Digital Image Magazine Aug 2026

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INSIDE COVER STORY ORAFOL – for everything your Fleet needs

Spring in Spicers step Spicers solutions for every season on display

3M Innovation Cool film solutions from 3M

Visual Impact Fire up your engines: Visual Impact is off to a flying start

Warsaw Stage Europe’s largest three-sided 3D LED Screen

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Workflow Efficiency.

L E S S CO M P L E X I T Y. MORE IMPAC T.

FOCUS On what matters most.

SAVE TIME Automate tasks.

Accelerate results.

REDUCE RISK Minimise errors.

Ensure consistency.

Simplify processes. Eliminate bottlenecks. Empower your team to do more with less.

DRIVE GROWTH Improve efficiency.

Accelerate results.

That's the power of workflow ef ficiency.

Unravel the complexity. Streamline intelligence.

Certified resellers for:

Smart workflow solutions that adapt to your business and unlock your potential.

WWW.WORKFLOWZ.CO.NZ

CONTENTS

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Digital Image News

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Ball & Doggett introduce Metamark Passport

to success

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Cover Story

A company’s fleet is more than just a mode

of transport: it is a highly visible, mobile

extension of the brand. ORAFOL Australia has

you totally covered

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Spicers solutions for Seasonal Campaigns

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Inside Avery Dennison’s new and redefined

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PPF range First run for HEXIS Daniel Gherini Memorial Apprentice Scholarship

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Who to look out for at Visual Impact Expo 2026

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Finance guru Sue Hirst explores the

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uncomfortable gap between profit and cash flow Pride in Print NZ Awards: Recognising outstanding print work from across Aotearoa

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PUBLISHER Image Publications Pty Ltd ACN 056 489 699 PO BOX 613, Brighton South Australia 5048 T > +61 1300 001 393 E > info@imagemagazine.com.au W> www.imagemagazine.com.au

CONTRIBUTORS

DEADLINES

Charles Watson

Next Issue: October/November 2026

EDITOR Nige Cottingham T > +61 417 773 135 E > content@imagemagazine.com.au

SUBSCRIPTIONS

ADVERTISING Janet Maitland (Publisher) T > +61 1300 001 393 E > info@imagemagazine.com.au

Vol.38 No.5

Sue Hirst Vernon Kingman

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DISCLAIMER The opinions expressed in Image magazine are not necessarily the views of the publisher. Every effort has been made to ensure the accuracy of information contained in this magazine. No responsibility is accepted by the publisher for any omissions, inaccuracies, typographical errors or printers’ errors. Nor will responsibility be accepted for any changes to information after publication.

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EDITOR’S NOTE

What’s Next?

Trade exhibitions have always been about discovering what’s new. But increasingly, they’re about discovering what’s next.

For established businesses, Visual Impact Expo offers an opportunity to benchmark future investment, compare technologies and strengthen supplier relationships. For emerging businesses, it provides an unparalleled education in where the industry is heading.

And for the industry itself, it remains an invaluable reminder that innovation isn’t confined to machinery. It’s found in ideas, collaboration, creativity and the willingness to embrace change.

So when the doors to Sydney Showground’s Dome open for all that Visual Impact and the Connect Conference have to offer, smart visitors won’t simply be walking through

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another exhibition….they will be stepping into a snapshot of the future of Australian visual communications.

For me personally, I’m finding the AI journey fascinating. As a journalist of an age where I still remember typewriters, there is a stubborn and brittle part of me that talks to an enduring fear of technology, albeit with a whiff a scepticism.

This is fuelled by the likes of Elon Musk predicting that ‘within just a few years, artificial intelligence will exceed human intelligence’.

Interesting that he goes on to say that within years ‘there really won’t be anything AI won’t be able to do better than humans, apart from being human’. And that’s when I suddenly feel a little bit safer, warmed by the idea that whilst AI might be able to take my job, see an end to my driving, invade and

erode my passion for cooking, at least it can’t be more human than me.

Or perhaps that wasn’t Elon Musk spouting that view at all, perhaps it was simply artificial intelligence trying to jump inside my head!?

And this is why I for one am looking forward to Visual Impact, because whatever innovation is on display there, whatever robotics and automation are undertaking tasks, indeed whatever I learn from ‘walking through another exhibition’. The one absolute that I can rely on is that there will be human contact. And as Elon himself says, nothing can do that better than humans.

Best regards, Nige Cottingham Editor Image Publications

DIGITAL IMAGE NEWS

FROM THE NEWS DESK

Epson supports Australia’s first Clothing Smart Factory opportunity Australia has taken another step towards rebuilding domestic garment manufacturing, with the Australian Fashion Council (AFC) commissioning a feasibility study into establishing the nation’s first Clothing Smart Factory. Supported by Epson and the NSW Government (through Investment NSW’s Fostering Innovation Sponsorship Program), the project will examine how advanced manufacturing technologies can make local apparel production more commercially viable.

Whittaker’s Hotel Sweet wrapped in ORACAL Gold for 130th Anniversary

Whittaker’s has marked 130 years of chocolate making by transforming Auckland’s award-winning Hotel Fitzroy into Hotel Sweet, a limited-time chocolate-themed accommodation experience featuring immersive branding, themed interiors and exclusive confectionery experiences. Helping create the visual impact for the launch was ORAFOL’s ORACAL 551 Premium Cast vinyl, used to produce a striking three-metre gold bow that wrapped the hotel before its official unveiling.

The installation was designed and produced by Auckland creative studio Blink, which developed the large-scale wrap to reinforce the concept of ‘unwrapping’ a giant chocolate gift. Hotel Sweet has proven an immediate success, with its initial allocation of rooms selling out within an hour before additional bookings were

released. All proceeds are being donated to Save the Kiwi, Whittaker’s longest-standing charity partner.

ORAFOL confirms: “Projects like this demonstrate exactly what ORACAL 551 was designed for. The high performance Premium Flexible Polymeric Calendered Film gives a high-gloss finish and colour consistency to give installers confidence when delivering highly visible architectural and promotional applications. The film is also well-known for its long-term outdoor durability (up to 8 years for black/white) and excellent dimensional stability.”

The team at Whittaker’s are purported to be ‘wrapped’ with the result and the campaign has generated significant public interest while showcasing how premium wrapping films are increasingly being used for experiential marketing installations beyond traditional vehicle graphics and signage.

The proposed facility would enable Australian fashion brands to prototype garments, undertake research and development, and produce short production runs using digital workflows including textile printing, automated cutting, CNC manufacturing and advanced finishing technologies. Research is being undertaken by RMIT University, Swinburne University of Technology and the University of Technology Sydney.

Craig Heckenberg, Managing Director of Epson Australia and New Zealand, said digital textile printing was helping reshape apparel manufacturing. “Digital textile printing reduces waste and water consumption while enabling on-demand local production. We’re pleased to support an initiative that could strengthen Australia’s manufacturing capability and create a more responsive fashion industry.”

Epson’s Monna Lisa digital textile printing platform forms part of the study’s technology focus, reflecting growing industry interest in sustainable, on-demand production.

The feasibility study will assess technical requirements, workforce needs, financial modelling and industry demand, ultimately providing a blueprint for a potential smart factory in New South Wales. The AFC hopes the model could eventually be replicated nationally, helping reverse decades of offshore manufacturing while supporting Australia’s broader National Manufacturing Strategy.

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DIGITAL IMAGE NEWS

Workflowz Becomes Primary callas Reseller for Australia and New Zealand

Workflowz has been appointed the primary reseller for callas software across Australia and New Zealand, strengthening a long-standing partnership focused on PDF automation, prepress and workflow optimisation for commercial print and publishing.

The appointment follows a restructuring of callas software’s international channel program and is expected to simplify customer engagement by providing direct regional sales, implementation, training and technical support through Workflowz.

Workflow automation specialist Alan Dixon said reliable PDF processing has become increasingly important as production workflows receive files from a growing range of design applications and automated content creation platforms. “Businesses today receive production files from countless sources.

Ensuring those files are truly production-ready before they enter downstream workflows is critical to maintaining quality, reducing waste and improving efficiency.”

Founded in 1995, Germany-based callas software develops technologies that identify and automatically correct PDF issues before files enter production. The company’s software is widely used across commercial printing, publishing, packaging and enterprise communications environments.

Workflowz is also among the first partners accredited under the newly introduced callas Certification Program, recognising its technical capability in implementing PDF automation solutions. The closer partnership is expected to improve customer responsiveness while giving Australian and New Zealand users faster access to new developments in automated preflight, quality control and workflow technologies.

swissQprint expands North American operations

Further broadening its global footprint, swissQprint has opened a new 24,780 ft² facility in West Dundee Illinois, situated within driving distance of Chicago O’Hare International Airport, complete with showroom, an expanded warehouse and a dedicated 2,153-ft² technical centre for machine servicing, refurbishment of pre-owned systems and hands-on technical support activities.

Phil Trumble, Managing Director of Pozitive Sign & Graphics Supplies, who are the exclusive distributors locally for swissQprint products, says: “We’ve invested strongly in 6

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the swissQprint brand over here and their products have definitely revolutionised flatbed printing, so any growth in their global market presence has to be a positive for us and our customers too.”

“Last year saw the launch of swissQpint’s Generation 5 models, which are 23% faster than their predecessors and come with 10 freely configurable colour channels. Their UV flatbed printers are definitely amongst the best in the world and they are highly accurate for large format projects, offering excellent handling of diverse substrates for businesses that need consistent, dependable output.”

The Gen5 swissQprint flatbeds were based on a completely reworked machine concept, with electronics and software included and a strong focus on the customary Swiss precision, with linear motors that help to make printing performance not only more precise still, but faster too.

The investment in a new North American hub, which the company says it has opened ‘to intensify its activities in the American market’, comes just over a decade after swissQprint first established a US subsidiary company in late 2015.

DIGITAL IMAGE NEWS

Palm Beach airport flying high with signage windfall to Trump all others

Plans to rename Florida’s Palm Beach International Airport after President Donald Trump has unexpectedly created one of the largest in-house signage replacement programs undertaken by the airport’s graphics department, with hundreds of internal and external signs now scheduled for replacement.

The Palm Beach County Department of Airports has allocated an estimated US$5.5 million for the project and the team has already produced more than 200 replacement signs using its Roland TrueVIS VG-640 printer/cutter and GBC laminating equipment.

Plant Manager John D.L. Johnson said the scale of the project quickly became apparent. “We counted dozens of signs just walking from our gate to baggage claim, so there will ultimately be hundreds of signs to replace throughout the airport.”

Among the largest projects completed so far is a 28-footwide overhead highway sign, welcoming visitors to the airport. Rather than manufacture new aluminium panels, the maintenance team reused the existing structure by applying new graphics to the reverse side, reducing project costs while minimising waste.

ON TECHNOLOGY & INNOVATION

Mimaki brings LIV Golf’s Art of Golf Series to life in full colour 3D

Mimaki is showcasing the creative potential of full-colour 3D printing through a collaboration with LIV Golf’s Cleeks Golf Club, producing limited-edition miniature replicas of artist-designed golf bags featured throughout the 2026 Art of Golf series.

The project uses Mimaki’s 3DUJ-553 full-colour 3D printer to produce highly detailed 15cm-tall collectibles in a single print, eliminating the need for painting or post-production assembly.

Each miniature faithfully reproduces the original artwork, textures and colours of the full-sized bags carried by Cleeks players during tournament competition.

The Art of Golf initiative brings together artists from countries hosting LIV Golf events, with each design reflecting the culture and identity of its tournament location. Only 25 replicas of each design will be produced, creating a total release of 350 collectibles across the 2026 season.

Matthew Stark, 3D Segment Manager at Mimaki, said the project highlights where additive manufacturing delivers clear advantages over conventional model-making. “For projects like this, 3D printing is really the only viable option. The realism, colour accuracy and fine detail simply aren’t practical using traditional production methods.”

Mimaki also produced larger half-scale display models measuring approximately 50cm for exhibition at each LIV Golf event. The project demonstrates how photorealistic full-colour 3D printing is increasingly being used for premium collectibles, retail displays and product visualisation, alongside established applications in healthcare, prototyping and industrial design.

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DIGITAL IMAGE NEWS

Epson increases investment in Perovskite Solar Cell technology

Epson has strengthened its commitment to next-generation renewable energy

technologies through a further investment in South Korean company Gosan Tech, a developer of perovskite solar cell (PSC) manufacturing systems and industrial inkjet technologies.

The investment, made jointly through Epson X Investment Corporation, builds on Epson’s original partnership with Gosan Tech established in 2025. Since then, the companies have collaborated on inkjet manufacturing systems capable of producing highperformance PSC modules using precision printhead technology.

Xaar Printheads drive digital transformation in Precision Investment Casting

Industrial inkjet specialist Xaar has partnered with Chinese additive manufacturing company ZCZH to develop a wax-jetting 3D printing system designed to modernise investment casting production.

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The system replaces traditional mould-based wax pattern manufacturing with a fully digital workflow, enabling foundries to produce complex components directly from CAD data while reducing tooling costs, shortening production

Perovskite solar cells have emerged as one of the most promising alternatives to conventional silicon-based photovoltaics. Their lightweight, flexible construction and potential for lower manufacturing costs have accelerated global research and commercial development in recent years.

Epson said Gosan Tech has achieved significant progress in improving power conversion efficiency while expanding production of inkjet manufacturing systems for commercial customers. “Gosan Tech has demonstrated strong technological progress and market growth. By continuing our collaboration, we aim to accelerate adoption of inkjet manufacturing systems for perovskite solar cells and contribute to more sustainable industrial production.”

The partnership aligns with Epson’s long-term Engineered for the Future 2035 strategy, which identifies industrial inkjet technology as a key platform for improving manufacturing efficiency while supporting environmental sustainability.

Beyond solar cells, Gosan Tech’s technology portfolio also includes OLED display manufacturing, direct parts marking and biomedical applications including tissue engineering and precision drug deposition, highlighting the growing versatility of industrial inkjet beyond traditional graphics printing.

cycles and improving design flexibility.

Central to the system are Xaar’s Nitrox printheads, which incorporate the company’s TF Technology and Sure Flow recirculation system. Continuous ink circulation behind the nozzles prevents wax sedimentation and clogging, allowing reliable jetting of higherviscosity materials while maintaining micronlevel precision.

Samuel Tam, General Manager of Xaar Asia, says industrial inkjet is becoming an increasingly important manufacturing technology. “This project demonstrates how industrial inkjet can be used as a reliable production process rather than simply a prototyping tool, enabling manufacturers to digitise complex workflows while achieving consistent industrial-scale performance.”

Traditional wax tooling can be expensive and time-consuming to modify, particularly for low-volume or highly customised parts.

By eliminating dedicated moulds, ZCZH’s system allows manufacturers to implement design changes directly within the digital model, making short production runs economically viable.

The technology is expected to benefit sectors including aerospace, automotive, medical devices and precision engineering, where dimensional accuracy, rapid prototyping and production flexibility are increasingly important. The project also reflects the continuing expansion of industrial inkjet into advanced manufacturing applications well beyond conventional printing.

DIGITAL IMAGE NEWS

NEW PRODUCTS

RAFT of interest in new 3D Printing technique

Researchers at the University of Nottingham, working with the University of California, Berkeley, have developed a significant advance in volumetric additive manufacturing (VAM) that could improve the speed, stability and scalability of next-generation 3D printing.

Unlike conventional additive manufacturing, which builds objects layer by layer, VAM uses projected light patterns to cure an entire object simultaneously within a liquid resin. The technique can produce complex components in seconds or minutes, but until now has been limited by excessive heat generated during polymerisation, often causing distortion and restricting part size.

The research team has addressed this challenge by introducing Reversible Addition–Fragmentation Chain Transfer (RAFT) polymerisation into the process.

Acting as a chemical regulator, RAFT slows and controls the reaction, significantly reducing temperature spikes while maintaining print quality.

Eduards Krumins, Research Fellow in the University of Nottingham’s Additive Manufacturing Research Group, said the new chemistry fundamentally changes the process. “RAFT acts like a built-in regulator for the reaction, preventing sudden heat spikes and keeping the printing process stable and predictable.”

Testing demonstrated substantially lower thermal build-up and improved dimensional stability, with researchers successfully producing multiple components simultaneously with gaps as small as 150 micrometres. The process also leaves reactive sites within printed parts, allowing post-production functionalisation such as antibacterial or anti-fouling coatings.

Published in Nature Communications, the research could expand the use of volumetric 3D printing across advanced manufacturing, medical devices and future bioprinting applications, with work already underway to scale the technology for industrial production.

Gongzheng launches enhanced HB18UV PRO Hybrid UV Printer Gongzheng has expanded its hybrid UV printer range with the release of the HB18UV PRO, a production-focused 1.8-metre system designed to handle both rigid and roll media on a single platform.

Available in Australia through GZ Australia, the new model introduces greater printhead flexibility, faster production speeds and enhanced support for multilayer printing applications.

The HB18UV PRO can be configured with up to eight Epson I3200-U1 printheads, allowing users to produce white-undercolour, white, varnish and day/night graphics alongside standard CMYK output. Designed for sign and display, packaging and industrial

applications, it accommodates substrates ranging from PVC and aluminium composite panels to vinyl, banner, fabric and wallpaper.

Jake Einspinner, Founder and Managing Director of GZ Australia, believes the new model offers strong value for production environments. “Eight Epson printheads, white and varnish capability, an industrial belt system and excellent output quality combine to make this one of the strongest offerings we’ve seen in the 1.8-metre hybrid market.”

The printer features Gongzheng’s heavyduty mesh belt transport system with retractable extension tables, enabling quick switching between rigid sheets and roll-fed media. Additional features include dual LED UV curing, automated white ink recirculation, bulk ink delivery and support for FlexiPRINT or ONYX RIP software.

With production speeds reaching up to 59 square metres per hour in draft mode, the HB18UV PRO is positioned as a compact production solution for print providers seeking greater application versatility without investing in separate flatbed and roll-to-roll systems.

Graphic Art Mart Adds European EX-CEL Foam Boards

Graphic Art Mart has become the exclusive Australian distributor for EX-CEL GrafiX and EX-CEL Impress, two premium European-manufactured PVC foam board ranges developed specifically for largeformat digital printing.

Manufactured in Ireland, both products are designed to deliver high-quality print performance while offering different levels of structural rigidity to suit varying display applications.

EX-CEL GrafiX is a lightweight freefoamed PVC board intended for indoor retail displays, exhibition graphics and point-of-sale applications. Its bright white surface provides consistent colour reproduction and strong print quality while remaining easy to fabricate and install.

EX-CEL Impress offers a denser construction with an ultra-smooth matte finish, making it more suitable for larger display panels and applications where additional stiffness is required. The product has been engineered to provide excellent ink adhesion and consistent image quality across a range of digital printing technologies.

Both materials are produced at EX-CEL’s manufacturing facility in Carrickmacross, Ireland, where stringent quality control processes support consistent production standards. The addition strengthens Graphic Art Mart’s rigid media portfolio, providing Australian sign and display producers with greater access to premium Europeanmanufactured substrates for retail, exhibition and commercial graphics.

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DIGITAL IMAGE NEWS

HEXIS adds colour to BODYFENCE Paint Protection Film HEXIS has expanded its BODYFENCE paint protection film (PPF) range with the introduction of CANDYFENCE, a coloured thermoplastic polyurethane (TPU) film that combines paint protection with vehicle colour transformation.

Inkcups Boosts Plate Production with Faster Cobalt Pro+ Laser

Inkcups has introduced the Cobalt Pro+, an upgraded CO₂ laser plate-making system that delivers up to 20% higher productivity while combining laser engraving and plate production within a single machine.

Replacing the company’s previous Cobalt PRO, the new model has been developed for pad printing operations requiring faster turnaround and greater production flexibility. Alongside producing laser-etched

printing plates, the system can also engrave promotional products, broadening its appeal for specialist decorators and promotional product manufacturers.

Ian Bedford, Senior Project Engineer at Inkcups, said the upgrade was driven by customer demand for higher productivity.

“The Cobalt range already combines platemaking and laser engraving in one platform.

The new Cobalt Pro+ allows users to complete those tasks up to 20% faster while maintaining the same high-quality results.”

The system incorporates a 30W CO₂ laser capable of producing graphics at resolutions up to 1,500dpi across an engraving area of 460 x 640mm. A closed-loop DC servo motor delivers improved positioning accuracy, while automatic focus adjustment helps ensure consistent engraving quality across varying substrates.

Manufactured in France, the new range builds on more than a decade of BODYFENCE development, incorporating the company’s self-healing technology while allowing installers to achieve both protective and aesthetic finishes without the need for conventional vehicle wraps.

Unlike traditional clear PPF products, CANDYFENCE is available in a growing range of colours and can be installed using either wet or dry application methods. HEXIS also offers a custom colour matching service capable of producing films to specific PMS colour references for specialist vehicle and commercial branding projects.

The launch coincides with the continued expansion of the company’s certified BODYFENCE installer network across Australia, supported by ongoing development of HEXIS’ PreCut Lab software, which simplifies pattern generation and installation.

Additional colours are expected to be released throughout the year as demand for coloured paint protection films continues to grow within the automotive customisation market. The product reflects the increasing convergence of vehicle protection and premium wrapping technologies, giving installers new opportunities to offer customers both long-term paint preservation and visual enhancement in a single application.

Roland DG Introduces Industrial-Grade EUV-H UV Ink

Roland DG has expanded its industrial printing portfolio with the release of EUV-H, a new UV-curable hard ink engineered for demanding decoration and functional printing applications.

Developed to provide improved resistance to scratching, chemicals and weathering, the ink has been formulated for durable printing onto rigid materials including plastics, glass and metals. A newly developed primer further extends compatibility with challenging substrates, enabling users to produce more robust industrial and customised products.

Ryugo Nimura, Executive Officer of Roland DG’s Global Sales and Marketing Division, says the development reflects increasing demand 10

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for higher-value industrial applications. “EUV-H enables customers to expand into advanced decoration and customised production while delivering the durability increasingly demanded by industrial markets.”

The ink has been designed for use with Roland DG’s existing MO Series UV printers and future industrial platforms, including the forthcoming RC-300 cylindrical printer and IO300 flatbed system. This compatibility provides users with a migration path as production requirements evolve.

Roland DG has also focused on environmental performance, reducing the characteristic odour associated with UV printing while eliminating substances such as nickel, SVHCs and CMR-classified

materials. The company says the formulation supports compliance with increasingly stringent environmental and workplace safety requirements while maintaining high production performance.

DIGITAL IMAGE NEWS

Brother combines DTG and DTF Printing in GTX300 Hybrid

Brother International has launched the GTX300 Hybrid Garment Printer, combining direct-to-garment (DTG) and direct-to-film (DTF) production in a single professional printing platform.

Designed for apparel decorators seeking greater flexibility, the GTX300 enables operators to switch between printing directly onto garments and producing DTF transfer films without requiring separate equipment.

PEOPLE

The approach allows businesses to expand into polyester, performance fabrics and difficultto-print materials while continuing to offer traditional cotton garment decoration.

Lawrence Davenport, Vice President of Brother’s Industrial Products Division, says the hybrid platform helps businesses broaden their service offering. “By combining DTG and DTF in one professional platform, we’re giving decorators a practical way to say ‘yes’ to more jobs while improving operational efficiency.”

The printer incorporates automated maintenance functions, continuous white ink circulation and a seven-inch touchscreen interface, while Brother’s GTX Graphics Lab software supports both production workflows.

Its compact footprint also makes it suitable for smaller production facilities, educational environments and in-house decoration departments.

Brother’s Innobella textile inks are certified to OEKO-TEX® ECO PASSPORT and GOTS 7.0 standards, supporting environmentally responsible garment production. The GTX300 reflects the growing trend towards hybrid textile printing systems capable of responding quickly to changing customer requirements without increasing production complexity.

Greig Wood Retires After 46 Years in the Print Industry

One of Australia’s most respected print industry leaders, Greig Wood, has retired after a career spanning 46 years, including the past 33 years with Kissel + Wolf Australia, where he most recently served as Managing Director.

Greig (right) pictured here when he took on the mantle of Kissel+Wolf Australia Managing Director from the departing Martin Stacher.

Wood began his career in 1980 as an apprentice at Colin Martyn Packaging before holding senior roles with companies including VISY Pre-Print, Collie Cooke, Douglas Colours, Yorkshire Chemicals, SIAS Australia, Intergraphic Technologies and Sefar AG. Throughout his career he witnessed - and helped businesses navigate - the industry’s transition from analogue production through to today’s highly automated digital workflows.

Reflecting on his career, Wood has often described the continual evolution of print technology as one of the profession’s greatest rewards. “The constant change across the print industry has been one of the most exciting and satisfying parts of my career. Every technological shift created new opportunities for businesses willing to embrace innovation.”

Wood also credits the people he worked alongside as a defining part of his career, having shared different stages of his working life with his parents, four brothers and, more recently, his son Jordan.

In announcing his retirement, Kissel + Wolf Australia thanked Wood for more than three decades of leadership, noting his influence extended well beyond the company through long-standing relationships with customers, suppliers and industry partners both in Australia and overseas.

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DIGITAL IMAGE NEWS

Currie Group expands Technical Services with Colour Management Specialist

Currie Group has broadened its technical support capabilities with the introduction of a dedicated colour profiling service and the appointment of experienced colour

management specialist Kent Xu.

The company has invested in a Barbieri Spectro LFP qb spectrophotometer, enabling its technical team to create customised

Pictured here Russell Cavenagh (right) who is now handing the MD reins over to Romano Bacci

Romano Bacci appointed Managing Director of Mutoh Australia

Mutoh Australia has appointed Romano Bacci as Managing Director, succeeding longserving industry executive Russell Cavenagh, who moves into the newly created role of General Manager – Special Projects.

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ICC profiles for individual printer, ink and media combinations. The service is designed to improve colour accuracy, repeatability and production efficiency for customers operating increasingly colour-critical digital print environments.

Xu joins Currie Group as Applications Specialist, bringing two decades of industry experience, including 15 years specialising in colour management and workflow optimisation across Australia and New Zealand. His background includes extensive experience with ONYX, Caldera, Fiery and ColorGATE RIP platforms, together with expertise across sign and display and corrugated printing.

Paul Whitehead, General Manager – Commercial / Sign & Display, said the investment reflects growing demand for production consistency. “Every production environment is different. By developing profiles around a customer’s specific printer, ink, media and workflow, we can help achieve more predictable colour while reducing waste and unnecessary trial and error.”

Beyond equipment installation and servicing, the expanded offering positions Currie Group to provide ongoing production optimisation support, helping customers maximise the performance of existing print systems through more accurate colour management and media profiling.

The leadership transition comes as Mutoh continues to strengthen its position in the Australian and New Zealand wide-format market following Brother Industries’ acquisition of Mutoh Holdings earlier this year. While the appointment forms part of a planned succession process rather than the acquisition itself, it positions the business for its next stage of growth.

Bacci joins the role after senior leadership positions within Epson Australia, bringing extensive experience across the industrial and wide-format printing sectors. He will oversee Mutoh Australia’s strategy while working closely with dealers and customers across signage, textile, graphics and industrial printing markets.

Cavenagh said the transition had been carefully planned over the past year. “Romano and I have worked closely together throughout the transition, and I’m extremely confident in handing over the leadership of the business while I focus on strategic projects that support Mutoh’s future within the Brother Group.”

Bacci said maintaining Mutoh’s reputation for engineering quality and customer support would remain his priority.

The appointment reinforces Mutoh Australia’s commitment to combining Japanese manufacturing expertise with strong local leadership and technical support as the company continues expanding its product portfolio under Brother’s global ownership.

DIGITAL IMAGE NEWS

Canon Production Printing completes National Sales Team Canon Production Printing Australia has strengthened its national sales capability with the appointments of Justin Kirkland (right) and Damian Schaller (left) as Business Development Managers for New South Wales and Queensland respectively.

The appointments complete the company’s national customer-facing sales structure and bring more than 40 years of combined production print experience back into the Canon organisation.

Kirkland returns to Canon Production Printing after holding senior business development roles across the graphics industry and securing recognition recently as a 2024 FESPA Future Leader. Schaller also rejoins the business following an international career spanning Australia, Europe, Africa and the Middle East, most recently delivering sales and product training for Canon Europe.

Steven Badger, Head of Sales and Professional Services at Canon Production Printing Australia, welcomed the

appointments, saying: “Justin and Damian bring extensive industry knowledge and a strong understanding of our customers’ businesses. Their experience further strengthens our ability to help print providers invest confidently for long-term success.”

Both appointments reflect Canon’s continued investment in customer engagement across commercial print, wide-format and industrial printing markets, with an emphasis on consultative sales and technical expertise.

Ron Gottlieb Awarded Life Membership

by Specialised Textiles Association Veteran industry leader Ron Gottlieb, owner of Ricky Richards, has been awarded Life Membership of the Specialised Textiles Association (STA), becoming only the 32nd recipient of the honour since the association was established in 1966.

The award recognises more than four decades of contribution to Australia’s specialised textiles industry through business leadership, industry advocacy and ongoing support for professional development.

Joining Ricky Richards shortly after its establishment in 1984, Gottlieb helped build the company into one of Australia’s leading suppliers of technical textiles while fostering

long-term relationships with international manufacturers and local fabricators. Beyond commercial success, he has become widely recognised for mentoring younger industry members and supporting apprenticeship and training initiatives.

Accepting the honour, Gottlieb reflected on the influence the association has had throughout his career. “I went to my first STA convention in 1986 and have only missed two since then. The friendships and knowledge I’ve gained through the association have shaped both my career and my life.”

Colleagues have long regarded Gottlieb as one of the industry’s strongest advocates, regularly supporting association initiatives and encouraging collaboration across the sector.

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Unlocking new surfaces with new conversations The print and signage industry has always been shaped by those willing to think differently. It is built on curiosity, adaptability, and the ability to recognise opportunity in places others might overlook. Right now, that mindset feels more relevant than ever.

Metamark Passport Munich campaign taps directly into that spirit. It goes beyond a simple rewards mechanic. It recognises the everyday decisions businesses make to keep moving forward, whether that is exploring new materials, taking on unfamiliar applications, or finding better ways to deliver for clients.

Passport places value on that journey and reflects a genuine commitment to supporting the people behind the work.

Alongside this, there is a clear shift happening across the market. Customers are increasingly asking for smarter, faster, and less disruptive ways to transform spaces. This is where Metamark MiA (Interior Architectural Film) is gaining strong momentum.

“Businesses are being asked to deliver more flexible solutions than ever before,” says Que Nhi Makar, National Marketing Manager.

“Metamark MiA gives them a way to step into that space with confidence. It allows for high impact interior transformations without the cost and downtime typically associated with traditional refurbishment.”

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Interior Architectural Film is opening new conversations that extend well beyond traditional signage. With MiA, existing surfaces can be refreshed, reimagined, and elevated without the need for complete replacement. From retail fit outs through to large scale commercial interiors, it offers a practical way to broaden services while remaining commercially viable.

“For many customers, it is not just about adding another product line,” adds Que Nhi Makar. “It is about unlocking a new part of their business. Once they see what is possible, it naturally leads to more meaningful conversations with their own clients.”

What makes this moment particularly compelling is the way these ideas connect.

Passport encourages exploration, while MiA provides a clear and accessible way to act on it. It turns ambition into something tangible and achievable.

As the industry continues to shift, growth will come from those willing to see surfaces differently and embrace new opportunities with confidence.

With the right tools and support, that next step becomes far more accessible. To learn more about the Metamark Passport campaign and explore how MiA can unlock new possibilities for your business, visit the Ball & Doggett website www.ballanddoggett.com.au and start your journey today.

Where can Metamark take your business?

The Metamark Passport is designed to recognise growth, reward creativity, and celebrate the work driving the sign and graphics industry forward. With Munich 2027 on the horizon, this initiative connects everyday projects with real opportunities, creating a pathway to something bigger. Every application using Metamark products contributes to your journey, supporting both business growth and new experiences along the way. Start your journey with Metamark Passport and discover where it could take you.

ORAFOL - the ultimate partner for Total Fleet Solutions A company’s fleet is far more than just a mode of transport: it is a highly visible, mobile extension of the brand. Whether for delivery vans, trucks, trailers or specialised service fleets, the finish simply has to communicate professionalism, consistency and reliability for every kilometre.

Corporate colours must be exact. Graphics need to remain sharp and vibrant under the Australian sun, resistant and durable against road grime and frequent washing. Safety markings have to meet exacting standards, without compromising aesthetics.

ORAFOL Australia delivers precisely this integrated solution. Drawing on the full strength of its three core global divisions: Graphic Solutions, Reflective Solutions and Adhesive Tape Systems. ORAFOL provides Australian fleet operators and their preferred installers with a complete, single-source system. From premium colour-change and printed wraps through high-performance paint protection and reflective markings, to structural bonding tapes for bodywork and trailer construction, every element is engineered to work together.

The result is built to provide exceptional durability when used correctly, delivering unmatched finished quality that looks and feels like paint, superior colour fidelity that respects brand guidelines, and the ease of installation that only # RapidAir® and * ProSlide™ 16

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technologies can deliver. Equally important, the support is local, specialised and responsive.

Graphic Solutions: Colour, Print, Protection and Finish At the heart of most fleet projects sits the Graphic Solutions range. For solid-colour corporate liveries, ORACAL® 970RA Premium Wrapping Cast remains the benchmark. This multi-layered, high-performance cast PVC film is specifically engineered for complete vehicle wrapping. Its unique construction delivers a genuine paint-like finish in both high-gloss and matte options, including super-matte black.

When the brief calls for full-colour printed graphics, logos, photographic imagery or complex branding, ORAJET® 3951 Premium Digital Printing Cast provides the foundation. This premium cast film offers outstanding dimensional stability and conformability over moderate to complex curves. Available in white and transparent with a gloss surface, it is compatible with the major solvent, eco-solvent, latex and UV print technologies used in professional fleet production. When laminated with the appropriate ORAGUARD® product, it delivers long-term outdoor performance that keeps branding crisp and professional year after year.

Protection and longevity are completed by the ORAGUARD® family. For maximum paint and graphic protection against stone chips, abrasion and environmental assault,

ORAGUARD® 2815F+ stands out. This transparent, glossy, self-healing polyurethane film features a low-surface-energy topcoat (lotus effect) that repels dirt and resists chemical attack, preventing yellowing and maintaining optical clarity. It offers excellent impact resistance and stretchability for demanding vehicle surfaces, with specialistapplied service life up to 10 years under vertical outdoor exposure. For medium-term stone-chip and abrasion protection on high-wear areas such as lower body panels, bumpers and side skirts, ORAGUARD® 270 polymeric PVC film provides a proven, cost-effective solution with up to five years of performance.

Finally, for the critical over-laminate layer that seals printed graphics against UV, abrasion and cleaning chemicals, ORAGUARD® 279 premium high-performance polyurethane laminating film is ideal. Available in gloss or silk-gloss, it is PVC-free, highly UV-resistant, conformable over complex shapes and offers self-healing characteristics. Used in combination with ORAJET® 3951 (or complementary cast print films), it maximises the service life and visual integrity of the finished graphic.

Reflective Solutions: Visibility Without Compromise Fleet safety and regulatory compliance are non-negotiable. ORALITE® products integrate

seamlessly with the graphic system so that reflective elements enhance rather than interrupt the brand presentation. ORALITE® VC 612 Flexibright is a prismatic, high-brightness fleet-marking grade film designed for rugged outdoor use. It is flexible, easy to cut, requires no edge sealing, withstands power washing and can often be applied in fewer pieces than traditional materials. Its high reflectivity and range of colours (including fluorescent options) make it particularly effective for emergency, service and high-visibility commercial fleets while remaining applicator-friendly on curved surfaces.

For broader commercial and fleet livery applications, that require both reflectivity and printability or plotter cutting, ORALITE® 5600RA Fleet Engineer Grade combines a cast PVC surface with embedded glass-bead technology and RapidAir® construction. Available in eleven colours, it offers excellent conformability to rivets and corrugations, heat-removable adhesive for eventual decommissioning, and compliance with AS/NZS 1906.1 Class 2 performance. Expected service life reaches seven years with specialist application.

Adhesive Tape Systems: Structural Integrity for Body and Trailer Work Beyond surface graphics, many fleet projects involve mounting body panels, attaching accessories or constructing and repairing trailers and rigid bodies. Here, the ORABOND® Ultra High-Bond (UHB) acrylic foam tapes provide reliable, high-performance alternatives or complements to mechanical fasteners and liquid adhesives. ORABOND® UHB 03110 and the thicker ORABOND® UHB 4200 deliver exceptional shear strength, temperature resistance and the ability to accommodate differential thermal expansion between substrates. Their visco-elastic nature ensures excellent surface wetting and long-term holding power on metals, painted surfaces, plastics and composites, commonly found in truck and trailer construction.

The Local Advantage: Support, Training and Partnership Technology and product performance alone are not enough. Fleet projects succeed when the supplier understands Australian conditions, Australian standards and Australian working practices. ORAFOL Australia maintains a national presence with facilities and dedicated teams across the country. Our technical support is local, specialised and readily accessible. # RapidAir® technology incorporates microchannels that allow trapped air to escape easily during application, while the * ProSlide™ enhancement improves initial repositionability.

Installers can place large panels accurately, slide them into position and then lock them down, dramatically reducing installation time and the risk of imperfections, especially valuable on the complex curves, recesses and riveted surfaces common on commercial vehicles.

ProSigns ProSigns recently demonstrated both the performance and the creative flexibility of the ORAFOL system in a real-world fleet application. The customer’s vehicles were wrapped using ORACAL® 970RA - #933G in Tin Metallic as the base film. In an approach that sits outside typical industry practice, the 970RA was printed and then laminated with ORAGUARD® 279. While printing directly onto ORACAL® 970RA is not the standard or primarily recommended workflow, ORAJET® print films are purpose-engineered for digital printing, this application successfully showcased the material’s robustness and the creative limits that can be explored when working with high-calibre ORAFOL products.

Complementary surface protection on high-impact areas was provided by ORAGUARD® 2815F+. The finished result met the customer’s brand, visual and durability objectives. It stands as a clear illustration of the diversity within the ORAFOL portfolio and the freedom it gives skilled installers and designers to push conventional boundaries in pursuit of a specific outcome, while still delivering a professional, long-lasting fleet finish.

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From pop-ups to seasonal campaigns- see how Spicers’ Sign & Display range brings short-term retail applications to life.

1. Skybond 2. 3M™ Scotchcal™ Clear View Graphic Film 8150 or Contravision 3. Rocal Floortac Carpet 4. Ace Screenboard 5. PhotoTex 6. 3M™ DI-NOC™ Architectural Finishes 7. Rodure Pullup 8. GF 285 Roughmark™ 9. Ace ICB

Every Touchpoint Covered: Spicers’ Solutions for Seasonal Campaigns

As Spring arrives and retailers, brand owners and agencies turn their attention to the final quarter’s campaign calendar, the pressure is on to move fast, look sharp, and stand out. Short-term, high-impact campaigns demand materials that can be printed, installed and removed quickly, without compromising on visual quality.

Spicers has built a portfolio specifically to meet that brief, spanning every touchpoint a seasonal campaign might need, from the moment a customer walks past a window to the moment they reach the counter.

Pop-up and structural displays are the backbone of any activation, and Ace ICB and Skybond give designers the rigidity and print quality to build counters, shelving and freestanding furniture that looks custom-built, even on a tight production schedule.

For point-of-sale, the range is broad: Ace Screenboard and Ace Outdoor for posters and durable signage, Roban Banner for lightweight hanging and outdoor promotion, and Digistar Flute for corrugated counter stands that need to travel well and hold their shape through a busy trading period.

Floor graphics using Rocal Floortac Carpet and Floortac Outdoor turn under-used retail real estate into working media, ideal for directing foot traffic through Christmas and end-of-year displays. Wall graphics via 3M Di-Noc, Phototex and GF Roughmark allow 18

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entire spaces to be transformed temporarily, whether that’s a seasonal pop-up shop or a themed in-store zone that needs to disappear again in January.

Window graphics remain one of the most cost-effective ways to capture attention, and the 3M 8150, Fasara, Dusted/Frosted/Haze/ Sandblast, and GF Windowmark ranges give brands options from full-colour storytelling to subtle frosted branding that reads as premium rather than promotional.

Rounding out the offer, 3M 2080 colour change film gives fleets a way to refresh a vehicle’s entire colour without a respray - a fast, reversible finish that suits a seasonal look and can be removed cleanly once the campaign period ends.

“What we’re really offering is flexibility,” says Wayne Hood, Spicers Sign & Display Portfolio

Manager. “Retailers and agencies don’t have the luxury of long lead times in Q4 - they need substrates and films that print well, install easily, and come down just as cleanly when the campaign ends.”

Hood puts it simply: “Whether you’re building a counter, taking over a floor, or wrapping a wall or window, the only limitation is your imagination.”

With Spring campaigns already in planning and the final quarter fast approaching, Spicers’ structural, POS, floor, wall, window and vehicle solutions are designed to give sign and display businesses the range and reliability to say yes to whatever the brief demands - and to do it at pace.

For product specifications or samples from the Sign & Display range, contact your Spicers representative. 1300 132 644

3M™ DI-NOC™ - authentic wood, stone, metal and abstract finishes, delivering the look of premium materials without the cost or weight.

The Edit: by Graphic Art Mart

Find Your Favourite on the Graphic Art Mart stand at Visual Impact Every great project begins with a moment of discovery. A material that sparks an idea.

A finish that transforms a design. A colour that demands attention. A technology that opens new possibilities.

That’s where great work begins.

Welcome to The Edit by Graphic Art Mart - a curated collection of the products, materials and innovations shaping the future of print.

More than a traditional tradeshow stand, The Edit is an immersive, gallery-inspired experience where every product has been selected for its performance, innovation and creative potential.

The Edit isn’t just showcasing innovation - it’s built with it.

Constructed from Xanita board and brought to life using the latest direct-to-board print technology, the stand demonstrates how modern printable substrates can be 20

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transformed into striking retail, display and exhibition environments. From the moment you arrive, you’re experiencing the creativity, quality and versatility of the products on display.

Sometimes, the best way to showcase a product is to build something remarkable with it.

The Technology Behind the Creativity Great ideas deserve great equipment.

Throughout The Edit, you’ll experience live demonstrations from HP, Mimaki, Roland, Summa, Forte and CWT, showcasing the latest in print, finishing, cutting and workflow technology.

Whether you’re looking to increase productivity, expand your capabilities or simply explore what’s possible, the equipment showcase brings together trusted brands and solutions designed to help businesses work smarter, faster and more creatively.

A Curated Collection Explore premium solutions across a wide range of applications, including colour films, automotive wraps, paint protection films, window tint, digital print media, reflective films, specialty finishes, wall and floor graphics, rigid substrates and apparel decoration.

Featuring leading brands including Arlon, Avery Dennison, Utopia, 3M, ASLAN, Nekoosa, Mactac, Xanita, EX-CEL, Nufoam, Nuflute and Siser, every product has been chosen to inspire new ideas and help creators achieve more.

Find Your Favourite Whether it’s a new material, an exciting piece of technology or the perfect solution for your next project, The Edit has been designed to inspire discovery.

Take your time.

Browse the collection.

Explore the possibilities.

Find Your Favourite.

Inside Avery Dennison’s redefined Paint Protection Film (PPF) series Harsh sun; gravel-strewn back roads; saltladen coastal air - vehicles across Australia endure a punishing mix of conditions, and every stone chip, stains, scratches, chemical stains and weathering tells the same story. This means a good paint protection is no longer an option but a necessity. This is where Avery Dennison’s Paint Protection Film (PPF) earns its reputation, vouched for by the most skilled installers in Australia and known for its exceptional installation performance, longlasting durability and top-notch protection.

As a global materials science business, Avery Dennison never lets its technology stand still.

Its PPF series has always been engineered to perform at the very top of the market, built to withstand the harshest of elements and maintain a showroom finish that keeps vehicles looking fresh and flawless for miles. With each refinement, that engineering excellence only advances further.

Using only the best materials and investing heavily in research and development to stay market leading, every element of Avery Dennison’s new and improved PPF series, from the top coat and adhesive system to the film’s installability, has been refined to perform at its peak and to preserve paint vibrancy for years, maintaining that sought-after wet look year after year.

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The New and Redefined PPF Portfolio Being rolled out in phases, Avery Dennison’s new and improved PPF series includes: • PPF Xtreme Plus Gloss / the top-of-the-line choice, offering the highest level of defence and optimised for pre-cut template-based installation, ensuring accurate, seamless coverage across every panel.

• PPF Xtreme Series / which comes in Gloss, Satin, plus the recent Xtreme XL Gloss range (offering 1.83m width coverage for larger vehicles), guaranteeing effortless installation with RAPID EDGE™ technology and supreme protection.

• PPF Ultima Plus Series / offers pristine Gloss and Satin finish for those who want style and ultimate protection in a package, with medium tack adhesive optimised for smooth, efficient installation.

• PPF Ultima / a clear high gloss finish that protects vehicles from everyday work and play.

Self-Healing and Stain Resistant Avery Dennison’s PPF series is a market leader in self-healing paint protection technology – a claim that rests on genuine engineering with 90+ years of expertise in materials science. Each film is built with enhanced polyurethane, a tough yet flexible, invisible layer that shields vehicle paintwork from scratches, chips, and everyday wear. The standout feature is its self-healing surface, where light scratches and unwanted marks

simply disappear with heat, whether from a warm day in the sun or the warmth of the engine bay, preventing the need for polishing or specialist treatment.

The redefined PPF series also includes improved engineering and excellent hydrophobicity making cleaning faster and keeping vehicles looking pristine for longer.

From insect strikes to chemical fallout, its superior stain resistance provides a robust barrier against the contaminants that cause discolouration, preserving the depth and clarity of the original paint.

Avery Dennison’s PPF films are also designed to provide seamless removal without damaging the existing paint or coating applied on vehicles.

Protection this advanced deserves genuine assurance, which is why Avery Dennison’s PPF is backed by a limited warranty of up to 12 years. For installers and vehicle owners, that is a decade of confidence against the elements, the road, and the everyday knocks of ownership. It is protection you can rely on and, just as valuably, protection you can forget about, knowing the film is quietly doing its job.

For anyone who takes pride in their vehicle, the PPF series represents a smart, long-term investment in appearance, resale value, and peace of mind.

Stay tuned for our PPF series launch updates via the Avery Dennison Instagram account: @adgraphics_apac

Fitting tribute to memory of Daniel Gherini In June, the first batch of apprentices to benefit from the Daniel Gherini Memorial Apprentice Scholarship – a HEXIS Australia supported initiative ‘to honour the life and promise of Daniel Gherini, a remarkable young man who was about to begin his apprenticeship in the sector before his untimely passing in an accident last year’ – arrived at the dedicated HEXIS Training Facility in Keysborough (Melbourne) to participate in an inaugural 4-day training course.

Run in Daniel’s memory and managed by HEXIS-certified Trainer, John Papadopoulos, the course comprised of two days of vehicle wrap techniques, followed by two days of PPF Bodyfence application.

Launching the Scholarship, Ian Parsonson, Managing Director of HEXIS Australia, says: “Daniel was proud to pursue a career in vehicle wrapping, and excited to build his future in the industry. He displayed a strong work ethic, a steady determination, and a passion for working with his hands. He was also an organ donor and very giving in life, so we hope this scholarship will be further proof of his 24

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generosity in supporting others, and a lasting tribute to his memory.”

“The Daniel Gherini Memorial Apprentice Scholarship will carry Daniel’s legacy forward by supporting aspiring tradespeople who share his passion, dedication, and commitment to their craft.”

Dan’s father Chris Gherini, Business Development Manager at HEXIS Australia, together with his family, helped to select the scholarship recipients. The original intention was for a single scholarship each year, but such was the talent and passion received in the applications that they decided to accommodate all the applicants. Ture travelled all the way from Karratha in WA to be joined by Abbey from Newcastle NSW, Akala & Seb both coming up from Tasmania and local lad Lorenzo. Patrick, Lumi & Hemsi also flew up from Tasmania to join the training.

With Papadopoulos duly impressed with the array of talent and promise shown by the apprentices, HEXIS National Sales Director, Lee Farrell, added: “Our thanks to all the companies who quickly got behind their apprentices being here for the training and supporting their time away for their own businesses. We see this is a win-win investment

for both them and HEXIS, with this sort of hands-on training and knowledge sharing opportunity being an invaluable experience for these young apprentices.”

With the four-day course also allowing plenty of opportunity for downtime too, the NRL State of Origin became the only polarising aspect of the apprentices’ times together, as they also enjoyed mixing with the local HEXIS team and the opportunity to hear their first-hand accounts of their time in the industry.

Farrell continues: “We received plenty of positive accolades from the companies these apprentices came from too, and a few months on we’ve received plenty of reports back that the course has stimulated some great discussions back in their businesses.”

Parsonson concludes: “Having worked with us and other sign shops during his final years of school, Daniel was ready to make his mark. Outside of work, he found freedom and joy riding his motorbike and sharing time with friends, embracing the same spirit of adventure that defined his approach to life. Though his life was tragically cut short, his drive, loyalty, and genuine nature left a lasting impression on everyone who knew him. This course is undoubtedly a fitting tribute to his memory.”

Passing it On Succession is a key issue on the minds of many sign and print owners today. You have spent years using your expertise and relationships to build a successful company, and now you want to see the fruits of your labour. For some it is passing the baton to family; for others, selling is on the cards.

Another option is appointing the elusive ‘General Manager’ who will free you from the painful work to do the things you enjoy.

At a recent FESPA event, we covered many elements of succession - financial, structural and otherwise - but one practical challenge is simpler than that.

It starts with the question: if you stepped away tomorrow, could someone else pick up where you left off? For much of the industry, the honest answer is no - because the business runs on one person’s head, not on a system anyone else could learn.

You can’t grow what you can’t systemise Start with something simple - a quoting platform the whole team can use, not just the one person who holds all the knowledge.

Quoting effectively is the key to revenue, and the payoff is speed of onboarding as much as 26

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speed of quoting. New hires learn the system in half an hour, not weeks of shadowing. You can’t grow what you can’t systemise, and the reverse is just as true: you can’t hand over what only lives in someone’s head.

A system is also a memory Consider what happens when disaster strikes: a fire, a flood, any event that wipes out a site overnight. For a business still running on paper files, that’s not just property damage; it’s amnesia: years of job history, client records and pricing decisions gone in an afternoon. For a business running on cloud-based systems, the same event is a disruption, not an ending.

A client can call about work done years earlier, and the answer is still there.

That’s the part of automation that rarely makes the pitch deck: it’s not just efficiency, it’s institutional memory. If you’re still running the business on spreadsheets, the blunt advice is simple: don’t. Systems that hold your business’s history are what let it expand in an organised way instead of starting over when things change.

Making room for the next generation There’s a talent dimension too - arguably the more urgent one. As a generation

of experienced operators approaches retirement, the industry’s ability to attract and keep new people depends partly on what the job looks like day to day. The practical logic is straightforward: automate the 80% of jobs that follow a standard pattern, and free the time and energy for the 20–25% that genuinely need a person’s judgement.

It’s about giving time back to people so they can solve problems, not just push buttons. A business built on systems rather than heroics is a more sustainable one to work in, and a more attractive one to join.

A business worth handing over None of this is about removing people from the equation…quite the opposite. The knowledge, the history and the day-to-day workflow now live in a system rather than in your head. That’s what makes a business easy to grow into, easy to train into, and eventually, easy to hand on. The print businesses in the strongest position five years from now will not necessarily be the ones with the most advanced technology. They will be the ones where someone new could walk in, learn the system in an afternoon, and carry the business forward without missing a beat.

3M Science. Applied to Life.™ ‘cool’ where it counts Behind every well-run fleet and rail operation are people committed to keeping everything moving. Drivers know their routes by heart. Technicians work to keep transportation systems performing at their best. Managers stay focused on reliability, efficiency and delivering on customer expectations. It is work that depends on consistency, attention to detail and cool performance under pressure.

Heat can make that job harder.

In transportation, cooling is not simply about temperature. From the thick, rising heat in a cargo bay to the strain of systems running non-stop, excess heat can affect operator comfort, operations themselves and overall efficiency. It can wear down the environment inside a vehicle, increase pressure on cooling systems and create discomfort for operators and passengers alike. When every degree matters, finding ways to help manage heat where it matters most can make a meaningful difference.

It is about supporting the people who keep operations running, helping protect cargo 28

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and interiors, and creating an environment that feels more comfortable and efficient over the course of the day. Small changes in heat management can contribute to a better experience for operators and passengers while also helping reduce system strain and improve overall performance.

This is where 3M™ Cooling Film comes in.

Installed on the roof, 3M™ Cooling Film uses thermal technology to help reduce heat buildup, so interiors stay noticeably cooler. It is a highly reflective performance film – designed to reflect over 85% solar radiation – which helps keep interiors cooler without added energy. This makes for a more comfortable environment and also lowers vehicle temperatures by up to 5.5°C. The air can feel lighter, the interior can feel more manageable, and drivers and passengers can move through the day with greater ease.

Film installation is quick and easy (reducing downtime) and the positive energy benefits create a virtuous circle effect - less strain on air conditioning systems, less need for extra insulation, less heat stress on operators and

operations – potentially even paying back the costs of installation, through energy savings, in as little as two years.

So 3M™ Cooling Film is definitely ‘cool’ where it counts, outpacing the heat with a high thermal remittance and delivering a long-term, durable performance – the film is engineered with a special coating that resists dirt, chemicals and other elements - and maintaining high reflectivity over its life, all backed by a 5-year warranty.

Whether the priority is comfort, durability, efficiency or long-term value, 3M™ Cooling Film is a solution designed to support transportation environments where heat can have a real operational impact.

3M is a trusted partner for a comprehensive portfolio of heat management and branding solutions. Films designed for nearly any surface or application, delivering visual impact, comfort and more. A diverse portfolio, including options that may help support sustainability goals, all backed by 3M’s proven product performance and manufacturing expertise.

© 3M 2026. All rights reserved. 3M is a trademark of 3M Company

Epson goes ‘Larger than Life’ at Visual Impact Sydney Visitors to Stand D11 at this year’s Visual Impact Sydney can expect an immersive experience as Epson showcases its latest professional printing technologies under the theme ‘Larger than Life’.

Designed to highlight Epson’s industryleading expertise in colour, detail and large-format output, the Epson stand will transform the unseen into the unforgettable.

Through stunning ultra-high-resolution macro photography of insects and oversized natural elements, visitors will step into a world where intricate textures, vibrant colours and microscopic details are magnified beyond imagination. The concept perfectly reflects what Epson technology does every day, bringing extraordinary detail, precision and colour accuracy to life.

Leading the display are the SureColor V4000 and SureColor G6060, representing the latest 30

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innovations in UV and direct-to-film (DTFilm) printing, respectively.

The SureColor V4000 delivers exceptional versatility for signage, promotional products and customised merchandise production.

Featuring advanced UV printing technology, it enables high-quality output on a wide range of materials while producing vibrant colour, fine detail and durable results. It is an ideal solution for businesses looking to expand into valueadded and personalised applications.

Also taking centre stage is the SureColor G6060, Epson’s dedicated wide-format DTFilm printer, designed for high-volume apparel and merchandise production. As demand for customised clothing, workwear and promotional products continues to grow, the G6060 provides reliable, cost-effective production with excellent colour consistency and productivity. The printer demonstrates

Epson’s commitment to supporting businesses capitalising on the expanding personalisation market.

For dye sublimation professionals, Epson will showcase one of its advanced SureColor F-Series production printers built for sportswear, soft signage, home décor and customised merchandise. Delivering outstanding image quality, speed and efficiency, it enables businesses to produce vibrant fabric applications with confidence.

The SureColor F1060 will also be on display.

Designed for both direct-to-garment (DTG) and DTFilm production, this compact printer makes garment and merchandise customisation more accessible to creative businesses, print providers and apparel decorators. Its ease of use and ability to produce professionalquality output make it an attractive solution for businesses entering or expanding within the custom apparel market.

The signage and display sector is represented by Epson’s latest eco-solvent technology, including the SureColor S7160 and flagship SureColor S9160. Built for signmakers and graphics professionals, these printers combine impressive productivity with outstanding image quality. The S9160 delivers an expanded colour gamut for stunningly accurate colour reproduction, while both models provide the reliability, versatility and precision required for demanding signage, vehicle wrap, display and retail graphic applications.

Across the entire stand, visitors will experience the technologies that underpin Epson’s reputation for quality and innovation.

From advanced printhead engineering and precision droplet control to exceptional colour reproduction and media versatility, every product on display demonstrates Epson’s focus on helping businesses produce work that stands out.

Whether you’re creating signage, customised merchandise, apparel, décor or promotional products, Epson’s ‘Larger than Life’ showcase will demonstrate how exceptional detail, vibrant colour and scalable production can open new opportunities for growth.

Visit Epson at Stand D11 to discover how Epson technology can help bring your biggest ideas to life.

WELCOME TO THE

Visual Impact Expo and Connect Conference 2026 Both exhibitor numbers and visitor registration have been climbing since news of the inaugural Connect Conference Program was announced and excitement is building with a number of high-profile speakers and interesting topical sessions now locked in.

As the deadline for content for Image Magazine passed, more than 50 exhibitors had confirmed their attendance at the show, including Platinum Sponsor, Roland DG, Gold Sponsors Epson, Graphic Art Mart, HP and Mimaki, and Silver Sponsors Celmac, SAS and Project Sirius.

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Shireen Da Costa, Exhibitions & Events Manager for host and organiser, Visual Connections, promising ‘something for everyone’ under the Showgrounds’ iconic Dome, saying: “Visitors can expect the usual market leaders with large displays from our sponsors mentioned above, as well as other long-time Visual Impact exhibitors like SA-led, Multicam, PHE, Mutoh, Stick on Signs, Pozitive Sign & Graphics and Ball & Doggett.”

“Importantly, though, this show has always been equally about many smaller exhibitors, who not only bring a huge range of innovative products and services to the show, but cover specialised and niche markets which are so important to businesses looking for ways to

diversify and build new revenue streams.”

Examples front-of-mind at the time of publication included Apple Air Filtration, E-Power, Sydney Print Media, XTL Australia, and Project Sirius, who also came on board as a Silver Sponsor of the show.

As these additions were confirmed, excitement was also building around the inaugural Connect Conference, a leadership summit which will run each morning of the show in an adjacent conference area. Among the headline sessions are: • Gillon McLachlan / CEO of Tabcorp, in conversation with Matt Aitkin, MD of IVE Group.

• Steve Vamos / a leadership expert who has held senior positions with Apple, Microsoft and IBM and as CEO of Xero and NineMSN • Dr Craig Emerson / leading economist and former political advisor and Australian Minister for Trade and Competitiveness • Dr David Cooke / well-known for his time in leadership at Xerox, Canon and Konica Minolta, and now a leader in corporate sustainability and author of Kind Business: How Values Create Value • Richard Williams / expert on cyberawareness and adaptability in business • Dr Xun Li – a CSIRO AI expert Alongside these keynote speaker sessions, a number of interesting panel sessions have also

been curated for the event, including on: • International Industry Insights led by Visual Connections CEO, Karren Challoner-Miles, and featuring leadership from ISA, BSGA, Printing United Alliance, and FESPA • Education & Careers led by Visual Impact editor Rob Griffith and featuring Megan Lilly, Deputy Commissioner, Jobs & Skills Australia, Paul Richards – Head Teacher, Sign & Graphics at Sydney TAFE and apprentice signwriter Charbella Ayoub from Cunneen Signs.

• Digital & Print Trends – global and local outdoor signage trends featuring leaders from Signarama and JC Decaux

• The Future of Signage led by ASGA President Mick Harrold and featuring Steen Zimmerman from Zimmerman Industries, Steve Lambourne from SS Signs and Callan Laughton from Insigns.

Adding to the week’s attractions will be the 2026 Easy Signs National Sign & Graphics Awards gala dinner on Thursday 3rd September and Make it Happen Signage Bootcamps running at the Showground during the week.

Visual Impact Expo and Connect Conference 2026, Sydney Showground, Sydney Olympic Park, 2nd-4th September 2026: visit visualimpact.org.au for more information.

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Where Innovation Meets Opportunity Australia’s biggest sign, print and graphics exhibition returns to Sydney with a fresh format, world-leading technology and a renewed focus on helping businesses thrive in an industry that’s evolving faster than ever.

By any measure, the visual communications industry is changing at remarkable speed. The wide-format printer that was state-of-the-art five years ago is now being challenged by faster, smarter and more sustainable alternatives.

Software has evolved from a production tool into the nerve centre of modern print businesses. Artificial intelligence is beginning to influence design, workflow and customer service. New applications - from architectural finishes and interior décor to personalised products and direct-to-object printing - are creating revenue streams that barely existed a decade ago.

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For signmakers, commercial printers, vehicle wrappers, display specialists and graphics professionals alike, staying competitive increasingly means staying informed. That’s precisely why thousands of industry professionals will make their way to Sydney Showground from 2–4 September for Visual Impact Expo 2026, Australia’s premier exhibition for sign, display, print and visual communications.

Who to look out for As the expo’s Platinum Sponsor, Roland DG (Stand A9) is expected to have an unrivalled presence, showcasing Complete Production, Endless Possibilities.

Typically focusing on demonstrating complete production ecosystems rather than standalone equipment, visitors to the Roland DG stand can anticipate a comprehensive showcase of eco-solvent, UV and resin

technologies alongside printer-cutters, flatbed systems and digital finishing solutions.

Roland DG’s strategic expansion into industrial printing is also likely to be to the fore, showing new industrial UV flatbed inkjet solutions like the VersaObject IO-300, the RC-300 series of cylindrical UV printers; and a newly developed Hard UV Ink engineered for enhanced durability in demanding industrial applications. The portfolio preview builds on Roland DG’s existing industrial capabilities, including the LSINC Peri Series, an industrial direct-to-object solution already available and in use across production environments. By focusing on production flexibility, reduced setup times and greater in-house control, Roland DG’s industrial solutions are positioned as enablers of mass customisation, decentralised production and more resilient supply chains.

They have been designed to complement and extend existing production environments by introducing digital workflows where flexibility and speed are critical. The VersaObject IO300 is a B2-size class industrial UV flatbed inkjet printer planned to support high-mix, low-volume industrial production. Positioned as a bridge between analogue and digital methods, the IO-300 is expected to enable rapid design changes and consistent output across a wide range of substrates including plastics, metals, glass and composites. The RC-300 and RC-300c LED UV inkjet printers are designed for direct decoration of cylindrical and lightly tapered objects and intended to support short runs, premium customisation and fast set-up for applications such as bottles, containers, promotional items and limitededition packaging. The RC-300c variant is specifically suited to printing on clear and translucent bottles without filling, supporting beverage brands, packaging specialists and manufacturers seeking digital alternatives to traditional decoration methods.

Meanwhile, Gold Sponsors Epson, Graphic Art Mart, HP and Mimaki are all likely to play a part in creating a clear view for visitors of where investment opportunity lies, with an over-

arching theme projecting highly automated, flexible systems paired with advanced software and environmentally responsible consumables.

For Epson (Stand D11, see also page 30) the company’s Larger than Life intent is clear, with plans to highlight its industry-leading expertise in colour, detail and large-format output. Indeed, the Epson stand is likely to offer customers greater diversity and flexibility than any other exhibitor, showcasing its latest solutions for textile printing and sublimation, DTF (direct-tofilm) printing, direct-to-fabric printing, visual communication/signage, and UV printing, as well as tools to increase workflow efficiency and improve colour management.

Meanwhile, another major player and undoubtedly one of the industry’s major innovators, HP (Stand A1, adjacent to Roland DG at the main entrance to the Expo) may well adopt its Transformation with every Print theme again, following considerable success at FESPA Barcelona. Always a stand favourite, HP will showcase its continued advancement of HP Latex Technology, from its most productive Latex printer, the FS70 W, through to the compact and versatile HP Latex R530 (still arguably presenting as the best fit for small to mid-size Australian PSPs). The new HP

DesignJet Z6 and Z9 PostScript Printer Series present as the most interesting recent additions to the HP product portfolio, self-styled as ‘the next step in the evolution of Large Format Printing’. Designed for small and mediumsized businesses, including photo studios, retailers, copy shops, education facilities, and architecture firms, the HP DesignJet Z9 Plus Edition Printer is ideal for colourcritical applications, including professional photography and high-end graphics. It also features an embedded spectrophotometer for consistent colour calibration and optional HP Gloss Enhancer for improved gloss uniformity and its productivity print modes can increase output by up to 90%.

Another Gold Sponsor, Mimaki (Stand B31) currently has one very firm eye on promotion of its new UJ330H-160 hybrid UV printer, a compact and highly versatile printer that is well-suited for small to mid-size print shops, looking to find new market opportunities, with the one technology platform being able to support both roll-to-roll and rigid applications.

Against the theme ‘Print Different - Powering Possibilities’, Mimaki is increasingly able to demonstrate the high-value application potential of its machines and how they can be used to

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explore and drive new business opportunities, featuring the accelerated progress of UV and DTF technology for use across sign graphics, textile, personalisation and high-volume production. The Mimaki stand is also likely to include the UJV200 Series, developed to make high-quality UV roll-to-roll printing more accessible, which combines Mimaki image quality with the creative possibilities of UV printing, including white and clear ink effects.

Earlier this year, at FESPA Barcelona, Mimaki had a DTF concept model on its stand, which was based on the manufacturer’s 330 platform and aimed at demonstrating how the company is continuing to evolve its DTF technology in line with the changing market needs: expect more news on this too.

Last but not least, in the context of the expo’s Gold Sponsors, Graphic Art Mart (Stand B27) has again invested in the biggest exhibitor floor space, offering a simple message to visitors to the show…come and Find Your Favourite.

Launching The Edit (see also Page 20), GAMART’s message is simple: ‘we offer such a wide range of opportunity for our customers, with consumables from industry-leading brands like Arlon, Avery Dennison, Utopia, 3M, ASLAN, Nekoosa, Mactac, Xanita, EX-CEL, Nufoam, Nuflute and Siser and equipment – most of which will be running live demos at the show – from the likes of HP, Mimaki, Roland, Summa, Forte and CWT that visitors need to come and witness and enjoy the combinations and innovations for themselves’. Even the GAMART stand will be constructed from Xanita board, exclusively available locally through Graphic Art Mart, and brought to life using the latest directto-board print technology.

Another leading industry distributor likely to dominate at the show is Celmac (Stand D18), themselves a Silver Sponsor of the Expo.

Specialising in large and super wide format

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printers, cutting systems, laminators, and consumables, Celmac is always capable of producing a surprise package, aligned with its model of providing Australian business owners a single source for a complete printing solution.

For Ball & Doggett (Stand A4), the focus is on sustained promotion of the UPM Raflatac signage and graphics brand, Metamark (see also Page 14), distributed exclusively in Australia by Ball & Doggett, and a first look locally at the performance opportunities of the new formulation of its MetaCast MDC XR Cast Printable Vehicle Wrap Film with XR Adhesive System. The principal change in the new formulation is a reduction in initial tack, resulting in greater slidability during application, designed to allow a single installer to complete the application process without assistance. Interestingly, the product development process involved structured feedback from customer focus groups in Australia as well as Europe, reflecting the company’s intention to ensure the product performs to specification under the extreme variations in weather conditions seen in the Australian market.

Another exhibitor who knows a thing or two about vehicle wrapping and Paint Protection Film (PPF) technology is HEXIS (Stand A10) who will be promoting the latest new colours in its CandyFence 7.5mil carbon fibre PPF range, alongside its advanced Bodyfence range with X Technology – BodyfenceX and BodyXFAST. But more colour only reveals a small part of the French film manufacturer’s Visual Impact ambition, clearly keen to leave visitors with an understanding that it has films and wraps for almost every use, from robust outdoor options that might be used on a windfarm or similar, through to purpose-designed boat bottom protection films, that prevent barnacles from growing and push the timeline for changing out

of the film from a one- to two-year cycle.

Meanwhile, Pozitive Sign & Graphics (Stand E13), is likely to be buoyed by the continuing international success of two of the key industry suppliers it represents. Summa has recently unveiled its new F Series Vantage range, targeted at signage and visual display customers looking to expand their applications into more rigid materials, such as aluminium.

Available in two size options, the F1625 (160x250cm) was recently named at FESPA as the best Wide Format digital cutting solution amongst the EDP Awards, with the company claiming that both tables – this one and the F1612 - will deliver 40% productivity gains thanks to the integration of a new 3.7kW highfrequency router and several tangential cutting modules. As for swissQprint, there is a reason the company markets its products against the line ‘Made for Winners – Loved by Thousands’.

Visitors to the Pozitive stand are invited to find out more about the high-end flatbed Kudu or dedicated roll-to-roll Karibu 2 printer.

Interestingly, no stand for ORAFOL Australia, instead announcing its presence and continued commitment to the local market through the company’s Premium Sponsorship of the inaugural Connect Conference 2026, the industry’s new strategic leadership summit which is being run alongside Visual Impact Expo. Alex McClelland, ORAFOL’s Executive Vice President – Asia Pacific, says: “We genuinely believe that a forum like this, is long overdue in our sector, and its focus aligns strongly with our own focus on innovation, partnership and social responsibility. We are fortunate to be part of a dynamic, successful, and constantly evolving industry in which technology, creativity and social responsibility work together to create long-term success.”

Europe’s largest three-sided 3D LED Screen unveiled in Warsaw Located at the entrance to Złote Tarasy, one of Warsaw’s (Poland’s capital) best-known retail and entertainment destinations, a new 800-square-metre landmark media platform has been installed; designed for anamorphic content, brand launches, social-first campaigns, cultural projects and major urban events.

Larger than London’s Piccadilly Lights, Warsaw STAGE now lays claims to be Europe’s largest three-sided 3D LED Screen.

Agnieszka Godlewska, President of the Management Board of Digital Network, the company behind the installation, says: “Warsaw STAGE has been conceived as a new open-air digital stage for the city, hence its name. It is a unique, world-class premium format for brands and events that want to be present where business, tourism, retail, culture and metropolitan life come together.”

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“This represents Digital Network’s biggest investment to-date in the super-premium outof-home advertising segment and ensures that the Polish capital joins a select group of global cities - including London, New York, Seoul and Tokyo - where large-format digital screens have become part of the cityscape and a destination in their own right.”

An engineering feat in its own right Encompassing 84 tonnes of structural steel, 5.88 tonnes of hot-dip galvanised elements and approximately 6 tonnes of additional structural and installation components, as well as nearly 1,000 LED Cabinets (with a combined weight of 22 tonnes and creating a digital surface covering more than 800 square metres) and 10kms of cabling, Warsaw STAGE represents one of the most complex engineering and technology out-of-home advertising installations ever delivered. One

of the central engineering challenges was connecting three separate surfaces into a single, coherent digital canvas capable of displaying seamless 3D content.

Damian Rezner, a member of the Digital Network Management Board and Chief Operating Officer of Screen Network SA, says: “In a project of this scale, every detail matters - from the precision of the steel structure and the alignment of the LED cabinets to installation safety in one of the busiest areas of central Warsaw.”

“The greatest challenge was integrating three individual surfaces into one media platform that could operate as a unified stage for anamorphic 3D content.”

A New Category of Media Product For global brands, presence on the world’s most recognisable digital screens increasingly plays a role similar to occupying a prestigious

retail address. Appearing on Piccadilly Lights, Times Square or the leading digital landmarks of Seoul and Tokyo is not only a media investment, it is also a statement of a brand’s scale, ambition, creativity and cultural relevance.

Warsaw STAGE has been created for brands that need more than conventional exposure. It offers the opportunity to produce images and experiences that audiences will remember, record and share. The screen’s three-sided structure has been developed specifically to support anamorphic 3D content that uses perspective, scale and visual depth to create the illusion that objects are emerging from - or moving within- the screen.

This type of content is designed not only for people physically present at the location, but also for audiences watching through smartphones, social media platforms, online video, industry media and brand-owned channels.

Godlewska continues: “Out-of-home advertising is entering a new era. Alongside its role as a mass-reach medium, it is becoming an experiential and high-impact platform, as well as a natural source of social and earned media resonance.

“In a world where users can scroll past, skip or block almost any advertisement, this type of opportunity - a dedicated urban space - gives brands something extremely valuable: real-

world attention, an aspirational metropolitan context and the potential to create content that travels organically across social media.”

For advertisers, Warsaw STAGE is more than a large digital display. It is a new premium media product combining a prestigious central location, large-scale visibility, advanced LED technology and the ability to create communication designed for both physical and digital. It enables brands to treat a DOOH campaign not as the final stage of communication, but as the starting point for wider distribution across social media, online video, press coverage and their own communication channels.

Godlewska adds: “The most successful campaigns on landmark screens do not end at the point of display—they begin there. They continue on the smartphones of passers-by, in industry and mainstream media, and across brands’ own channels. Some of the most iconic large-format campaigns remain part of popular culture for years. Warsaw STAGE was designed and built to create exactly this kind of impact.”

Digital Network Digital Network operates Poland’s largest digital out-of-home advertising network, comprising more than 20,000 LED and LCD displays across urban locations, shopping

centres, railway stations, office buildings and other indoor and outdoor environments.

The company’s existing offer is built around nationwide scale, digital technology, highquality locations and extensive audience reach.

Warsaw STAGE adds a new dimension to the portfolio: a standalone landmark media format capable of delivering exceptional visibility, prestige and cultural relevance.

Located in Warsaw’s central business, retail and transport district, next to Warsaw Central Railway Station and Centrum metro station, Warsaw STAGE brings this global landmark media model to Central Europe. Its immediate surroundings include Varso Tower- the tallest building in the European Union – and the area is one of Warsaw’s most active urban destinations, attracting commuters, tourists, business travellers, shoppers and residents.

It is also a major location for outdoor cultural events, concerts, public celebrations and sporting events.

Globally, digital out-of-home advertising is being recognised as no longer simply a medium for displaying advertising. The most prominent screens have become urban stages for global premieres, fashion shows, public art, live experiences and integrated campaigns that extend across digital, social and earned media.

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Disrupt. Innovate. Lead. – FESPA Conference 2026 FESPA Australia members are being urged to chisel Friday 16th October into their diaries, for the 5th FESPA Australia Annual Conference, being held this year at Sydney’s Shangri-La Hotel (co-located with the ProPrint Awards’26). A key industry event for professionals in the print, signage, and graphic imaging sectors, this year’s over-arching theme - Disrupt. Innovate.

Lead. - will challenge delegates to embrace change, think differently and position their businesses for long-term success in a competitive marketplace.

Comedian Sam McCool is again locked in

to host the event and this year’s confirmed keynote speaker is Siimon Reynolds, who has forged a career helping businesses grow through creativity and strategic thinking.

Siimon has won major international advertising awards for creative excellence and co-founded what became the 14th largest marketing communications group in the world. He has presented to audiences of more than 60,000 people worldwide, sharing the stage with Richard Branson, Tony Robbins and former Australian Prime Minister Paul Keating, and his work has been covered by 60 Minutes, Bloomberg and MSNBC, among others.

In addition to Siimon’s insights, delegates will participate in a wide range of expert-led

interactive discussions; including Andrew Butow, Co-Founder & Director of Earth2Mars, leading participants to solve tomorrow’s problems today, and a through-provoking session facilitated by coach and mentor Carl Harman on what exactly constitutes leaders.

Previous FESPA Leaders will also play a role in their journey through the FESPA Leaders Program.

‘FESPA Australia thanks its sponsors for helping create an exceptional experience for our members, including Gold sponsors Durst Oceania and Easy Signs, Silver sponsors Cactus Imaging, Mimaki and Bronze sponsors, Ball & Doggett, & HVG Graphics Media with more sponsors likely to come on board’.

in the sign and graphics sector, including collaborating with the Manufacturing Industry Skills Alliance (MISA), BuildSkills Australia and RTOs on revising the qualifications for signage professionals.”

ASGA has also partnered with Make it Happen Signage Academy ANZ to bring their acclaimed Signage Bootcamps to the event and is hosting a ‘meet and greet’ to connect signage installation businesses from around the country with companies looking for new installation partners. Visitors to the show can also view the entries for the 2026 Easy Signs

National Sign & Graphics Awards on Stand J2-J5 and cast their vote for the People’s Choice Award. The Awards will be celebrated at the Gala Awards Presentation Dinner to be held in the adjacent event hall 2A on the Thursday evening, which Harrold describes as ‘a highlight of the industry calendar’.

ASGA is also a supporting partner of the Connect Conference 2026, with Mick Harrold himself hosting a panel session on the Future of Signage.

ASGA to focus on Education & Connection at Visual Impact The Australian Sign & Graphics Association (ASGA – Stand 113) will run two education events on its Visual Impact Expo stand on Day One and Two of the three-day show, one focusing on its recently-announced partnership with the International Sign Association (ISA) and associated short courses, and the other exploring the future of apprenticeship training and updates to the curriculum.

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Photo Credit: George Fontana - Magnific

CHARLES WATSON

The Age of Flexibility For years, flexible work requests have largely been associated with parents returning from leave or employees with caring responsibilities. That assumption is beginning to change. As Australia’s workforce is getting older, many employees are working beyond the traditional retirement ages. Some want to keep working, but not in the same way they always have. Some want fewer days, different hours or a gradual transition to retirement. A recent decision of the Fair Work Commission highlights why employers should expect more of these requests in the coming years.

In Paul Murray vs Watpac Constructions, the Commission considered whether it had jurisdiction to deal with a dispute about a request for flexible working arrangements made by a 67-year old employee. The employee sought to reduce his working week to four days. He said the change would help him transition towards retirement and improve his work-life balance. Whereas the employer argued that the request was not really about age at all. It pointed to the employee’s evidence that he intended to use the additional day each week to pursue personal interests, including writing a book.

The Commission disagreed. It found there was a sufficient connection between the employee’s age and the request for the dispute to proceed under the flexible work provisions of the Fair Work Act. That did not mean the employee was entitled to the arrangement he sought, nor did it mean the employer had acted unlawfully by refusing the request. The Commission was deciding only that it had the power to determine the dispute and not whether the request should ultimately succeed.

That distinction matters.

The decision is procedural and is not a declaration that every employee over 55 is entitled to reduced hours. Nor does it diminish an employer’s ability to refuse a request where there are reasonable business grounds for doing so. However, the decision does suggest the Commission is prepared to adopt a practical rather than unduly narrow approach when considering whether a sufficient connection exists between the employee’s age and the flexibility sought.

That reflects a broader shift in Australia’s workforce as people are living and working for longer. Retirement is increasingly becoming a process rather than a single event. Many employees want to reduce their working commitments before they stop working altogether. For employers, this presents both a legal issue and a workforce planning issue. Experienced employees often possess knowledge that is difficult to replace. A wellmanaged phased retirement may allow that experience to remain within the business for longer while creating opportunities for succession planning and mentoring. An inflexible approach may instead encourage an experienced employee to leave altogether.

Equally, employers should avoid assuming that because an employee intends to spend additional time on hobbies, family, volunteering or even another interest, the request is somehow disconnected from age.

The Commission’s reasoning suggests that retirement is not defined solely by withdrawing from work. For many people, it is about changing the balance between work and the rest of life.

Importantly, the legal framework has not changed. Employees aged 55 years or older may request flexible working arrangements

where the request relates to their age.

Employers must genuinely consider the request, consult with the employee and may refuse only on reasonable business grounds.

Where agreement cannot be reached, the Commission has powers to resolve disputes.

The lesson from Watpac is not that employers should approve every request, but that they should assess each request carefully. Each request will turn on its own facts and each business will have different operational needs. A refusal may still be entirely justified. However, employers who begin from assumptions about retirement, or who dismiss a request because the employee appears healthy or has interests outside work, may find themselves on uncertain ground.

Australia’s workforce will continue to age, and requests for phased retirement and other age-related flexible working arrangements are likely to become increasingly common.

For employers, the challenge is not simply complying with the Fair Work Act. It is recognising that experienced employees often want to change the way they work, rather than stop working altogether. Businesses that understand that shift will be better placed to retain valuable skills, plan for succession and avoid unnecessary disputes.

This article is of a general nature and guidance only and does not constitute legal advice.

Charles Watson GM – IR, Policy and Governance Visual Media Association

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Photo Credit: dooder– Magnific

SUE HIRST

Why Paper Profit Is Leaving Australian Print and Sign Businesses Stranded Many Australian print, signage and visual communications businesses are busy, profitable on paper and still constantly short of cash. Wages, superannuation, rent, substrates, inks, freight, equipment leases and tax obligations must often be paid well before customers settle their accounts. This is the uncomfortable gap between profit and cash flow.

A business can report a healthy profit and still struggle to meet its weekly commitments.

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extended payment terms.

Paper profit may look reassuring, but it does not pay the bills.

Why profitable businesses run short of cash Profit records the financial result of sales and expenses over a period. Cash flow measures when money actually enters and leaves the bank account. The distinction matters because print and signage businesses usually fund production before being paid. Materials may be ordered upfront. Employees and contractors must be paid during production and installation. Freight, electricity and outsourced services can fall due before the customer invoice is collected.

The larger the job, the greater the cash exposure A substantial signage rollout or packaging order may appear highly profitable. However, if materials, labour and installation costs are paid within 30 days while the customer pays in 60 or 90 days, the business must finance the gap.

Growth can therefore create financial pressure rather than relieve it.

Where cash becomes trapped Slow debtor collection is a major issue. Larger customers often impose lengthy terms, while invoices may be delayed by purchase-order errors, disputed variations, missing delivery confirmations or slow approval processes.

Every additional day an invoice remains unpaid

increases the cash trapped in the business.

Excess inventory is another drain. Substrates, media, inks, laminates, spare parts and specialty materials can quickly accumulate.

Slow-moving or obsolete inventory is cash sitting on a shelf, particularly when anticipated work is postponed, changed or cancelled.

Work in progress can create similar pressure.

Complex signage, fit-out and campaign projects may remain open for weeks. If deposits, progress claims and variations are not invoiced promptly, the business carries the project cost while the customer retains the cash.

Margins can also disappear through underrecovered costs. Material increases, freight surcharges, overtime, rework, installation delays and equipment downtime can erode the expected return on a job. Revenue may look strong while cash and profitability quietly decline.

Shorten the cash conversion cycle The cash conversion cycle is the time between paying for materials and labour and receiving payment from the customer.

Reducing it is one of the most effective ways to improve liquidity without taking on more debt.

Practical improvements include requesting deposits on larger jobs, using staged billing, invoicing immediately at milestones, tightening credit approval, following up overdue accounts consistently and obtaining written approval for variations before proceeding.

Inventory also deserves close attention.

Review what is held, how often it turns and

whether purchasing reflects confirmed demand. Negotiate supplier terms where possible, particularly for high-volume materials and recurring purchases.

Accurate job costing is essential. Quotes should reflect direct materials and labour, machine time, design, prepress, freight, installation, wastage, rework risk and overhead recovery. A job that appears profitable at quotation stage may generate little cash if its true delivery cost is underestimated.

Look forward, not only backward Many owners review monthly profit and loss reports but lack a clear view of the next 13 weeks. A rolling 13-week cash flow forecast maps expected receipts and payments week by week, helping management identify pressure points before they become emergencies.

The forecast should include payroll, superannuation, tax, rent, equipment finance, suppliers, loans and major capital expenditure.

It should also reflect how customers actually pay, not simply the invoice due dates.

With this visibility, owners can act earlier.

They may accelerate invoicing, renegotiate timing, delay non-essential purchases, adjust production schedules, increase deposits or address an unprofitable customer relationship.

Use internal cash before expensive finance External finance can support productive investment. However, relying on overdrafts, debtor finance or short-term loans to cover

recurring working capital problems can become expensive. Before borrowing more, examine the cash tied up in debtors, inventory and work in progress. Releasing even part of that money can reduce interest costs, protect margins and provide control over investment. That internal liquidity can help fund technology, software, equipment upgrades, additional capacity or expansion into higher-value services.

Take control of the numbers behind the jobs Print and signage businesses are operationally complex. Strong sales and full production schedules do not automatically create financial strength. The businesses that manage uncertainty best understand job profitability, forecast cash requirements and actively manage the timing of inflows and outflows.

If your business is profitable on paper but remains under cash pressure, the issue may not be sales. It may be the way cash moves through your jobs, customers, stock and suppliers. A cash flow health check can identify where liquidity is blocked and reveal practical opportunities to release cash, improve margins and fund growth confidently.

Speak with CFO On-Call to arrange a cash flow health check for your business.

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Photo Credit: onetime - Magnific

VERNON KINGMAN

Just ask Claude Artificial Intelligence (AI) is no longer a technology reserved for large corporations or the tech industry. It is rapidly becoming an essential business tool across countless sectors, including sign making and digital printing. From streamlining workflows and enhancing creativity to improving customer service and increasing production efficiency, AI is transforming the way sign and print businesses operate. Rather than replacing skilled professionals, AI is helping businesses work smarter, reduce repetitive tasks, and deliver higher-quality products in less time.

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designers, production staff, and business owners to focus on creativity, quality, and customer relationships.

One of the most significant advantages AI brings is improved design efficiency. Creating concepts, preparing artwork, and producing multiple design variations can often be timeconsuming. AI-powered design tools can quickly generate ideas based on customer requirements, suggest layouts, recommend colour schemes, and even create marketing copy to accompany signage. Designers remain in complete control of the creative process, but AI provides a valuable starting point that reduces production time and inspires new ideas.

Artwork preparation is another area benefiting from AI. Preparing files for print often requires checking image resolution, identifying missing fonts, correcting colours, and ensuring artwork meets production specifications. AI can automatically detect many of these issues before production begins, reducing costly

errors, minimising waste, and improving overall quality control. This allows production teams to spend less time fixing artwork and more time producing finished products.

Customer service is also changing through the use of AI. Many sign businesses receive similar enquiries every day regarding pricing, materials, turnaround times, installation options, and artwork requirements. AI-powered assistants can answer these common questions instantly, twenty-four hours a day, helping customers receive immediate information while allowing staff to concentrate on more complex projects. Faster response times often lead to improved customer satisfaction and increased sales opportunities.

Estimating and quoting are becoming more efficient through AI as well. By analysing project specifications, material costs, machine time, and labour requirements, AI can help generate faster and more accurate quotations.

This not only saves valuable administrative time but also helps maintain consistent pricing

Photo Credit: DC Studio - Magnific

across projects while reducing the risk of costly estimating errors.

Production scheduling is another area where AI can deliver measurable improvements. Sign making often involves multiple machines, different materials, finishing processes, and installation schedules.

AI systems can analyse workloads, prioritise jobs, optimise production sequences, and identify potential bottlenecks before they affect delivery times. Better scheduling leads to increased productivity, improved equipment utilisation, and greater customer satisfaction through reliable delivery dates.

Predictive maintenance is also becoming increasingly valuable within print production.

Rather than waiting for equipment to fail unexpectedly, AI can monitor printer performance, track usage patterns, and identify early warning signs that maintenance may soon be required. This proactive approach helps reduce unplanned downtime, extends the life of expensive equipment, and ensures production continues with minimal disruption.

Marketing is another area where AI is making a significant impact. Sign companies often struggle to find time to produce regular content for websites, social media, newsletters, and advertising campaigns. AI can assist by generating blog articles, promotional emails, social media posts, product descriptions, and customer newsletters in minutes. While human review remains essential to ensure accuracy and maintain brand identity, AI dramatically reduces the time needed to create professional marketing content.

Inventory management can also benefit from intelligent automation. AI systems can analyse purchasing trends, monitor stock levels, and predict future material requirements based

on seasonal demand and historical sales data.

This allows businesses to order materials more efficiently, reduce excess stock, minimise shortages, and improve cash flow.

Perhaps one of the greatest strengths of AI is its ability to analyse data that would otherwise take hours for staff to review. By examining sales trends, customer purchasing habits, production performance, and profitability, AI can provide valuable insights that help business owners make more informed decisions. Understanding which products generate the highest profits, which customers order most frequently, or which production processes create delays enables businesses to continuously improve their operations.

As AI technology continues to advance, its role within the sign making and digital print industry will only become more significant.

Future developments are likely to see AI integrating seamlessly with design software, production management systems, online ordering platforms, customer relationship management software, and even printing equipment itself.

Entire workflows—from customer enquiry to final installation—could become faster, more accurate, and increasingly automated while still benefiting from the experience and expertise of skilled professionals.

Importantly, AI is not replacing the craftsmanship, creativity, or personal service that define successful sign businesses.

Customers still value original ideas, attention to detail, technical knowledge, and trusted relationships. AI simply provides powerful tools that remove repetitive administrative work, allowing experienced teams to focus on what they do best: creating exceptional signage and delivering outstanding customer experiences.

Businesses that embrace AI today are

positioning themselves for long-term success.

By combining skilled people with intelligent technology, sign makers and digital print companies can improve efficiency, reduce costs, increase productivity, and remain competitive in an industry that continues to evolve. AI is not just another technological trend - it is becoming an integral part of the future of sign making and digital printing, helping businesses innovate, adapt, and grow in an increasingly digital world.

If you’re still convinced that AI won’t change how you work or isn’t for you, please consider this. The entire article before this paragraph was written by AI. All of it! Will AI replace how and what we read in news and trade journals? Certainly to some extent, but, as AI states, clients still need and want that personal approach and industry wisdom.

As we all grow and embrace change, AI will certainly be a game-changer, and all companies that embrace the opportunity early will benefit most.

VERNON KINGMAN is a highly respected and prominent figure in the signage industry. He is known for co-founding Kingman Visual in Perth with his wife, Dianne, in 1984.

Starting from their garage, the business grew into one of Australia’s leading signage companies, known for major projects such as Perth’s Optus Stadium and the largest sky sign in Australia at St John of God Murdoch Hospital. In 2020, Vernon sold the company. He remains active in the industry as a consultant, continuing to influence and support other businesses in the field. You can contact Vernon at vernonjkingman@gmail.com.

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Celebrating the PrintNZ 2026 Pride in Print Awards The Pride in Print Awards is New Zealand’s premier annual event celebrating excellence in the printing industry and recognising outstanding print work from across Aotearoa, highlighting creativity, technical skill, and innovation in print production. The awards feature multiple categories, including Process Awards, Category Awards, and the Supreme Award, which honours the most exceptional print project of the year.

Manager, says: “We’ve been printing stamps for four years now and the demands for quality have demonstrably improved our standards across the business. We have some incrediblyskilled staff and it’s an honour to see their skill recognised like this.”

“We’ve since been contacted by collectors who weren’t able to get enough of them at the exhibition, asking for more.

They show a depth of embossing unlike anything seen before on a stamp sheet, with a stunning design and exceptionallydetailed print to match it.”

In spite of torrential rainfall outside Christchurch’s Te Pae Convention Centre, the inclement weather was never going to be able to dampen the spirits of those gathered. Nor could the rain wash away the smile of Rob Johansen, National Account Manager for Brebner Print, accepting the Supreme Award for the Blue Star Group company’s high quality production of a series of New Zealand Bird stamps.

Other Major Award winners on the night included APC Innovate taking out the Sign & Display Print Award for its Heineken Electric Ave Pallet Display, Auckland-based label printers MCC Albany for its ‘SolarBurst’ Colour Build Collection, recognised for their Industry Development and Creativity, and Travers Dobson from Christchurch’s Leading Label Company, named as the BJ Ball Apprentice of the Year.

Opal Fibre Packaging New Zealand was recognised as Training Company of the Year, whilst one of their trainers, Matthew Moore received joint recognition for his work, along with Rhys Fauvel from Blue Star Wellington, jointly receiving the Trainer of the Year Award.

SCG received a Sustainability Award.

NZ Apprentice of the Year

Brebner Print puts unique stamp on the event The Supreme Award winner, Napierbased Brebner Print, operates as a Division of Blue Star Group NZ (who also collected the Business Print Category Award). The winning entry for the top honours of the jnight was for Brebner Print’s production of a series of New Zealand Bird stamps, produced for last year’s PhilaKorea stamp exhibition in Seoul. Matt Tobin, Brebner Print Stamp Production

Working locally, so enjoying plenty of support from inside the room, one of the biggest cheers on the night was reserved for Travers Dobson, named as the BJ Ball Apprentice of the Year.

Looking back to when he started out, Dobson reflects: “I remember in my first week at Leading Label, there was a supplier on site chatting to a printer about labels on a press and they were talking really passionately, and I recall thinking ‘it’s no big deal, they’re just some stickers’. Well, about six months in, it became a pretty big deal as I developed quite a passion for labels and the whole industry, it really grew on me.”

Wind forward to receipt of the award and Dobson adds: “My former boss gave me a big hug on stage, so that was pretty cool.”

Other award winners on the night included:

Category Awards • Publications Newspapers – Otago Daily Times, 17 February 2025 (Allied Press) • Publications Magazines – Sage Journal (Blue Star Auckland Print & Packaging) • Publications Books – Well Worn Publication (Gravitas Media) • Business Print – New Zealand Birds Series (Brebner Print) • Promotional Print – WOW 2026 Calendar (Blue Star Wellington) • Labels – Kolo Pinot Noir 2022 (MCC Albany) • Flexible Packaging – Cheddar Natural Slices 200g (Sealed Air Hamilton) • Paper and Board Packaging – Vaione Gin Gift Cartons (Valley Print 2020) • Structural Design Packaging –

Whittakers Caramel / Banana Presentation Box (ABC Original Print) • Packaging All Other Materials – Whittaker’s Brandy Snap (Gravure Packaging) • Sign and Display Print – Heineken Electric Ave Pallet Display (APC Innovate) • Specialty Products – Wella, Fine Art Screen Print (Southan Print) • Print Finishing – Osmosis Blemish Control Essentials Kit (Studio Q / LaserFoil) • Industry Development and Creativity – SolarBurst, The Colour Build Collection (MCC Albany) • Print Industry Promotion – Logick Playing Cards Set (Logick Print & Graphics)

Process Awards • Coldset Offset – The Post Your Weekend (Stuff) • Heatset Offset – Franklin Times (Webstar Auckland) • Sheetfed Offset – WOW Programme 2025 (Blue Star Wellington) • Digital – Heyday Snow Leopard IPA (Leading Label Co) • Flexographic– Cheddar Natural Slices 200g (Sealed Air Hamilton) • Gravure – Whittaker’s Brandy Snap (Gravure Packaging) • Inkjet – Dunhuang Culture in New Zealand, Silk VUE DualLayer Translucent Fabric Display (iProduction) • Screen – Wella, Fine Art Screen Print (Southan Print) • Letterpress – Putiki Estate (The Armarie Room)

Other Awards: • BJ Ball Apprentice of the Year – Travers Dobson (Leading Label Company) • Business Awards Category (Sustainability) – SCG • Trainer of the Year (Joint) – Rhys Fauvel (Blue Star Wellington) and Matthew Moore (Opal Fibre Packaging Christchurch) • Training Company of the Year – Opal Fibre Packaging New Zealand

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AUG/SEP 2026

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