Irish Printer

SEPT/OCT 2016 || THE VOICE OF THE INDUSTRY || WWW.IRISHPRINTER.IE

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SEPT/OCT 2016 CONTENTS

12 04

News

A round up of some of the latest news from the Irish print industry.

10

Case Study

17

Design

We report on how Esmark Finch is delivering agile, on-demand print and packaging in partnership with IBS, a Xerox Company.

Jurgen Verhulst, Technical Marketing Manager EMEA, SAi, looks at how the right design software can help improve production efficiencies and expand a printer’s service offering.

30 Prints Past

The National Print Museum’s Vincent Caprani shines a light on a forgotten print heroine of the 1916 Rising, and wonders why she has been airbrushed from Irish history.

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20

Packaging

MJ Flood has powered ahead in terms of installations and innovation since it entered the production print sector in 2010.

Michael Power and Phil Schueler talk to Maev Martin about how they have now set their sights on packaging and label printing.

23

Colour Management

26

The Big Picture

28

New Technology

Cover Story As they celebrate their 10th birthday, Irish Printer talks to Blade Runner’s Managing Director Ronan O’Daly about why they are the biggest regrinder of guillotine and bindery blades for the printing industry on the island of Ireland.

Industry veteran and colour expert Ray Cheydleur talks to Maev Martin about industry trends, improving colour quality and consistency, and what’s next in the world of colour.

Agfa, Mimaki, and Fujifilm are all ramping up their wide format offerings. The roll-out of LED UV technology, as well as specialist inks, are major features of many of the recent arrivals.

Canon is set to address the limitations of ecosolvent and latex printing with its recently launched UVgel technology.

32

Innovation

Find out why the Xerox Versant 2100 digital production device is proving to be a transformative technology for Bandon Office Supplies in Cork.

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EDITOR’S LETTER

by a short document illustrating why the company entered this piece into the competition, how it fits the brief of the award, the challenges they had to overcome, and the overall value the product delivered to the customer. Which one do you think would win?

No matter how good the other piece is, the judges have no information by which to make a judgment.

Obviously the second piece gets the award! Companies that regularly win awards ‘get this’. They present their entries impeccably and know the techniques of winning these awards. It is pretty simple: tell the story of the entry; then the judges can judge.” When writing the additional information, he advises print companies to detail (briefly!) the processes and equipment that the entry was produced on and to mention anything of specific quality or detail that they are particularly proud of. But don’t write too much – remember that the judges are speed reading these documents.

Irish Printer wishes all entrants and the eventual nominees the very best of luck and I look forward to meeting you all at the awards ceremony.

elcome to the September/ October edition of Irish Printer magazine.

The Irish Print Awards have been celebrating excellence in the printing industry for over 38 years. All of our nominees produce world-class printed matter and each year the standard of entries received exceeds expectations. However, as we begin the countdown to the 2016 event, I thought it might be useful to Irish print companies who are currently considering their submissions to share with them the thoughts of a member of our expert judging panel, John Charnock of Print Research International. I hope that this advice helps you as you prepare your entries for submission.

“Firstly, I would ask that people put themselves in the position of an awards judge: you have a relatively short period of time to review a category, read any documentation, and assess who should be shortlisted as a possible winner, before discussing with your fellow judges,” says John. “In front of you are two very nice pieces of print (no-one puts poor quality work into awards). The first piece is very nice but the only information you have in front of you is the product, and the entry form with a tick box indicating the category it wishes to be entered into. In contrast, the other piece, again a nice piece of print, is accompanied

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Maev Martin, Editor Email: maev.martin@ashvillemediagroup.com Tel: (01) 432 2271

THE TEAM Editor: Maev Martin Editorial Manager: Mary Connaughton Creative Director: Jane Matthews Layout: Antoinette Sinclair Production Manager: Mary Connaughton Production: Claire Kiernan Printed by: Walsh Colour Print on Novatech Matt 150gsm supplied by Antalis Ireland.

Contact: Irish Printer, Ashville Media Group, Old Stone Building, Blackhall Green, Dublin 7 Tel: (01) 432 2200 Web: www.irishprinter.ie

All rights reserved. Every care has been taken to ensure that the information contained in this magazine is accurate. The publishers cannot, however, accept responsibility for errors or omissions. Reproduction by any means in whole or in part without the permission of the publisher is prohibited. © Ashville Media Group 2016.

All discounts, promotions and competitions contained in this magazine are run independently of Irish Printer. The promoter/ advertiser is responsible for honouring the prize.

ISSN 0790-2026

03/10/2016 12:26

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TEN TOP STORIES

Print Buying Made Easy in the Cloud

Online design company, Tweak.com, recently launched its new Tweak Cloud application which, they claim, makes online editing of Adobe InDesign documents and print ready PDF creation easier for print companies. “Tweak Cloud solves a problem for print buyers that has been around since Steve Jobs launched the Macintosh in 1984 - online edit access to design documents,” says Tweak’s Chief Commercial Officer, David Kearney. “This problem continues to be a major constraint for print buyers today. With Tweak Cloud, your customers can upload their Adobe In-Design documents to their private branded portal, pre-flight the document, decide what users can and cannot edit it, and then share the uploaded document for easy browser-based editing and flawless PDF creation with unlimited users. Zero software or design experience is necessary. Whether you are a niche printing company or a large scale commercial printer, Tweak Cloud gives your customers online edit access to their design files, whenever and wherever it suits them. Within minutes of signing up, you can offer your customers a private, branded portal where they can edit their InDesign documents and create high resolution PDFs, print ready for you every time.” David says that by adding Tweak Cloud’s digital service to their portfolio, print companies will be in a better position to retain existing customers and recruit new ones. “That is because

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you will make their lives easier, creating frictionless edits - and orders,” he says.

“Now you are not just taking their PDFs, competing with your competitors for every order. They are creating those orders and PDFs in your Tweak Cloud environment – and you know that every PDF works.”

Tweak Cloud builds on the company’s Tweak Print offering which provides online design and PDF production to some of the world’s largest printers in Europe, the US and South America. “Today, pre-press responsibility lies with whoever creates the design document, whether the creator has the skills and knowledge to create the perfect PDF or not,” says David. “The result is a huge percentage of reprints, refunds and lost revenue in the printing industry because the PDF that flowed into an automated workflow wasn‘t made correctly.

Tweak Cloud has solved this problem.”

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TEN TOP STORIES

Brexit Vote Has Hit Print The Brexit vote has hit the printing industry, according to the British Printing Industry Federation, as it released figures in August from its latest ‘Printing Outlook’ survey. “This survey, conducted in July and starting a week after the referendum, shows that confidence ebbed in Q2, amidst the pre-referendum uncertainty,” says Chief Executive Charles Jarrold. The survey, which is based on responses from 99 companies, revealed that while 35% maintained output levels in the second quarter of 2016 and 31% were able to increase it, 34% experienced a fall. The resulting balance (the difference between the ups and the downs) was +3; up from -1 in Q1 but some way below the forecasted balance of +37, and the lowest Q2 balance since 2012. On this occasion it is a marginal positive balance in output that is expected to be short-lived. Just over one-fifth of respondents still expect to increase output levels in Q3. However, 44% predict that output levels will remain the same and 35% expect output to decline in Q3. The forecasted balance of -14 would, if realised, be a significant downturn from recent performance. Indeed, it would be the lowest output balance since 2009, in the aftermath of the financial crisis. Confidence is not expected to return to the print industry just yet. However, exactly half

of respondents believe that the general state of trade in the industry will remain unchanged. It is the other half that is affecting the balance - 12% expect that the UK printing industry will improve in Q3, and 38% expect that it will deteriorate. Competitors pricing below cost continues to be the most voiced business concern - though by a smaller margin than previously; it was selected by nearly two-thirds (64%) of respondents as one of their top three business concerns. Concerns regarding profit levels being insufficient to encourage investment remains the second ranked concern (26% in Q2, down from 27% in Q1). The under utilisation of capital equipment has now emerged as the third ranked concern – this was selected by 26% of respondents in Q2, up from only 22% in Q1. Brexit had some influence over the responses to this question - it was specifically mentioned by almost all of the respondents in the ‘Other’ category. Furthermore, it is more than likely to have influenced the growth in respondents selecting private sector cutbacks (from 5% in Q1 to 21% in Q2) and possibly for paper and board prices (from 10% to 24%).

It also seems possible that referendum campaigning may have boosted the selection of over-regulation/red tape (from 4% to 22%). “It is the confidence in the general state of trade in the printing industry that has taken the biggest hit,” says Chris Jarrold. “On a brighter note, when asked about the current position of their business, many respondents have continued to respond with more positive sentiments. Almost half (49%) of all respondents reported that their businesses are expanding.”

Meanwhile, according to the latest Close Brothers Business Barometer, 43% of print businesses surveyed believe that the decision to leave the EU will lead to the break-up of the UK.

McGowans Achieves ISO 9001 Certification McGowans recently achieved ISO 9001 certification. “It is a great credit to everyone here that got behind this project,” says Brian Fay, Operations Manager at McGowans and leader of the ISO team. “A special word of thanks goes to the members of the ISO Group that stuck with this and still continue to assist in keeping it to the fore. We now have a few new members on the panel. There was hard work involved in getting us to where we are and the same amount of work is required to maintain this standard.” The next external surveillance audit takes place in January 2017. “There are plenty of potential new clients out there who look to see if you operate to a quality standard and we can now tick that box,” says Brian. “By checking what we are doing throughout the entire process there has been a huge improvement in how we are operating. We are delighted to have achieved this accreditation and a huge thanks goes to our ISO team.”

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TEN TOP STORIES

Event Agency Joins TPI Group

Elaine O’Reilly and Cathy O’Donohue, Executive Directors of Pluto, with Colin Culliton, CEO of TPI

Experiential event agency Pluto joined TPI Group on August 9th last. The move marks a new phase of growth and development for both businesses.

TPI Group will act as the parent company for Pluto, with both founders Cathy O’Donohoe and Elaine O’Reilly still leading the charge on a day-to-day basis in sales execution and client services. Pluto will remain in its headquarters at Frankfort House on the Clonskeagh Road, Dublin 6. Founded in early 2007, Pluto works with some of Ireland’s most blue chip brands, including Bank of Ireland, Audi, Microsoft, Glanbia and Virgin Ireland. “Acquiring an experiential event agency is a natural progression in terms of developing the TPI Group,” says TPI Group CEO Colin Culliton.

“TPI currently work with some of Ireland’s largest brands offering a range of innovative marketing services. We identified huge potential to diversify and grow our offering to these types of clients. We believe that Pluto are the perfect fit. They are known for delighting their clients.

That’s our TPI Group ethos and we are excited to move to the next stage working together.”

Pluto Executive Directors Elaine O’Reilly and Cathy O’Donohoe say that the deal enhances Pluto’s capabilities on a number of fronts. “By leveraging TPI Group’s wealth of experience Pluto can further strengthen its position as a leading live experiential event agency. We look forward to developing a prosperous working relationship with the different brands within TPI’s community.” TPI Group is now comprised of a number of different companies. These include The Printed Image, The Creative Works, Zest Merchandise, Runway Marketing, TAP Creations and now Pluto. “TPI Group offers a deep menu of choice to clients who care about their growing brands,” says Colin Culliton. “By choosing TPI Group you are automatically opened to excellence with a wide range of experienced marketing specialists. The addition of a company of Pluto’s size and capabilities is a statement of intent from TPI Group.” TPI now employs 135 people full-time and numerous part-time staff, with two offices in Dublin and one in Chelmsfort near London. TPI Group is a Deloitte Best Managed Company for five years in a row. Colin Culliton is a finalist in the 2016 EY Entrepreneur of the Year, which is currently on-going.

MJ Flood & Premier Paper – Clarification

Following queries received by both companies after the publication of the feature on MJ Flood and Premier Paper in the July-August edition of Irish Printer, we would like to clarify that no merger has occurred between MJ Flood and Premier Paper. They are two completely separate companies. In addition, MJ Flood does not require any customer that has a Konica Minolta product to buy from Premier Paper. MJ Flood is simply recommending them as a solid and good company to work with and Premier Paper is doing the same for MJ Flood. Finally, there is no financial arrangement between MJ Flood and Premier Paper - MJ Flood are not selling their paper for them and Premier Paper are not selling machines for MJ Flood. We hope that this clears up any misunderstanding that might exist in the trade.

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TEN TOP STORIES Close Brothers Increases Financial Support Close Brothers Commercial Finance, part of Close Brothers Group plc, has appointed four new Sales Directors and an Area Manager to provide asset finance solutions to the SME sector in the Leinster and Munster regions. These new positions, reporting into Regional Sales Directors Gavin Smith and Robert Keane, boost the existing asset finance team which now comprises 15 Sales Directors supporting businesses across Ireland. “Pat Buckley, Sales Director, Matthew Dolan, Sales Director, Kenneth Havelin, Sales Director, Anthony Aylward, Sales Director, and Darren Robinson, Area Manager, bring a wealth of experience to Close Brothers from a wide range of industries, including motor and commercial vehicles, farming, technology and engineering,” says Adrian Madden, Head of Sales at Close Brothers Commercial Finance. “It is this extensive understanding of businesses in Ireland that will enable them to work with SMEs to create uniquely structured, bespoke finance packages.” Close Brothers Commercial Finance offers a wide range of funding solutions, including asset finance, invoice finance and asset-based lending. “Asset finance is now the fastest growing finance option on the market and Close Brothers tailors products such as hire purchase, leasing and refinancing to enable the purchase or refinance of capital equipment,” says Adrian. “We are experiencing ever-increasing demand for funding, while our own research indicates that almost 60% of all Irish firms plan to invest at least €25,000 in their business over the next 12 months. According to the Close Brothers Business Barometer, almost a quarter (23%) of all Irish SMEs expect their business to expand in the next 12 months.”

(l-r): Pat Buckley, Matthew Dolan, Adrian Madden, Kenneth Havelin, Anthony Aylward and Darren Robinson

Dublin Scores Digital Academy First Companies looking to diversify or enhance their sign and display offering attended a new specialist workshop this September in Dublin.

Created to give businesses cross the country the opportunity to learn the art of vehicle wrapping, the two one-day workshops are part of the Antalis Digital Academy initiative and were the first of their kind to be hosted in Ireland by Antalis. Under the expert guidance of an experienced tutor, 16 participants took part in a series of vinyl applications and vehicle graphic workshops. The sessions offered delegates the opportunity to develop their skills and pick up a host of useful hints and tips, as well as use Antalis’ range of materials for these applications, including Coala Vinyl. Both workshops were tutored by independent signmaker, Paul Hughes, who has 16 years’ experience running his own signmaking business. He is also a published author on the subject and has presented the successful Signmaker’s Workshop at the Sign & Digital UK show for the past four years. “We are delighted to be able to support our customers in developing new skills that will enhance their business opportunities and give them a competitive edge,” says Antalis Sales Director, Mark Horgan. “Our range of Digital Academy workshops have been hugely successful in the UK and, having received great feedback from the first Irish courses, we now look forward to rolling out more training opportunities in Dublin.”

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TEN TOP STORIES Hacketts Acquires Barnaville Print

Diageo is Biggest Spender On Out of Home Advertising The growth in Out of Home (OOH) advertising continues, according to Kinetic Ireland, the OOH media agency, with the market showing an eight per cent increase for H1 2016 compared to the same period last year. Overall, expenditure for Out of Home was approximately €54m across large format billboards, six

Hacketts has acquired Barnaville Print and Graphics Ltd who are based in Freshford, Co Kilkenny. Headquartered on Baggot Street in Dublin 2, Hacketts currently has four print production locations - Dublin city centre, Dun Laoghaire, Cork and Limerick. “Barnaville will join us as a well-known local provider, extending our print presence into the south east of the country and offering additional services to its customer base,” says Brian O’Loughlin, Director of Hacketts. “There are clear synergies arising from this transaction which fit well with Hacketts’ strategy to extend our business and service offering through organic growth and acquisition. John Barnaville has built a very successful business and we look forward to working with him to ensure the continued delivery of quality digital print services to a wider range of customers.” John Barnaville, Managing Director of Barnaville Print and Graphics, says he is delighted with the outcome and with the “quick and efficient” way in which the transaction was concluded. “Our customers will benefit from a wider variety of services and this will forge the way for longer and more sustainable relationships into the future, which is a key element in this business,” he says. Hacketts provides a range of print services, including annual reports, brochures, posters, business stationery, finishing, and graphic design, as well as large indoor and outdoor display and POS direct to board.

sheets, digital OOH formats, transport and targeted media.

Drink, encompassing alcoholic beverages, soft drinks and also hot drinks, continues to hold the number one spot as the

BELOW: John Barnaville (left) with Brian O’Loughlin.

largest category in OOH, accounting for 18% with a total spend of €9.5m. Diageo was the top advertiser in H1 2016 with spend of €2.9m. The overall scoring campaign in terms of recall, liking, understanding and call to action was Heineken. In second place stands retail, accounting for 17% of overall activity with a total spend of €9.2m, and also saw the highest category increase compared to the same period last year. Household services was the third biggest spender accounting for 11% of the overall OOH market. The second highest category increase in spend came from government, social and political organisations, up 101% compared to this time last year. Cosmetics and toiletries was named as the third highest category increase. “Kinetic estimates a continued optimistic performance by the OOH market over the next 12 months,” says CEO Simon Durham. “However, three factors could have a significant impact. Increased restrictions will be imposed when planning OOH campaigns for alcohol clients which will limit us in terms of site selection and location.

Restrictions on high fat, salt and sugar products could also be implemented, and the economic impact of Brexit has yet to be realised so the OOH industry will be watching with interest.”

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TEN TOP STORIES

ABOVE L-R: Phil Schueler, MJ Flood Production Print Manager, Bernard Moran, Owner, and Ciara Casey, Digital Operator.

Punctual Print Increases Digital Capacity Punctual Print, based in Blessington, Co Wicklow, recently installed a Konica Minolta bizhub Press C1060 supplied by MJ Flood.

“I bought the Konica Minolta bizhub Press C1060 in January 2016

Flatbeds Make Irish Debut at GPMI Open Days As the new showroom nears completion at their premises in Fonthill Business Park in Dublin, GPMI have announced open days on October 26th and 27th. “The preparation includes innovative imagery designed to showcase the abilities of the equipment and medias alike,” says GPMI CEO Enda Brophy. “We are inviting printers and sign makers to see live demonstrations on a number of the latest class leading products.

Making their debut will be the Agfa Anapurna 2500i 2.5 metrre LED cured UV flatbed and roll-toroll hybrid printer, the Mimaki UJV 55-320 3.2 metre LED cured UV roll-to-roll printer, and a Neschen 1650 Hotlam laminator. An Esko Kongsberg table will in operation throughout both days producing a variety of products designed to illustrate its capabilities and versatility.” Other Mimaki digital printing machines will also be on show and many rigid and flexible substrates will be in use during demonstrations. A vehicle wrapping demonstration will take place and visitors will be given the opportunity to try the new Avery Supreme Wrap vinyl. Synaps, which looks like a very interesting product from Agfa, prints exactly like paper, although it is actually polyester with a luxury look and feel. It is tough, durable and resistant to water and chemicals, and suitable for most printing processes, so pick up some samples while you are there. In the meantime, watch out for their new website which will be launched shortly. All existing domain names for Reprocentre and GPMI will take you straight there.

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– I already had the bizhub Press C7000 but we were getting a lot of digital print orders so we needed a new machine,” says Bernard Moran, owner, Punctual Print. “One machine couldn’t look after the work load. Also, I wanted a machine that could print envelopes. We have a vast array of clients with various lead times and quantities.

Litho print just couldn’t give us the turnaround we needed and the costs with digital are a lot more effective. We noticed straight away that the register, the feeding and the quality of the press was excellent. Because this was so good, we then bought a business card cutter and a new booklet maker so we can now offer our clients a great service all under the one roof. There is no downtime, so it makes us a lot more efficient. The machine is extremely reliable and it has allowed us to significantly increase our digital output.”

Punctual Print produces a lot of work for the FMCG and hotel sectors. “These markets would have a high demand for laminate finishes,” says Bernard. “With the help of the Konica Minolta/ MJ Flood engineers, we were able to achieve a temperature for laminating that is perfect for the Konica Minolta machine.”

Bernard Moran and Phil Scheuler first began working together on the upgrade of Bernard’s Xerox DC250 a few years ago. “He ended up taking a bizhub Press C7000 from us in the summer of 2013,” says MJ Flood’s Print Production Manager, Phil Schueler. “Then, last year, Bernard and I struck a deal for a second machine. Because of the unique financing arrangement, through our Flexi Agreement, we were able to add a second production machine to the agreement and come up with an attractive proposal. He now has a fully configured bizhub Press C1060 fitted with our superior vacuum-belt feeding system and our automated front-back registration system, in addition to having the C7000 as a solid back-up machine.”

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CASE STUDY

Print

ON-DEMAND Esmark Finch is delivering agile, on-demand print and packaging in partnership with IBS Xerox.

Situation Digital technology has been highly effective at disrupting many markets.

Traditional lithographic printing was a prime candidate due to its many limitations, which include the requirement for long lead times of two to three weeks, or the need to offer minimum order runs to justify the complex setup times for presses. In addition, the older model didn’t allow for variants such as producing packaging in a variety of languages to meet the needs of large

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customers, such as multinationals in the technology or pharmaceutical sectors. Looking to stand out in the print and packaging market, Esmark Finch saw the opportunity to create an agile supply chain based on an investment in digital print technology. “We promote the idea that our business model is an on-demand solution, so part of our selling strategy is to explain to customers that there is no risk of obsolescence if they gravitate to and take on board this digital solution,” says CEO John Mullane. “The advantages to the client are that they can order what they want, get it delivered quickly, and in quantities that suit their business requirements. They don’t have to order against a sales forecast that may not materialise and be left with packaging that is not needed.”

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CASE STUDY Solution For seven years, the Xerox iGen4 Press has allowed Esmark Finch to print, coat and die-cut materials for a wide range of blue-chip customers in a seamless single transaction. The iGen4 prints at speeds of 110 pages per minute and at average monthly volumes of up to 3,750,000 pages per month. It offers a range of print finishing options, from booklet making, case-bound, flats, and lay flats, to perfect bound, stitched sets and tape-bound. It produces coatings like matte, gloss, dull or silk, according to the customer’s needs, on a wide variety of paper and card stocks or on synthetic materials. “The technology is still performing well and it is well serviced by IBS Xerox in Ireland, with whom we have a close working relationship,” says John. “Our business model of on-demand and quick turnaround means that your service contract with your provider has to be mission-critical. We have put a lot of work into developing that relationship, and putting the kind of agreements in place to allow us to provide high levels of service to our customers.”

Xerox continues to push the boundaries of technology and I see the pharmaceutical sector as a key growth opportunity for digital packaging, to meet their needs for multiterritory, multiple language packaging SKUs...

Benefits The Xerox iGen4 has allowed Esmark Finch to target new customers in a range of sectors and win business with large brands, and it has ensured that the company is ideally placed to meet major brand owners’ needs, such as fast time to market, product customisation, reduced inventory levels, and competitive pricing. The iGen4’s colour management system allows Esmark Finch to produce packaging that meets stringent brand identity guidelines that companies have developed at considerable cost.

The advantage of digital technology is that it lets Esmark Finch offer incredibly short turnaround times – in some cases this can be just a number of hours, which is far faster than lithographic-only competitors.

One well known global technology company has been a long-term customer, and it benefits from the iGen4’s ability to provide packaging for multiple territories in multiple languages, sometimes in low

A high-end iGen4 press, delivered and supported by IBS Xerox, has allowed Esmark Finch to reach new customers and market segments by offering digital print and packaging technology.

• Faster turnaround of customer projects, enabling rapid time to market.

• Producing output to order reduces wasted packaging and saves costs.

• Allows customers to test new packaging with small, tailored print runs.

• High-quality digital printing allows seamless matching with clients’ brand identity.

Contact: Norman McNellis, Director Production Systems, IBS, a Xerox Company Tel: + 353 1 462 2646 W: www.IBSXerox.com

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volume. The lean printing and packaging model allows Esmark Finch to output specific projects to order, which has substantially reduced overages, or unused packaging – saving costs for this customer in the process.

John Mullane says that the iGen4’s flexibility to produce packaging enables companies in the food service market or artisan food producers to get product to market quicker and in small order quantities. Digital technology also enables high levels of packaging customisation and gives brands the capacity to launch retail-specific promotions around pricing and messaging.

“SMEs that are trying to develop a food product to be sold into large retail multiples like the idea of being able to build a brand and develop on that basis,” he says. “We can work with them to build a prototype package, and through initial print and packaging runs, and support them without their having to invest substantial working capital in packaging that may ultimately not be used. For these companies, cash flow is key, so they really embrace the concept.”

Looking to the future, John says that Esmark Finch plans to work with Xerox on providing digital packaging for life science and pharmaceutical companies based in Ireland. Both companies are currently evaluating the latest Xerox technology to test its suitability for that market.

“Xerox continues to push the boundaries of technology and I see the pharmaceutical sector as a key growth opportunity for digital packaging, to meet their needs for multi-territory, multiple language packaging SKUs,” he says. “There is also a trend towards small order volumes and multiterritory language variants. When the time comes for this to be rolled out, Esmark Finch’s relationship with IBS Xerox will be a critical factor. There is no doubt that, as a business, we see IBS Xerox as strategic partners.”

OPPOSITE AND PICTURED LEFT: Norman McNeillis, Director Production Systems, IBS Xerox, and John Mullane, CEO, Esmark Finch at Esmark Finch’s Head Office in Dublin.

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COVER STORY

Giving Printers the

Every sheet of paper in the printing industry goes into the factory under the guillotine and it leaves the same way. As they celebrate their 10th birthday, Blade Runner’s Managing Director Ronan O’Daly, talks about why they are the biggest regrinder of guillotine and bindery blades for the printing industry on the island of Ireland.

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COVER STORY lade Runner will be celebrating its 10th birthday on October 17th. The company was established just before the beginning of Ireland’s economic difficulties and has managed to successfully weather that storm and grow its client base and portfolio of marketleading technologies.

“The print market has contracted by about 20% since 2008,” says Ronan. “Between 2006 and 2016 Blade Runner lost a considerable number of print customers of all sizes and that is because those customers have gone out of business.

Some of the major flagship print companies are gone. I don’t believe any other industry was hit as hard as the print industry was during the recession. However, we have been lucky enough to have enjoyed tremendous customer loyalty during what has been the most difficult period in the history of the print industry. We attribute our success over the past 10 years to that customer loyalty and to our commitment as a company to be customer driven.”

But customers are loyal to Blade Runner for a number of reasons, not least of which is the uniqueness of their service and the quality of the technology companies that they work with. “Blade Runner is a portal for printers to access big international names in blade technology,” says Ronan. “These are all quality companies with significant technical resources and that is what Blade Runner brings to the market.” These companies include TKM (formerly IKS Klingelnberg), the largest supplier of machine knives for the printing industry in the world, and Swemko UK, the largest regrinder and blade supplier to the print industry in the UK. Blade Runner also represent Matrix Engineering who are manufacturers of high quality cutting and creasing matrix. “Over the past 10 years our two companies have forged a close bond and working partnership,” says Swemko UK’s Managing Director Dave Medd. “As the UK’s leading machine knife supplier, with over 40 years’ experience, we stand shoulder to shoulder with our friends and colleagues at Blade Runner to help support and guide the business, as and when required.

Ronan’s passion and desire has built this business up from a small start-up unit in Clane, Co Kildare, to the largest machine knife and post press supplies specialist in Ireland.

The team at Swemko UK Ltd would like to congratulate Ronan and Leah and the excellent team behind them for the past 10 years of dedication. What a fantastic achievement – we are very proud to have played a part in all of the blood, sweat and tears that it took to get here.”

Ronan’s passion...has built this business up from a small start-up unit...to the largest machine knife and post press supplies specialist in Ireland.

uses recommended ‘Stop Time Meter’ equipment to measure the stopping performance of the knife, and they have pressure measuring gauges to check the safety pressures of the paper clamp. Upon completion of a full guillotine service, all work and checks are recorded and a safety check and calibration certificate is issued to the customer.

Ronan points out that Blade Runner can supply a new blade, sharpen it, and service the machine it goes into. “We can offer a one-stop-shop for printers in

terms of knife sharpening,” he says. “Typically, if a customer has a cutting problem, we can send an engineer out to look at the blade and at the machine and come up with the right solution – and that is a winner every time. No one else in Ireland can offer this service.”

Blade Runner also offers a van delivery service for its clients every week in the Greater Dublin Area and they can also offer customers a nationwide collection and delivery service.

BELOW LEFT (L-R): Gintautas Sladkevicius (left), Production Manager, with Blade Grinder Bill Brophy. BELOW RIGHT: Managing Director Ronan O’Daly with his daughter Leah O’Daly, who is a Director of the company.

BOTTOM (L-R): Chris Doyle, Technical Director, with Service Engineer/Print Manager, Christopher Doyle.

Engineering Success The opening of a dedicated engineering division two years ago, following the buy-out of SJ Flanagan, has been a major factor in Blade Runner’s current success.

The engineering department is based in Blade Runner’s 2,000 square foot premises in Units 19 and 20 in Clane’s Thompson Enterprise Centre in Co Kildare. “This buy-out made Blade Runner the biggest re-grinder of blades for the printing industry, for both guillotine and bindery blades, in Ireland, but we are delighted that, since then, Shay Flanagan has continued to have an association with the business,” says Ronan. “Our engineering division is headed up by Chris Doyle, former Technical Director at Millers, and we have an electrical engineer on our team, also named Christopher Doyle!

Our engineers are fully qualified and are trained by original equipment manufacturers on all aspects of paper cutting machines and handling equipment. Our 10 members of staff have been very loyal and we are lucky to have such well qualified people working with us.”

Blade Runner complies with the engineers’ competence guide, as recommended by the Health and Safety Authority and the Health Services Executive. The company

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COVER STORY

With our eye to the future, we have formed a business partnership with the German manufacturer Eurolaser who specialise in innovative laser system engineering.

Support Service Blade Runner can support its customers on all aspects of cutting. Their advisory service can assist print companies with quality and accuracy queries, including recommended clamping pressures and knife angles, and they can offer advice on any material suitable for cutting on paper guillotines. Contracts are also available from Blade Runner for guillotine maintenance, service, calibration, and safety certification. The company offers an equipment breakdown and re-location service, including the issuing of new certification, and Blade Runner can sell and source used equipment and take care of shipping, if required. The company stocks a wide range of consumable parts for guillotines, including knives, cutting sticks, shear bolts, knife bolts, and knife changing tools. They also run training programmes for guillotine operators on material handling and safe work practices.

Laser Cutting for Packaging & Display Apart from its extensive client base in the print industry, Blade Runner has a large and growing customer base in Ireland’s vibrant food industry. That portfolio of high profile clients is providing them with a platform to move into the supply of blades for the packaging sector. In fact, they will soon be launching a new laser cutting service on the Irish market, specifically for the packaging and display industries. “We are very excited about our laser cutting technology,” says Ronan. “While we love sharp things at Blade Runner, we are aware of new technologies for cutting materials. With our eye to the future, we have formed a business partnership with the German manufacturer Eurolaser who specialise in innovative laser system engineering. Laser technology is displacing conventional machining processes in many industries and this is very evident in the packaging and display sectors of our industry.

With the Eurolaser technology, the modular design allows other mechanical tools to be used along with the laser. Eurolaser can incorporate an ink printer module for precise marking, or a label module for fast and flexible labelling.

We would encourage print packaging and display companies to contact us to find out how producing products with laser cutting systems can improve their commercial viability and yield significant production efficiencies.”

include drilling and punching, perforating, grooving and creasing, roundcornering and die-cutting, light and heavy duty stitching machines, folding and binding, feeding devices, and automatic strapping machines.

We will also be marketing Foellmer’s new card cutting machines, their range of small paper guillotines, and their new standalone numbering, perforating, scoring and slitting machine to print companies in Ireland.”

Quality Control Checking and maintaining knife quality is a crucial aspect of Blade Runner’s service portfolio. “We carry out 12 checks on every blade before it goes in for grinding,” says Ronan O’Daly. “Also, we can offer our customers a Knife Management Programme. Initially, this involves doing a knife audit of the customer’s stock – we visit the customer, check the blades, and advise them about which ones should be kept and which knives should be discarded. We then manage and maintain their entire stock of blades, ensuring that they stay in good condition. In addition, Blade Runner can issue a health and safety/calibration certificate for a guillotine. This is an important and unique service that we can offer print companies.”

New Counting & Batching Range Following their visit to Drupa this year, Blade Runner has been appointed sales and service distributor for the full range of Josef Foellmer GmbH products in Ireland. The German company Foellmer has been supplying the graphics industry for more than 65 years and was the inventor of the tab inserting device. “They manufacture a full range of counting and batching machines, both stand alone or tabbing devices, which are placed at the printing press or die cutting machine,” says Ronan. “The company also specialise in a range of ‘Enhancement for Paper’ products. These

012_IP Sep_Oct_2016_Cover Story.indd 14

For further information on Blade Runner’s extensive product or service range, email info@bladerunner.ie or phone 045 893475.

Blade Runner Ltd, Units 19 & 20 Thompson Enterprise Centre, Clane Business Park, Clane, Co. Kildare.

03/10/2016 12:30

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29/09/2016 14:50 12:42 02/09/2016

DESIGN

Jurgen Verhulst, Technical Marketing Manager EMEA, SAi,looks at how the right design software can help improve production efficiencies and expand a printer’s service offering.

Jurgen Verhulst, Technical Marketing Manager EMEA, SAi

017_IP Sep_Oct_2016_Design.indd 17

f you are reading this as a large format print provider or signmaking business, then the constant need to keep production costs low and increase turnaround times without compromising on quality will be an all too familiar challenge. The curtain may have only recently closed on another drupa and it is a safe bet that new large format hardware introductions will be grabbing the headlines. At the same time, it is worth remembering that ensuring an efficient end-to-end production workflow, supported by advanced software, will also go a long way to achieving the objectives outlined above.

This, of course, includes the frontend aspect of the job, even before it is sent to the printer. Indeed, via the right software solutions, enhancing efficiencies at the design stage can have a huge impact on the overall production time. In short, it can mean the difference between a job making it off the cutter, onto the van, and en route to the customer, or a missed deadline and angry customer.

When it comes to point-ofpurchase (POP) display and box design software, there are a number of solutions available on the market. That said, it makes sense to check out the respective attributes of each, should you be on the verge of your next investment.

Indeed, recent new introductions include those packages that tick even more boxes by enabling large format/sign and display businesses to expand their applications offering, increase revenues, and sharpen their competitive edge.

The Devil is in the Detail So, having established that not all software is created equal, it is worth being aware of some of the shortfalls of some of the options on the market. For example, is it compatible with all existing wide-format RIP software that drives flatbed printers and cutters? A number of design packages are either limited to specific cutting machines (which invariably include expensive implementation costs), or require costly additional shape libraries. These are also often only available on licence but, as a customer, you may also have to pay for an annual subscription, which adds to the expense.

Additional or unforeseen costs aside, you should also consider the varying performance capabilities of the respective design software solutions in line with your specific requirements. For example, most designers would concur that an irksome and oft-faced problem is the issue of accurately visualising designs in 3D. Because of the difficulty in properly accounting for folding material thickness and folding behaviour, achieving accurate design using Adobe Illustrator or Corel is often time-consuming and invariably relies on trial and error during production. The good news is that a quick review of the latest software options demonstrates that the foremost providers now offer solutions that address this via an animated 3D folding preview feature.

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03/10/2016 12:32

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DESIGN

Unleashing The Genie from the Bottle If you do happen to be assessing different options, then our own recently-introduced offering, SAi DisplayGenie, is well worth a look, especially if you are also seeking to extend your applications offering to customers. This powerful, efficiencyenhancing software eliminates multiple steps to improve job creation efficiencies by simplifying the structural design of POP-display and box construction, all within one bundle. This eliminates the need for any additional software plugin to access the suite of design options; users simply access a library of popular folding POP display, ECMA and FEFCO box templates and select or adapt the shape or design that best suits the customer’s requirements. From there, users can adapt the dimension, rotate it, include additional shelves and client logos, and perfect the final design in as little as five minutes. This saves considerable design time that would have previously taken up to several hours.

Importantly, DisplayGenie also incorporates an integrated graphic and structural design with animated 3D folding preview, which also lets users view the layout/design in 3D on the box they have created. This clever tool helps maintain workflow efficiency by catching any mistakes before production, so if you’re a large format provider, this spells savings in both cost and time. This is also aided by the ability to export rotational package display or box designs as 3D PDF files for customer review or adjustment prior to production. A fifth of the price of certain other packages on the market, this solution could, for many businesses, help unlock the door to quick and cost-effective POP-display and box creation without the shackles of a long-term subscription contract.

As one would expect, it is clear to see how accessing software in this way is proving increasingly popular. If you are a large format or sign and display business, the freedom and capability to easily integrate one single allembracing solution within your current workflow without having to change your design, RIP or cutting software, is obviously highly attractive. For those who already have design software, DisplayGenie offers a great foundation to create a wide array of displays that can be adapted to meet the customers’ exacting requirements, right down to the thickness of the board. These users can simply access the free and regularly updated library of POP display templates, with the added option of continuing the design in Illustrator or utilising their existing RIP and cutting solution.

Naturally, the likely objective of most large format print providers is to grow business and increase revenues by extending their current applications offering. For those that already operate a flatbed printer, but might also be seeking to install a flatbed cutter, DisplayGenie’s ability to provide rapid, trouble-free creation of display and packaging products could hold the key to achieving these goals.

017_IP Sep_Oct_2016_Design.indd 18

ABOVE: The SAi DisplayGenie

If you are a large format or sign and display business, the freedom and capability to easily integrate one single allembracing solution within your current workflow without having to change your design, RIP or cutting software, is obviously highly attractive.

03/10/2016 12:32

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PACKAGING

The busy Konica Minolta stand at Drupa 2016.

MJ Flood has powered ahead in terms of installations and innovation since it entered the production print sector in 2010. Now they’ve set their sights on packaging and label printing, with the launch of no less than three major pieces of ground breaking technology.

Technology

PIONEERS

020_IP Sep_Oct_2016_Packaging.indd 20

A

part from the normal product mix of mono and colour machines with lots of finishing kit inline, Drupa 2016 was where the Konica Minolta brand really announced its entry into the packaging and label printing sector. The AccurioJet KM-1 B2 + UV inkjet press was a prominent showpiece at Konica Minolta’s 2,400 square metre booth, making its debut as a commercially available product. It could be found in the B2 inkjet printing zone where it performed in combination with MGI’s JetVarnish, showing visitors a wide range of benefits. Orders for this press at Drupa, together with several orders for the Bizhub Press C71cf label printer, also placed at Drupa, represent Konica Minolta’s first successes in the industrial printing segment.

Konica Minolta claims that its Bizhub Press C71cf press is ideal for label printers who are looking to shift volumes from conventional presses to digital. “This reel to reel label system gives us the opportunity to provide a digital solution to the flexo market at a low entry point for short-run laser-based label printing,” says MJ Flood’s Print Production Manager Phil Schueler. “The final member of our big three print solutions at Drupa 2016 was the MGI JetVarnish iFoil, which is a jet varnish system that can do a 3D spot UV on any litho or digital stock. It isn’t a print engine, it is post-print, and it can do foiling inline as well. The MGI JetVarnish iFoil is a great

03/10/2016 12:33

PACKAGING piece of technology – it can take litho and digital sheets and apply a really stunning 3D jet varnish look at a much lower cost than what is involved by doing it the traditional way. This foiling technology offers printers much lower operating costs. We also featured a concept press system in the digitally printed packaging space, which currently has a code name, the KM-C, which will be able to print B1 sheet size. This flat-bed B1 format inkjet digital press has been developed for folding carton and thin corrugated applications for a thickness of 0.3mm to 1.2mm. It is a year or more away from being commercially available but the development of the press is well underway.”

The MGI JetVarnish

New Horizons Speaking in the aftermath of Drupa, Olaf Lorenz, General Manager, International Marketing Division at Konica Minolta Business Solutions Europe, said that the exhibition had “elevated Konica Minolta from being a leading player in mid-production printing to now being recognised as one of a few select companies right at the forefront in the exciting world of industrial printing”. In terms of the Irish market, Phil Schueler says that 2016 is also about branching out into new areas for Konica Minolta, with the introduction of the MGI spot UV products and the new C71CF continuous feed label system.

“I really feel like our entire range of cut-sheet production systems, both mono and colour, are the best products we’ve ever seen from Konica Minolta and, dare I say, in the industry. And I say this having worked for Konica Business Technologies back in the early 2000s. It’s great to be the ‘comefrom-behind’ underdog now and we’re excited to continue moving forward.”

Successful Growth Strategy The commercial print market has been a major focus for MJ Flood since 2010.

It was in that year that the company devised a strategy to build its market share in the sector, with the aim of becoming the number one supplier of digital colour production print machines in Ireland. And in five short years the company has achieved its objective. In fact, they have held the poll position since 2012. In 2011 MJ Flood sold 16 units in the Irish market; that figure climbed to 20 in 2012, 24 in 2013, and to 35 units in 2014, giving them 47% of the digital colour production print market in Ireland.

Phil Schueler points out that when they set up the production print department in 2010 they only had a handful of customers. After five years of steady growth, they are now working with nearly 150 largely commercial print/digital print companies across the island. “Our sales volumes have gone up consistently year-on-year and we are now selling more machines than ever,” he says. “The Northern Ireland market is very strong. We set up an office there three years ago and it has been strong since then, and the Dublin and Cork markets have also been good for us. We have a lot of ‘can-do’ guys in the field who keep our demanding customer base up and running, and I think that goes an extremely long way in this industry. Konica Minolta has really changed the game and made a huge impact on the market in a very short space of time. We now have mono and colour devices which offer distinct advantages over our competition, with technologies such as vacuum-belt paper feeding, automated front-back registration correction, and precision fully-automated colour correction systems, even on essentially entry-level machines.”

BELOW: The Bizhub Press C71cf.

020_IP Sep_Oct_2016_Packaging.indd 21

iFoil jet varnish system.

The MGI JetVarnish iFoil...can take litho and digital sheets and apply a really stunning 3D varnish look at a much lower cost...

Michael Power, Managing Director

Irish Print Awards 2016 As I’m sure Irish Printer readers know by now, MJ Flood is the headline sponsor for the 2016 Irish Print Awards and we are delighted to have such a key service provider to the industry partnering with us for the event. “2016 felt like the right year to become the main sponsor of the Irish Print Awards,” says MJ Flood Managing Director Michael Power Jr. “MJ Flood have been one of the few companies to emerge from the recession stronger than we went into it.

This was, in part, due to the fact that we won distribution rights for Konica Minolta in Ireland in 2010, and also our ability to offer finance to our customers during the hard times. This year has seen huge growth in the digital printing market. Konica Minolta’s current line-up of digital colour production machines is on to its sixth generation and, as such, they have class leading print quality and reliability. Our service engineers have also become highly skilled and familiar with the demands and expectations of the commercial printer.” Michael says that changes in their service support operation have been influenced primarily by the trend towards increasingly shorter run lengths and the requirement for faster turnaround times on print jobs. “Some former litho houses have even gone completely digital now so the growth is continual and comes from several different angles,” he says. “As a service provider that means we have to be able to respond quickly to these demands and get our customers up and running in short order. We understand this industry well so we can relate to our customers. We know that when a machine goes down it is potentially their livelihood that is at stake as well as that of their customer base.”

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03/10/2016 10:10

COLOUR MANAGEMENT

COLOUR MANAGED

WHAT’S NEXT FOR

WORKFLOWS?

Industry veteran and colour expert Ray Cheydleur talks to Maev Martin about industry trends, improving colour quality and consistency, and what’s next in the world of colour.

With so much of the print industry transitioning to digital print processes, there is plenty of opportunity for smarter presses...

Q

What does Industry 4.0 mean in the world of printing and how did you see that reflected at drupa 2016?

A

Industry 4.0 generally refers to the fourth industrial revolution, which incorporates trends in automation, data exchange, smart systems and the Internet of Things.

Signs of this were all over drupa 2016, and I’m happy to say that X-Rite was right there in the thick of it with PantoneLIVE, ColorCert, CxF and Intellitrax 2 with closed loop press control. With so much of the print industry transitioning to digital print processes, there is plenty of opportunity for smarter presses with smart front ends that can grab jobs and related specifications from the cloud, incorporate variable data,

and adjust specifications based on job criteria like substrates and printing technology. And then calibrate and colour manage with embedded and nearline measurement systems, and validate the result against the print specifier’s and/ or brand owner’s intent.

Q

How do you see the Industry 4.0 concept applying to workflow automation and the automation of colour management?

A

Industry 4.0 is the combination of multiple interconnected technologies, and in commercial print, these fall into four broad categories. We have solutions available in each of the categories from a variety of suppliers that can address this requirement.

I’ll use examples from the X-Rite Pantone portfolio to give your readers a clearer idea of what I am talking about in each category.

Tools for Brand Owners/Designers These provide access to precise digitised spectral colour descriptions across substrates and printing technologies, and the ability to transmit them to the cloud to share with supply chain stakeholders. Here you have tools like PantoneLIVE and standards such as CxF (more on that later) that allow seamless communication of colour intent.

Colorimeters like Pantone’s CAPSURE and spectrophotometers are important for capturing spectral values from inspirational items.

023_IP Sep_Oct_2016_Colour Management.indd 23

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24

COLOUR MANAGEMENT

ABOVE LEFT: The new Mimaki Profile Master 3 (MPM3) colour management software enables users to reproduce equivalent colours when printing on different types of media with the same printer or when printing with different printer models and inks, vastly increasing the flexibility of a production platform, even when it consists of printers from multiple vendors. ABOVE RIGHT: ColorTrack, Quadtech’s new colour management software solution for packaging applications, allows press operators to collect and process colour measurements, and facilitates fast correction of ink formulations at the press.

The Cloud itself It acts as a communication and delivery mechanism but also as a repository of data that can be used to validate production but also to inform every player in the production cycle, acting as the hub for each participant.

The ColorCert Suite of statistical process control tools plays a role here, as does PantoneLIVE. These offer input and output validation for insertion into the process as needed.

colour across the entire workflow. To me, this is the most interesting piece.

This is where PantoneLIVE plays a significant role, but also where we will see an expansion of ICC profiling using today’s versions, as well as the forthcoming iccMAX (discussed later). Not only will prepress monitors, proofers and presses be aligned, but also mobile devices, so there is a consistent brand identify across all platforms. This is where applications like ColorTRUE and the i1 Publish family of products come into play.

Customising Content Increasingly content is customised using variable data to transform static printed matter into content that is relevant to the target audience, even down to an audience of one. From a colour perspective, customisation can also refer to the ability to bring colours in from the real world, validating them against Pantone or other standard values. It can also refer to the need to customise ink formulas for specific substrates and/or print technologies.

While X-Rite doesn’t really provide much in the way of variable data solutions, InkFormulation software plays a role here in ensuring customised ink colours that will deliver the design intent based on the target substrate and printing technology. Pantone Studio is also a way to bring in customised colours from the real world and validate them against Pantone and other specified values. ICC profiles can act as a customisation and transformation of the content to a specific output device.

Q

Hybrid Output Print doesn’t live in isolation. It lives within a continuum of communication including social media, and other means of sharing and collaboration. Today we are already seeing content creation happening on smartphones and tablets using tools that can distribute work directly to a press or integrate content into desktop production. It is becoming more critical for colour to be consistent across all devices and output formats, digital and physical, in order to ensure consistent

023_IP Sep_Oct_2016_Colour Management.indd 24

How often should ICC profiles be updated? What are the various conditions that would require different ICC profiles and why is that important?

A

Any time there is a change in either supplies or process, profiles need to be recreated or the situation that created the change needs to be corrected. In the case of digital presses, you may only need to calibrate the device to keep the profile valid. But sometimes the media or machine setup has changed enough that you will need to build a new profile. In the analog world, new ink or substrates, or starting a new printing condition such as compliance with G7 or FOGRA, may require a new profile, although if you calibrate correctly, the ICC profile should remain valid. The biggest issue we see is when all the right tools are in place but they are not well-managed. This can result in trying to fix ‘bad files or bad separations’ rather than addressing the root cause of the colour issue. It is important to make sure you are managing to the goals you are aiming for – all of them, and not just part of them. Especially in an analog shop, it is common to analyse ink density and tone value, but you also need colorimetry and tolerance values as well or you aren’t managing the whole story and may drift out of control without knowing it.

Q

From a standards perspective, what are some of the most recent advances that help companies specify, communicate, measure, manage and track colour throughout the print production workflow?

A

For communicating colour, CxF is critical; originally developed by X-Rite and now incorporated as an international standard in ISO 17922, Parts 1 through 4, CxF provides a much easier way to validate colour accuracy from a machine process standpoint. It has quickly been picked up across the

03/10/2016 12:35

COLOUR MANAGEMENT

industry. There is also a great deal of standards work happening relative to PDF, especially as it relates to specifying post-processing such as associated processing steps post printing. The G7 methodology (not a standard) is prevalent in North America and Asia, but also in some parts of Europe. But more important is the near neutral calibration method, the method that G7 uses. This is publicly available in CGATS TR015 and incorporated in ISO/PAS 15339 Parts 1 and 2. The value here is that near neutral data sets can be applied across a wide range of printing technologies so that you are able to achieve a common appearance in hybrid manufacturing scenarios where multiple pieces from different printing technologies come together in a single job or project. We are also seeing full-scale adoption of M1 measurement mode being encoded in FOGRA51, FOGRA52 and PSO as a result of ISO 12647-2, a common offset standard that has been updated from its earlier 2007 version. Lastly, we are seeing new print standards such as ISO TS15311, Parts 1 and 2, that are adding more metrics than just measuring density and dots, but also including appearance metrics, such as resolution, mottle, registration and more. This is due to a need for testable, verifiable metrics that can be applied to any kind of print. Part 1 of the standard is a definition of the metrics, and more are being, and will be, added over the next couple of years. For that reason, much of this work is in Technical Reports with standards expected in three years or so when things stabilise more. Part 2 of the standard pulls the metrics from Part 1 that are appropriate to commercial print. As new tests are developed, validated and implemented they are incorporated into Part 1 and then Part 2 gets updated.

Q A

How important is it for printing companies to attain industry certification?

Certifications are a conduit for organisations to implement ISO and country specific standards, encoding them in a way that makes it very straightforward as to what the expectations are for a particular industry segment. If a company is FOGRA, PSO or G7 certified, it validates that the company knows how to do certain types of activities, such as calibration, and can deliver a repeatable process. A further value is the level of trust that certification creates with customers. Customers can trust that the organisation can deliver consistent results that meet industry standards. But it also carries a level of obligation to maintain these practices over time. Most certifications are related specifically to production. What is different about the Pantone Certified Printer Programme is that it looks at the overall structure of the organisation and its ability to produce high quality work. It also requires development and implementation of documented standard operating procedures and incorporates quarterly quality reviews to ensure continued compliance.

Q A

What is next for colour-managed workflows?

We are in a very dynamic time, and there are many things underway. The most interesting are PQX, iccMAX, mobile control and new materials. Print Quality eXchange, or PQX, was developed by IDEAlliance in a global effort and is now moving to ISO. It is the first of two parts of the production communication chain. PQX, which is closest to completion, is a standardised way of providing press room data to quality tracking systems.

Why is this important? Consider a printer who is doing work for multiple brand owners, and each brand owner has its own required format for quality data. Brand owners don’t want to dig through data from 20 different suppliers in 20 different formats. They want a single, concise dashboard that manages all of their suppliers.

With PQX, the printer can use whatever process control system is in place, such as X-Rite’s ColorCert or GMI or whatever, and the information will be transferred to the brand owner in the format her system wants to receive. Today, this can be accomplished with ColorCert ScoreCard Server. PQX allows printers to use their own choice of quality tracking and reporting across the entire

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About Ray Cheydleur In addition to his role as Portfolio Manager for Printing and Imaging Products at X-Rite Pantone, Ray is also Chairman of the US Committee for Graphic Arts Technical Standards (CGATS), Chairman of the US Technical Advisory Group to ISO TC130 for Graphic Arts Standards, and Vice Chair of the International Colour Consortium for Colour Management (ICC).

customer base, while giving each customer the data in a standardised format to drive the required reporting metrics of the customer. PRX (Print Requirements eXchange) will standardise communication in the other direction. It will be a standardised way for brands to send specification data down to the printer. Together, these will be very important for the industry and also tie in with Industry 4.0. iccMAX is the equivalent of ICC 5.0 and contains a number of things that will affect the print business, including ways to deal with non-traditional lighting. D50 daylight is the ISO lighting standard in commercial print, and today all of the ICC specifications are based on D50. But we are moving into a world where we will increasingly see LED lighting or for industrial applications, D65 daylight. iccMAX, at its core, can understand spectral values for all types of illumination. So you could have a measured spectral value, for example, for LED lighting for a big box store chain and be able to ensure that packaging and other materials show up right in their lighting, while perhaps another customer is using fluorescent lighting or only cares about colour fidelity in daylight conditions. This will allow you to make the appropriate conversions to meet all those needs. One thing is clear. As we move from traditional fluorescent or incandescent lighting conditions

We are seeing demand for a wide range of new materials, and embellishments....

to LED, product colours will shift in store. iccMAX is a way to address that. It also includes new ways to look at appearance effects such as varnish or metallics, that go beyond any of the standards we have today.

For a full rundown of iccMAX, a visit to color.org/iccMax is in order.

When I talk about mobile control, I am referring to the need to have colour appear consistently across all devices and output. Mobile devices, in particular, are a challenge. We can calibrate them with ColorTRUE but it is application specific. What really needs to happen to get adoption is to get more control at the operating system level, like we have today with ICC profiles, for a Mac or Windows computer. The goal is to be able to capture and communicate with a mobile device and be able to rely on colour fidelity across the rest of the supply chain. There is also increasing demand to monitor the press room from mobile devices, and colour fidelity is important there as well. Finally, it is not just ink or toner on paper anymore. We are seeing demand for a wide range of new materials, and embellishments such as the raised print or metallic effects, that can be delivered with solutions from the likes of Scodix, HP Indigo and Kodak.

And there is also a great deal going on with colour in 3D printing as well.

Over time, colour managing 3D printers will become a higher priority.

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26

THE BIG PICTURE

Increasing

SUBSTRATE INKSET and

Options

Agfa, Mimaki, and Fujifilm are all ramping up their wide format offerings, and the roll-out of LED UV technology and specialist inks is a major feature of many of the recent new arrivals.

gfa Graphics introduced the new Anapurna H3200i LED wide-format printer at the SGIA Expo (September 14th to 16th) in Las Vegas. The new 3.2 metre wide Anapurna H3200i LED completes the family of hybrid Anapurnas (2.05 metre, 2.5 metre and 3.2 metre wide) from Agfa Graphics.

Agfa Graphics recently introduced aircooled LED UV curing as an alternative to the current mercury lamp curing technology on its family of Anapurna i printers. “Thanks to the LED UV curing it supports the widest media mix in the market at all print quality levels,” says Willy Van Dromme, Marketing Manager Wide Format, Agfa Graphics. “The new Anapurna i-series inkjet systems are

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equipped with air-cooled 16 Watt/cm² LED UV lamps. The dedicated ink sets from Agfa Graphics perfectly match the specific UV frequencies of the curing LEDs. Thanks to their reduced heat emission, they can print on heat-sensitive substrates such as thin-layer styrene, self-adhesive sheets, or stretched ceiling materials made of PVC fabric. LED UV curing technology also offers interesting operational and environmental benefits. Unlike for mercury lamps, the lifetime of the LED alternative is in line with the economical lifetime of a printer of typically five years. LED lamps can be switched on/off instantaneously, without degradation of intensity. As a consequence, both the cost and the downtime for changing lamps are obviated, while there is no issue in disposing of them either. In addition, the power output remains consistent over the LEDs’ operating life, which is an important element in maintaining good physical characteristics of the print with regards to adhesion, for example. Finally, LED lamps have no warm-up, nor cool-down time, so power consumption is drastically lower during printing and reduced to an absolute minimum when paused, which results in a lower energy bill.”

The Anapurna H3200i LED wide format printer is a belt-driven hybrid machine which handles all types of roll media in a size up to 3.2 metres, both in a single-roll and a dual-roll configuration, and it also allows for printing on 4ft x 8ft (2 metre x 3 metre) rigids, fed with the long size first. The white ink function is built in. It includes pre-, post-, spot and even sandwich white.

Mimaki recently announced a forthcoming addition to its JFX200 product family. The new JFX200-2531 features a print area that is twice the size of its predecessor, the JFX200-2513 and a unique ‘toggle print’ function that increases productivity and improves continuous running capability by allowing operators to load one

03/10/2016 12:38

THE BIG PICTURE

The new Anapurna H3200i LED wide format printer.

board while another is printing. The new, large flatbed UV-curable inkjet printer is compatible with media up to 2.5 x 3.1 metres, increasing the application range to accommodate large signs, wall decorations, doors and other large items. It can also accommodate two signage boards of the popular 1,220mm × 2,440mm (4ft × 8ft) size, allowing print companies to benefit from the added productivity enabled by the toggle print function. Availability is anticipated in early 2017.

At Viscom Paris in September, Mimaki unveiled two new printer models, the UJF-3042 MkII and the UJF-6042 MkII, which replace earlier UJF-3042HG and UJF-6042 models, respectively. The UJF-3042 MkII and UJF-6042 MkII have the capability to print at maximum speeds of 2.48 square metres/ hour and 3.52 square metres/hour, respectively.

This represents a 20% improvement in speed over current models. The printers also have the ability to use a wide array of different inksets. “For example, LUS-120 inks are ideal for printing on soft material surfaces, such as membrane switches or smartphone wallet cases, with their ability to stretch up to 170% without cracking when pressed or folded,” says Stuart Cole, Hybrid Services National Sales Manager, Industrial Products. “LUS-150 inks, which will be available for the new printers in the near future, are ideal for indoor signs, trophies, and other acrylic items due to their excellent adhesion properties. In addition, the LH-100 rigid inks are perfect for accessories or stationery products that need to withstand high levels of abrasion. LH100 inks, when used with Mimaki’s PR-200 inkjet primer, are also an excellent choice for printing on glass, metal and resins, which has traditionally been difficult for UV-curable inks.”

Fujifilm recently announced the release of the new Acuity Select HS 30 series. Capable of printing at print speeds of up to 57.6 square metres per hour, nearly double the speed of the Acuity Select 20 series, the new HS 30 can produce a wide variety of applications on a range of substrates up to 50.8mm thick. The Acuity Select HS 30 offers the option of using light cyan and light magenta, for producing photographic images or fine art reproductions. The UV lamp technology in the Acuity Select HS 30 opens the way for a broader range of thinner and sensitive media to be printed.

The new Acuity Select HS 30 series is available in the standard (2.5 metres x 1.25 metres) and X2 (2.5 metres x 3.08 metres) print-bed sizes. A roll option is available for each.

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Spook-tacular Graphics Printed 3D

New York-based large format print business, Carisma, has created 10 eye-catching 3D printed graphics to promote Sony Pictures’ summer blockbuster, Ghostbusters, using Massivit 3D Printing Technologies’ Massivit 1800 3D printer. The promotional campaign saw Carisma produce the 10, 14 feet (4.27 metres) 3D printed images of the iconic ‘No-Ghost’ sign, which serves as the logo for the movie. The 10 models were 3D printed in robust Dimengel material over 10 days before being affixed as illuminated 3D printed wraps onto a fleet of double-decker buses and used nationwide during a month long campaign. Lilach Sapir, Vice President Marketing & Business Development, Massivit 3D, says that Carisma can now offer “engaging 3D elements with traditional 2D applications to elevate the creative possibilities for its clients,” which include the likes of Macy’s, Disney and Samsung.

Image Transfer Technology

TheMagicTouch has introduced a new and unique transfer paper that it describes as a “game changer” for the image transfer garment decoration business. The new T.One coated transfer paper is for use with the TMT/OKi white-toner printers.

The paper involves no cutting and weeding, and leaves no residue on the finished garment or textile. The paper enables the user to print full colour (including white) designs to any pastel, white or non-dark garment/textile, regardless of colour or composition. This includes cotton, polyester, denim, soft-shell, polypongee, and most performance fabrics. The TMT/OKi white-toner printer with the incorporated SpaceControl RIP software offers a range of product applications onto many different substrates including dark mugs, PU surfaces, metal, wood, board, and even human skin. In addition to the T.One paper, TheMagicTouch offer metallic foils that are applied direct to the printed T.One transfers.

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03/10/2016 12:38

28

NEW TECHNOLOGY

UV GEL TO

REVOLUTIONISE WIDE FORMAT PRINT Canon is claiming that its recently launched UVgel addresses the limitations of eco-solvent and latex printing by enabling the technologies to jet the ink faster onto the media, increasing productivity and speed.

he newUVgel printing technology will soon feature in a new line of roll-toroll printers that the manufacturer says will offer large format print providers “an unprecedented combination of productivity, image quality, application range, automation and low cost of operation”. Philip Brady, CEO of Canon Ireland, says that the development

028_IP Sep_Oct_2016_New Technology.indd 28

of this “revolutionary and game-changing” new technology evolved through close collaboration and partnership with customers and expert resellers, as well as through heavy investment in R&D. “Better productivity and shorter turnaround times are always at the forefront of our customers’ minds,” he says. “We have been working diligently in response to these demands to offer printers and resellers a real step forward in roll-to-roll production printing.

The UVgel technology uses less ink but still delivers an improved colour gamut. We believe that it will power an upcoming generation of roll-to-roll printers that will help our customers increase their print production efficiency while lowering their operating costs, enabling them to profitably grow their business. Our strategy is to focus on growing markets and offer game-changing products that

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NEW TECHNOLOGY

help both our customers and partners. The graphic arts marketplace, including wide format signage, is rapidly expanding, and volumes printed on roll-toroll printers are growing year-on-year, according to the IT Strategies, Wide Format Ink Jet Graphics Summary 2015. In addition, an InfoTrends 2013 report on Wide Format Printing Critical Element in the Communications Mix reports that over 40% of orders usually need to be turned around in 24 hours, demonstrating the pace and the expectations that are now commonplace in this industry. Canon is proud to continue honouring its commitment to enable our customers and partners meet the demands of the 21st century print landscape.”

The UVgel technology will power an upcoming generation of roll-to-roll printers that will help our customers increase their print production efficiency while lowering their operating costs.

Key Features & Benefits This new UV curable ink instantly gels on contact with the media which, according to Canon, results in precise dot placement and area control for “perfectly repeatable” images at high speed. The manufacturer is also claiming that it offers the large colour gamut of solvent inks combined with the environmental benefits and safety profile of latex and UV inks. “It also provides ulta-thin ink dispersion with almost no discernible physical profile,” says Philip Brady.

“And it has the lowest ink consumption rate for an up to 40% reduction in printing costs compared to eco-solvent and latex inks. This all results in cost effective, non-toxic, durable, colour fast, high quality prints for almost any flexible media application.”

New Hardware The UVgel technology incorporates several new hardware technology developments from Canon, including advanced, ‘next generation’ piezoelectric print heads that employ patented acoustic sampling technology to monitor nozzle performance on-thefly during printing, and a ‘unique’ LED UV curing sub-system that operates completely independently from the printing system. Canon also claims that its LED-based UV system cures without adding any heat to the media and that continuous, on-the-fly, nozzle performance compensation facilitates unattended printing and reduced print waste.

Canon’s new UVgel printing technology will be at the core of a family of new roll-to-roll printing products, the first of which will be a

OPPOSITE AND BELOW: Canon’s new C850 digital colour press.

028_IP Sep_Oct_2016_New Technology.indd 29

high productivity 64 inch roll-to-roll printer to be released in the spring of 2017.

“The significant investment in this new technology demonstrates Canon’s continued commitment to be a leader in digital graphics markets,” says Philip. “Canon has already proven itself to be a leader in the UV flatbed market with its highly awarded, market leading Océ Arizona series of flatbed printers. We are looking forward to showcasing this breakthrough achievement at special reseller and customer events across Europe this year.”

Flexible Production in a Compact Package Canon recently added two new digital colour presses to its imagePress range – the C850 and C750. The new presses are a response to customer requests for more flexible production presses in a smaller but robust package. “The imagePRESS C850 series is set to inspire commercial printers and corporate reprographic departments to broaden their application offerings and realise their business growth ambitions,” says Philip. “The series is ideal for customers with typical monthly production volumes of up to 170,000 A4 pages.” The new presses feature a 85ppm/75ppm production speed of up to 220gsm, auto-duplex banner printing capability, a new 190 lpi dot screening pattern, semiautomated page registration, additional finishing options, and the new PRISMAsync v 5.0 controller platform. “With the imagePress C850 series capable of duplex printing banners, printing on standard sized envelopes, and producing exceptional quality output on textured substrates, printers can confidently diversify into more lucrative applications and attract work from new customers,” says Philip. “Thanks also to their ability to handle substrates from 52gsm to 300gsm and maintain their maximum speed up to 220gsm, the C850/C750 models can easily handle a broad spectrum of typical print applications, from brochures and invitations to posters and personalised direct marketing collateral. An enhanced laser and new 190 lpi dot screening pattern, together with Canon’s Consistently Vivid (CV) toner, ensure outstanding print quality page after page, regardless of run length. The inclusion of a new front-edge booklet trimmer, GBC puncher and inline creasing with the new presses gives printers opportunities to extend their finishing capabilities and to offer customers many more eye-catching, high value applications. By expanding the range of inline finishing options, both from Canon and third parties, customers can also now choose to integrate three-knife trimming, perfect binding up to 200 sheets, saddle finishing up to 100 pages, ring binding and square-fold booklet making.” The imagePress C850/C750 models are the first in the range to offer integration with version 5.0 of Canon’s PRISMAsync controller. “This offers enhanced usability, improved overall print room performance and optimum integration into the printer’s operations,” says Philip. “The new PRISMAsync remote control also offers a mobile application (Android/iOS) that provides status information and notifies the operator when any intervention is needed.” Canon has installed over 3,000 imagePress C800/C700 presses in EMEA over the past two years. “With these new imagePress models, we have enhanced performance and applications capability from end to end, so that an even wider range of print businesses can reap their commercial potential,”he says. The new Canon imagePress C850/C750 presses were seen for the first time at GraphExpo 2016 and will ship to EMEA from October.

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30

PRINTS PAST

REMEMBERING THE

PROCLAMATION’S

FORGOTTEN HEROINE

Roseanne Hackett helped to print the Proclamation of the Irish Republic and her career in print was almost a blueprint for a standard apprenticeship as a skilled female paper-handler and machine ‘feeder’. Vincent Caprani wonders why she has been airbrushed from Irish history?

A

lmost certainly the most important exhibit this year for visitors to the National Print Museum at Beggars Bush on Haddington Road in Dublin 4 is an extremely valuable and rare authentic copy of the 1916 Proclamation, which is currently and generously on loan from the McCloskey family in the US.

031_IP Sep_Oct_2016_Prints Past.indd 30

Right beside this exhibit is an ancient hand-fed Wharfedale flatbed printing press, identifical to that on which the original copies of the historic document were hastily printed on Easter Sunday night, the eve of the insurrection. This century-old press has been lovingly and painstakingly restored by a small group of dedicated museum volunteers. Led by veteran pressman and printer Alf McCormick, ex Smurfit Print, Bill Ryan, Eddie Gahan, and Freddie Snow, ex The Irish Times, these experienced enthusiasts now have the old press up and running and ready to print off facsimile copies of the original Proclamation.

The colourful and dramatic story of the printing of the Proclamation is very well researched and graphically explained in John O’Connor’s The 1916 Proclamation (Anvil Books, Dublin, 1986) where he tells how: ‘On Good Friday 1916 three men – Michael J Molloy, Liam O’Brien (compositors), and Christopher Brady, printer – who had been helping in the work of printing the Workers’ Republic, were secretly given notice by Connolly that they were to print the Proclamation on poster-size paper that he would provide. The intention was to print 2,500 copies but only 1,000 were produced due to the many restrictions that the printers were operating under, including a shortage of type (much of which had to be hastily borrowed from a sympathetic printer in Capel Street, an Englishman named West), the hand-feeding of single sheets into the press at an hourly rate of about 600 sheets per hour, and the poor quality of the paper.

At a function in 1955, Oscar Traynor, then Minister for Defence and a former printer, presented framed copies of the Proclamation on behalf of the DTPS (Dublin Typographical Provident Society, the Dublin printers union since 1809) to Molloy, O’Brien and Brady. He also went on to say that he thought the DTPS had supplied more men to the Rebellion than any other craft union. Four years later, Sean T O’Kelly, then President of Ireland, was made an honorary member of the DTPS as a tribute to his important role of being in charge of distributing the freshly-printed Proclamation around the city centre on the first few days of the Rising.

Fair enough. But there is no mention anywhere of a woman involved in the production of the famous and honoured document. However, our small, and alas dwindling, group of museum volunteers, who have had past experience in operating a hand-fed Wharfedale press, have always wondered who actually fed the paper into the machine that night. It definitely wasn’t the two compositors, who had to hastily handset every single letter of the hand-written document,

03/10/2016 12:45

PRINTS PAST

picking each individual piece of metal from the typecase, then carefully proof reading it for possible errors etc. The printer, Brady, would have had to do a similarly skilled and hasty ‘make-ready’ so that every single letter clearly appeared on each printed sheet and then position himself at the delivery end of the press to set the ink duct and constantly check and adjust the even flow and distribution of ink on every sheet of paper.

Also, with hawk-eyed perspicacity he would have had to scan each sheet for the menace of ‘rising spaces’ (the lower-than-type spaces between each printed word) that might rise to the surface due to machine vibrations etc, thus smudging the printed image. Besides, even if they had the time, it is extremely unlikely that any of the trio would have had the requisite skills to accurately feed the sheets into the machine at top speed.

European print practices from the early 19th century, then later strict trade union demarcation rules, and almost certainly gender skills, clearly suggested to us that a woman had to be an essential member of the team in Liberty Hall that night. But, if so, who was she? A necessarily brief and cursory examination of the museum’s extensive archives yielded no clues. So I undertook the task of going through some of the many books on my own shelves and I eventually found the following brief item on page 60 in the Irish-American academic Joseph E. A. O’Connell’s monumental book Dublin in Rebellion – A Directory 1913 – 1923 (The Lilliput Press, Dublin, 2009): ‘Roseanne Hackett, a former Jacob’s Factory worker who had not been re-employed after the 1913 Lockout, assisted the men’. Further enquiries (Wikipedia,

BELOW: The National Print Museum’s Freddie Snowe inspects a copy of The Proclamation printed on the museum’s Wharfedale press.

LEFT (OPPOSITE PAGE): The museum hosted the Graphic Explorations in Print exhibition earlier this year.

After her dismissal

by Jacob’s, Rosie began work as a clerk in the printshop in Liberty Hall... Through her experience of working in the printshop she helped to print the Proclamation of the Irish Republic.

etc) gleaned the information that Roseanne began work in a paper store, and was subsequently employed by Jacob’s Biscuits. One of our museum group, Peter O’Leary, confirmed that in those days, a century ago, Jacobs, like such large enterprises as Guinness, Bank of Ireland etc, had their own in-house printing offices with skilled staff.

According to Wikipedia, ‘After her dismissal by Jacob’s, Rosie began work as a clerk in the printshop in Liberty Hall...Through her experience of working in the printshop she helped to print the Proclamation of the Irish Republic’. A clerk? Her career was almost a blueprint for a standard apprenticeship as a skilled female paper handler and machine ‘feeder’.

For her lifelong service to Irish trade unionism Rosie Hackett (1892-1976) had a new bridge over the Liffey named in her honour and officially opened by the Lord Mayor in May 2014. And in the absence of any definitive or incontrovertible evidence to the contrary, our National Print Museum group of ‘Wharfedale veterans’ also wish to claim Rosie as one of our own.

All of our combined craft knowledge and experience, as well as amateur and exhaustive research etc, convinces us that we have identified a genuine – and almost forgotten – heroine of the printed Proclamation.

Vincent Caprani is a Dublin writer, amateur historian and trade unionist. In 1950 he commenced work as a 15-year-old ‘printer’s devil’, before gaining a seven-year apprenticeship. A former President of the Irish Print Union, and the first president of the Irish Print Group, SIPTU, he was a founder member of the National Print Museum in the 1980s and is a member of the museum’s ‘volunteer chapel.’

031_IP Sep_Oct_2016_Prints Past.indd 31

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32

INNOVATION

OPERATION

The Xerox Versant 2100 digital production device, supplied by National Business Machines, is proving to be a transformative technology for Bandon Office Supplies in Cork.

n addition to supplying office furniture/products, Bandon Office Supplies provides a design, print, finishing and delivery service to Ireland’s print and signage community. The company recently transitioned from litho press technology to a digital print solution and Company Director Robert Merrick outlines the positives associated with this change. “Litho was capital heavy, requiring a lot of investment, including skilled labour,” he says. “Digital does not require the same level of expensive skilled labour or as much hands-on monitoring. I’m delighted that we made the switch, as the previous litho machine was expensive to maintain and service, and had a high cost of consumables and labour, including the associated prepress expenses, along with specialised staff whose only job was to operate these machines.

That was a high annual cost to have to cover before you generate any profit margin.

In addition, run lengths have been reducing consistently since the recession. In a nutshell, digital is doing to litho what litho did to the letterpress.”

The Benefits One major benefit of the new technology is that print speeds are now quicker and the Xerox Versant’s high capacity stacker means that it can run for much longer without someone standing over it.

The registration achieved by the Xerox Versant 2100 surpasses all expectations. Robert describes it as being as “bullet-proof as the J75 – our previous machine – but capable of much more volume”. The production time and volume of printing has also been slashed. “We put 9,000 pages through it last week in one day and we priced it on the digital,” he says. “It could have been done litho but the customer didn’t give us enough lead time. They signed off on it late Thursday afternoon and wanted delivery by the following evening. The job was 450, 80 page A4 booklets, full colour, double-sided on 170 gsm silk – printed, cut, creased, and folded with a saddle stitched finish. Sure we love a challenge! That is the beauty of the machine. We could turn it around and secured the business.”

Digital Demand Robert reports that Bandon Office Supplies is experiencing a huge increase in demand for digital jobs. “Paper for general applications is becoming virtually obsolete, with electronic versions of tickets,

032_IP Sep_Oct_2016_Innovation.indd 32

ABOVE: Bandon Office Supplies’ Robert Merrick with Aidan Deegan of National Business Machines.

invoices, and documentation becoming the go-to method,” he says. “In terms of company promotion these days, you have to have Facebook and other forms of social and general media, including radio and TV, and you have to have print. Print will now become more targeted, probably with lower run lengths, and personalisation will become very important, hence the importance of digital printing.”

Delivering on the Promise Bandon Office Supplies has been a National Business Machines customer for 17 years. “National Business Machines encourage loyalty and they have never given me a reason to change,” says Robert. Aidan Deegan, National Business Machines’ Graphic Arts Manager, says that client satisfaction and maintaining an on-going relationship is really important to their sales team. “That is why we were keen to hear direct feedback and check in with Robert to confirm if the change to the Versant was as beneficial as promised,” he says.

“And we are delighted that the technology has had such a transformative and positive impact on their business.”

National Business Machines (NBM) is a Xerox Premier Partner and an Accredited Advanced Production reseller headquartered at the South Link Business Park in Cork, with offices in Waterford and Limerick. NBM was one of the first Xerox partners established in Europe and has grown to be the largest Irish concessionaire over the past 30-plus years.

03/10/2016 12:45

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