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p ri n t • i n t elli ge nc e

the changing face of print in asia


C O N V E N T I O N • K u a l a l u m p u r O C TO b E r 2 0 1 4 a


D aY

F e at u R i n G

D i G i ta l SpeaKeRS

pRint F RO m



BRieFinG planet

the future is about change, ViSiOnaRieS are those who change first. ViSiOnaRieS - the two day convention featuring the best visionary minds of digital printing, providing attendees with a briefing on what will be the printing landscape in the asia of the future. the convention will be of benefit to those market leaders who naturally look forward to adopting the latest digital print technology and trends, it is a presentation for decision makers, thought leaders and those with an eye to the future. if you believe you have the ViSiOnaRieS philosophy, then this convention is designed for you.

Kuala lumpur October 2014

Booking details for attendees will be available soon.

platinum SpOnSOR promotional opportunities exist for sponsors with vision contact for details

p r i n t • i n telli gen ce

the changing face of print in asia


Vision, a new force in print throughout Asia. Providing the industry with intelligence on digital print products and technologies, identifying emerging trends and showcasing ideas, skills and knowledge.


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VISION ISSUE ONE The Changing face of print in Asia

57 Ubi Ave. 1, #03-06 Ubi centre, Singapore 408936

Tel: +65 6733 5342 Fax: +65 6733 3586




Singapore Scene

A perfect blend of east and west with an efficient business environment, Singapore lies in the heart of the Southeast Asian print industry. It comes as no surprise that the Lion City takes the lead in digital print adoption in the region. Sha Jumari explores its print scene and finds out what it takes to stay on top in the digital realm.




AT A GLANCE Country: Singapore Government Type: Republic with a Parliamentary system of government based on the Westminster model Location: Southeast Asia Population: 5.4 million (as of 2013) Economic Indicators: $64,310.00 per capita GDP (as of 2013) Currency: Singapore Dollar (SGD)

Singapore recently emerged first as the easiest place to do business in the world in 2014, according to an annual World Bank report that assesses 189 economies. With its easy access and close proximity to regional major markets, many international printers and publishers make it the preferred headquarters for Asian-Pacific activities. The island city also offers one of the best intellectual property (IP) protection across Asia, making the nation one of the top printing hubs in the region.

sive in lending support to businesses. For starters, $500 million dollars have been pledged into the government’s Future of Manufacturing (FoM) programme, with huge focus placed on the development of 3D printing. Through agencies such as National Research Foundation (NRF), SPRING Singapore, Economic Development Board and Infocomm Development Authority, S$16 billion has been committed between 2011 and 2015 in order to drive innovation in the country.

When it comes to digital progresses and innovation, the nation has been nothing short of aggres-

“Internally, we look at countries in terms of their maturity in the market. I think Singapore is at that




higher-level end for Asia than others in the region, with a very good, robust market and plenty of opportunities for growth. Singapore has taken on the more mature markets in the world, such as adopting print technology from the US and Europe. It has become our job to convince the other countries in the region to adopt that technology as quickly as possible,” said Mike Braggins, senior manager for marketing, Fuji Xerox Asia Pacific Pte Ltd. SingaPrint Industry The Singapore government’s pro-business stance and attention to innovation translates well into the print industry. The role of the print industry in the nation’s economy is crucial, as the industry employs over 17,000 workers and contributes about $1.3 billion of value-added to the economy. Initiatives and collaborations to actively promote economic growths in the industry are frequent. In 2011, SPRING Singapore partnered up with the Media Development Authority to organise a crossmedia seminar to educate printers on the changing business models of printers overseas. SPRING Singapore has also expressed their commitment to work closely with other government agencies, and industry partners in order to build up on digital media frontier in the nation. Singapore also cooperates with the Print and Media Association, Singapore (PMAS), the local association for the print industry. PMAS has been instrumental in the growth of the local print industry,

by opening new markets, providing opportunities to upgrade and bridging the gaps between printers and government schemes and assistance programmes. From 2006 to 2010, the print industry recorded a decline at a compounded annual growth rate of 2.1%, which amounts to a 25% regression over five years. Although the government has shown concerted effort in supporting the industry, the numbers are unfortunately not seeing an upturn just as yet. “A lot of my competitors have closed up shop or are going to shut down. Those who close up would pass along their clients to me. I should be happy, but the sad fact is while my customer pool has grown, the print volume has dropped,” lamented Sim Boon Keng, owner of a large format printer in Singapore, Botak Sign Printer. “All research and studies have shown that offset volume is dropping everywhere. Particularly in Singapore, there is definitely a decline in profits. In emerging markets, the decline is much slower than in mature countries. While offset volume is declining, digital volume is on the rise. There are three main reasons to this – more personalisation jobs, costs, and advancements in digital technology,” said Jonathan Yeo, general manager, Konica Minolta. Digital Moves Digital improvements within the print industry have

opened up opportunities for revenues. With consumer demands for personalisation, quicker turnarounds and shorter runs, the Singapore print industry is becoming highly competitive. Due to these demands, digital applications are encroaching into traditional print processes. That said, the move to digital is not as quick as was presumed. “The smaller printers in Singapore have already made the move to digital. For the large commercial printers who make up 80% of the physical print volume, it’s not as easy for them to move to digital because of the high initial investments made in offset presses. Still, they are exploring digital, and Singapore’s traditional commercial printers have a faster adoption of digital presses relative to other countries in the region. Not as fast to transition to digital as anticipated some five years ago, but compared to the rest, Singapore ranks as one of the fastest in Southeast Asia,” Yeo said. “Some of my competitors are selling away their digital print businesses to the larger printers in the country. These larger printers operate mainly on offset processes but because of growing demands they need to include digital printers as well,” Sim corroborated. Many large commercial printers in Singapore count multinational corporations and the nation’s government as part of their main clientele. The nature of such jobs requires a more intricate form of personalisation, which is a main driving force for offset printers having to move some print volume to digi-




tal or hybrid printing. “Government jobs are always intended to serve the citizens, so there’s that need for personalisation. Almost all the time you will see some element of customisation in government jobs. The information is stored collectively in a central database, and when printed, the government has to take care that each citizen receives their rightful information and not someone else’s. Each printed material must be customised to each citizen. The complexity of these jobs also plays a part in Singapore’s faster adoption of digital. Similar jobs from other countries in the region is not as sophisticated,” said Yeo. The Future of Digital Print: Value-Added Services Besides an increase in customisation jobs, a business trend that is witnessing growth is diversifying the business to include value-added services. In order to remain sustainable in the print industry, print service providers are looking to go beyond physical printing. Printers are now offering end-to-end services in order to retain clientele and increase margins in light of declining print volumes. End-to-end services work on the premise of having a streamlined and efficient workflow within an organisation. “We have observed that large printers are already seriously exploring how to evolve their businesses to do other types of services and take on a more holistic approach. Printers are including more value-added services, as opposed to just physically printing. Printers can now set up an end-to-end process for the customer and look at how they can automate the process. For example, by providing an electronic web ordering system, the customer can insert the dates, time and location and the jobs get delivered. Some printers also provide designing services, while others do spend analysis to recommend how best to budget,” said Yeo. Many printers that have refocused their business to include value-added services are already deriving revenue from it. They plan to continue expanding these services to become a more rounded marketing service provider. Being able to offer such valueadded services ultimately boils down to the corporate cliché: the customer is king. “The market now is more about helping your customers be more successful. There are two things really - printers need the right products to provide to their clients, and then a streamlined and efficient workflow within their organisation. You’d have to encompass other ways of communications other than print, and be concerned with helping the clients be more successful. If printers can bring all that print expertise and include value-added services for their customers, that would make for a successful printer and marketing services provider today,” said Braggins. Packaging Goes Digital

Another digital movement the industry can expect is in packaging. A recent study by Smithers Pira predicted that the market worldwide for digitally produced packaging and labels to reach USD$15.3 billion by 2018. As labeling requirements grow increasingly stringent, the variable component of digital press becomes important. “Especially in consumer products, a lot of governments are actually beginning to legislate that some of the labeling have a security element to it, such as a barcode or serial number. This is to enable tracking capabilities, so that in the event of issues such as food contamination, it’s easier to track and recall the products. In Singapore, they currently run by hybrid - the labels are printed on offset, while serial numbers are printed on digitally. When will labels and packaging migrate completely to digital? When the runs are short and the variable and static data are in one press,” explained Yeo. Death of Offset? Does the digital print boom bode ill for offset presses? Not necessarily. Offset still has its place in the print industry in Singapore. Braggins offered this insight on the value of technological advancements when placed in perspective with consumer demands: “For the Singapore market, offset will definitely have a place. Digital may have replaced some of the processes, but primarily digital print is different. Digital print is not about replacing an offset process - it’s not a replacement business.”

“At the end of the day, it’s not a technology discussion, rather than it is a business one. There are a lot of good technologies out there. We’d like to think that ours is better than the rest, but realistically, a lot of people provide a lot of good technology now. Most customers don’t care about technology, they only want a certain type of service, and they’re not concerned with how you go about doing it. If the job can be done with an offset press, then it’s fine,” Braggins concluded.




JORG Label.Web 220 The machine works completely digitally to eliminate expensive setup times, cliché or tool costs. This allows for low costs for individual printing of small or medium-sized jobs, which are defining of the on-demand market for colour labels and stickers. The the JORG Label.Web 220 serves the narrow web sector up to a printing width of 220 mm and prints using a paper web with an unwinder and rewinder. Here, the labels can be printed on a blank roll and cut to either to an individual format or can be rewound on the rewinder for further finishing.

JORG Graphische Produkte GmbH introduces the JORG Label.Web 220, a desktop web printing system, in its product range. The printer is the German company’s entry in the label market.

The integrated Memjet printhead technology operates by a special patented inkjet principle. This allows all inks (CMYK+K) are printed onto the substrate simultaneously, giving production speeds of up to a maximum of 30cm per second. The 70,400 print nozzles allow the JORG Label.Web 220 to print at a maximum physical resolution of 1,600 x 1,600 dpi. The printer is operated with a simply designed touchscreen color display made possible with a Windows‐PC that can be integrated in existing networks. The printer is also programmed with an automatic print-cost calculation and job and media management systems.

RAPID-X Releases New Label Presses for 2014 “The growth in short run digitally-printed labels is such that sections of the market are calling for a simplified but efficient end-to-end press solution,” said Nick Mansell, general manager of Rapid-X Digital.

Rapid-X Digital will be releasing a range of all-new label press powered with Memjet technology, in the first half of 2014. The Rapid XL220 is slated for launch from March 2014 and will be available in Asia, with operations based inHong Kong and Japan.

Fitted with a 220mm web width design, the Rapid XL220 is a label press that will reflect an ‘all-in-one’ approach. Instead of a modular three- or four-piece system, the machine will look like a single unit. All functions can be accessed via a touch-screen control. The Rapid XL220 allows PDF files to be sent over a network, and all parameters of the job to be set up from a central console. A notable feature of the range is the option on an inline flexo coating station. “Coating digitally-printed labels is becoming essential. Our long experience in making flexo presses and all of the ancillary unwinding/rewinding units that go along with flexo, has served us well in designing the new label press. Whether digitally or conventionally printed, labels are still about converting and embellishing so we are fusing digital and flexographic technology in this new press option,” said Mansell. The range will include two versions that are currently under development; the Rapid XL220C with coater and XL350, a 350mm web width version.









Indonesia-based company, Book and Story proved to be a force to be reckoned with on the Digital platform at the Asian Print Awards 2013.

-By Sha Jumari.

Looking at Book & Stor y’s submissions, it’s hard to believe that they were printed using copier machines. The company swept awards in the digital categories at the latest edition of the Asian Print Awards, winning three Golds, a Bronze and a Platinum Sponsor award. The awards committee particularly lauded their submission for the Book Printing categor y, comparing it with top quality offset printing. At the helm of the company is Vincent Kusuma, who started Book & Stor y in 2009 to cater to the needs of photographers for high-quality custom-made photo books. This year, he submitted four of his best pickings for the awards consideration. Together with the clients, his team carefully executed all paper selection, binding and finishing techniques and colour preparation on the projects.

When it comes to printing quality work, it’s not just about the printer used. A skilled hand and an understanding of the machines come into play as well. According to Kusuma, one of their major issues was in having trained staff – an issue that plagues many printing companies. “We have been so busy this year. Our biggest problem at the moment is the skilled manpower, since our work is characterised by its detailed finishing and binding. It takes time to train new staff to be able to produce the level of quality in our products. I’m glad to say that we’re able to manage it so far,” Kusuma continued.

A defining characteristic of the company’s products is their use of copier machines by Konica Minolta, a trait Kusuma prides with. When asked if the same machines that were instrumental in their wins in the past years were still being used,

“The staff is extremely proud and happy as this is our biggest achievement thus far. But we’re still a small and considerably new company, so there is still plenty to learn. We’ll continue improving ourselves to be able to expand the business. I’d love to be able to share the excitement of the award ceremony with the staff! Here’s hoping that the next awards ceremony will be hosted in either Jakarta or Bali,” Kusuma enthused.

Kusuma quipped: “Yes, I still use my socalled ‘copier machines’ (laughs)! It was fabulous to win the awards! We are so proud to get this achievement this year, and we plan to do even better next year. Not only were we awarded with Gold medals, we also received a Platinum Sponsor Award for the first time. It was particularly special because it’s a Judges’ Award.”

There’s no slowing down for the company. Kusuma has plans for expansion for Book & Stor y. Along with the expansion, he is looking to upgrade their equipment. The brand of choice? Konica Minolta, of course. “We have great support from Konica Minolta, and we would like to explore new machines when they become available in Indonesia.”








Form Strategic Alliance

EFI and Landa Corporation join hands to develop a digital front end (DFE), as part of Landa’s end-to-end Nanographic Printing™ solution. Based on EFI’s Fiery technology, the Landa DFE will offer a new functionality for sheet-fed and web-fed Landa Nanographic Printing™ Presses in the commercial, folding carton, point-of-sale, publishing, and flexible packaging markets. The Fiery technology EFI is developing for Landa will use scalable systems that can provide processing power to be able to drive large volumes of offset-quality digital images, including personalised/variable-data content. “Our unique Nanographic Printing™ process enables us to offer offset-quality digital printing and a combination of format size and throughput speeds unprecedented in the graphic arts industry. Reaching this remarkable and exciting goal requires partnering with best-in-class providers. That is the reason we chose Fiery technology and EFI as our development partner - to deliver the highest quality ultra-high-speed front-end platform to match the quality and performance of our Nanographic Printing presses,” said Benny Landa, chairman and CEO, Landa. The Landa printing presses will be installed next to offset presses and use the same substrates. Full offset, all-digital or hybrid offset or digital printing operations will be able to use the new DFE. Besides EFI’s MIS/ERP systems, the DFE will be able to inte-

grate with other leading third-party prepress and workflow platforms, for streamlined job management and processing. “Landa Nanographic Printing™ Presses have potential to accelerate the migration of mainstream commercial printing and packaging to digital printing. The Landa DFE provides a proven, ultrahigh-speed and well-integrated front-end platform that Landa customers will require,” said Guy Gecht, CEO, EFI. The DFE will stream jobs at full printing speed for 4-8 colour printing with Landa printing presses. It will allow press operators to perform last-minute job changes on the press, proof jobs and print rush jobs on-the-fly. The DFE will also be able to collect production feedback from the presses and support closed-loop colour control and inspection. Additionally, it will support all job dynamics including static, VDP (Variable Data Printing) and EPID (Every Page Is Different) printing. The DFE will also enable high-speed, variable-data printing on any off-theshelf B1 format (41 in. / 1,050 mm) substrate. The new DFE will enter beta testing as part of the beta installations of the B1 (41 in. / 1,050 mm) format Landa S10 Nanographic Printing™ Press expected for release for Q4 of this year.




Konica Minolta Partners with MGI Konica Minolta and MGI Digital Graphic Technology enter into a strategic alliance in a bid to fast track the innovation and marketing of next generation digital solutions. The two companies hope the partnership will increase their presence in the digital print market. Konica Minolta will be acquiring a 10% stake in MGI, valued at €13.7 million, through a reserved capital increase. MGI will remain independent and autonomous in defining its strategic axes. The two companies will capitalise on the co-development and co-marketing of existing and future products. One of the commitments of the agreement is to expand sales of existing and new products, including, but not limited to, the Meteor Digital Press line. Konica Minolta will be implementing its “genre-top strategy”, which concentrates management resources on the most promising business areas and markets to ensure global leadership in these fields, in these growing markets, especially in the field of production printing systems. Building on a decade-long relationship, Konica Minolta will be leveraging on MGI’s expertise and innovation in the digital printing market. MGI, on the other hand, aims to gain more traction on the global platform with support from Konica Minolta.




Ricoh to Acquire mindSHIFT Technologies Ricoh has reached an agreement to buy mindSHIFT Technologies, a managed services provider for small and medium enterprises (SMEs), from Best Buy Co., Inc. The move serves as a strategic investment by Ricoh to expand its services portfolio. US-based mindSHIFT provides managed IT, cloud, data center and professional services to SMEs to over 6,900 clients in major markets. Following the acquisition, Ricoh will be able to tap into mindSHIFT’s markets such as legal, healthcare, financial services, associations and non-profits, education, and general business.

ing services organization, Ricoh can now offer a greatly enhanced range of services for its customers. We are very much looking forward to working with our small and medium-sized customers to maximize these combined capabilities to their greatest benefit,” said Martin Brodigan, CEO and chairman, Ricoh Americas Corporation.

The addition of mindSHIFT’s nationwide expertise and customer service professionals is expected to benefit the customers Ricoh is currently serving.

mindSHIFT will continue to operate under its current name, management team and capabilities, which currently include 650 employees at its US offices. The acquisition is expected to close in February 2014 at which time mindSHIFT will become a wholly owned subsidiary of Ricoh.

“With the addition of these highly skilled engineering and customer-facing resources to our exist-

EFI Acquires SmartLinc EFI announces its acquisition of shipping software developer SmartLinc Inc. SmartLinc Inc is a US-based company that produces software that enhances the shipping process by allowing users to select the best carrier for their shipments. The software also enables automated integration with other software systems. EFI’s Print MIS/ERP products can automatically submit print jobs to SmartLinc software, which then tracks shipment status, cost and carrier information. This information gets transferred back to the MIS/ERP system, so users can have a more comprehensive picture of expenses, job delivery and other essential metrics.

Along with the acquisition, SmartLinc employees, including former SmartLinc co-owners Greg Billinghurst and Scott Kwiatkowski, have joined EFI. “EFI and SmartLinc have many joint customers who will benefit from further, streamlined integration between their MIS/ERP and shipping systems,” said Marc Olin, chief operating officer, EFI. While financial terms of the acquisition were not disclosed, it is not expected to be material to EFI’s Q1 or full-year 2014 results. EFI will continue to develop and sell SmartLinc software, which will become EFI’s core shipping technology offering.







Digital Print Shines at Asian Print Awards 2013 The digital arena saw an impressive array of entries in the latest edition of the competition, indicating the rapid rate of pace at which digital continues to grow in print. Sha Jumari reports.

Key industr y players around the region gathered at the ballroom of the Prince Hotel in Kuala Lumpur, Malaysia for the Asian Print Awards Gala Night. This year marks the 11th anniversar y of the annual awards ceremony since it kicked off in 20 03. The competition has witnessed changes since its inception; some categories have been removed, and new ones added, especially in digital print. The Asian Print Awards Committee included digital categories in 2011 to reflect the growing demand for digital print in the global market. Digital categories that received special attention from the panel of judges were Book Printing, Posters, Digital Outdoor and Multi-piece Productions & Campaigns. Thailand dominated the digital categories with 10 wins. The Land of Smiles did not bag any Golds, collecting instead a bevy of Silver and Bronze awards. The countr y was, however, the sole winner in the Packaging categor y, taking home the Bronze. Indonesia took second place with eight awards, taking home two Golds. Across all categories, Thailand lead the Asia Pacific pack as it swept 25 wins, while India came up at a close second with 17 awards, and Hong Kong amassed 14 wins. Book & Stor y single-handedly won all two Golds for Indonesia. The Indonesia-based company also accepted the honour of the Gold East Paper Judges Award. Book & Sto-

r y’s submission for the Book Printing categor y was deemed parallel to top quality offset printing by the judging panel; an astounding achievement, considering their use of copier machines. Hong Kong-based Standard (Chan’s) Co was awarded the Platinum Sponsor award for Best Use of the Digital Printing Process by Fuji Xerox. The company also scored a Gold in the Posters categor y. Printed on a metal substrate, its submission was a clear standout amongst the rest. The HP Digital Print Creative award went to Braille Publishing Co. Ltd from Korea, which came back after a four year break. Their submission was an outstanding combination of braille, heavy colours and textures to create a book for the blind. In only the second year running, the Digital Outdoor, Large Format & Signage categor y produced outstanding visual concepts. Singapore’s BusAds Pte Ltd took home the Gold for their airplane decal submission, a move up from their Silver win last year. Additionally, the company won EFI’s Best in Digital Wide/Super wide Format award. A notable mention for the Digital Outdoor categor y is Pakistan’s inaugural participation and following win in the awards ceremony. Pakistan-based Adsells Group of Companies was awarded the Silver prize for their submission.


End-To-End App for Custom Wall Décor WallArt 2.0 is an expansion of HP’s suite of digital printing solutions for custom wall décor that can help print service providers reach new market segments and capture fresh revenue. - By Sha Jumari.




“The Wallart is an end-to-end solution that we continue to grow. No other hardware provider has this much level of integration, which is what it’s all about. If someone wants to get into the digital wall art market, HP is able to advise them on the creation all the way to the finishing,” said Ng. HP highlighted their focus on meeting international standards and certification for the upcoming year. Authorised by third party labs, HP has thus far received the EN233 certification for washability and colourfastness, the Euro Class B standard for flame retardancy and the CE Mark. Other features include integration with customer’s online storefronts for a customised web-to-print solution, added options for easier production of canvas prints and new elements such as sustainable substrate HP PVC-free Durable Suede Wall Paper. Custom Wall Décor in Asia The custom wall décor market in Asia is a relatively untapped territory. With the upgraded application, HP aims to open up new customer segments and bring in revenue for print service providers wall covering manufacturers in the region. HP reported that more than 1,100 customers in 66 countries are already using WallArt. According to Ng, there are possibly a few billion square meters of opportunity to apply custom wall décor solutions worldwide, and 20-30% of it is located around Asia. From that volume, less than 10% is printed digitally. There is a marked potential for the digital custom wall décor market to grow in Asia. “There is growing demand in Thailand and the Philippines, and Japan is seeing a very fast growth. We have seen a lot of customers asking not just for wallpapers, but wall murals and artpieces as well. In Singapore wall décor trend is healthy, although the demand comes not so much from the home side, but in hotel, retail and corporate spaces,” said Ng. Real-Live Visualisation At the heart of the upgrade is HP WallArt 2.0, a cloud-based web service that aids in simplifying the design, visualisation and production of custom wall coverings. Launched globally at Heimtextil 2014 in Frankfurt, the expanded suite is available for free for new and existing HP Latex Technology customers. WallArt 2.0 integrates with HP’s Latex Printing Technology, to create unique or short-run wallpapers, wallcoverings, wall murals and canvas prints. First introduced in 2013, WallArt is essentially an endto-end application for designing and printing wall décor. The web application works through a support system of a range of design software, media and finishing options. The upgraded version further streamlines print processes through collaborations with third parties, and places emphasis on international industry certifications.

“When we talk about the wall décor segment of the market, it goes beyond just printing capabilities. It is really an end-to-end solution. HP has collaborated with suppliers in the market to truly integrate the processes, from the front end design tool, colour management, all the way to the finishing,” said Nicholas Ng, regional manager for Southeast Asia, Graphics Solutions Business – Sign and Display, HP Asia Pacific and Japan.

WallArt 2.0 is available on iPad for free, when previously it was only PC-based. The application allows real-live previews through an interactive userfriendly interface. This meant that the user is able to immediately visualise how their designs will look like on their wall, by simply taking a photo of the wall and layering the wall design over it. Once the user is satisfied with the visual, the image can be sent across immediately to the printer.

WallArt 2.0 introduces collaborations with third parties in the custom wallcoverings market. A partnership with AVA, a UK-based wallpaper software solutions provider, allows the development of exclusive design tools. HP also works with global stock photography company Fotolia, which grants users access to a range of high quality images, designs and artwork, and Fotoba International, for seamless automatic winding systems.

“We don’t just talk about hardware anymore, we talk about bringing them through their whole entire journey. We have also extended that capability through the software portion, which allows people to DIY. The software is smart enough to take into consideration wall elements such as plug boards, windows, and doors, and it tiles the wall design around them accordingly,” explained Ng, as he walked through the app.

Durst Strengthens Leadership in Ceramics Durst Phototechnik AG bolsters its place in the ceramics industry with large investments in R&D, production department expansion and personnel reinforcement for developing technologies.


Among its latest endeavors is the opening of sales and assistance offices in South Afr ica, India and the Asia - Pacific area and entr y into the Chinese market, setting up a new business company in par tnership with C. ILLIES TRADING Co. Ltd. The specialist for industr ial inkjet ap plications is also enlarging the Br ixen plant with more than 6,0 0 0 square meters devoted to digital pr inter assembly. By spr ing of 2014 Durst prem ises in Lienz/Austr ia will be inaugu rating a new building for producing pr inting systems for the graphic ar ts market. Strategic decisions that delineate an expansion process that includes enlarging the Br ixen plant with the addition of more than 6,0 0 0 square meters devoted to digital pr inter assembly to meet growing demand. Since Januar y 2013, the Br ixen plant increased its manpower, with 15 staff dedicated to the ceramics sector. By spr ing of 2014 Durst premises in Lienz/Austr ia will also be inaugurating a new building devoted to making pr inting systems for the graphic ar ts market.



Durst has been adapting digital pr int technologies to make them appli cable for industr ies such as wood, glass, ceramics, large format pr inting and textile in the last 10 years. Durst has been digitalising pr inting processes for ceramics since it en tered the market in 20 05, creating digital pr int systems specifically for the substrate. At the moment the R&D depar tment of the Alto Adige fi rm is engaged in developing new technologies for the ceramics wor ld. Systems equipped with vanguard components about to be patented that herald revolution ar y changes in the ceramics production process thanks to a new “syn chronized digital glazing�.




Caldera Updates Print Standard Verifier Tool with G7 Conformity Caldera’s Print Standard Verifier tool is updated to now support G7 standards. The Print Standard Verifier tool ensures standards conformity across printing processes.

Published by international organization IDEAlliance, the G7 integration is meant to help digital print ser vice providers achieve a certified process standard. G7 is a definition of the appearance of greyscale and a methodology for applying this to CMYK-based print machiner y. The device-independent process uses a neutral print density cur ve to create faithful comparisons and enable shared appearance of output when crossprocess colour management is unavailable. “Repeatability and cross-platform colour deliver y are now critical commercial pressures for printers, and guaranteeing each across different substrates, gamut and chemistries is mission-critical. Whether customers are demanding conformity with the major ISO, Fogra or G7 standards, this addition to the Caldera EasyMedia module will keep them consistent and competitive,” explained Frederic Soulier, chief technical officer, Caldera. Caldera simplifies the complex process of hitting these standards by handling conformity calculations within EasyMedia in the

RIP suite. Operators select a print configuration in Print Standard Verifier and confirm the standards their output must meet, as well as the targets the colours are expected to hit. The Caldera engine then measures print colours against the required chart to verify if the print settings will enable meeting the color standard requirements. The update is available for users of GrandRIP+, GrandTEX+, VisualRIP+ and VisualTEX+ immediately. “Universal standardisation has existed in offset for some time, but the variables incumbent to digital print have made it difficult to establish a global standard. However, print buyers expect homogeneity of colour regardless of application and substrate, be it signage, packaging or paper. Our continuous upgrades to the Caldera suite are driven by these pressures and keep our printers at the leading edge of dependable, colourfaithful production,” said Joseph Mergui, chief executive officer, ldera.


E N F O C U S Co n n ec t P ro duc t L i n eu p Now Su p p o r t s OS X Maver i ck s Enfocus releases Connect 11.2, updated to be fully compatible with OS X Mavericks, Apple’s latest operating system. The software range also supports other latest mainstream operating systems, including Windows 8.1 and Windows Server 2012 R2.

The Enfocus Connect product lineup includes Connect YOU, Connect SEND and Connect ALL. Enfocus Connect ensures the creation of print-ready, top-quality PDFs by design and production professionals, and can automatically deliver completed jobs to printers. Poor quality PDFs is one of the major issues that affect production processes. Printers receiving such PDFs often spend too much time and resources to identify and rectify the problems before it goes to print. “In listening to our customers, Enfocus clearly heard the challenges poor quality PDFs were creating for the graphic arts industry. We knew there was a better way to manage the production process, and that is what led us to the development of the Enfocus Connect family. Making this technology compatible with OS X Mavericks and other operating systems ensures that customers can continue to enjoy the improved quality Enfocus Connect brings to

both their PDFs and to their organizations,” Fabian Prudhomme, vice president of Enfocus, said. The products are each designed to help with different aspects of the production process. Enfocus Connect YOU is for individual users, namely designers. Enfocus Connect ALL and Enfocus Connect SEND were developed for companies that collaborate with many internal and external users. Along with the release, Enfocus also updated its supporting plug-ins for Adobe Creative Suite and Creative Cloud products. Enfocus Connect 11.2 is available for free download from the Enfocus website.






Heavy Duty


BusAds Pte Ltd brought art to life on metal panels on an outdoor scale, a first-of-its-kind project in Singapore. Sha Jumari reports.

Walking along the trendy streets of the charming enclave of Holland Village, one would think that the eye-catching mural is painted by hand, instead of a printed job. Even more surprising is that it was printed on metal, resulting in a visual that is not just picturesque, but sturdy enough to stand against the outdoor elements. Produced by Singapore-based BusAds Pte Ltd, the project is a first-of-its-kind in Singapore, in partnership with Land Transport Authority (LTA). The EFI Vutek 3200 printer was used to print the mural on 51 aluminum panels. The project took approximately three to four weeks to complete, including leveling of the walls to make them flat and painting the grey walls to match the artwork. “This is a special state-of-the-art printing that uses UV ink to print on aluminium flatsheets. The panels are mounted with a backing of 9mm calcium silicate boards. Not only does this create a 2D effect, it is also for easier maintenance purposes in the future. Being located at the roadside and in a corner, the mural is exposed to outdoor damage or accidents. Should that happen, replacing panels becomes easier because not all 51 panels need to be removed, and this is one of the beautiful features of the job,” explained James Lim, production manager for the artwork cladding project. Holland Village is most commonly favoured by youngsters and expatriates for its laidback restaurants, bars, and quirky stores. LTA approached the outdoor display specialist to cover up an unappealing air ventilation shaft outside of the station. The

governmental body has a strong art programme and every station strive to be localised with the art and heritage relevant to the precinct. Usually the effort is reflected within the stations itself, and not on an outdoor scale. “By exploring this possibility with us, they’ve opened up a huge avenue for what is potentially viable in making our stations iconic and significant to the area and community. We hope that his project can translate to other public spaces, such as in carpark spaces to cover unsightly air conditioner ducts or vents, or to mask water feature tanks and pipes. Even the grey mailboxes under housing blocks can be covered. The possibilities are endless,” said Alvin Yapp, corporate affairs director of the outdoor display company. Fresh from their Gold win in the Digital Outdoor, Large-Format & Signages at the recently concluded Asian Print Awards 2013, Busads had previously debuted 3D printing as a marketing tool in Singapore. “Printing is always dynamic, and we are happy that we are able to respond and be relevant to our clients. We strive to always be at the forefront and be able to share with the clients the latest, updated ways of executing production. We call ourselves production designers. With our support, we hope to be able to execute pieces that can make the communication messages of our clients more meaningful, interactive, engaging for the public,” Yapp commented.

Eps on Forays

Into Textile With New Dye-Sub Printers With an eye on a piece of the fashion and textile markets, Epson rolled out a new series of ink tank system printers in Singapore, marking the country as the third launch point in Southeast Asia. -Sha Jumari reports.


Targeting new markets in the commercial and industrial printing industry, Epson recently introduced the SureColor F-series of commercial ink tank system printers in Southeast Asia. Drawing on the company’s proprietary Micro Piezo technology, the new range of products is part of Epson’s strategy to make use of its existing expertise in commercial printing in order to reach out to new markets in the industry. Singapore is the third country in Southeast Asia to see the launch of the printers, Thailand and Malaysia being the first two. Up next on the list for the launch is the Philippines. We estimate around 40 or 50 units to be installed in Singapore, mostly within the corporate and gift and merchandising industries. Around the region, we expect more than 400 units installed, with Indonesia and Thailand dominating the largest market share,” said Shaun See, General Manager for Epson Southeast Asia Commercial and Industrial Division. The new printers in the F-series are the 44-inch SureColor SC-F6070 and the 64-inch SureColor SCF7070, both roll-fed dye-sublimation fabric printers. The printers are suited with the Epson Micro Thin Film Piezo print head, renowned for its abilities to print at 720dpi to deliver efficient, precise and high quality outputs. The machines are the first dye-sublimation printers in the market to have every part designed and manufactured by a single company.


The launch showcase was indicative of the company’s intent to break into new consumer segments in the fashion, arts and creative industries. Creative collaborations with Singaporean designer Max Tan and artist Isaac Liang and customised printed sportswear were presented to highlight the diverse applications of the latest series of printers. Emphasis was made on the customisation potential of the printers, signifying the company’s focus on the corporate customisation and gift and merchandising industry for the new product rollout. Customised product printing has a higher rate of adoption in Southeast Asia. The monthly growth rate for us is at about 180% currently with main contributing countries being Thailand and Malaysia because of their strong domestic and export markets for custom printing,” said See. The launch also included the SureColor B-Series of large format sign printers and the SureColor



SC-F2000, the company’s first direct-to-garment printer. With the launch, Epson hopes to offer a wider array of printing options to its customers by highlighting the cost-savings and productivity capabilities that the ink tank system printers can offer. The F & B series aim to extend crucial benefits of cost savings while maintaining consistently high printing quality to professionals and businesses. With the commitment to empower customers with more choices, we are pushing the boundaries to provide products that are not only first in the market, but also the best in the market,” said Tan May Lin, Epson Singapore’s General Manager.


Worldwide, the textile printing market is estimated to be valued at $165 billion. Traditionally, the textile printing industry employs the largely preferred methods of screen printing or gravure printing. However, due to the proliferation of digital textile printing, dye-sublimation processes are becoming increasingly popular. A report by Global Industry Analysts, Inc. anticipated that the global production of printed textiles to reach 27.8 billion square meters by 2018, because of the increasing acceptance of digital printing techniques. InfoTrends reported that digital print production represents less that 1.5% of printed textile volume. While this may not reveal the shift from traditional printing systems to newer digital applications to be apparent, the potential for growth is considerable. Digital printing’s significant advantages over traditional methods of textile printing include faster product runs, being comparatively more ecofriendly, and using less energy, water and labour. Digital printing also allows for customisation, an added service that printers could charge for. In 2011, 42% of the world’s installed digital textile printing is based in Europe, the Middle East, and Africa. Not surprising, since a majority of the biggest names in fashion are clustered in Italy alone. Asia Pacific exhibits burgeoning demand for digital print textile production, ranking second at 39%. InfoTrends predicted that the region would experience a growth rate of 18.7% by 2016. Asia Pacific includes not only heavyweights China and India, but also two emergent countries in the textile manufacturing industry, Bangladesh and Pakistan.

Digital Print

Gains Higher Interest At FESPA China 2013




The inaugural FESPA China & CSGIA exhibition saw an increased interest in digital print in addition to traditional screen processes. 34% of visitors to FESPA 2013 confirmed their interest in digital technologies, coming close to the figure of 42% who were interested in screen printing. The exhibition aimed to place greater emphasis on digital in an event historically focused on screen.

Exhibitors with a digital range of products reported that their stands were busy throughout the show, especially those specialising in textile applications. Rosaria Poz zoni, business operation manager for J-Teck3 Srl said: “We received positive feedback on our entire digital range, particularly on our new JCube RF/KF. Our stand was constantly busy throughout the three-day show, with great interest from local visitors as well as visitors from regions specialising in textile applications such as India, Thailand, Bangladesh and Pakistan.” Launched in partnership with the China Screenprinting & Graphic Imaging Association (CSGIA), the event attracted 9507 visitors from 77 countries. The event reported the largest amount of visitors from the Asian region. After mainland China, the largest

visitor groups were from India, Japan, Korea and Malaysia, with delegates also coming from Hong Kong and Taiwan. Within China, the visitor audience was dominated by printers from Shanghai and Eastern China, especially Zhejiang, Jiangsu and Guangdong. “We wanted to build on CSGIA’s event’s 30 year heritage and make it international, appealing to visitors from neighbouring countries, so it’s rewarding to see the breadth of attendance from Asia and further afield. 70% of the visitor audience were also first time visitors, confirming the ability of the FESPA brand to refresh the established exhibition’s audience. With suppliers such as d.gen, Epson, Fujifilm, JHF, Kornit Digital, Mimaki and Mutoh exhibiting, visitors were able to see a plethora of technologies from both native and worldwide suppliers,” commented Nigel Steffens, FESPA ambassador.

Vision Asia  

Vision Asia Issue 1

Vision Asia  

Vision Asia Issue 1