berry says that while business has been trained to solve problems strategic thinkers need to place themselves in their customers’ shoes and then ask the big questions. He says, “People who lead businesses are smart, they know how the world operates, they have a wealth of knowledge and experience, they have been successful, but they may be struggling now under the sheer pace of change. One of the best ways to meet the challenges and see the opportunities is by tapping into Gen Y, the younger generation, who approach the world from a different perspective.

In the old school strategy formulation was planning, now it does not operate like that, the new generation of strategic thinking, everything is on shorter paradigms, and the need is for bold decisions.

“Investment, acquisitions, expansion, culture are all questions to be asked, but overall we need to ask what is our purpose? If a business asks and answers that then it is on the way to building a strategy.

Fires me up “For instance with Ricoh our purpose is clear - to improve work life. We exist to make the working life better for our customers, and everything goes through this matrix. Personally it is what fires me up in the morning, it is my reason for coming in.”

Berry is managing director of the whole of Ricoh Australia, not just the print production division, which makes up about 15 per cent of the company’s business here.

The fastest growing part of Ricoh Australia is its IT Services business.

This is split into three parts; infrastructure, Connect & Collaborate,

and workflow automation. Connect & Collaborate is where Ricoh creates the ability for people to collaborate in real time from different locations around the country and around the world, using tools such as interactive whiteboards. Ricoh showed local printers its collaboration at drupa, where it brought the exhibition directly to the Australian showroom.

Ricoh works with three of the big four Australian banks providing solutions that assist with their migration to Activity Based Working.

He says, “We are constantly working with our customers to ensure that we are improving their working life.

Berry says, “We are in a nexus, between paper and digital, so workflow automation is key as paper based content transitions to digital.” He www.proprint.com.au

COVER STORY

points to the case of The Law Institute of Victoria, which recently moved its entire paper archive to digital resulting in truckloads of paper files leaving the premises. Changing the culture of collaborating in The Law Institute so it could respond in a positive way to the changing needs of its customer base, to be agile, digital and flexible. Enabling Victoria’s 20,000 lawyers to have all documentation just a click away. Berry says, “It is flexible, mobile, digital, it improves the working life of the lawyers, it just needed The Law Institute and Ricoh to re-imagine the way they worked.”

Berry is taking the top job at Ricoh at a time when office printing and commercial print are both looking vulnerable to digital technologies www.proprint.com.au

What is the purpose of your business?

Andy Berry, CEO, Ricoh

replacing paper. However he says that the pendulum in commercial print is swinging back from electronic communications. He says, “There has been a massive shift to digital marketing, everyone rushed into it, it was new, it was instantly measureable, it was cheap, it offered direct engagement, however it is clear that a reassessment is underway and that print is coming back in favour. All the studies show that printed communication generates a higher response rate. Digital looked wonderful for a while, but brands began to realise they are not getting the traction, especially as our emails and social media are overloaded with marketing messages.”

He also believes that adding value to printed product is where print business

owners will score, with his company offering innovative solutions such as the neon yellow or pink on the digital printers, and the white ink on its label press. He says, “We have one printer I met who approached a local honey manufacturer with the idea of creating a label to set them apart, using a white ink on a clear transparency film, the client loved the idea, sales have shot up, and the printer is now taking the idea to boutique vineyards. Printers cannot stand still and offer what everyone else can offer, they will benefit from thinking about what they provide for a customer that has not been provided before. They need to put themselves in their customers’ shoes, not thinking about what they can do but about what the customer could benefit from.

“People ask me if there are any threads common to the successful printers, and yes there are, the main one being that the more successful printers are those where the owner or driver of the business is mostly out with the customers, rather than mostly in with production. The print business owners that are out of their office, that are talking with customers, listening to customers, working at understanding what they are aiming for, they are the ones who are more successful. When the brains of the print business is bringing innovative ideas to customers that is when they will win, not when they are in the factory.

“An example we had a printer working with a credit union who suggested printing stepping stones on a pond to go on the floor of the shop, to graphically illustrate the steps necessary to get a mortgage. Most of their customers walked on the stepping stones. The client loved it, they had never had any floor graphics before, they would not have had the idea themselves, it was the printer that got alongside them, worked to understand what they were trying to achieve, and created a winning solution.”

Ricoh is now one of the bigger players in the local commercial print industry, its Pro C range of cutsheet toner digital colour printers have been taken up with gusto by Australian printers, its InfoPrint high volume inkjet webs are used by some leading transactional and transpromo printers, and the company is also making inroads into the wide format business.

However for Berry the equipment provides the platform, while the drive to success will come from the business owners, and particularly those who are prepared to think outside the box and focus on customer needs.

Continued on page 22 August 2017 ProPrint 21

COVER STORY Continued from page 21

Ricoh looks to emerging inkjet opportunities for printers Liverpudlian Peter Williams is now the global head of Ricoh’s commercial and industrial printing division, (CIP), essentially the man responsible for driving Ricoh’s investment, into an area where it played no part until its arrival at drupa 2008. Since then the company has become a major player in commercial print, with its digital toner based cutsheet colour printing systems installed at printers around the world, and its high speed inkjet webs which it initially co-developed with IBM leading the pack. It is also a major developer of workflow software for commercial and industrial print businesses.

And inkjet is now a major focus for Ricoh.

Ricoh itself has a new CEO, who has restructured the business into three operating groups; office products, office services and CIP. Unusually Williams and the CIP team are based not in Japan but in Europe. This is due to the desire of Ricoh to be close to the market and to the centres of innovation, which in the case of inkjet is the UK for development – particularly all the spin offs that came out of Cambridge University - and for applications it is Germany which leads the field in areas such as fabric, wallpapers, vinyls, wood laminates and the like.

Williams has been visiting Australia to talk to customers and understand the market, which he says is ‘demanding, mature, with high levels of expectations for technology and image quality, all areas where Ricoh excels.’

He is here making the point that although Ricoh is best known for its toner based printers it is in fact an inkjet leader, selling heads, inks and solutions across a broad range of applications, and it is in inkjet that he sees the new opportunities emerging.

He says, “We have the technology for

Inkjet developments: Ricoh 22 ProPrint August 2017

Inkjet opportunities in transition to digital: Peter Williams, VP, commercial and industrial printing, Ricoh

multiple applications. We have stainless steel piezo heads and high viscosity inks.

The inkjet market is growing, and Ricoh’s share of that market is growing faster.

There are a limited number of developers, the developments costs and infrastructure you need are high, but Ricoh is committed to inkjet, we have literally hundreds of engineers working on it.”

Some of the development is naturally under wraps, but Williams says that in hardware the company is developing technologies in direct to garment, wide format, flexo packaging and labelling. He says, “The technology will be disruptive.”

The company is also specifically looking at applications that are still in the analogue

world with little or no digital migration yet.

Williams says, “We understand the dynamics of the analogue to digital transition.” However he believes that existing supply lines will continue, just with digital components ousting existing means of manufacture.

In commercial print it will be no surprise to see Ricoh come out with a sheetfed inkjet printer in the not too distant future, given that it manufactures the heads and the inks and has paper transport expertise as well. Williams says, “Ricoh has the ability to deliver at the price, performance and quality criteria that the commercial print market demands.”

Williams was the person at Ricoh who wrote to Heidelberg, with the result that the offset giant took on a global distribution agreement for Ricoh’s digital printers. Williams says, “We have learned so much from Heidelberg, and I think they from us, it has been a successful partnership. The level of connection they have with their customers is superb and instructive. It is a strategic partnership for us, much more than another channel.”

Heidelberg has installed more than 1000 Ricoh printers since the partnership began, Ricoh itself has many more in the field.

Williams says, “The Ricoh printers have met the demands of the market, in the higher segments for ease of use, and the lower segments for cost, quality and convenience, and in both segments underpinned by image quality and reliability. Since we launched into the commercial print market we have continually invested in the business, always aiming to give our customers an advantage, which is manifesting itself in functions such as the fifth unit on our printers enabling customers to provide added value solutions to the market.” www.proprint.com.au

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PROFILE STAR BUSINESS NCP PRINTING

Bright future Five years after it was bought by Bright Print the Newcastle based NCP is enjoying a harmonious bilateral relationship with its owner

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ACK in 1975 Jack Stott established NCP. Later, the company was run by his daughter Jennifer, husband Peter Robinson and Noel Jenkins. Originally known as Newcastle Camera Print; after its location and giving an indication of the type of work it was producing, it quickly became known as NCP. The business grew over the years, through both its own sales efforts and acquisitions with companies such as Exact Printing being snapped up as opportunities arose.

Then 37 years after it was founded, the company was bought by Sydney’s Bright Print Group, run at the time, as it still is, by young brother and sister partners John Bright and Debbie Burgess. This acquisition enabled BPG to enter a brand new market: Newcastle and the Hunter, and as market leaders NCP was, and still is, the biggest printer in Hunter region.

Any change in ownership represents challenges for the staff, with concerns over the plans for the business.

However any fears that staff had were soon put to rest, with BPG making major investments in NCP, beginning with the construction of a new purposebuilt factory. BPG also sold the tencolour perfector at NCP and replaced it with a brand new five-colour plus aqueous coater Komori B1, the only B1 press in Newcastle. BPG also invested heavily in a new prepress workflow system and fully automatic B1 CTP to complement the new Komori press.

The company also hired well-known print identity David Konnecke, recruited to head sales at NCP. Konnecke says, “Bright saved the jobs of all the staff, most of whom had been 24 ProPrint August 2017

factfile Age: 42 Staff: 35 Owner: Bright Print Group Location: Newcastle Speciality: Boutique jobs Strategy: Commitment to quality

here for a long time, as they loved working for the company. The investments made by Bright in the new premises and top-of-the-line equipment gave everyone a spring in their step and got the staff right behind the new owners.”

The move to the new premises and the new press was part of Bright’s strategy to streamline production, and enter new markets; particularly packaging. Konnecke says, “The old Arnott St premises were a rabbit warren which the business had outgrown. The Komori is a dream machine and wonderful for packaging, it handles cartons effortlessly and the aqueous coating is a tremendous varnish. When

Bright bought the business, and made these investments, they really showed their intent to create a completely modern print business fully capable of meeting the demands of the changing market and able to confidently enter markets such as packaging. They made those investments and they’ve been proved to be the correct decisions. NCP has maintained its position as the leading printer in the Hunter region.”

Today NCP positions itself as a quality boutique printer, with books and packaging also making up a strong part of the business. Clients include the Royal Australian Mint. Konnecke says, “We win a fair bit of work through our evident commitment to quality and we www.proprint.com.au

STAR BUSINESS PROFILE

2

3

try to keep price out of the equation as much as possible, although of course it always makes an appearance at some stage.”

The Newcastle print market is changing as the business market changes. With the move away from mining and steel production impacting hundreds of different businesses, print businesses have struggled to adapt.

Prior to the GFC there were around 20 lithographic printers in the city, today there are only a handful. However Konnecke says, “The city is regenerating, no doubt about that, and that means there is opportunity for NCP. And it is a parochial place, so while we do get printers from Sydney www.proprint.com.au

1. Top team: Sales manager David Konnecke (r), operations manager Alan Neader (c), and factory manager Ross Greenstreet (l) 2. NCP has inhouse saddle stitching 3. Bespoke jobs can include a host of embellishments all achieved within the group

from time to time, mostly they go back empty handed. Businesses here like to support other businesses in the area, all things being equal of course.”

Having been producing quality work for the best part of four decades NCP receives a lot of referrals. Konnecke says, “Word of mouth is a wonderful sales tool and it also acts as a quality control standard, because in a relatively small market like ours, if a client receives a poor job everyone knows about it. We check everything that goes out the door here and if we are not happy with it we will reprint the job.”

NCP itself has gone down the acquisition trail to get into markets outside Newcastle, with companies

including JB Waldergrave and Ross Print. The bulk of the work though is from Newcastle, although one of its biggest customers is based on the Central Coast. There is also work from Canberra, which Konnecke says is down to the quality of work NCP produces.

As part of its strategy NCP and Konnecke have made it their business to get to know every design and advertising agency in Newcastle.

Konnecke says, “I like to think we are their preferred partner; we are to the majority of them. We spend a lot of time with designers, both the professionals and students at university, helping them to see the possibilities they have with NCP to create great work. We see it as part of our role to expose students especially to the benefits of print, and to educate them on the way print works. Colleges do not always provide the insight we think they ought to, for instance I had a group of 17 final year students here last month and only a few of them had been in a printing company before. We talk to them about everything; the mechanics such as bleed, trim, imposition, and about the creative possibilities.”

Being part of the Bright Print Group is not just about having strong financial backing. Part of the BPG strategy is to keep as much work inhouse as possible, and this happens between the sites at Newcastle and Wetherill Park sharing production. Konnecke says, “We are fully integrated sites, up here we do the foiling, embossing, die cutting and creasing, while at BPG they do all the UV and celloglazing. We have an eight tonne truck that goes between the two facilities every day. It sets off at 7.30am and is back here by 5pm. It saves costs, it means we don’t send work out, and we have complete control over quality and scheduling. I have had issues in the past with work that was sent out, so to be able to have it all produced inhouse is a real benefit to us and to our clients.”

It is not just the finishing and embellishing that goes to Wetherill Park though. NCP makes use of the tencolour perfector and BPG’s new wide format inkjet division when appropriate. Konnecke says, “If the job suits the ten-colour or their wide format inkjet then it goes down there.

This is what we mean by fully integrated, we’re able to work at optimum efficiency by sharing the facilities at both sites. It is a real benefit to our business to be able to call on the equipment down there; we can sell against that. It really means we can say yes to pretty much everything and know we can produce at the quality, price and time the market demands.

Continued on page 26 August 2017 ProPrint 25

PROFILE STAR BUSINESS Continued from page 25

“There is virtually nothing we can’t print, we even print on tabletops and doors these days. NCP is a good story, I don’t think there would be any of our 35 staff working here who do not appreciate the way the company is run and who are not proud to work here.

They know the business lives and dies by the quality and timeliness of its work. The staff are committed to being the best they can”, says Konnecke.

NCP has internal standards and processes, with all aspects of the job checked and double checked. All staff sign off on every part of the job they have worked on. Konnecke says, “It is about accountability and responsibility.

BPG’s owners are clear in their standards; nothing goes out of here that we would not be proud of, and there are no short cuts.”

Inside the Newcastle premises are five offset presses, the B1 Komori fivecolour plus aqueous coater, and a battery of Heidelberg GTOs, including a five-colour, a two-colour, a singlecolour, and a B2 two-colour perfector.

CTP is inhouse, as is all finishing.

NCP also runs digital, with a Fuji Xerox 800 which came from BPG when we moved into our new building.

Konnecke says, “We use the digital colour press all the time, everything from colour brochures to business cards and a fair bit of variable data, including sequential numbering. Most clients have no interest in whether a job is printed offset or digital, providing the quality meets their expectations, which it does, and for us it means we can produce short run and ultra-fast turnaround work. We reckon most jobs up to 2000 runs can be produced effectively on the digital printer, after that it is more cost effective to produce plates and put the job on offset. We

26 ProPrint August 2017

Heidelberg platen for die-cutting

Inhouse digital printing: Lee Allen with the Fui Xerox

decide whether it will be offset or digital at the time of the quote and discuss that with the client.”

NCP has a full array of finishing kit, including its own Bobst die-cutter and a Heidelberg cylinder that has been converted into a foiling system. It also offers a range of finishing for books, including inhouse case binding and several hand finishes for books.

Konnecke himself was brought in by BPG three years ago in the role of sales manager. Following a long career in print industry sales, he spent time working for an embellishment company, one other printer and Raleigh Paper for the best part of 25 years before it was bought by BJ Ball. He is

also a past president and life member of the Junior Printing Executives.

He says, “NCP is owned by good people, with a good reputation and a good strategy. I have known the people at BPG for 30 years, they are the best people you could hope to work for.

Since John and Debbie have taken over the family firm they have done wonders. Their business ethics are a reflection of their personal ethics, which is why Bright Print Group has such a good reputation.”

Konnecke will be retiring soon, but the company has just increased its sales team with two new staff. Konnecke says, “We only had one position but they were both so impressive we hired the pair of them. They are good, experienced operators who are passionate about the business. Our sales team are committed to the work, to their clients and to each other, we work to be the best.”

While Konnecke runs the sales operation, Alan Neader runs the production side of the business as operations manager with John Bright and Debbie Burgess coming up to Newcastle regularly to work with the team, providing insight and guidance.

Konnecke says, “These are exciting times for NCP. Print will always have a strong place in the communications mix; the demand for packaging will only increase, people are returning to books and the ‘bespoke-added value’ print work that we can produce continues to gain wider recognition.

There is a lot happening within the Bright Print Group, which continues to provide support, leadership and inspiration.” www.proprint.com.au

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FOCUS ANALYSIS

Escaping the darkness Why is the energy crisis happening and what can printers do to avoid being left with no power?

R

By Athina Mallis

ight now most printers are facing skyrocketing power bills, and energy has risen to the top of the agenda of almost every printer in the country. The PIAA is in continuous conversations with the state and federal governments, and South Australian printers have been the victim of three blackouts. So the question is, why is this happening and how will it be fixed?

In March, ProPrint asked its readers “How concerned are you about the growing energy problem?” The majority of voters said they were concerned or very concerned about the issue, witn only five per cent not having thought about it.

Since then an energy report by Pulp and Paper Edge named six issues directly impacting Australia’s pulp and paper industry, including securing base load electricity supply, access to affordable gas for conventional and unconventional sources and renewable energy certificates (REC) under the renewable energy target for thermal heat generation.

In June, Dr Alan Finkel delivered his report to the state governments (COAG) on the future of energy security in Australia, acknowledging the adoption of renewable energy has caused security and reliability problems, and suggesting any new provider of renewable energy must guarantee back-up supply for example, by battery and therefore reliability. The report also recommends a new overarching bureaucracy - an energy security board to implement and coordinate national monitoring of security and reliability.

28 ProPrint August 2017

Currently, the ACCC is inquiring into electricity supply and prices with a preliminary report due to Treasurer Scott Morrison at the end of next month, and the final report due June 30 next year. But will this help the print industry or is it too late?

The Problem

Adelaide printer Terry Howe Printing Services was caught up in the South Australian blackouts but luckily for owner Terry Howe he didn’t get the full brunt of it.

“We lost a day and half of trading, most people were understanding about that and it took us a week to get back in order because you do lose time with that, plus staff going home caused us to lose money.

“Here in South Australia our electricity [price] is the highest in the country. Our business is in a position where we are fortunate enough to put in 140 solar panels on our roof with the rebate. If we were to do that without the rebate we would have to look in cutting costs to continue operating.”

Howe simply states, “If something isn’t done sooner rather than later it will affect costs. It is one thing to be competitive but when you have excess overhead continually rising out of control it is difficult.

“I would like to be in a situation when the process can be capped so we can deal with this and be profitable in the Australian market.”

One Melbourne based PIAA member will see its power bill reach unthinkable figures once its existing

contract expires in December. Its bill will increase from $120,000 per year to $360,000 per year.

At the other end of the country Lotsa Print in Far North Queensland is seeing its power bills shoot up, even though it is managing to decrease its power consumption.Peter Martin – who has just sold the business - says it all began around six years ago when electricity prices were pushed up 20 per cent for a one off occasion but that one off occasion became a yearly event.

“Every year it is happening, it is incompetence by the government. The government keeps on increasing the prices so they can pay dividends to the government to help remove their debt.

The bottom line - let’s face it is any public operation is not known for efficiency; the government department is useless.”

He says the daily average energy price used to be $256 and in 2015 it was $340. Martin says he dubbing himself as the groaner and not the owner because yelling ‘shut the bloody door’ is a daily occurrence for him when the air conditioner is on.

Martin says these rising prices are coming straight out of the company’s back pocket, “The price rises are basically coming off the bottom line.

We can get a price increase and paper price increase and in this competitive market its coming off the bottom line, every increase. We cannot add those rises onto our invoices. And we need power, we are in North Queensland, we get 28C days in winter and we need the AC on all year for the machinery.” www.proprint.com.au

ANALYSIS FOCUS “Do we really want to be importing everything from overseas? The PIAA sees this as the single biggest issue facing the industry, as an economist it is the biggest issue facing economy. It is also starting become evident to householders and not just to business operators. It is crazy for us to not be looking at energy solutions, the state should not be getting away from its resposnsibility to provide orderly energy solutions.”

The solution

Martin says Lotsa is the most efficient it can be yet the prices keep on climbing, “Three years ago a government audit happened where they came down to us and told us that we are so efficient - it is not funny.

Balancing on the three phase power we turned the ACs up, we don’t turn them on as soon as we get to work, we wait a bit, we are really policing it, we have guys leaving early and I constantly tell them they can’t leave stuff on.”

Printing Industries CEO Andrew Macaulay is baffled that Australia has put itself in this situation, “It is insane a country like Australia which is richly endowed with energy – coal, gas and uranium – is in the position where we have got the fourth highest electricity costs in the world, and we are forecast to continue to see significant rises within the next three to four years. The direct impact on the printing sector both electricity and gas is that increases in energy input cost will have to be offset by labour force reduction, and when the printing industry is the largest manufacturer employer in the country. We are in the coal face of this problem.”

Macaulay highlights if this energy problem sticks around Australia could see a 10 per cent reduction in labour force, “It will be a direct impact on our economy, it is easier to manufacture products overseas, the inflection points leads business to move their whole manufacturing process overseas. The energy prices will lead us down this path, then all of a sudden we do not have a manufacturing workforce. www.proprint.com.au

Crisis: energy costs in Australia

Peter Martin says all he wants the government to do is to fix the issue so there is realistic power prices, “The stupidity the government is going through when Australia has a huge natural resource from coal and gas.

History has a wonderful way of summarising things, in another 30-40 years someone is going ask the question, what were they thinking?

How can they have such huge resources and put themselves out for the market.

What were they thinking, you know?

They are idiots.”

Martin has gone as far as discussing the issue with the PIAA, who are also heavily involved in this issue, “I stated we need realistic power prices to the PIAA, they have been good, going down to Canberra and raising the issue.

It’s a real issue in printing. Printing is a high intensity user of electricity, so they are pricing the domestic industry out of the market, and people are going overseas.”

In Adelaide Howe suggests legislation might be the answer for this issue, “I want them to have some sort of legislation to cap the high end users. It sounds a little bit discriminating but to cap the high end users or people that have employed 10 people or more in small businesses. They could also look at cost factor and reduce or give incentives, whether it be contract, capping price over three years, I am not sure if they would make the cost less and stop the increase.”

Martin will not bother contacting his local MP because he claims his representative Labor MP Billy Gordan keeps a low profile.

Macaulay says Printing Industries is in constant communication with state and federal governments, “We have been meeting with MP Josh Frydenberg on this subject and made recommendations directly to Frydenberg. Frydenberg is so tied to the Greens and the Paris Accord and he does not have a great grasp to the manufacturing factor, it is theoretical.”

Macaulay says “The Finkel report says the attitude of prime minister Turnbull is the obstacle, unless he gets out of his trendy inner city focus on renewable energy targets and focuses on reality - the country needs energy.

“It needs to be fixed in the immediate term, there is no reason why Australia should have inflating prices, no reason but bad public policy.

They have been captured by the environmental lobby and the rent seekers in the renewable sector (solar, wind) looking for subsidised regular markets and they have got powerful lobby groups. The consequence is in South Australia the lights went out in the entire state, now it is heading towards that in NSW and Victoria.”

Macaulay claims the PIAA was the first organisation to raise the energy crisis with the government since October last year, however getting a response has been hard going, “It is like beating a head against brick wall.

Industry players get increasingly concerned about the lack of government action.”

The plan

His plan is simple: make it an election issue at both the state and federal level and activate a members network where they can help the association by lobbying to state and federal ministers.

Macaulay says PIAA membership feedback was clear, this is the top issue in our industry and the economy, “This is bigger than anything else the politicians are wasting time on.”

Howe hasn’t made contact with anyone in Printing Industries but says they need to look into bulk buying electricity.

He says, “We need to have a community buy for the printers and alike. I think in South Australia when you are getting more solar panels you should get more rebate. The current rebate is not paying for anything when you put in a $40,000-$50,000 system you think you want to pay it off to get a return from it.”

Macaulay seems to already be on the case with bulk buying electricity, although he hasn’t got a fully laid out plan yet, he says, “We are looking at a number of programs involving bulk buying. The bigger issue is getting federal and state politicians to deal with this issue seriously. It is a serious economic issue and not a social issue.”

Howe says, “Whoever has the solutions to make life a bit easier good for them, I will back them.”

Printers continue to face a challenging situation with power, Macaulay is correct in calling on print businesses around the country to front their MPs and tell them something has to be done otherwise industry and jobs will go from their electorates.

With their fat salaries and paid-for offices many MPs will pay scant regard to the price of power, however telling them it is going to impact their constituency may help jolt them into action. PP August 2017 ProPrint 29

FOCUS BUSINESS

Watch for warning signs Do you put your business through a rigorous check-up every year? If not you should, prevention is better than a cure.

By Jon Severs

I

f you have spent many years driving the same roads, you will have become familiar with them, probably to the extent that you no longer need to check road signs or maps. Once-prominent landmarks now blend into the background, junctions are navigated on autopilot and you know where all the pinch-points are.

But familiarity can lead to complacency and complacency is a bad thing – particularly in business. If you are not paying attention to what’s going on around you, you may miss a vital signal that something is not right.

To look at it another way, if you could put your business through a rigorous medical checkup, would you be able to identify the bits that might cause the doctor to write up an urgent prescription? What about if you were to go through the same process with a possible acquisition target – would your guesses be more or less accurate?

Most print owners would like to think they would fare pretty well on both tests but printers should be trying to prove their hunch is correct by running through the key areas that determine the health of a business for their own company at least annually.

Just like any health check, prevention is better than cure so it is good to review at least once a year.

But whether you are looking at your own company or another you have your eye on, what exactly are you looking

30 ProPrint August 2017

for? The one thing that underpins everything else is cash. If you haven’t got cash – if you can’t fall back on cash – you are in trouble.

Cashflow is one of the surest vital signs of a business. There are two fundamental problems in manufacturing: one, not enough work; and two, too much work. In both situations lack of cash is critical and running out is fatal. Get control of cash is crucial. There is an old maxim, sales is vanity, profit is sanity and cash is king.

Beyond cash, though, there are a number of other things you should be checking.

The ins and outs

There are list of things you need to check and then double check in terms of where money is flowing in your business: analysis of sales; gross margin analysis; cost of sales analysis; review of overheads; depreciation policy;

margin analysis; stock level review; additional funding requirements; rent, lease or buy decisions.

Essentially, it is about tracking the dollars and cents in your business, or the one you are looking into, and asking the same questions each time: Are these figures correct? How can I be sure they are correct? And are there efficiencies to be made here?

Analyse sales to identify timeconsuming unprofitable and slowpaying jobs that tie up cash in inventory. The idea that any sale is a good sale can be tough to break.

A classic trap is when a company starts extending lead times or failing deliveries and customers then actually increase orders to ‘book their place in the queue’ – the company thinks this is good news until either it clears the backlog (usually not) or the customers find other suppliers – at which point the bubble bursts with a consequent cash problem. www.proprint.com.au

BUSINESS FOCUS with these contracts (are both sides behaving as stated) and assessing what fills the presses when this work is not running.

Much of the work in the print industry though is more ad hoc, with verbal agreements in place for repeated work or perhaps just a high turnover of work from multiple sources.

To assess these areas, you need to look at what the business does and how well it is producing it.

The reliability of verbal contracts or regular work depends on your reputation; if you are excellent at what you do and you are the only person in town that does it then that ‘contract’ is probably reliable. But if one of those factors is not in place, you can get in trouble. If you have just got a litho press and you are doing B3 work for trade customers then that is going to be slightly less reliable.

Production

You need capability you can rely on. If you can’t because the quality is poor or it breaks down, then things are going to go wrong quite quickly.

A sure sign of a business not functioning as it should is the blocked artery of a bottleneck. Identify and quickly fix production bottlenecks which may not necessarily be on big expensive kit like presses. Sometimes it is a bit of inexpensive finishing kit that could be subcontracted to ease that bottleneck in your production.

He also says to watch out for inventory and work in progress piling up, but not enough material to complete jobs, and presses sitting idle.

Tax or business irregularity

Another example is to look at how accurately a company can cost a job.

You need to understand where the costs sit, and to really understand that you need a proper costing system and not all SMEs in print have that.

Peacock says waste should also be treated as an outgoing in need of attention: “Look in the bins and check invoices from waste disposal companies to see how much material is being removed. Vision in Print has helped more than one company get out of trouble by reducing material waste.

No one gets hurt by reducing material waste.”

Clients

Taking a look at the client make-up is also a key area for assessment.

If you have a number of contracts for long-term work, reviewing these contracts for robustness, hidden charges, and any penalty charges is important, as is looking at past history www.proprint.com.au

Head in sand: not a good way to run your business

Let’s assume your business has this under control, because if you haven’t then a chat with a lawyer, rather than reading the rest of this article, is your number one priority.

Assessing an acquisition target in this area can, unfortunately, be tricky.

You will need to hunt around for this information. You need to ask if PAYG and GST is up to date. Look through the books. Make enquiries with their accountant or their financial director.

You should ask to see tax planning information, review debtors for risk and perform a covenant review and analyse bank guarantees.

But even then, the information you require may be hidden – sometimes on purpose. If this is so, then you will need some professional help to uncover it.

People

Non-financial indicators of a failing company include the best staff leaving, poor communication between sales and production, absent management information, and sometimes just a bad atmosphere.

Essentially the people employed at a company and how they interact are good indicators of how healthy the business really is.

After cash, people are the most important sign of whether a company is healthy or not. You have to have people in a business who have a desire to push in the direction you want the company to go. Equally you need a management with a commitment to at least try things. You cannot wait for someone else to make a decision, because nothing will ever happen.

Consultants says it is useful to see how a turnaround managing director works as an example of the close attention a business needs in order to thrive. Turnaround MDs are good at getting the senior team to start functioning and communicating. There is a lot to be learned from seeing how a ‘war room’ system works.

In a turnaround company a room is often set up with white boards for daily KPI and situation reports for finance, sales, purchasing, production, despatch. KPIs are strongly cash oriented. The senior team meet and within one hour and review each board in turn before splitting up to execute the agreed tasks.

The make-up of the team is also important: if your company or a target company relies too heavily on one member of staff, that spells trouble.

Likewise, a failure of succession planning for key roles also presents a risk.

Despite becoming increasingly automated, print is still heavily reliant on people power so you need to know who does what and how well, the terms each employee is on and whether there is anyone to step into each role.

The mix of the team is also crucial: you need the right blend of youth and experience.

You need to look for young blood, but that is all too rare these days. If a business is too reliant on staff that have been around too long, you risk those individuals being set in their ways and being resistant to change. What they tend to give you is incredibly reliable, high-standard work, though. Those new to the business tend to be more motivated to try things, to add spice and fire, to fuel new things happening.

For your business or one you are targeting, you need a mix of both.”

While not a comprehensive list, the above is a good starting point to run health check on your business.

Holohan has some final words of advice about how crucial it is that printers do this: “All owners of printing businesses should be aware of the issues which could seriously ‘damage their health’. The financial aspects of a business are usually the ones which can kill you.” PP August 2017 ProPrint 31

FOCUS LABELEXPO SPECIAL

Digital labels sticking In this ProPrint LabelExpo Special Preview we look at the opportunities the latest digital label presses coming onto the market

By Peter Kohn

T

he market for digital label printing is growing. Well-known companies such as the Nankervis family’s Southern Impact have moved into digital labels, in fact, that company has spun off a separate new business, OnPack, for its digital labels.

As Onpack’s managing director Michael Nankervis told ProPrint in May, the new enterprise has leapfrogged the fearsome set-up costs of traditional flexographic processes by going the digital route to open up a new revenue source from self-adhesive labels in the FMCG domain, as well as for industrial and chemical products.

Australian vendors have many digital label press offerings now, with HP, Epson, Screen, Mark Andy and EFI just some of the manufacturers in the game.

The benefits of on-demand, variabledata labels for brand owners are massive, and open up marketing opportunities for multiple versions of the same product. But what does it require to enter this lucrative sector?

Sticky Labels goes digital

At Sticky Labels in Melbourne, an expansion from flexographic into digital production has seen shorter runs being transferred to a new Screen TruePress Jet L350UV label press from Jet Technologies.

The 350mm narrow-web press, 32 ProPrint August 2017

Labels: digital opportunites

which relies on LED and conventional UV curing technologies, has made a significant impact at the 25-year-old, 15-staff Melbourne converting business, owned since one-and-a-half decades by brother and sister Mark and Justine McEwan, its co-directors.

Label Concepts, a sister company operating from the Braeside premises in Melbourne’s south east, was the first to adopt digital printing for its wideformat work, and vehicle wraps, and the time had come for Sticky Labels to embrace digital.

Sticky Labels production manager Grant Dennis tells ProPrint that long runs of labels for the FMCG markets have traditionally been produced on the company’s Nilpeter FB-3300 eightcolour narrow-web press, where screen and hot foiling is performed.

With the Nilpeter press, the emphasis is on volume production at speed (the FB-3300’s rated speed is 225m per minute). But shorter runs make a relative obstacle of the substantial makeready, which can take up to 90 minutes and includes cleaning

the trays, removing waste and replacing inks, as well as the cost margins for replacing consumables. At 50m/min, the Truepress is a nimble alternative for short-haul work.

“A market for flexo will remain,” predicts Dennis. “But we find we can run jobs up to 2,000-3,000 linear metres on the Screen digital press in a far more cost effective way.”

A true-proofing feature for the customer is another great advantage, he says. Customers’ files go directly to the press without plate making and the first impressions are the same quality as the whole print run, so clients obtain an accurate preview of the job.

Sticky Labels is also migrating its shorter runs to the TruePress from its letterpress printing, which it is planning to phase out, says Dennis.

At the time of our interview, Sticky Labels was awaiting the arrival of a new Prati DigiFast One finishing unit from Heidelberg Australia. The Italianbuilt Prati will perform hot-foiling, spot varnishing and high builds, which Dennis says will further enhance www.proprint.com.au

LABELEXPO SPECIAL FOCUS What the vendors say

Sticky Labels’ digital labels offering to its customers.

The DigiFast’s processing speeds of up to 80m/min and set-up time of just over eight minutes make short work out of finishing the output from digital label presses.

Dennis says that - an eye for colour aside - there is virtually no learning curve on the TruePress, and staff members from the flexo pressroom and the prepress department were trained to use the new machine in two days.

Another time and cost saving initiative at Sticky Labels has been installing a semi-turret rewind feature on its Nilpeter line, so that shorter runs can be finished inline, rather than fully unloading to an offline slitter-rewinder, which saves another person handling the job, he says.

Dennis predicts we will see a lot more of a new crop of flexo/digital hybrid press lines, with two or three flexo heads before and after a digital component, followed by finishing, with Heidelberg and Mark Andy already offering these. www.proprint.com.au

Digital label production finds its true niche with shorter run sizes, multiple SKUs, and customised labels, says industry stalwart Ian Guanaria, general manager of Aldus, which this year became part of the new Aldus-Tronics group. “Some of the key markets we are seeing growth with include craft beers and spirits, specialty regional goods, promotional products, and contract packaging. Mark Andy’s hybrid presses are certified to run industrial labels as well, which is a highly profitable market for converters.”

Guanaria notes that converters are always looking for ways to be more productive and profitable, he says, “With digital, this commonly comes in the form of plate cost elimination when compared to flexo processes. Digital also provides time savings with fast makereadies, which supports the increase in demand for shorter lead times and lower volume orders from brand owners.”

Commenting on the trend to short, boutique-type product lines, he sees consumers wanting products, “Tailored to their own tastes and lifestyles, which means the demand for labels and packaging are no longer one-size-fitsall.” He finds that the flexibility provided by digital hybrid technology allows for these high-mix, low volume production runs to be profitable.

Digital also allows variable-data print (VDP) capabilities needed to create personalised and versioned output that the market now frequently requires.

Asked what advice he would share with prospective new entrants to digital label printing, Guanaria reflects: “I would share that the days of digital printing being inaccessible are long gone. There are entry-level standalone units, such as the Mark Andy Digital One, offering affordable entry into digital label production.

These more affordable options eliminate the need to invest in additional converting processes and make it possible to print and convert in a single pass.

A market for flexo will remain. But we can run jobs up to 2-3,000 linear metres on the Screen digital press in a more cost effective way.”

Grant Dennis, production manager, Sticky Labels, Melbourne

“It is also important to run an ROI on any new investment. Understanding costs - consumables, labour, waste, and so on - and job mix, and taking into consideration any jobs that may have been previously declined or outsourced based on capability, could offer a better

ROI than expected,” he says. “Finally, converters should carefully evaluate the company with whom they are partnering. A digital press is more than just a technology - it is a complete workflow, business ideology and growth path. Make sure you select a company that truly understands your needs, job mix, and plans for growth.”

Mark Daws, general manager, ANZ, labels & packaging division at Currie Group, finds that almost all market segments have seen significant growth in digitally printed labels. The ANZ market is now mature and geared towards a faster turnaround and more agile supply chain. He sees FMCG as by far be the largest area, followed by healthcare and pharmaceuticals, wine and beverage.

“Brand owners are seeking new ways to enhance the packaging rather than the contents. They need new avenues to appeal to the consumer, particularly the millennials who are fast becoming the largest group of consumers.

“Fundamentally, brands need the ability to refresh content, launch new SKUs to market and reduce the impact of obsolescence. Products need to be smarter and more relevant to the consumer and digital is the ideal platform to facilitate these needs,” he explains.

Analysing the trend towards specialty product lines, Daws refers to research that has found consumers are exposed to an average of 50,000 SKUs in a typical grocery store and this number continues to increase.

“Shoppers have learnt to cope with this and seek out smarter, more relevant packaging that appeals to them.

Sustainability also plays a big role in decision making, particularly for the millennials. New brands coming to market need the ability to produce small test runs and to scale accordingly, based on product shift. Manufacturers don’t like the idea of minimum order quantities for labels - and digital printing can help to drive just-in-time print runs as required.”

“Digital printing for labels in particular continues to grow year on year. The sheer number of product SKUs and proliferation is driving this, as is the need for speed to market and zero inventory holdings. The average run length of jobs continues to decline, which again plays into the digital arena from a cost-to-produce perspective. The average run length in New Zealand is around 1,500 metres, for instance.

“Of course, there is still a need for conventional printing presses and digital still has a way to go before it can completely replace conventional forms of printing, but digital stakes its place as a tool in the toolbox, allowing users to drive new ideas and innovation to Continued on page 34 August 2017 ProPrint 33

FOCUS LABELEXPO SPECIAL Continued from page 33

their own customers at the right price.

Flexible packaging is the next industry to embrace digital printing and we now see several businesses producing these applications on HP Indigo presses.”

But new digital label printers should consider their options carefully, cautions Daws. The ANZ label industry is highly quality-driven, he argues, and the small size of the market means that, for the most part, converters are addressing multiple verticals (FMCG, healthcare, wines, and so on) so they do need to consider printing technology that can address all of these markets – from a quality perspective, substrate compatibility and so on. The majority of converters do not have the luxury of addressing a single application and therefore they are forced to be all things to their customers.

Daws identifies the HP Indigo WS6800 as the entry product of choice for digital print in labels and packaging applications. “Having evolved from the earlier Indigo WS6000 press, the current platform offers the flexibility to run media from 12 micron to 450 micron, allowing our customers to branch into new verticals such as shrink sleeves, IML, flexible packaging and cartons on top of pressure sensitive. Coming with an inline priming module (ILP) it means that any off-the-shelf material can be used on the press.

Mark Brown, who has taken up the mantle of product marketing manager, Industrial Print, at Konica Minolta, sees shorter-run digital label printing as particularly suited to Australian markets. “The Australian market has a small population and unless a brand is exporting, they don’t have the need for very long label print runs. There are always exceptions of course. The trend is of course for shorter runs with more frequency and variability.

34 ProPrint August 2017

SKU multiplication: digital gives marketers more options

“The benefit for the brand is less working capital held in stock and more JIT manufacturing. The opportunity for companies printing labels is to combine this to do one-to-one marketing with more emphasis on catering for the individual – some food brands do this for Christmas promotions, and Nutella is an excellent case of one-on-one marketing. There are also great opportunities for more personalisation in branding, where digital comes into its own,” he explains.

Konica Minolta’s entry in the digital label press stable is its bizhub Press C71cf, a 330mm web-width toner-based label printer. Brown sees its key benefits as the small footprint, speed, great colour gamut and colour consistency and service response times.

“This is our key differential – the ability to service within two hours to most metro locations. We can only do this due to our national service footprint, an ongoing investment which Konica Minolta makes.”

What technological and business advice does Brown have for Australian print businesses seeking to enter the digital label printing market – for existing label printers looking at a digital production channel but also for other types of printers looking at digital labels as an additional source of revenue?

“Any reputable vendor should be able tell you where the crossover points are between your current products, be they analogue or digital, and the latest range of digital products. From there it is a simple financial decision based on volume of jobs suitable for the digital press and the savings you make on each job to give an ROI.”

We needed the capacity and the versatility, and with high speeds, the Indigo opens up new markets” Andrew Crump, operations manager, Peacock Bros, Melbourne

Looking to the future, Brown says: “All global research connected to print show the trend of increasing volume in labels being printed digitally, so if you’re not in it already, it would be a place to review investment in.”

Peter Scott, managing director of Screen GP Australia, sees the market segments expanding from short-run, fast turnaround labels into the lower echelons of volume flexo/offset/gravure production. In his view, the food and beverage, packaged goods, cosmetics and pharma sectors are prime clients for digitally printed and finished labels.

“But there is really no limit to the markets that can be addressed. If extra embellishing is required, this can be incorporated into the finishing line, thus hot/cold foiling, embossing,

varnishing and flexo stations can feature along with unwind, die cutting, matrix stripping, slitting and rewinding.”

Scott talks about micro-breweries, boutique coffees, Mum and Dad home businesses, and even major brand houses. All these and more are seeking to capitalise on the boutique boom and they are significant drivers for digitallyprinted labels. He says, “The more complex and versioned a label run is, the better digital is suited to it because of the elimination of the prepress plate making stage and direct-to-press nature of the workflow. Also, the ease of producing professional looking labels is elevating small-batch production to compete with major established brands.

“Along with wide-format signage, POP and display, it is the hottest sector in the graphic arts for the foreseeable future. Whatever happens in commercial print, people will still be buying packaged, labelled goods; marketers and brand managers will still be looking for exclulsive ideas to boost sales. Add to this the emerging shift from flexo and offset production, still small but accelerating enormously.”

Scott classes Screen’s Truepress Jet L250AQ as an ideal starting point for CMYK labels, where no white ink is required. It has a 250mm wide web, aqueous inks and fine resolution, printing at nine or 18 linear m/min.

With proper rewinding built in, reels of printed labels are ready for finishing straight off the press. He says, “We like to think that L250 customers will graduate up to the L350AQ with its highly advanced features and much higher productivity.”

His words for new punters? “The business model is out there – demand for high-quality self-adhesive labels is on the increase. The best advice I can give is to choose your entry-level strategy; either at the low-end with desktop solutions, mid-end with something like our L250AQ or higher end with the L350UV, which will give you a 350mm wide web, 50m/min production, white ink and UV curing.

Whatever starting point a printer chooses in digital labels, it is a low-risk investment. You could even start with a wide-format print and cut printer for light production, but slitting and winding is an issue that needs to be addressed.”

Craig Heckenberg, Epson Australia’s general manager, sales & marketing, sees a growing demand for desktop label printers: in sectors such as manufacturing,, service providers, and logistics companies from all verticals looking to reduce turnaround times and introduce efficiencies by investing Continued on page 36 www.proprint.com.au

Jet Technologies Digital Offering D I G I TA L L A B E L P R E SS

• 50 meters a minute • light fast and chemical resistant inks • no priming required • Reproduction of wide CMYK colour gamut • Smooth output of gradations • Easy operation and maintenance

D I G I TA L L A B E L P R E SS

The press will run at 18 m/min and up to 1600 x 1600 dpi. With sophisticated algorithms and a self-maintaining system it will be able to run larger volumes and maintain high print quality.

For a private demonstration contact Caroline to book an appointment ctang@jet-ap.com Australia +61 2 8399 4999 orders@jet-ap.com www.jet-ap.com

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FOCUS LABELEXPO SPECIAL Continued from page 34

in print-on-demand solutions. And he sees production label presses increasingly being acquired by label converters aiming to meet demand for short-run, multiple kinds, and variabledata printed labels.

“Brands are starting to become multi-faceted and even more targeted with their marketing, hence labels with multiple variations for the same or similar products. Medicines are a good example. Print volume continues to grow and label converters and commercial printers will continue to invest in the technology.

“Technology has introduced this demand and Epson is an innovator and at the forefront of this disrupting technology, with its SurePress and ColorWorks digital label solutions,” he says. “Epson has solutions from desktop to short and medium run length production presses. Our presses deliver world-class quality and print directly onto off-the-shelf material without pretreatment. Epson’s label presses are designed and manufactured by Epson and all incorporate their patented PrecisionCore thin-film micro-piezo print head technology. They are easy to operate and cost efficient.”

“There is no digital press that can print every label,” he advises. “Match the technology which best matches your business and customer needs and keep in mind to allow for future markets currently not being serviced.

Ensure the correct front-end software and finishing solutions match your needs.”

Andy Yarrow, EFI’s director of sales, APAC, finds the seachange in Australian retail patterns from traditional department store and supermarket shopping to convenience driven multiple-trip browsing is driving change in the labelling markets. He finds that brand owners in such varied industries as food, beverages, pharmaceuticals, electronics and FMCG, all want to add more value to the retail experience and drive greater long-term consumer loyalty.

36 ProPrint August 2017

Digital speed: Grant Dennis, production manager Sticky Labels (centre) with the new Screen L350UV digutal label press, and Ruban Weeratne (l) and Darryl Wilson (r) from supplier Jet Technologies

Production power: Xeikon has a range of digital label presses for the Australian maket

“You can see this in the prevalence of campaigns using smarter interconnected packaging solutions targeted at specific consumer groups, with such inbuilt digital marketing devices as personalisation, regionalisation and QR codes. This is opening up multiple opportunities for our Jetrion partners in providing pack and product personalisation, customisation and premiumisation.

Combine this with ongoing time-tomarket pressures which are impacting lead times, and we find our partners are focusing more and more on workflow improvements in line with technology investment to get ahead of these pressures.”

Yarrow sees a lot of growth coming from print providers discovering they can produce four-colour process labels with virtually no setup, and with no tooling cost for die cutting. “Those factors drive out a lot of the cost that made short-run labels unaffordable in the past. Jetrion customers confirm, on average, their profits more than double on the work they move from flexo or screen to a Jetrion digital press. For example the typical uptime of a narrow-web flexo press is just 40 per cent, with the downtime coming from work involved in changeovers.”

His advice to printers: “Before you invest, make sure you ask important questions of your technology partner -how much does the company reinvest in R&D? What is required to upgrade the printer as technology improves? Is the printing system modular? Does the system provide for inline finishing?

What is the real cost per printed label?

Can you print on lower-cost media that does not require coatings or primers?

Who manufactures the ink and whom do you purchase the ink from?”

EFI offers its Jetrion narrow-web inkjet range for the short-run, variableprint digital label market. Its Jetrion 4950LX provides label production at a rated speed of 48 m/min in a 330mm format, while the 4900M-330 has the 330mm web width at a 24 m/min

speed, the 4900M provides a 210mm web at 24 m/min and the 4900ML prints on a 229m web at 24 m/min.

White ink is included on the 4900ML and optional on the other models.

Yarrow says EFI produces a fully integrated platform with all the aspects of the production solution, including printer, ink and software coming from EFI. Some of the advantages are direct print to a broad range of materials using inks that are durable, flexible and with industry-leading white, and no need to post-treat labels with a varnish or laminate. “Beyond quick-turnaround printing in short runs, EFI Jetrion technology offers the opportunity to expand into niche markets such as sequentially numbered and barcoded label work for specialty applications.”

Steve Ford, general manager, production sales & marketing, Fuji Xerox Asia, lists hot new markets for digital label presses, such as industrial (paint, automotive, chemical, household and electronics); food and beverage; pharmaceutical; body care; alu-printing (blister packs), cardboard blister and multi-layered laminate tube printing. These sectors are utilising a growing range of services from digital label providers, that include short-to mid run lengths, a growing SKU manifest, versioning, localisation, pilot marketing, variable image or data (to add value) and on-demand turnarounds (to reduce the ratio of obsolete stocks).

“Like traditional or commercial printing, there’s a trend towards shorter run lengths for labels. While there is no question the very long-run jobs fulfilled on flexographic or gravure presses remain the standard, the amount of labels that fit the new profile is rising. The demand for a fully digitised label, allowing the user or end-customer to run ultra-short run lengths – say, less than 500 labels to 100,000 - is definitely there, and on the increase. This is not to suggest that the number of labels being printed is reducing, quite the opposite, in fact, with a large increase in the number of jobs being experienced,” he reports.

Durst’s UV inkjet press, the Tau 330UV – supplied by Fuji Xerox includes rapid printing onto a range of substrates, which makes it ideal for label work. Durst’s one-pass system, using dual printheads, allows a speed of 37m/min at an optimal 1260dpi resolution, says Ford. The Durst digital line-up comprises the Tau 330UV and an entry-level 330E, as well as an optional inline laser finishing system, the 330. PacPrint visitors saw samples of the Tau 330’s output.

Configurations include hybrid options with large unwinders, flexo and embellishing units, and with an Continued on page 38 www.proprint.com.au

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July 2017 ProPrint 51

FOCUS LABELEXPO SPECIAL Continued from page 36

insetter function that enables the integration of conventional labels with digital overprinting. For sensitive food or pharmaceutical applications, there are low-migration inks and inert gas options.

For unsupported films and substrates, the Tau has a chiller option that takes the substrate range from 20 micron to 500 micron. An optional laser finishing system can dynamically die cut labels, down to a minimum quantity of one, by firing a 450w laser against suitable substrates. “The result is a business with a ‘roll-in and finishedlabels-out’ scenario,” explains Ford.

“Fuji Xerox Australia has partnered with Durst to exclusively distribute and service the Tau 330UV. With a variety of colour, web-width and RIP configurations to suit needs and existing workflow, this device is highly acclaimed and has been installed in hundreds of converters around the world who have experienced excellent results. The product is flexible enough to be able to work with most pre-or post-finishing equipment that a business might already have installed, and should these lines be suitable, can even run inline to reduce any touch points, minimising operational costs.”

Ford’s advice to anticipating label printers: “Consider the future of your business and the nature of the customer you might soon be dealing with. The investment into your current equipment will service you well for many years to come, but what might appear to be a niche today might be the keystone of your success sooner than you think.”

Xeikon, now part of the Flint Group, has entered the digital label market with its 3000 series, most notably its CX-3 or Cheetah press, a 330mm-web width, 30m/min toner machine.

Xeikon Asia-Pacific managing director Bent Serritslev points out noteworthy features in the new contender, such as single-pass opaque white, food-safe toners, 1200x3600 dpi resolution, and full rotary printing. And Xeikon’s ANZ sales manager Trevor Crowley underscores the important role digital label presses are now playing in tandem with higher-volume flexo presses.

Xeikon released its new Panther PX3000 UV inkjet digital label press at its Xeikon Café Innovations expo.

This new press is based on Xeikon’s Panther UV inkjet technology complementing the Xeikon 3000 series and Xeikon CX3 label presses based on

dry toner technology. Xeikon says the new press is bolstering the extensive range of digital printing solutions for the label market.

Xeikon developed the PX3000 response to the growing need of new technologies in digital label printing, to drive new applications and produce them in the most efficient way. Xeikon says, speed, durability, and costeffectiveness for digital runs are the primary strengths of the Xeikon PX3000.

The new press features a web width of 330mm and a maximum speed of 50m/min. Colour configuration is CMYK plus white, with a print quality of 600x600dpi. Substrates can range from self-adhesive media with facestocks including paper, PVC, PP, PET and PE. Trevor Crowley, Xeikon ANZ sales general manager says, “Finding the right solution for every label or packaging project is crucial for businesses today. The Xeikon solutions allow operations to handle workloads efficiently and in a way that would allow their business to grow. They also complement longer flexo runs supporting competitiveness in a range of fields.” PP

New crossover point to digital labels At Melbourne-based national label house Peacock Bros, a new HP Indigo 8000 narrow-web roll-to-roll digital label press purchased from Currie Group at this year’s PacPrint has opened a new chapter in selfadhesives production for the business.

Headquartered at Oakleigh in Melbourne’s south east, with around 100 staff, Peacock Bros is a family-owned company with a proud 129-year history, and today’s company has an impressive array of clients on its list – in a range of industries that include manufacturing, mining and energy, education, transport and logistics, healthcare, food and beverage, and retailing.

It supplies a comprehensive line-up of products from colour labels, blank labels and tags, to intelligent labelling integrating RFID and wireless technologies.

Among its many services, in the 1970s, Peacock Bros was the agent for the classic Casio handheld calculator, when box labelling issues before distribution drew the company into printing its own labels.

Peacock Bros acquired a Mark Andy press and soon label printing became so dominant to its revenues that in 1978 its general printing activities were sold off and a specialty label house emerged.

Nowadays Peacock Bros is one of the largest label manufacturers in Australasia, as well as an end-to-end solution provider.

Expanding from flexo printing, the company was looking for a digital solution for its label printing and was engaged in some fairly intense research.

38 ProPrint August 2017

Peacock Bros sealing the deal for the new HP Indigo 8000 at PacPrint with Currie Group and HP

Peacock Bros has been an HP Indigo user for many years, but operations manager Andrew Crump says he was open to any technology that could provide a productive digital label solution.

Crump was encouraged by the significantly lower crossover point that the HP Indigo 8000 offered. Accustomed to digital presses that only became viable on runs down to 3,000 metres, he was pleasantly surprised to discover that HP

Indigo had raised the level at which digital became viable to as high as 7,000 or 8,000 m/min on the new press, creating new opportunities in digital label production.

“We needed the capacity and the versatility,” Crump told ProPrint immediately after the purchase of the HP Indigo 8000 earlier this year, “and with high speeds, it opens up new markets to us, so we are delighted to be able to install the printer.” www.proprint.com.au

August 2017

ProPrint

TECHNOLOGY GUIDE Digital Printing

l l

Latest digital printing systems 10 under the microscope

PRODUCT PORTFOLIO TECHNOLOGY GUIDE

Digital Printing Developments in digital printing are continuing apace, ProPrint presents some of the latest solutions available

CANON IMAGEPRESS C850/C750/C650

The Canon imagePress C850/C750/ C650 digital colour production press is a new range that was released late last year. Canon says the imagePress C850 Series is designed to provide offset-like image quality through Canon’s Gloss Optimisation technology, and with a 32-beam R-VCSEL red laser to help produce crisp and clear images efficiently at 2400 x 2400 dpi. With a number of screen patterns to choose from, the press now offers a new 190 lpi dot screen for increased flexibility and optimised quality closer to offset. By using CV Toner and an Advanced Image Transfer Belt, these devices can print high-quality, consistent output on a variety of media, including textured stocks. With these features, users have the ability to enjoy color consistency for predictable quality output, a necessity of print providers who run repetitive jobs.

The imagePress C850, C750 and C650 devices operate at print speeds of up to 85, 75 and 65 A4 pages per minute, respectively, in colour and black- and-white. These digital presses provide reliable paper feeding with air separation and double sheet detection intended to reduce paper jams and production interruptions. First-timeright results with consistent colour and precise registration achieved by the Compact Registration Module help increase the amount of sellable output.

A new option is the Booklet Trimmer-F1, which helps save valuable 40 ProPrint August 2017

time with a larger trim waste bin and continuous run capability with on-thefly trim waste removal.

The imagePress C850 Series supports a variety of in-line finishing options to help expand the offerings of print service providers, including the ability to stack, fold, saddle-stitch, staple, perfect-bind. A new option for this series will be the Multi-Function Professional Puncher-A1 for die punching on a wider range of media sizes and weights for A4 and larger, oblong bound books. Using Canon’s die set, this new finishing module can professionally crease documents in-line to produce folded applications, including saddle stitch booklets, with less paper cracking on the spine of the document.

This series of printers now supports auto-duplex printing of up to 762mm long sheets, proving itself helpful in the short run production of six page brochures, posters and dust jackets.

CURRIE GROUP HP INDIGO 12000 DIGITAL PRESS

Canon imagePress

HP Indigo 12000

The 75cm format HP Indigo 12000 Digital Press produces the widest commercial application range with superior print quality, high productivity, and wide versatility.

Supplied by Currie Group and built on the best-selling and proven HP Indigo 10000 Digital Press, the press brings printing capabilities that extend highvalue opportunities to grow business.

An easy fit for offset printers, the HP Indigo 12000 Digital Press offers a solution for the digital printing of any commercial application on any substrate. Use the full sheet to print canvas wall art, high-impact posters, folders, oversized books, specialty products, and more.

Enabled by HP Indigo’s liquid ElectroInk technology digital offset process, HP Indigo digital prints are of the highest quality. Using dozens of software and hardware innovations, the press delivers the smoothest and sharpest prints in the industry, matching or even exceeding offset quality. HP Indigo ElectroInk has the widest digital colour gamut, reaching up to 97 per cent of Pantone colours and using up to seven ink stations on press. A 5th ink station is standard.

Breakthrough colour matching tools ensure perfect colour accuracy and consistency.

Printing B2-sized sheets in colour at up to 4600 per hour, the press is capable of producing over two million colour sheets per month. Print monochrome in duplex at 4600 sheets per hour. Sophisticated automation tools boost production efficiency and uptime.

One Shot extends substrates to canvas, synthetics and metallised media. Print on substrates from 70 gsm to 400 gsm and 75 to 450 microns in thickness—including coated, uncoated, coloured and dark papers, and

www.proprint.com.au

PRODUCT PORTFOLIO

EFI DIGITAL FRONT END

paperboard for folding cartons. Use on-press HP Indigo ElectroInk Primer to expand printing possibilities on offthe-shelf papers.

Brands use HP Indigo for its high print quality, just-in-time production, and ability to engage customers by customisation and personalisation with variable data printing capabilities.

HP PrintOS is a print production operating system with apps that help you get more out of your HP Indigo presses and simplify and automate production. Use PrintOS to continuously improve operations.

Access the open and secure cloud-based PrintOS platform anytime, anywhere.

Digital offset colour technology. HP Indigo’s liquid electrophotography (LEP) technology, using HP Indigo ElectroInk with minute ink particles, delivers crisp linework, attractive images and smooth vignettes with a thin ink layer that gives uniform gloss between the ink and substrate.

HP says innovation in software, hardware and supplies takes print quality to new levels. Advances include a superfine adaptive colour profile, optimised calibrations for perfect colour uniformity, tailored print modes and a microsphere-based blanket. www.proprint.com.au

Acquiring or upgrading a digital press is an important decision. But the choice of the digital front end, or DFE, is just as important. Both decisions will have long-lasting effects on your business and your bottom line. The right DFE affects operational and employee productivity, the use of your digital printer, output colour quality, the services you can offer and ROI on your print engine investment.

Think of the DFE as the brain of your print production workflow. With it, you can achieve efficient job submission, automation plus integration with web-to-print systems, choice of makeready location in prepress or at the DFE, advanced colour management tools integrated with the DFE Integration into a hybrid workflow with offset prepress and workflow solutions, management of multiple presses with a single operator interface. A Fiery DFE provides a wealth of capability: colour management, document makeready, Fiery Command WorkStation, job management of multiple printers, media management, preflight and softproof, job automation, late-stage job editing, variable data, raster image processing, finishing support and MIS/ web-to-print integration.

Consider future needs for the dynamic, ever-changing digital print environment. What is good enough now may not keep you competitive in the future. Look for a DFE that keeps you current or ahead of industry

EFI DFE: powering digital presses

trends. Industry trends at the moment are shorter runs, faster turnaround times, personalisation, end-to-end job automation, improving colour output quality, online ordering, hybrid offset and digital workflows, connecting systems through JDF or APIs and using print production analytics to improve operational efficiency.

Each printing business is different, and there is no single approach that fits them all. Your company will benefit from an informed decision and a total cost analysis. This analysis should include the cost savings and productivity enhancements you can achieve with the right DFE and workflow software.

FUJI XEROX COLOUR C70

Fuji Xerox C70

The Colour C70 is an affordable digital colour solution with the capability for professional image quality and is scalable to grow with the business.

Purpose built for both high-value applications and everyday work, the C70 offers the productivity of a multifunction device with a higher level of quality and finishing for creative and production teams. With print, copy and scan functions, the C70 has multi-tasking abilities with PC, USB and email, to save time by sending prints from any smart phone or tablet.

The Colour C70 prints up to 70 colour pages per minute and 75 blackand-white pages per minute on both uncoated and coated stock up to 300gsm and 220gsm for auto duplexing.

Fuji Xerox says the Colour C70 can create customer brochures, proposals, posters, window decals or polyester signs. It features 2,400 x 2,400dpi resolution and uses Fuji Xerox Special Polyester EA Low Melt Toner.

Using variable data printing software from XMPie, high-value variable data applications can be handled to expand product offerings.

The Colour C70 is modular and has several server options, as well as enterprise workflows to reduce print costs with Xerox Standard Accounting. Security enhancements include password protected PDFs, Print and Secure Print.

Flexible feeding is handled by four standard paper trays, and finishing options include stapling, hole punching, folding and face trimming.

Continued on page 42 August 2017 ProPrint 41

PRODUCT PORTFOLIO Continued from page 41

KODAK NEXPRESS ZX

Kodak says its NexPress ZX Digital Production Colour Platform helps protect the environment while consistently producing outstanding printed materials: Now more than ever, the Kodak NexPress ZX digital production colour press delivers new digital. Kodak says the NexPress ZX Platform is designed with an unprecedented level of user serviceability. The combination of Operator Replaceable Components (ORCs) and a world-class, on board operator support system helps ensure that you will be printing, not waiting for service to arrive.

The Kodak Nexpress ZX digital production colour press with the new optional upgrade Substrate Expansion Kit now supports thicker paper and thicker synthetic substrates, opening up new packaging and retail application opportunities including labels, tags and small folding cartons, without limiting the range of commercial jobs that can be produced.

The press will be shipped with System software v16, providing a set of new tools to control image quality and maintain productivity to optimize costs and uptime, including an ink estimating tool, which estimates the CMYK and all specialty inks used in a print job; spot colour recipes which allows PSPs to create colour blends for clients and save them for future orders; a new production dashboard which allows users to monitor the activity, consumables and performance of their Nexpress on a handheld device; automated data export, providing periodic data on press production details for integration with external MIS systems; NexPert operator support, a fully featured operator support and diagnostic system based on HTML5, allowing for fast and responsive operator access with no Javarelated security or performance

42 ProPrint August 2017

Kodak Nexpress

restrictions; and variable speed control which allows for the printing speed to be set in the job ticket, optimizing quality and press performance.

Kodak says the NexPress ZX platform enables significant gains in image quality, productivity and growth.

Featuring new substrate length 48�/1200 mm long sheet option, you can run more jobs per shift, drive more profit per page and reap the benefits of new, higher-value solutions.

With the optional business-building Kodak NexPress Fifth Imaging Unit Solutions, you can print gold, opaque white, dimensional raised print, accurate spot colours, clear, security features with red fluorescing dry ink or MICR, watermarking or a protective coating, and create high-impact glossing that Kodak says will capture customers’ attention and deliver higher margin application streams for you.

KONICA MINOLTA MGI METEOR

MGI Meteor

PacPrint 2017 was a watershed event for Konica Minolta Australia with launch announcements and first customer signings for the anticipated AccurioJet KM-1 B2 Inkjet Press as well as MGI JetVarnish EVO and iFoil solutions and C71cf label press.

However, while these solutions drew centre stage, Konica Minolta was previewing a quiet achiever in the soon to be launched MGI Meteor Unlimited

Colours. On the surface, Meteor is a four-colour press with impressive credentials. Combining productivity with image quality, 1200 x 1200 x 8 bit colour, support for 400gsm and 1200mm length banner print. . Its ability to handle a wide stock latitude from the standard coated and uncoated through to a full range of textured and linen stocks as well as synthetics allowing for greater cross section of plastic based applications.

The jewel in this solution though is the integrated foiling solution. The Meteor Unlimited Colour system uses a 100 per cent digital foil production process. This printing and foiling process eliminates the cost and need for die making, screens and traditional make-ready setup times and waste. The MGI iFoil unit connects in line with the Meteor press and utilises a wide variety of standard market foils and colours. Through the creative combination of foil and CMYK printing, the Meteor Unlimited Colour fulfils its naming status to produce the broadest range of colours possible as well as distinctive printing solutions for your customers.

Konica Minolta says this digital enhancement option allows printers to generate lucrative, high margin output, expand their service portfolios, and strengthen their client relationships.

MGI Meteor Unlimited Colours will have one additional differentiator that changes the digital landscape. The MGI Meteor offering in Australia will attract a similar service model used globally. That being one of no click charge. The purchase of consumables will depend on consumption the operator training structure will be designed to give a high degree of selfsufficiency. And with that, far greater control of costs and downtime.

Continued on page 44

www.proprint.com.au

PRODUCT PORTFOLIO Continued from page 42

OKI PRO8432WT

The Oki Pro8432WT white toner printer, released by Oki Data Australia and sold by Walcar Graphics, has the ability to print CMY and white while maintaining a compact size and a relatively low cost. This allows businesses to expand on demand printing capabilities on a variety of media.

Ben Sam of Walcar Graphics says the OKI Pro8432WT delivers fast, shortrun, on demand printing, with print speeds up to 35ppm at 1200 x 600dpi.

This is a perfect fit for businesses who want to produce a variety of niche products at the entry level.

Using Energy Efficient digital LED printing technology, the Pro8432WT offers high definition colour and white printing, alongside the ability to print on the most extensive range of media an ideal combination for creative businesses and reprographics studios.

Combining flexible media handling, high print speeds and now white toner capability in a compact A3 size, allows businesses to take printing to a new level, whether producing banners, point-of- sale, leaflets, vinyl graphics, stationery as well as promotional merchandise and garments using high quality compatible transfer paper, designed to work specifically with Oki white toner printers.

It uses separate toners and drums to reduced wastage and is energy efficient through the use of LED technology.

The Oki Pro8432WT comes with a three-year on-site service warranty in metro areas as well as Walcar’s reputed after sales service.

The Oki Pro8432WT is priced under $10,000 (subject to options), with suitable lease and rental arrangements being available to prospective buyers.

44 ProPrint August 2017

Oki Pro8432WT

RICOH PRO C7100X SERIES

Ricoh offers a complete portfolio of digital colour production cut-sheet presses from entry-level models – catering to those producing smaller volumes of high-quality print – to high volume models designed to handle a million prints per month. Ricoh says every model offers print quality, precise registration, support for a broad range of substrates, banner printing and dedicated Ricoh production service and support.

The most popular models in the Ricoh portfolio are the Pro C7100X Series that suit the needs of small to mid-size printers. Versatility is the key to the success of the Pro C7100X – according to Ricoh the range of stocks and sheet sizes it supports, finishing options, and the added value of a fifth colour station provide printers the opportunity to offer customers a much broader array of printed offerings.

With a paper weight range of 52.3gsm to 360gsm, the Pro C7100X Series will run a diverse range of paper stocks, including coated and uncoated, recycled, coloured (including black), pre-printed, pre-punched, tab, envelopes, labels, letterheads,

Ricoh Pro C7100

translucent, transparency, and synthetic material. Heavily textured media provides no challenge for the Pro C7100X Series with its AC-transfer system and elastic fusing belt technology transferring more toner to the media and improving image quality. It can handle a maximum sheet size of 330mm x 700mm enabling the creation of six-page A4 brochures or A4 landscape booklets.

Inline finishing choices include fullyfinished professional saddle-stitched booklet making, punching, folding, ring binding and perfect binding.

Mechanical registration ensures precise sheet-to-sheet and front-to-back image placement for easier finishing, whether inline or offline.

The Pro C7100X Series features a fifth print station with printers able to use neon yellow, clear gloss or white toner, to add value to documents and offer customers some unique special effects.

The Pro C7100X Series deliver outstanding image quality with an ultra high print resolution of 1200 x 4800 dpi and a self-contained liquid cooling system that keeps the developer at a constant temperature to ensure colour consistency across a print run.

The press is available in two print speeds – 80ppm or 90ppm – and with a scanner option for multi-function applications, including copying and scanning. Dedicated Ricoh production service and support includes a customer care program and tailored operator training syllabus. It is backed

by Ricoh’s TCRU program (Trained Customer Replaceable Units) which enables operators to replace more than a dozen parts to maximise uptime.

Continued on page 46

www.proprint.com.au

World’s First AFFordAble digitAl lAbel Press “i am really impressed with the quality of the print. even when the color density in the print is high, the print is flawless and the colors are crisp” Thomas Nielsen, Owner, IkonPrint

MeAsUreMeNts (MM): 1.500 x 1.591 x 916 WeigHt: 350 Kg

CoNsisteNt PriNt QUAlitY

lArge CAPACitY ANd loW oPerAtioN Cost

iNtUitiVe iNterFACe ANd WorKFloW

AdVANCed teCHNologY AVAilAble to eVerYbodY The TruepressJet L250AQ offers the market an affordable digital label press, which has the characteristics of the larger and more expensive systems. The press will run at 18 m/min and up to 1600 x 1600 dpi.With sophisticated algorithms and a self-maintaining system it will be able to run larger volumes and maintain high print quality.

Whether or not digital label printing is already a part of your offerings, TruepressJet L250AQ can bring value to your business due to low cost of ownership, consistent high quality print and job flexibility.

www.screenaust.com.au sales@screenaust.com.au

Ph 1300 305 118

www.jet-ap.com info@jet-ap.com

Ph 02 8399 4999

PRODUCT PORTFOLIO Continued from page 44

SCREEN GP TRUEPRESS JET 520

Screen GP introduced a whole new era for digital print in 2005 when it rolled out the world’s first continuous reel-fed inkjet press, the Truepress Jet 520.

Since then, the Truepress name has been applied to Screen’s everexpanding range of digital print systems that now cover transactional, direct mail, promotional and commercial print applications plus wide-format and the high growth area of digital label production. They are all inkjet and all digital.

Screen’s Truepress Jet L350UV label press was joined this year by its smaller non-UV sibling, the Truepress Jet L250AQ. As the name implies it uses aqueous inks rather than UV-curing and has a 250mm maximum web width against 350mm for the L350UV. Peter Scott, managing director at Screen GP says, “The L250AQ is the ideal entry-level into digitally produced labels of the highest colour and detail.

Unlike the various desktop type label machines, it has a proper unwind and rewind, web tensioning and intuitive software that can even calculate the cost-per-label based on stock and ink used. It fits perfectly in both an established label printer’s workflow, where reels can be finished on legacy finishing lines, or into commercial printers seeking to expand into labels where there are numerous third-party finishing systems we can work with to take the printed reels to be die-cut, matrix stripped, further embellished and rewound ready for use.”

Screen GP markets and supports the Truepress 46 ProPrint August 2017

Screen Truepress Jet

Jet L250UV with factory-trained local technicians and also has a reseller agreement through Jet Technologies, who also offer the bigger L350UV digital label press. A floor-standing robustly engineered press, the footprint is small enough to sit in most printshops and its futuristic looks have found appeal when showing customers around.

Scott says, “We have tested numerous self-adhesive stocks from Avery and other producers and have a growing list of approved substrates to deliver outstanding results on the L250AQ. Starting at under $100,000, it represents a modest investment for immediate entry into high-margin digital label production.”

XEIKON 9800

The Xeikon 9800 is a dry toner-based digital color press launched in 2015. It replaced the Xeikon 8800 and forms together with the Xeikon 9600 the 9000 Series of digital color production presses for the document and commercial printing industry.

The Xeikon 9800 digital color press uses Xeikon’s QA-CD toner toner platform, delivering the proven Xeikon print quality at speeds up to 21.5 meters Xeikon 9800

per minute, at reduced consumables cost.

Xeikon says the new Xeikon 9800 digital color press underlines Xeikon’s heritage of innovation in digital print technology, as the press sets another benchmark for quality and versatility in digital document and commercial printing.

The machine can print on a wide range of untreated substrates ranging from a lightweight 40gsm to 300gsm.

Its adapted Xeikon QA-CD toner and Xeikon’s high-quality imaging system deliver a print resolution of 1200x3600, with variable dot density for quality.

Integrated with the variable data capabilities of the Xeikon X-800 frontend, the company says this press is suited for high-end direct marketing work.

At speeds of up to 21.5m per minute, the Xeikon 9800 is the most productive digital colour press in the Xeikon portfolio with five over five single-pass duplex printing. Available QA-CD toners include CMYK, red, green, blue, extra magenta and superblack as well as white and clear (UV reflecting) toner.

Upon request, Xeikon can also provide special colours specified by print production operations and their brand owner clients.

NEXT MONTH

The September issu present the late e of ProPrint will st deve in digital label pr lopments inting

www.proprint.com.au

For enquiries, please contact: Carmen Ciappara, National Sales Manager Direct: 02 9625 4434 or 0410 582 450 | Email: carmen@proprint.com.au

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A4

FROM

QTY

Duplicate 50 sets

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10 $12.80

20 $10.50

30 $8.90

40 $8.20

50

$18.00

$14.80

$12.80

$11.20

$10.50

$10.00

$17.00

$13.50

$11.80

$10.30

$9.60

$9.10

Quadruplicate 50 sets

$19.73

$16.23

$14.53

$13.03

$12.33

$11.38

QTY

5

10

20

30

40

50

Duplicate 50 sets

$14.80

$9.90

$8.70

$7.10

$6.40

$5.90

Duplicate 100 sets

$15.90

$12.10 in 1 colour, $10.50 $8.90 Printing Reflex Blue or Black $8.20

$7.80

Triplicate 50 sets

$15.50

$11.20

$9.60

$8.00

$7.30

$6.90

Quadruplicate 50 sets

$17.32

$13.02

$11.42

$9.82

$9.12

$8.72

A6/DL QTY

Single

FIRST COPY

5

10

20

30

40

50

Duplicate 50 sets

$12.50

$9.50

$8.20

$6.70

$5.90

$5.50

Duplicate 100 sets

$15.50

$11.20

$9.60

$8.00

$7.30

$6.90

Triplicate 50 sets

$14.80

$9.90

$8.70

$7.10

$6.40

$5.90

Duplicate

Triplicate

/

Paper Type

Other

THIRD COPY

Paper Type

FOURTH COPY

Paper Type

Paper Colour

Paper Type

Paper Colour Paper Colour

Front Print Colour

Paper Colour

Front Print Colour

Front Print Colour

Back Print Colour

LHS

TOP

LHS

Numbering Quarter Bound Blue

Red

Left Hand Side

300gsm white board 500gsm box board Wrap-around

Print

NEW NOTE

TOP

LHS

Perforation

Other Standard 500gsm

Glue

Loose

Green

Black

N/A

TOP

Blue

Red

Blue

Red

box board

300gsm white board 500gsm box board

Fan-apart

LHS

N/A

Other

Top

300gsm Soft Cover Crocodile Board

Back Cover Inserter Card Backing Board

Perforation

N/A

TO

Book Binding Type Binding Tape Colour

Quarter Bound Glue Blue Red Green Loose Fan-apart Other Black Left Hand Side Top

Back Print Colour

Perforation

N/A

Binding Side Front Cover

Front Print Colour

Back Print Colour

Perforation

TOP

/ 20

Set / Book

Quadruplicate

SECOND COPY

Back Print Colour

Triplicate 50 sets

DATE

Deliver To Size

Copy / Set

$7.80

Duplicate 100 sets

A5

Job Name Qty

Print

Matching Front

Green

White

Green

Cover

Inserter Binding

Other

Grey

Other Wrap-around

Loose

PRICE INC. GST.

Loose

DELIVERY INC. GST.

Price Inc GST

Quote & order online:

www. dockets-forms.com

Normal turnaround 5 working days.

Paper colour: White, Blue, Yellow, Pink and Green.

Printing in 1 colour, Reflex Blue or Black on 1 side all pages, 1 perforation, 1 numbering all pages. Wrap around writing plate, FREE Hard board front covers.

Quarter Bound. Other printing colour, sizes, quantity, numbering and finishing options available on quote. Prices are for trade printers and graphic rooms only.

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Unit 3, 19 Chifley St, Smithfield NSW 2164 Tel: 02 9729 2022 Fax: 02 9729 4150 web: www.dockets-forms.com email: sales@dockets-forms.com

www.proprint.com.au

Your Printing Partners August 2017 ProPrint 47

GRAPH-PAK

MARKETPLACE SUPPLIER PROFILE

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

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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.

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info@graph-pak.com.au Unit 14/20, MetaEnquiries: st, Caringbah, NSW 2229, email: info@graph-pak.com.au 48 ProPrint August 2017

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

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August 2017 ProPrint 49

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Log on todetails Contact

to check out what is left of our parts

erly Formman THEXTON ENGINEERING Pty Ltd Bray phic Ph Keith 03 9555 4753 Fax 03 9555 4753 Gra eers Email: thexton@thextoneng.com.au n i Eng Web site: www.thextoneng.com.au

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50 ProPrint August 2017

www.proprint.com.au

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52 ProPrint August 2017

• • • • • •

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August 2017 ProPrint 53

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Advertising Index Admag BCS Asia Pacific Colour Graphics CTI Colour Printer Currie Group Dockets and Forms Embelleshing Group estickers.com.au Graphpak Hero Print Jet Technologies J W Graphics Konica Minolta

49 51 17 52 43 47 53 50 48 2,3 35 52 27

Lamson Paragon LEP Marvel Bookbinding Pack One Print Focus Ricoh Roller Poster Screen Sydney Binding Thexton Engineering Whirlwind Visual Connections

54 7 OBC 37 55 OFC, 23 IBC 45 47 50 IFC 13

Trade Services, Buying or Selling?

Advertise in Australia’s Number One Marketplace Contact Carmen (02) 9625 4434 or email carmen@proprint.com.au 54 ProPrint August 2017

www.proprint.com.au

MARKETPLACE

www.proprint.com.au

August 2017 ProPrint 55

POST SCRIPT Q&A Sarah Kennedy

PRINT’S PAST

Colorcorp

Why did you get into printing?

I opted for a more hands on education over a university degree straight out of school. I knew I had interests in graphic art, advertising and IT and wanted to give myself the best head start possible with these interests.

Photo engraving in the 1950s

W

e were introduced at a very early stage to very strong acids, working all day with acids, bitumen powders, resin powders, inks, lead inks. In those days we were using glass negatives. The day I started there at 4:30 in the afternoon I cut my wrist open and severed the tendons and my three month probation was actually sick leave. But I did go back in with my arm in a sling and ran errands for them and that sort of thing.

It was very, very interesting. We were throwing cyanide around all the time with the glass printing plates, we were using cyanide and lots of chemicals.

We were using collodion and silver to expose our glass negatives. 20 by 16

Dream holiday destination?

At the moment, it would have to be Canada.

inches was the largest negative we used.

Maybe, and no doubt other places had larger cameras, but you were limited by what you could get in the back of a camera. Which was very different from what we sling round our necks. It was a skill, it was an art, a craft probably, more than a trade, where everything was done manually. We got to the stage where if you had a problem with a printing plate, we could put a drop of solder on the plate, because we used zinc plates and lead solder would stick to it, and then with engravers we could recurve, re-engrave letters, a hole in a half-tone. We could put a drop of solder in there and again with engravers recreate what should be there. Most of the time now, that just goes through.

People don’t even worry about it. But a small hole or a small thing that was wrong with a plate, was either redone or repaired.

Three people alive or dead you would have dinner with?

Walt Disney, Benedict Cumberbatch and JRR Tolkien.

If you didn’t work in print what would you be doing?

If I didn’t work in print I have a feeling I would have pursued video and sound (music) editing for movies, and almost definitely would have gone to university to accomplish it.

Who would you like to be stuck on a desert island with?

If it’s a matter of survival then Les Stroud (Survival Expert). If not then my partner Nick (no hard feelings Nick).

Favourite movie?

At the moment I would have to say it is the science fiction movie Life.

Dave Fullarton

DIARY EVENT

LOCATION

DATE

Panpa & Panpa Awards

Sydney

Sept 6

Print 17

Chicago

Sept 10-14

LabelExpo

Brussels

Sept 25-28

Visual Impact

Sydney

Oct 11-13

Digital Packaging Summit

Miami

Oct 23-25

Inkjet Conference

Dusseldorf

Oct 24-25

Ipex

Birmingham

Oct 31-Nov 3

LabelExpo Asia

Shanghai

Dec 5-8

Fespa Asia 2018

Bangkok

Feb 22-24

Igas 2018

Tokyo

July 26-31

Do you have a weird habit?

Even as a child I have always played with the very tops of my ears when they are cold.

Who would play you in a movie?

I would probably go with Zooey Deschanel. I adore her quirkiness.

Sarah loves a good skim latte

Go to coffee order?

I love coffee hot and cold but I would have to say a skim Latte.

Favourite season?

Definitely Autumn (or season 2 of Rick and Morty).

Group Editor Wayne Robinson (02) 9806 9344, wayne@proprint.com.au News Reporter Athina Mallis (02) 9806 9344, athina@proprint.com.au Contributors Leon Gettler, Baden Kirgan, Peter Kohn, Frank Romano Design and Production Carrie Tong (02) 9806 9344, carrie@i-grafix.com; Miriam Lewis (02) 9806 9344, miriam@i-grafix.com National Sales Manager Carmen Ciappara (02) 9625 4434, carmen@proprint.com.au Group Publisher Brian Moore brian@i-grafix.com Managing Director Shankar Vishwanath Subscriptions (02) 9806 9344 subs@proprint.com.au Subscription rate (11 issues) Australia $69.95.

Printed by Hero Print, Alexandria, NSW. Cover finished by Allkotes, Silverwater, NSW. Mailed by Pack One and Post, Rockdale, NSW.

ProPrint is published monthly by Printer Magazines Group, registered in Australia ABN 25 927 113 642. This publication may not be reproduced or transmitted in any form in whole or in part without the written permission of the publishers. While every care has been taken in the preparation of this magazine, it is a condition of distribution that the publisher does not assume any responsibility or liability for any loss or damage which may result from any inaccuracy or omission in the publication.

56 ProPrint August 2017

www.proprint.com.au

Gordon Gibson. Direct: Guillotining 03 9450 7703

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