Digital Image Magazine Oct 2025

Wide Format and Signage News 10 Young Talent Meets Tradition at Letterheads 30 11 Owning the Future: From print floor to Kwik Kopy Franchisee at twenty

Association News

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Image Publications Pty Ltd

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EDITOR

Stephanie Gaddin

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Janet Maitland (Publisher)

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CONTRIBUTORS

Cass Theodore

Charles Watson

Denise Kirby

Sue Hirst

Vernon Kingman

SUBSCRIPTIONS

COVER STORY: Tape That and ORAFOL Bring Colour to Hong Kong’s Popcorn Malll

Trusted Performance with Added Rewards: Metamark and Ball & Doggett Passport to FESPA Barcelona

GAMART launches new Arlon 5800X Series polymeric film with air-egress and synthetic liner

The Future of Sign and Display at ImageBox

Calgraphics expands Production Capacity with Neschen

Denise Kirby: Digital vs Print Advertising –Which Is More Sustainable? 25 28 11 14

Connected Customisation: Epson’s DTG/DTFilm Suite for the Modern Print Business

It’s a Wrap: Cinema on the Streets, Drive Creative puts MINI’s creativity in motion 38 Charles Watson: Bullying Allegations and Proportionate Responses

DEADLINES

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.

Welcome to the October issue of Digital Image Magazine

This month marks World Teachers’ Day on Friday, 31 October, a chance to celebrate the mentors of industry who shape minds, spark ideas, and support our future industry leaders.

For many apprentices, that journey begins in TAFE, guided by teachers who bring both technical skill and real-world experience. In this issue, we meet the students of one teacher, Danielle Corti, from Wollongong TAFE. Danielle recently hosted the 30 th Letterheads Meet at the TAFE, opening the doors so students could experience the magic of old-world skills and learn from experts and masters of the craft. Simultaneously her action gave the older generation a sneak peek into the minds of young, passionate apprentices now entering the workforce.

Also in this issue, we feature the MINI wrap campaign for the Melbourne International Film Festival, which has become a cultural touchpoint for city. We also explore ImageBox’s forward-looking ethos as it redefines the future of Sign and Display, combining sustainability, technology, and projects that win International Awards.

We meet the youngest Kwik Kopy owner in Australia, Naythen Lindsey, aged 20, who invested his entire savings, and sold his car to pay for the business, after learning the ropes from his father. For an industry focused on attracting and retaining younger talent, Naythen’s pathway demonstrates how a family business can serve as both a training ground and a launchpad. It is also a pointed reminder that when the next generation does step forward, it may not do so in the way we expect. There is an imperative on our entire sector to support the ambitious, the hardworking and the talented, with the right balance of opportunity and accountability, regardless.

As always we love to hear about your projects so email us at editor@imagemagazine.com.au. To stay up to date with all the latest industry news, visit imagemagazine.com.au and sign up for our newsletter. You can also follow us on LinkedIn, Facebook and Instagram @imagemaganz

Warm regards, Stephanie

Editor

Visionary launches Self-Adhesive Vinyl Recycling Program in Australia

Melbourne-based company, Visionary, has launched Visionary Green, a recycling program designed to divert self-adhesive signage waste from landfill and support a circular economy in the signage industry.

Visionary Green establishes a pathway for end-of-life signage by helping businesses switch from traditional PVC self-adhesive products to PVC-free alternatives, with used materials collected and recycled into new sustainable products.

The program also introduces an innovative new product, GBoard, which is a multi-use engineered panel manufactured by saveBOARD. Incorporating post-consumer signage waste with recycled packaging and plastics, GBoard offers a lowcarbon alternative to plywood and provides the sector with its first circular solution for end-of-life signage.

“Until now, signage waste has almost always gone to landfill. With Visionary Green and GBoard, we’re proving that every sign can have a second life,” says Tom Matthews, Managing Director of Visionary. “The program was created to provide a practical, industry-wide solution. GBoard demonstrates what’s possible when signage waste is diverted from landfill and given a new purpose.”

Neschen Launches New PVC-Free Media

Neschen has expanded its portfolio with two new PVC-free films for large-format printing: print PP MR L-UV and print PP MR L-UV airmatrix. Both are white, matte polypropylene films (60 μm) that are dimensionally stable and environmentally friendlier than traditional PVC.

Moritz Weber, Head of Marketing, said, “With our new films, we bring together technical reliability and a more conscious choice of materials – all without compromising on quality or ease of use.”

The films feature a water-based, removable adhesive, making them suitable for temporary campaigns and easy repositioning. The air-

matrix version features built-in air channels, enabling bubble-free installation even under time pressure. Typical uses include retail displays, trade show signage, and seasonal promotions.

Key product features:

• PVC-free, mechanically stable polypropylene with reduced environmental impact

• Compatible with UV-curable and latex inks

• Certified flame retardant (EN 13501, B-s1, d0)

• Indoor and sheltered outdoor durability up to two years

• Easy cutting and finishing with standard plotters

Both products are available worldwide via Neschen’s distribution network.

FESPA Australia names 2025 Leaders Program cohort

FESPA Australia has named 14 participants for its 2025 Leaders Program, an intensive two-day workshop facilitated by Carl Harman and now in its fourth year.

The 2025 cohort are, Sonya Beers (IVE Group); Hussain Bhalwany (Vivad); Renee Kingman (Signs And Lines); Luke Lambourne (SS Signs); Karen Lawler (Cactus Imaging); Nicole Lemke (Sign Effects); Chris Nash (The Print Factory); Sharlene Peyroux (Coritex); Kuldeep Sharma (Mimaki); Meena Thanakamonnan (HVG); Tess Van Vloten (Ball & Doggett); Phong Vu (Mimaki); Brett Wark (Smartech); Tien Watson (Imagebox Group).

FESPA Australia President Nigel Davies says, “Each year, the FESPA Leaders Program grows from strength to strength, so much so, that instead of the usual twelve candidates as in previous years, we’ve increased the 2025 cohort to fourteen high calibre candidates.”

The program aims to elevate leadership skills, build networks locally and internationally, and deepen industry understanding while enabling discussion on future challenges.

Two participants from the cohort will be selected by their peers to represent FESPA Australia at FESPA Global Print Expo in

Barcelona in 2026.

Sponsors of the FESPA Leaders program include Diamond Sponsor Orafol; Gold Sponsors Durst and Easy Signs; Silver Sponsors Cactus Imaging, IVE Group, Mimaki and Vivad; and Bronze Sponsors HVG Graphics Media and Ball & Doggett.

EFI inks exclusive A/NZ deal with Currie Group

Currie Group has become the exclusive distributor for EFI Sign & Display technologies in Australia and New Zealand. EFI technologies have been part of Currie Group’s portfolio for the past five years, and the new agreement gives Currie Group sole responsibility for supply and customer service across the region.

Paul Whitehead, Business Unit Manager – Sign & Display for Currie Group, says it’s the perfect deal at the perfect time. “We have been proud to represent EFI’s Sign & Display portfolio in Australia and New Zealand for the past five years, and we have been delighted with the way our customers have embraced the opportunities those technologies provide,” Whitehead says.

“This latest evolution of the partnership capitalises on the strengths of both companies – EFI in the design and delivery of worldclass technologies, and Currie Group in market reach, customer

service and technical support. Most importantly, it provides clarity to the market with one clear channel and one shared strategy based on one strong partnership for the ultimate in customer service and support,” he concludes.

“The timing is ideal,” says Rob Pearson, EFI Sales Development Manager for Australia and New Zealand. “With the release of new energy-efficient UV-LED wideformat printers, it’s an exciting time to be joining EFI. And with the opportunity to work in partnership with Currie Group, bringing our latest solutions to the ANZ market.”

Currie Group CEO, Rob Mesaros, calls it “a perfect partnership strategy.” He adds: “EFI brings the technology, while we bring unrivalled reach, distribution infrastructure, service, and support.”

Currie Group will promote the new partnership through roadshow events across Australia and New Zealand, starting with demonstrations of the brand-new M3h hybrid model.

Epson launches Monna Lisa ML-18000 textile printer

Epson has unveiled the Monna Lisa ML-18000, the latest model in its digital textile printing series, offering higher productivity, enhanced sustainability, and a smaller footprint compared with the ML-16000.

The ML-18000 introduces three major advancements: a double black channel for greater density, an integrated water recycling system, and a 33% reduction in overall size.

Neil Greenhalgh from Epson’s Commercial and Industrial division said, “The Monna Lisa ML-18000 represents a significant leap forward in textile printing technology, combining efficiency and environmental responsibility thanks to its integrated water recycling unit”.

The 185 cm-wide printer uses 18 Epson PrecisionCore Micro TFP printheads and dual 10-litre tanks across eight colours (CMYK, grey, red, blue, orange, crimson). It prints at 1200 dpi and reaches speeds of up to 450 sqm/h. Four of the printheads are dedicated to black ink, producing stronger tones suited to fashion and interior design markets.

Measuring 4.66 m by 6.25 m, the unit is 33% more compact than its predecessor and supports Genesta Reactive inks (excluding grey). These inks carry Eco Passport and GOTS certification through Ecocert, ensuring compliance with recognised sustainability standards.The integrated water recycling system filters and reuses water in the belt cleaning process, reducing water use by up to 90% for that function.

Mutoh expands ink portfolio with DS4 ProFlex and US81

Mutoh has introduced two new ink technologies to strengthen its textile and graphics printing offering: DS4 ProFlex dye sublimation ink and US81 UV LED ink. DS4 ProFlex is designed for polyester applications using Mutoh’s latest water-based sublimation printers, including the XpertJet 1341WR-P, 1642WR-P, and the forthcoming 1682SR DS Pro. The ink succeeds DS3 with new colour ingredients, improved transfer paper adhesion, and reduced sensitivity to temperature fluctuations, ensuring stable colour reproduction even on lower-cost media.

Features include bright colours on uncoated paper, reliable high-speed output, faster sublimation activation at 195°C for energy savings, and ECO PASSPORT by OEKO-TEX certification for textile safety. The ink is supplied in 1 kg degassed pouches and is suited to sportswear, fashion, signage, and promotional items.

Complementing this, Mutoh’s new US81 series was developed for the XpertJet 1682UR UV printer. The inks are SVHC-free and TPOfree, meeting EU REACH chemical safety regulations. With adhesion, scratch resistance, and up to 200 per cent elongation, they are

optimised for flexible substrates such as tarpaulin, films, and soft signage.

Supplied in 800 ml pouches with a 12-month shelf life, US81 inks are GREENGUARD Goldcertified, making them suitable for VOC-sensitive indoor environments. Mutoh Europe’s Stephan Heintjens said the inks deliver “excellent print quality” while ensuring “regulatory compliance and workplace safety”.

The dual launches underline Mutoh’s strategy to offer both sublimation and UV solutions balancing productivity, sustainability, and compliance for diverse graphics and textile markets.

MM Plastics acquires Computaleta

MM Plastics, has announced its acquisition of Computaleta, a New Zealand-based supplier to the signage and print industry. Effective 1 September 2025, the company says the acquisition marks a significant milestone in its continued expansion across Australia and New Zealand. It reinforces its commitment to local service, supply stability, and long-term market support.

MM Plastics, is a division of Metal Manufactures Limited, is a group of specialist plastics and signage businesses which include Graphic Art Mart, Fluoro Pacific, Dotmar Engineering Plastics and Dotmar Injection Moulding.

Computaleta was founded in 1982 by signage industry pioneer Noel Morrison, and has played a foundational role in shaping New Zealand’s signage landscape. Under the leadership of Morrison’s daughters, Arlette Farland, Janene Forde, and Adele Peterson, the company has evolved into a trusted national brand, renowned for its customer-first mindset, technical

expertise, and strong industry relationships.

Computaleta will continue to operate independently under its existing name and leadership team. Its four branches in Auckland, Wellington, and Christchurch will remain fully operational. Day-to-day operations, supplier relationships, and customer service will continue uninterrupted.

“This marks an exciting new chapter — one that strengthens both our business and the wider industry in New Zealand,” said Arlette Farland, Director and former owner of Computaleta.

“We continue to operate independently, but now with the backing of a much larger organisation. That means we can deliver even more value to our customers, give them more choice, and remain highly competitive in a changing market.”

“In the long term, our customers gain access to a broader range of products and support, our suppliers gain a stronger distribution partner, and our team gets to share in the success of the business moving forward.”

“We’re not shifting away from who we are — we’re building on the foundation we’ve created over the past four decades. This is about enhancing our strengths, ensuring stability, and positioning Computaleta for long-term success.”

Both companies say the acquisition reflects a strong values and strategic direction alignment.

“Computaleta is an outstanding business with a proud legacy and deep-rooted relationships across New Zealand’s signage and print industry,” said Mousa Elsarky, Executive General Manager of MM Plastics.

“Our role is to support that legacy, not change it. We’re here to empower the team to keep growing, with the same customer-first mindset that has always defined their success.”

“This is a long-term investment. Computaleta is highly respected for its technical expertise, product knowledge, and unwavering commitment to service — values that align closely with our own. Our focus is on strengthening their capability and providing the resources they need to continue delivering exceptional outcomes for customers well into the future.”

Farland, Forde, and Peterson will remain actively involved in the business, ensuring continuity for customers, suppliers, and staff.

Computaleta founder Noel Morrison will formally retire following the transition, concluding a 43-year career.

“What a journey,” said Morrison. “I’m incredibly proud of what we’ve built — growing this company from a small family business to a nationwide industry leader. But to stay competitive, the time was right, and MM Plastics is the right partner. I’m confident they’ll do right by our people, our customers, and the industry we love. The future is bright, and we hope that our customers will continue to support us.”

Canon Colorado M drives The Block wallpaper challenge

Canon Production Printing and long-time partner Grafico showcased the Canon Colorado M-Series during The Block’s DIY Wallpaper Challenge in Daylesford, Victoria.

Five teams collaborated with artists to create original designs captured on Canon photography equipment and printed on-site as bespoke wallpaper. The printer’s rapid production and colour accuracy enabled

installation within tight filming timelines.

“To see the journey from a physical artwork to digitally printed wallpaper within hours was absolutely amazing,” said Steven Badger, Head of Sales & Professional Services, Canon Production Printing. “This kind of turnaround is only possible with technology like the Colorado.”  Grafico, now in its 11th year on the program, reported rising demand for personalised

wallcoverings. “The Block is all about speed; and we need equipment that delivers under pressure,” said founder Damian Corney. “The Canon Colorado has been a fantastic asset for us.”

Canon Production Printing Australia said the episode underlined how innovation in print technology is helping designers and production houses meet consumer appetite for customised interiors with speed and precision.

John Wall Retires from Roland DG and Visual Connections Board

John Wall has retired after two decades of service to the industry, stepping down as Managing Director of Roland DG and retiring from the Visual Connections Board.

Wall’s career spans over 40 years in the print and signage industry. He joined Roland DG 21 years ago as Marketing Manager and rose to become Managing Director. In parallel, he devoted more than 20 years to Visual Connections, serving on the Board as President, Vice President, and Treasurer.

At Roland DG, he guided the business through significant technological change and shifting market conditions. Known for his focus on partnership, Wall built strong customer relationships by listening to feedback and ensuring it influenced product development and service delivery. “Success is all about the team you build around you to help make your goals possible. Every decision should be treated as if it’s your own business,” he reflected in a recent profile.

His impact on Visual Connections was equally significant. Current President Mitch Mulligan describes Wall’s contribution as “incalculable”, saying, “John is not only a valued member of our Board, but has become a trusted advisor, supporter and friend. The way he has served, with grace, tenacity, wisdom and humour, speaks volumes about the man himself. We will miss him enormously and wish him nothing but good health and happiness in retirement.”

Karren Challoner-Miles, Executive General Manager of Visual Connections, also noted his

the legacy he leaves behind. John was always looking at ways to give back, and his work with Visual Connections reflects that dedication,”

James Merhab to lead NSW Sign, Display and Digital Team at Ball & Doggett

Ball & Doggett has appointed James Merhab to lead its NSW Sign, Display & Digital sales team, reinforcing the company’s ongoing commitment to customer partnerships and regional growth across the signage and visual communications industry.

With more than a decade of experience in the print and signage sector including the last three years at Ball & Doggett, James has developed a strong reputation for building trusted relationships and delivering commercial results. The company says his appointment marks an exciting new chapter for the business as it sharpens its focus on supporting customers across NSW and the ACT.

In his new role, James will focus on expanding Ball & Doggett’s presence in NSW and ACT, strengthening partnerships with signage and display customers, and delivering solutions that

help businesses grow and stay competitive in a dynamic market.

“James has consistently demonstrated outstanding leadership, a steadfast commitment to customer excellence, and a strong track record of delivering commercial results,” says Rob Brussolo, General Manager - Sign, Display & Digital at Ball & Doggett. “This promotion underscores our dedication to investing in exceptional talent and driving value for our customers. With James at the helm, we are confident the NSW team will continue to thrive and inject fresh momentum into the market.”

“I’m incredibly proud to take on this role and lead such a capable team,” says James. “Our customers are at the heart of everything we do, and I’m excited to build on the strong foundation we have created and expand our footprint, strengthen our relationships, and delivering even greater value.”

industry, with both Visual Connections and Roland DG noting that his contributions will be felt for years to come.

Women in Print Celebrates Leadership Program Success

Women in Print Australia has concluded its inaugural Executive Leadership Program and first Annual Leadership Dinner in South Melbourne. The two-day coaching event, facilitated by executive coach Jo Wise, brought together emerging and established leaders for workshops, peer collaboration, and personal leadership planning.

Chair Stephanie Gaddin praised the program, saying, “The energy and engagement from this pioneering group of ambitious leaders and aspiring leaders have been truly inspiring.” Deputy Chair Rita Karagiannis highlighted the course’s practical and engaging nature. At the same time, Marisa Smyrneos of Ball & Doggett said it provided “a

Avery Dennison to Acquire Meridian Flooring Business

Avery Dennison Corporation (NYSE: AVY) has signed a definitive agreement to acquire the flooring adhesives business of Meridian Adhesives Group for USD 390 million, subject to customary closing conditions and adjustments. The deal is expected to close in the fourth quarter of 2025.

Meridian’s flooring adhesives unit, headquartered in Dalton, Georgia, operates four U.S. manufacturing sites and employs around 110 staff. With projected 2025 revenue of approximately USD 110 million, the business supplies specialty adhesives and coatings for the U.S. flooring industry under the Taylor Adhesives, Polycom and Frontier Products brands.

Avery Dennison President and CEO, Deon Stander, said, “This acquisition will leverage our materials science capabilities, while deepening

reality check on my leadership” and valuable tools for growth.

The program included interactive sessions, development of personal leadership styles, and strategies for immediate workplace application. Feedback praised both the facilitation and the intimate setting, which encouraged open discussion.

The accompanying Leadership Dinner was held at O’Connell’s Hotel, providing further networking opportunities. Gaddin extended thanks to companies supporting participants, noting their role in fostering diverse leadership in the industry.

Following the program’s success, Women in Print plans to expand its leadership initiatives nationally in 2026.

our specialty adhesives solutions, with a business that is highly regarded within the floor covering industry for its product quality, strong customer relationships and continuous innovation.”

Ryan Yost, President of Avery Dennison Materials Group, added that the acquisition “adds a valuable set of application-oriented solutions in high-value categories” and will create cost and technology synergies.

Meridian’s commercial president of flooring, Ralph Grogan, said the brands are “well-positioned to continue growing and delivering even greater value” under Avery Dennison.

The transaction will see the business integrated into Avery Dennison’s Materials Group division. It is not expected to have a material impact on the company’s adjusted earnings per share in 2025.

Advisors included Chemlink Partners, LLC, and Goodwin Procter LLP for Avery Dennison, and Piper Sandler, Moelis & Company, and Weil, Gotshal & Manges LLP for Meridian.

ORAFOL adds new width to ORALITE 5090 Anti-Dew Film

ORAFOL has announced that its ORALITE 5090 Anti-Dew Film is now available in a 920 mm width, in addition to the existing 1235 mm option.

The 0.12 mm PMMA overlay film has been developed specifically for laminating ORALITE reflective sheetings. Featuring a solventbased polyacrylate adhesive, it acts as a self-adhesive overlay with a specialised coating designed to prevent the formation of water droplets on sign faces. The company says this ensures reliable performance in humid conditions and climates above freezing.

Features of the film:

• Anti-dew performance: Prevents water droplet formation on sign faces for consistently clear retroreflection.

• Durability: Service life of up to 10 years.

• Protective function: Safeguards digital prints against premature fading and maintains compliance with reflection and colour requirements when used with ORALITE 5019i UV Digital Printing Ink.

• Standards compliance: Meets major international specifications including EN 12899-1, DIN 67520, DIN 6171, ASTM D 4956, and JIS Z 9117. The ORALITE 5090 Anti-Dew Film supports improved traffic safety by maintaining visibility under challenging conditions.

Young Talent meets Tradition at Letterheads 30

If there was any doubt the next generation has an appetite for brushwork, enamel, and gold leaf, the apprentices at the 30th Australian Letterheads Meet put it to rest. Among them were Lucinda Privitera of Sutherland Shire Council, Jessica Keys of Signarama Wollongong/Illawarra, Alicia Borg of Attention Signs & Embroidery, and Gabrielle Gray of Just In Signs, each taking home more than just new techniques.

The young apprentices found themselves fully immersed in the weekend’s workshops, mentors, and techniques. Digital Image Magazine spoke to all four immediately following the three-day meet.

Hosted at the TAFE NSW Wollongong Campus, this year’s Australian Letterheads brought together craftspeople from across Australia and abroad to celebrate the art of handmade signage through a culture of sharing knowledge. For these young women, it also marked their first time stepping into a room full of the “keepers of the craft.”

“I really enjoyed talking with experienced signwriters who were always happy to offer insight, advice, and stories of their work,” said Privitera, who is in the first year of her apprenticeship. “I gained a lot of knowledge on brush techniques, layout, how to use enamel paint, and pinstriping. Everyone was so open and willing to help.”

Keys, also a first-year apprentice, agreed and

echoed the impact of this welcoming spirit. “This experience opened new possibilities for me in the sign industry. I learned a variety of techniques, but what stood out was how generous the professionals were with their time and knowledge. Cameron from CG Signage spent time giving us feedback and showing how to improve our work on the spot; it was so encouraging.”

Workshops across the weekend covered chalkboard lettering, gilding, and classic brushwork, and both Privitera and Keys found the chalkboard session with Cheryl and Murray from Blackboard Art Australia particularly inspiring. “They introduced us to Posca pens, oil pastels, and a totally different way of thinking about signs,” said Keys. “It really helped me see how I can expand my skills.”

For Borg, now in her second year, the learning came not from a specific class but from the environment itself. She dreams of mastering pinstriping and line work and says she spent her time soaking up technique from the sidelines. “I just enjoyed the atmosphere of being around such skilled signwriters. Julz really stood out to me; she does exactly what I want to do in the future,” she says.

Gray, currently in her third year of apprenticeship, says the event exceeded all her expectations. “To see firsthand the talent that drew me into signwriting is incredible,” she said. “Watching and learning from people who have been in this industry and still keep that tradition

alive, it was beyond anything I imagined.”

While the brush skills and technical lessons were valuable, it was the sense of community and shared purpose that left the strongest impression on all four. “Being surrounded by like-minded people, hearing their stories, and watching their passion made me feel like I’m in the right place,” said Privitera.

Danielle Corti, 2025 host and Head Teacher, Painting and Decorating (teaching Signs and Graphics), said the supportive, handson, and inclusive atmosphere is what makes the Letterheads Meets meaningful, especially for newcomers.

“As the industry continues to evolve”, she says, “Events like this remind industry stalwarts that passing on knowledge isn’t just about preserving technique; it’s about making space for emerging voices, fresh eyes, and new ways of connecting to the craft.”

For Keys, it confirmed her career choice. “I always knew I wanted to work with my hands,” she says, “but this weekend made me excited about the future; there are so many different directions this trade can take you.”

And for Borg, the experience was motivating. “Seeing what everyone could paint and create in just a few hours was amazing. I left feeling inspired to keep going, keep learning, and one day, hopefully, teach someone else too.”

Owning the Future

From print floor to Kwik Kopy franchisee at twenty

At just 20 years old, Naythen Lindsey has become the youngest Kwik Kopy franchise owner in Australia. His entry to ownership is the culmination of five years of steady progression through his family’s print business, shaped by long hours, structured learning, and the guidance of his father.

Naythen says he intended to go to university and that working in the family business was never part of his ambition. Yet, in an unplanned moment, he decided to give it a try and left school in year 10. His first role was on the production floor at his parents’ Five Dock Kwik Kopy store, operating machines under the watch of senior staff. “For two years, I was not allowed to touch emails, quoting, or customer service,” he says.

Those boundaries, while strict, created a strong foundation. As his skills developed, he gradually assumed more responsibility, eventually managing production and overseeing administration. The Lindsey family live over two hours’ drive from the Five Dock store, and those long commutes became daily impromptu coaching sessions, in which Naythen says he answered emails on the laptop, dictated by his father, who was driving. Naythen says it was here that he learned the intricacies of client management, quoting, and business operations, absorbing everything Paul Lindsey said, and learning from every interaction with clients.

By his late teens, Naythen was managing the Five Dock store during his father’s regular holidays, and what began as oversight while “Dad checked emails while away” quickly

became full operational responsibility. Paul Lindsey’s willingness and trust in stepping back allowed Naythen to learn what it meant to lead and to be accountable for outcomes.

“Those periods gave me the confidence to trust myself,” Naythen reflects. “I knew that if I could keep the business running when Dad was away, I was ready for more.”

When the opportunity to purchase a franchise arose, Naythen was prepared. And after discussing the options with Kwik Kopy Head office, he committed his entire savings, even selling his car, to complete the investment.

On 1 July 2025, he became the owner of his own Kwik Kopy centre. Before taking ownership, he reviewed the financials and made the difficult choice to begin without inherited staff, giving himself the freedom to shape his own processes and workplace culture.

Running the store solo at the start has been challenging but manageable. Having experienced the high volumes at his father’s Five Dock store, he describes the current workload as “a breeze by comparison.” He has set himself a target of $600,000 in sales for his first year, a goal he says is already tracking strongly against. Plans for recruitment will follow in the new year, once he has the business bedded down.

Becoming the youngest Kwik Kopy franchise owner is significant because it illustrates that succession in family businesses need not be automatic; in this case, it was earned through persistence, reliability, and trust. His father provided the framework, but it was Naythen who built his capability and stepped up through hard work and dedication.

AI in Print Building on Insights from FESPA’s Analysis

Artificial intelligence (AI) is fast becoming embedded across the print sector. In a recent article for FESPA, “Analysing the evolving role of AI in print” (18 September 2025), journalist Rob Fletcher explored how leading technology suppliers are positioning AI within print workflows. His piece highlights applications from HP, Ricoh, and Xerox, while questioning the balance between automation and oversight.

This article revisits Fletcher’s findings, adds further context, and considers what the developments might mean for printers weighing up the next wave of investment.

HP: Towards “Frictionless” Printing

Fletcher reports that HP’s Print AI platform aims to make print “frictionless” — reducing manual intervention from setup through to troubleshooting. HP’s “Perfect Output” feature, for example, promises to adjust printer settings automatically for optimum quality, while the built-in AI assistant provides contextual support for operators.

Less time fixing problems means more uptime and higher productivity. For print businesses competing on turnaround and margin, this kind of technology could reduce bottlenecks and free skilled staff to focus on value-added tasks such as design, customer service, or workflow optimisation.

Ricoh: Data-Driven Tools for Production

Ricoh is investing heavily in AI, developing features across its production print offerings. Ricoh’s Pro Scanner and its analytics platform, Ricoh Supervisor, are examples of how data is being leveraged to monitor and improve processes.

Here, AI is less about automation and more

about efficiency. By analysing print data in real time, operators can identify potential faults before they disrupt production, balance workloads across devices, and adjust settings to minimise waste. For many mid-sized commercial printers, this is a practical and achievable way to embed AI without radically overhauling existing operations.

Xerox: Intelligence and Augmented Reality

Fletcher also highlights Xerox’s view of the future, which involves embedding AI intelligence directly into print engines and extending capabilities through augmented reality (AR). Devices not only self-correct but also guide operators through repairs with AR overlays.

This has clear implications for training and support. Instead of relying solely on technical service visits, staff could receive step-by-step instructions in real time, reducing downtime and maintenance costs. For large print operations where equipment is expected to run around the clock, this level of autonomy could be a major advantage.

Beyond the Technology: Questions of Adoption

While the article outlines exciting advances, Fletcher is careful to stress that the industry still faces a critical decision: how far should printers allow AI to take over tasks traditionally performed by humans?

The appeal of automation is undeniable — consistency, speed, and fewer errors. Yet print remains a craft, and many businesses pride themselves on skilled operators. Over-reliance on AI could raise questions about job displacement, quality oversight, and customer confidence.

A balanced approach may be the most realistic path: AI as an assistant that enhances human capability, rather than a replacement.

Wider Implications and Industry Trends

Looking beyond the manufacturers Fletcher mentions, it is clear that AI adoption is following a familiar pattern seen in other sectors. Early implementations are focused on efficiency gains and predictive maintenance. Over time, more creative and customer-facing applications may emerge. For example:

• Variable data optimisation: AI could enable more innovative personalisation for direct mail and packaging.

• Design assistance: Tools that automate layout, colour matching, or image optimisation are already appearing.

• Supply chain forecasting: Linking production data with inventory and logistics systems could help printers manage costs and reduce waste.

Printers should weigh immediate gains against how tools integrate with business strategy.

Rob Fletcher’s FESPA article provides a helpful snapshot of how AI is being presented to the print industry by some of its largest technology suppliers. HP is promising frictionless operation, Ricoh is focusing on data-driven process improvements, and Xerox is looking ahead to embedded intelligence and augmented reality.

The key takeaway is that AI is already here in early forms. The real question is how each business will choose to adopt it: selectively, as a tool for efficiency, or more radically, as a foundation for future growth.

Readers interested in Fletcher’s full feature can access it on FESPA: “Analysing the evolving role of AI in print” (18 September 2025).

ASGA 2025 Social Calendar

Strengthens Industry Connections

ASGA’s 2025 social calendar has drawn strong participation nationwide, with each event combining camaraderie, networking, and friendly competition. From bowls to golf, these gatherings have reinforced the association’s role in supporting and celebrating the sign and graphics sector.

A Rainy but Rewarding Night in Brisbane

The year began in March with the ASGA Social Bowls in Brisbane. Nearly 40 industry professionals braved wet weather to gather at The BOO, the city’s oldest and most prestigious bowls club.

While the rain prevented play, spirits remained high as members enjoyed drinks, nibbles, and plenty of conversation. The event also provided a chance to meet the full ASGA National Executive, who had convened earlier in the day for a strategic planning session.

Damian Nielsen, ASGA Queensland Chair and Member & Events Manager, said the night captured the association’s purpose. “Meeting

with so many business owners and industry professionals really reinforces the importance of relationships, and underscores how vital it is to ensure businesses are supported with the information and resources they need to succeed,” he said.

Perfect Conditions in Sydney

In July, the ASGA NSW Sign & Print Golf Day enjoyed blue skies and excellent conditions at the Ryde-Parramatta Golf Club. More than 60 players teed off in Ambrose format, which emphasises teamwork and ensures everyone can participate regardless of skill level.

Team Roland claimed the top prize, closely followed by Team Canon, with the always popular “Survival Ball” challenge again sparking plenty of competitive spirit. After 18 holes, players relaxed in the newly renovated club rooms over lunch, drinks, and prize presentations.

“Above all, this is a day which prioritises fun and camaraderie, and it’s always fantastic to see new connections being made, old friendships

being renewed, and so many industry professionals keen to build on the relationships which are so important to the success and enjoyment of our working lives,” Nielsen said.

The NSW event was supported by Graphic Art Mart, Bentleigh Group, Mulford, ORAFOL, Signarama, SMIB, Spicers and Bounce LED/ LetterTech, with additional backing from Ball & Doggett, Easy Signs and Roland DG.

ASGA has confirmed several more opportunities to connect before the year’s end. Perth will host a social bowls night at the Bayswater Bowling & Recreation Club on Friday 24 October, while Adelaide follows with bowls at the Adelaide Bowling Club on Thursday 20 November. Both events are proudly supported by ORAFOL.

The calendar will conclude with the ASGA Victoria Golf Day at Heidelberg Golf Club in Lower Plenty, also on Thursday 20 November.

Registrations for all events are open now at signs.org.au.

Tape That and ORAFOL

Bring Colour to Hong Kong’s PopCorn Mall

Hong Kong’s PopCorn Mall was transformed into a kaleidoscope of colour this winter when Berlin-based Tape That unveiled Pop Into More Colors , an immersive installation commissioned by MTR Corporation and created in partnership with ORAFOL.

The project transformed the light-flooded L1 Atrium into a vivid, walk-through artwork from July through August 2025, marking Tape That’s Hong Kong debut.

Founded in Berlin in 2011, Tape That began experimenting with adhesive tape as an alternative to paint in clubs and bars. The material’s flexibility, colour range, and easy removability offered a new way to produce temporary yet powerful artworks. Over the past decade the group has grown

into an internationally recognised collective, now based in both Berlin and Cologne, with members Cedric Goussanou, Atau Hamos, Stephan Meissner, Thomas Meissner, Adrian Dittert, Stefan Busch, and Nicolas Lawin.

Their work spans a broad stylistic range, shifting from minimalist black-and-white murals to bold, hyper-realistic illusions and expansive, immersive environments. This diversity allows the collective to adapt to different contexts, whether it’s a temporary wall piece in an urban setting or a fully enveloping installation inside a gallery or public space.

That adaptability is most visible in their ongoing “World of Tape” concept, which transforms entire rooms into interactive art experiences. Past setups have included neon

rooms that glow under blacklight, camouflage environments where visitors blend into patterned furniture, mirror rooms with infinite reflections, and anamorphic designs that align into images from precise vantage points. Other experiments have explored shifting RGB light effects, layered lightboxes, animated moiré displays, and large-scale murals and facades, all of which reinforce the collective’s playful and innovative ethos.

At PopCorn Mall, Tape That envisioned a sculptural, origami-like wall that rose and fell across the atrium, designed to be explored from multiple angles. The centrepiece was divided into three distinct experiences. The Taped Staircase created an anamorphic illusion of a three-dimensional staircase, tempting visitors to “step in.” Flying Tapes

BEFORE

suspended lines and patterns that shifted with movement, turning the atrium into a kinetic spectacle. Into the Chromosphere immersed viewers in a honeycomb of vivid tape work that blurred floors and walls into a dreamlike realm.

The result was an interactive playground of light, form, and perspective that invited Hong Kong shoppers to pause, photograph, and participate.

Behind the bold visuals lay the practical question of durability in a high-traffic retail space. ORAFOL supplied ORACAL® 651

Intermediate Polymeric Calendered Film in a spectrum of matte shades, complemented by ORAGUARD® 250AS Anti-Slip Polymeric Laminate for floor safety. These products are more commonly applied to vehicle graphics, signage, and decals. In Hong Kong, their

Product Focus: ORAFOL Materials in Action

Adapted for Hong Kong installation, providing colour vibrancy, adhesion, and safety under heavy mall foot traffic.

ORACAL® 651 – Polymeric calendered film, medium-term, widely used for flat graphics and signage.

ORAGUARD® 250AS – Skid-Resistant PVC laminating film for floor graphics.

vibrant colours, adhesion, and protective qualities enabled Tape That to expand its creative toolkit beyond conventional uses.

Alex McClelland, Managing Director, ORAFOL ANZ and Executive Vice President, ORAFOL Asia Pacific, says, “We’re thrilled to have partnered with Tape That on this Hong Kong debut. Their ability to transform simple adhesives into immersive environments shows how far creative thinking can take our materials.”

Beyond exhibitions, Tape That champions a democratic approach to artmaking. Since 2017, the group has run workshops through its Tape Art Academy, encouraging people of all ages to explore creativity with nothing more than a roll of tape. They also stage live performances, team-building sessions,

and large-scale commissions for interiors, festivals, and public facades.

The collective is also known for curating the Tape Art Convention, held annually since 2016. In 2022, it drew more than 10,000 visitors, cementing Tape That’s role as global ambassadors for a medium that fuses street energy with design precision.

For ORAFOL, the Hong Kong project showcased both the adaptability of its films and the company’s expanding role across Asia-Pacific. McClelland concludes, “This project reflects the value of marrying bold vision with reliable materials. As ORAFOL Australia continues to support artists and creatives in the region, we’re excited to see how collaborations like this one can inspire new forms of expression.”

Trusted Performance with Added Rewards

Metamark and Ball & Doggett Passport to FESPA Barcelona

Innovation, performance, and creativity remain at the core of the sign and display industry —the same qualities that have shaped Metamark’s reputation worldwide.

Distributed nationally by Ball & Doggett, the portfolio of self-adhesive films is relied upon for consistency, durability, and visual impact, helping sign makers deliver standout results in competitive markets. Building on that reputation, Ball & Doggett has launched the Metamark Passport campaign, an initiative designed to reward customers while spotlighting key products from the range. The concept is simple: purchase participating products and gain entries into monthly regional prize draws, all leading up to the major prize - a trip to Barcelona to attend FESPA 2026.

Each month, a spotlight product is featured, offering double Passport entries. The October Spotlight is on MetaGrab® MetaGrab® is a high-performance film designed for applications where conventional vinyls often struggle. The material has been formulated to adhere strongly to low-energy

plastics, powder-coated metals, and textured substrates, surfaces that can prove challenging in day-to-day installation work.

In addition to its adhesive strength, MetaGrab® is engineered for print quality, ensuring graphics remain vibrant and consistent across demanding applications. From promotional surfaces with texture to long-term outdoor installations, the film is positioned as a versatile solution for sign makers looking to manage complex projects with confidence.

Purchasing MetaGrab® during October gives customers double entries in the Passport Competition, providing a practical incentive to trial or restock the product while gaining an advantage in the prize draw.

From tough outdoor installations to textured promotional surfaces, MetaGrab gives installers both confidence and reliability.

The Passport campaign also highlights the breadth of Ball & Doggetts’ expanding portfolio of Metamark products. This includes an increase in available colours of the MetaCast MCX automotive wrap series. MCX offers excellent

conformability thanks to MetaGlide Air Release Technology, which enables faster application. It comes with up to 12 years of external durability under the MetaSure Warranty. For those diversifying into interiors, MiA Architectural films offer fresh finishes for applications ranging from hotel walls to kitchen cabinetry, opening new avenues for revenue.

October is therefore more than a chance to collect extra Passport entries; it’s an opportunity to engage with products designed for today’s challenges and tomorrow’s opportunities. Whether it’s tackling textured surfaces with MetaGrab®, wrapping vehicles with MetaCast MCX, or refreshing interiors with MiA films, Ball & Doggett’s expanded portfolio underscores how the right materials can turn complex jobs into lasting success stories.

Prestige and Ceramic by 3M

Opening the Window to New Revenue Streams

For signage businesses, diversification has always been a way to stay ahead. Vehicle wraps, architectural graphics, interior branding and digital signage have each opened new doors. Now another opportunity is emerging: solar control window films. With energy efficiency and sustainability high on the agenda, premium products such as 3M Prestige and 3M Ceramic Architectural present a fresh growth avenue for professional installers.

Beyond Tint: Performance with Purpose

Traditional window tinting has long been associated with glare reduction or privacy. Modern solar control films are highly engineered, delivering measurable results. Australian Government guidelines stipulate that untreated glass can allow up to 87% of solar energy into a building as heat, driving up cooling demand. Applying solar control films reduces that

load, cutting strain on HVAC systems — which account for as much as 50% of a commercial building’s energy use.

The Prestige Series uses multi-layer optical construction to reject up to 97% of infrared light while keeping interiors bright and clear. The Ceramic Architectural Series is a newer option, available in visible light transmissions from 80% (virtually clear) to 35% (darker tint), balancing aesthetic choice with solar performance.

Sustainability That Sells

These films are not just about comfort. They support measurable sustainability outcomes that clients increasingly demand. In a DeltaQ modelling study commissioned by 3M, a tenstorey office building was tested across Sydney, Brisbane, Melbourne and Auckland.

• In Brisbane, Prestige 40 improved NABERS Energy by +0.23 and cut annual energy use by 4%

• In Sydney, results showed NABERS improvements of up to +0.16 with HVAC energy savings of 5%

• Even in colder Melbourne and Auckland, Low E-style films improved insulation and delivered positive NABERS impacts.

For building owners, these increments can be enough to push a rating from 4 stars to 4.5 — a critical factor in attracting tenants. For signage companies, those figures become sales ammunition.

Why It Matters to Signage Businesses

So why should sign companies pay attention? Firstly, it’s a new service category that builds on skills signage professionals already have — measuring, cutting and applying precision films to glass and facades.

Secondly, it broadens client conversations. Instead of talking only about branding, sign companies can position themselves as partners in energy savings and sustainability. That creates stronger, longer-term relationships, especially with commercial and retail clients.

Finally, it’s a growth path. By offering solar control films alongside existing wraps and graphics, businesses increase their share of client spend. With Prestige and Ceramic Architectural sitting at the premium end of the market, margins can be attractive.

Getting Started

For companies looking to expand into this space, the product families offer clear applications:

• Prestige : Premium solution for commercial and high-end residential, combining performance with aesthetics.

• Ceramic Architectural: Versatile, modern film with multiple light transmission levels, suited to both functional and design-driven projects.

3M supports installers with training, technical resources and marketing material — helping signage companies step into the market with confidence.

The Bottom Line

As property owners compete for tenants and aim for better NABERS ratings, solar control films are moving from “optional” to strategic. For signage professionals, this is a timely opportunity: leverage existing skills, add a new high-value service, and tap into sustainabilityled demand.

By adding 3M Prestige and 3M Ceramic Architectural to your portfolio, you’re not only expanding what you can offer — you’re helping clients cut costs, boost green credentials and create better spaces. That’s a win for them, and for your business.

3M CUT COLOUR FILMS — AT A GLANCE

3M™ 180mC — Premium Versatility

• Advanced adhesive technology for easier installation

• Long-term fleet and architectural graphics

• Conformable on curved and textured surfaces

• Removable with heat for easier updates

3M™ 7725 Series — Premium Cast Films

• Precision cast film with clear synthetic liner for easy cutting, weeding, and registration

• Long-term durability and dimensional stability

• Wide selection of vibrant colours

• Ideal for premium signage and vehicle graphics

3M™ SC50 Series — Calendered Films

• Economical intermediate film with dependable quality

• Versatile for a broad range of applications

• Designed for medium-term use

• Suitable for flat and simple curved surfaces

3M™ 3630 Series — Translucent Films

• Developed specifically for backlit signage

• Vibrant, uniform colour when illuminated

• Reliable long-term performance

• Consistent in both reflected and transmitted light

Performance in Every Shade Discover 3M Films at Spicers

When it comes to vehicle wraps and premium signage, few names command the same trust as 3M. For decades, the brand has set the standard for performance, durability, and colour choice.

Today, the spotlight is on the 3M™ 2080 Wrap Film Series, with its bold new High Gloss colours designed to deliver a sleek, paint-like finish that turns vehicles into works of art.

Engineered for vehicle personalisation, fleet branding, and high-impact creative projects, the film series combines durability with flexibility, making installation on even the most complex curves simple and efficient. Its striking high-gloss finish elevates visual impact while ensuring longlasting protection, making it a standout in today’s competitive graphics market.

Beyond wraps, 3M continues to support the signage sector with a suite of Cut Colour Films distributed nationally by Spicers. These films have become staples in workshops across Australia, valued for their consistency, colour depth, and reliability. From premium cast films designed for long-term architectural projects, to economical options for everyday tasks, and translucent films that bring illuminated signage to life, the range ensures sign makers have the

right solution for every application.

Wayne Hood, Spicers Visual Communications Portfolio Manager, explains that the trust in these films stems from their proven track record. “3M Cut Colour Films have been trusted by sign makers for decades. Their consistency, durability, and colour depth make them the goto choice when quality can’t be compromised. Whether it’s vehicle graphics or illuminated signage, 3M delivers results that last.”

To celebrate this legacy, Spicers has launched the Spicers & 3M Spend & Win competition, giving customers who purchase eligible 3M products the chance to reinvest in their businesses with a choice of premium hardware from Mimaki, Roland, or RollsRoller.

“This competition is another way Spicers and 3M are supporting our customers,” Hood adds. “It’s built around the 3M products they already rely on, and it’s a way to reward them while investing back into their business with new technology.”

From high-gloss wraps to durable signage solutions, 3M will continue to give designers, installers, and businesses the confidence to push creativity, complemented by initiatives from Spicers that offer customers the chance to strengthen their operations with leading hardware.

3M™ Wrap Film Series 2080 – delivering premium style, superior durability, and effortless application for a flawless finish.

Bold, consistent colour with 3M™ Scotchcal™ Translucent Graphic Film 3630 – designed for vibrant, long-lasting illuminated signage.

Bring bold designs to life with 3M™ Cut Color Films – durable, vibrant, and made for standout signage.

GAMART launches new Arlon 5800X Series

Polymeric film with air-egress and synthetic liner

Graphic Art Mart announced the exclusive release of the Arlon 5800X Series, a polymeric film designed to make everyday signage installations faster and more efficient.

The film is a market first featuring a synthetic liner with air-egress technology and is available across a full range of 50 colours. Traditionally reserved for cast films, this feature is now being applied to polymeric films, expanding options for projects with flat or slightly curved surfaces.

Range and Durability

The 5800X is available in 50 colours, covering both standard and metallic finishes. Durability is rated at up to seven years for standard colours and five years for metallics, making it suitable for medium-term exterior and interior use.

Rolls are supplied in 1.25m widths, slightly larger than the commonly used 1.22m format, which provides additional coverage for wider graphics. 25m roll lengths are also offered, providing an option for shops that prefer reduced stockholding and easier handling.

Synthetic Liner Technology

A key feature of the 5800X is its synthetic PET liner. This differs from paper liners in several ways and is intended to support both workflow and appearance.

• Ease of cutting and weeding – The ultra-smooth surface reduces tearing and allows cleaner removal of small or detailed vinyl shapes.

• Lay-flat stability – The liner resists curling, keeping graphics steady during cutting and application.

• Gloss consistency – By avoiding paper fibres, the liner reduces micro-impressions that can dull the finish, resulting in a uniform gloss level.

• Transparency for multi-layer graphics –Visibility of underlying layers helps with alignment and registration.

• Moisture and static resistance – The film is less prone to clinging or distortion, providing more consistent handling.

These properties aim to improve efficiency in production environments and reduce material waste.

Air-Egress Across All Colours

The 5800X incorporates air-egress technology across the entire colour range. Air-egress channels allow air to escape during application, minimising bubbles and supporting smoother installs.

The channels are designed to limit visible patterning, while the adhesive formulation ensures fast wet-out for a high-gloss finish. This combination supports applications on substrates such as windows, glass, and other flat or gently curved surfaces.

Installation and Handling

The film is intended for use in signage, display graphics, retail promotions, and general installations. The stability of the synthetic liner and the presence of air-egress channels are designed to reduce installation time and errors, contributing to more efficient workflows.

“The 5800X was developed with everyday

signage and fast-turnaround jobs in mind. It offers premium features for the cost of a standard polymeric,” says Mark Canavan, Marketing and Vendor Relations Manager Graphic Art Mart. “It’s suited to display graphics, retail and promotional installs, and applications where a reliable, professional finish is needed without extended installation time.”

“By combining air-egress technology, a wide colour selection, and installer-friendly roll sizes, the 5800X Series aims to bridge the gap between affordability and performance in polymeric films,” concludes Canavan.

Application Tape Compatibility

Arlon has also introduced the RTape 4050 application tape, developed to work with synthetic liners and air-egress constructions.

The tape features a balanced medium tack, which enables clean transfer of graphics without distorting the liner or interfering with the air-egress channels. It is designed for cut graphics and fast-paced production environments, providing consistent results during the transfer process.

Other compatible tapes include RTape 4075, 4075RLA, AT65 Clear Choice, and TransferRite 1310C. Each offers different tack levels or transparency options for specific installation requirements, but RTape 4050 is identified as the standard option for use with the 5800X.

The Future of Sign and Display at ImageBox

Since its founding in Melbourne in 1988, South Melbourne-based ImageBox, led by directors David Asker and Dominic Borrello, has constantly evolved its operations and technologies, staying ahead with future-focused transformations and investments that keep it at the forefront of the fastevolving demands of retail, exhibition, and environmental graphics.

Today, the company is firmly positioned as a leader in high-quality, high-efficiency print production, pairing advanced capabilities with a commitment to smarter, more sustainable display outcomes.

For the team at ImageBox, productivity isn’t just about output—it’s a mindset woven into the company’s culture. According to Sales Director Troy Cavanagh, the company has a culture of continuous improvement, with the leadership team committed to a long-term strategy that focuses on operational optimisation.

That focus on operational improvement took a major step forward in 2021, when ImageBox relocated to a larger, open-plan facility in South Melbourne, bringing print, finishing, fabrication, and dispatch into one location for the first time in over 15 years.

The relocation immediately boosted productivity. “We had outgrown the duallocation model,” says Cavanagh. “Bringing everything together has had a significant impact, not just on efficiency, but also on the way our team collaborates and manages complex jobs,” adds Managing Director David Asker.

Over the years, the company has also made a series of major equipment upgrades and investments, each selected to align with ImageBox’s goals around speed, quality, and sustainability. “Every machine we’ve brought in has a defined purpose,” says Cavanagh. “It’s about matching the technology to the job, reducing handling, and improving throughput.”

These backend improvements are having real-world effects on the client side. ImageBox manages multi-site rollouts and seasonal campaigns with exceptional precision, agility, and speed. Their work with national retailers and global brands has been strengthened by these changes, particularly in situations where timelines are tight and expectations are high. “We find the right materials for the job and make sure everything is built to last,” says Cavanagh. “It’s about backing the creative with the technical; clients trust us to get both right.”

But it’s the outcomes of this operational strength that now turn heads and win awards internationally for the company. A recent example is the Group’s High Forest Display Suite by Mirvac. The project won a silver award at the 2025 FESPA Awards in the Printeriors category. Taking three months end-to-end, the project perfectly illustrates the care and precision the group is known for in its work.

It’s a showcase of how layered print technologies and diverse substrates can transform an environment into an immersive brand experience. The suite combined screenprinted natural timber panels with 3D lasercut black acrylic finished in metallic gold, complemented by ACM and steel panels wrapped in self-adhesive vinyl.

The team employed clear UV varnish and white ink to add structure and texture in specific pieces, most notably in the striking haptic representation of a black cockatoo that anchored the wildlife-inspired visuals. The result was a cohesive installation where tactile finishes, precision fabrication, and mixedmedia application reinforced both the design narrative and the premium quality expected of a Mirvac development.

ImageBox’s strength lies in translating design intent into durable, high-quality finished work that performs in public environments. For the team at ImageBox, print quality is only one aspect of their delivery. It’s about integration with architectural elements, longterm durability, and sometimes even reverseengineering creative concepts to make them physically viable.

Sustainability is another area where the company has led with a clear and active commitment. The business has shifted away from backlit films and mounted boards in favour of silicone edge fabric graphics (SEG). This change has dramatically improved size, quality, productivity, and environmental performance, while reducing freight costs and carbon impact.

A further example is the company’s development of compact display solutions using coated boards that can be recycled through standard paper streams. “It’s about reducing touchpoints and environmental load without compromising on quality,” says Cavanagh, with Asker adding, “And clients are increasingly receptive to those conversations, especially when they see the benefits to cost, logistics and waste management.”

Looking ahead, ImageBox is committed to delivering outcomes that combine creativity, durability, sustainability and commercial acumen. The focus remains on projects that earn recognition through the strength of their execution and the value they deliver to clients.

“Our role isn’t just to print, it’s to guide,” finishes up Cavanagh. “We help clients make better choices, find the right materials, and deliver solutions that work from every angle; creatively, commercially, and environmentally.”

Calgraphics Expands Production Capacity with Neschen

With more than four decades in the signage industry, Calgraphics has evolved from a screen printing and graphics company, to a specialist in fleet signage and providing large-scale site signage and in-store marketing activations across multiple locations nationally.

Their work includes rail livery across major train networks in Melbourne and Sydney, as well as comprehensive signage programs for service stations, ranging from site signage, safety signage and pump decals to in-store promotional signage and displays. Operating out of Melbourne with a team of twenty-seven and an extensive network of long-term installers across the country, the business today services major clients such as Shell, Ampol, Caltex and Coles.

“We’ve invested heavily in setting up our in-house systems and processes to enable us to deliver bespoke projects. Our in-house IT team has developed tools to provide realtime reporting from the site, as well as asset management services,” explains Michael Carroll, Operations Manager, Calgraphics.

In addition to systems, Calgraphics attributes

much of its success to close collaboration with customers from the outset of each project. “We like to get involved early in the planning process so that we can share our project experience in key areas such as travel, logistics, installation, and access equipment. It even includes material specification, as sometimes we need to forecast with material suppliers that we might need 200 rolls of a particular vinyl in a specific colour, which is ruled by stringent brand guidelines”, says Carroll.

Another distinguishing feature in the delivery of national projects is Calgraphics’ approach to colour accuracy and brand integrity. “We are obsessed with ensuring colour accuracy, across different printers and different substrates”, explains Carroll. “We maintain a physical colour library for each customer, both laminated and unlaminated, and perform checks at multiple stages of the production process before approval for dispatch.”

Reinvesting in core equipment

When it comes to our equipment replacement program, Calgraphics recently invested in a Neschen laminator.  “We were operating with

one laminator, and our existing machine was posing a risk to production as we couldn’t get parts or support. Given that over 90% of our work requires lamination, we needed to invest in a second machine. We chose the Neschen ColdLam 1650 SW for its Europeanmade quality and ease of use. In addition to its extensive set of features, the Neschen machine was chosen for its simplicity and ease of training. We wanted something simple. You don’t want to overcomplicate it for the operator, especially when you need to train new people. One operator now runs both laminators, so we’ve doubled our capacity,” notes Carroll.

“One of the most critical factors for us was after-sales service and spare parts availability, so we purchased the Neschen laminator from Total Image Supplies. We’d already bought a printer from them recently and had a really positive experience,” says Carroll.

With more hardware installations on the horizon, we are looking to establish a suite of production equipment that enables us to produce consistently high-quality signage solutions, concludes Carroll.

TOPI 5 ORYX 5

Completing the Gen 5 Picture

swissQprint releases Topi 5 and Oryx 5 flatbeds

With the introduction of the Topi 5 and Oryx 5, the Swiss manufacturer’s Generation 5 flatbed family is now complete. The new additions provide more options for print providers to meet their production requirements. From entry-level to high-volume industrial, swissQprint says its latest range delivers the perfect balance of versatility, productivity, and sustainability. The range is available exclusively in Australia through Pozitive.

A Full Lineup for Every Need

Generation 5 represents a new era in flatbed printing. Each model shares swissQprint’s hallmark qualities of precision, efficiency, and reliability, and each is designed with a specific business profile in mind. The Oryx 5 opens the door for smaller operations, while the Impala 5 provides a substantial step-up in speed and throughput. In the 3.2m class, the Nyala 5 remains the flagship allrounder, and Kudu leads as the highspeed industrial powerhouse.

The addition of the Topi 5 and Oryx 5 completes the ladder, giving businesses even greater freedom to choose the right fit for their production scale and creative vision.

Topi 5: Wide-Format Versatility for Medium Volumes

The new Topi 5 takes its place alongside Nyala 5 and Kudu in the 3.2 × 2m class. With output speeds

up to 126 m²/h, Topi 5 is designed for small to medium production volumes that still demand the breadth of wide-format printing. It bridges the gap for businesses that want the versatility of a 3.2m flatbed, signage, décor, packaging, and more, without stepping into the higher capacity of Nyala or Kudu.

Optional roll-to-roll, dual roll, and board handling systems add further flexibility, making Topi 5 a balanced choice for businesses looking to expand their offering without overinvesting in capacity they don’t need.

Oryx 5: A Smarter Entry Point

The first rung on the ladder is now the Oryx 5, an entry point into the swissQprint flatbed range. Compact at 2.5m × 2m, yet powerful, it delivers speeds up to 114 m²/h, 26% faster than its predecessor. With 10 freely configurable colour channels, Oryx 5 offers creative versatility well beyond that expected from an entrylevel printer. For small and medium operations ready to grow, it’s the ideal way to access swissQprint quality and reliability.

The Generation 5 Advantage

All the Gen 5 flatbeds bear the same hallmarks and core functionality:

• 10 Colour Channels including white, varnish, neon, and special effects.

• Up to 1350 dpi Resolution for unmatched detail and quality.

• Creative Versatility across rigid substrates, flexible media, décor, glass, packaging, and beyond.

• Energy-Efficient LED UV Technology, consuming as little as a household kettle while using Greenguard Gold certified inks for a safer, more sustainable workplace.

• Swiss Engineering for Longevity, with machines designed to last and components built for repair and refurbishment.

Choice Without Compromise swissQprint machines are built on a modular foundation, providing businesses with the flexibility to adapt and expand as their needs evolve. Sustainability is built into the design of all models; the systems are engineered for longevity, require minimal maintenance, and are produced with resource efficiency in mind. Energy consumption is notably lower compared to similar platforms, resulting in reduced operating costs and a lower environmental impact. For print businesses, this means a genuine choice without compromise, combining performance, adaptability, and sustainability in one investment.

Exclusively with Pozitive Pozitive sign & graphic supplies is the exclusive Australian representative for swissQprint, providing expert guidance, installation, and long-term service. As the exclusive distributor, Pozitive ensures that businesses not only acquire cutting-edge equipment but also gain a trusted partner invested in their success.

All Generation 5 flatbeds from swissQprint are now available through Pozitive.

2.2 kWh power consumption Swiss made 36 months warranty >10 years service life

Connected Customisation

Epson’s DTG/DTFilm suite for the modern print business

Customisation has become one of the most powerful drivers of growth in today’s printing industry, and in response, the number of new direct-to-garment (DTG) and direct-to-film (DTFilm) printers that have been launched to serve this market has exploded in recent years.

Epson has developed a solution in the form of a suite of dedicated and hybrid DTG and DTFilm printers. The SureColor F1060, SureColor F2260, and SureColor G6060 each target a different type and volume of production but share a common thread in their integration with Epson Cloud Solution PORT. Together, they create an ecosystem, designed for versatility, scalability and cost control.

SureColor F1060 – compact hybrid for retail and on-demand

The SC-F1060 is Epson’s most compact and user-friendly hybrid printer for DTG and DTFilm, providing an easy entry into garment customisation.

Using a five-colour CMYKW ink set, it prints on light, dark and mixed fabrics, while automatic head-height adjustment ensures consistent results. Ink comes in 250 ml pouches that are easy to load and with less mess compared to traditional cartridges. Maintenance is largely automated, with features like nozzle monitoring and white-ink recirculation, reducing downtime. Connectivity is flexible, with USB, Wi-Fi, and Ethernet, and jobs can even be uploaded directly from a USB drive via the front panel.

SureColor F2260 – scalable production for growing demand

The SC-F2260 sits in the middle of the range and is aimed at businesses dealing with higher order volumes. It provides enhanced productivity with improved ergonomics, auto head-height adjustment and a faster print speed. It also provides more flexibility by supporting a wide range of fabrics containing a mix of natural and man-made fibres, up to 25 mm thick. Multiple platen options support a variety of production applications and garment sizes/types.

This model uses 800 ml ink pouches, reducing cost per print and cutting the frequency of changeovers. The F2260 is fast, quiet and operator friendly.

For business owners, the SC-F2260 delivers versatility and cost efficiency, meeting growing e-commerce demand, integrating seamlessly into small-batch production, and supporting confident pricing with reduced consumable costs.

SureColor G6060 – continuous roll-toroll DTFilm production

Aimed at volume production, the SC-G6060 has been designed to deliver consistent quality output with a low running cost, minimum maintenance and a high duty cycle.

Customised garment printers seeking a dedicated DTFilm production system can now easily and cost-effectively create a whole range of custom clothing, from unique t-shirts and hoodies to workwear and teamwear. They can produce event and show merchandise alongside value-add clothing and a wide range of other items including

250 mm in diameter and incorporates an autocutter for sheet-based production and can be used ‘in-line’ with a range of third-party powder shaker/oven machines for roll-based production.

Ink-less nozzle status monitoring, auto-head cleaning, auto cap-cleaning and continuous white-ink recirculation ensure consistent highquality output with maximum productivity and minimum waste.

Epson Cloud Solution PORT –comprehensive printer management

All three printers connect to the Epson Cloud Solution PORT, a cloud-based management platform that tracks printer status, consumable usage and job costs in real time. Business owners can monitor a single F1060 in a retail environment or an entire fleet of printers across multiple sites from the same dashboard.

PORT provides transparency, enabling accurate pricing based on actual ink and media use, while its remote diagnostic capability reduces downtime through faster problem resolution. As businesses scale, PORT ensures operations remain manageable and efficient.

All Epson DTFilm and DTG printers come backed by a ‘heads and all’ warranty, extendable up to five years with the Epson CoverPlus system. Learn more at epson. com.au/fabric, or by scanning the QR code.

The Scheduling Trap

Why Perfect Planning Fails in Sign Production

The sign industry has a scheduling problem, but it’s not what you think. The issue isn’t that businesses lack sophisticated scheduling systems—it’s that they’re chasing the wrong kind of precision altogether.

The Micro-Scheduling Mirage

Walk into any mid-sized sign shop and you’ll likely find someone working away at a computer, frantically updating and assigning tasks to staff in a detailed production schedule in 30-minute intervals. This is micro-scheduling: the pursuit of the holy grail in production management, which suggests that you can be more efficient through granular control.

The reality is far messier. Josh calls in sick, a printer breaks down, and the install team doesn’t have everything they need to do the job. Two hours in, and the schedule is a mess; you are perpetually rescheduling.

Yet, businesses continue to pour resources into scheduling to solve what is essentially an unsolvable problem. The fundamental flaw lies in what data scientists call the “job shop scheduling problem” Translation: The more variables you add (sick employees, machine breakdowns, rush orders, material delays), the more complicated optimal scheduling becomes - the best maths can’t help you, it’s a human problem.

The Human Element Reality Check

Sign production isn’t vehicle manufacturing. Sign shops handle custom work and the variations are endless. Every job is different, every client has unique requirements, and every day brings unexpected challenges.

We shouldn’t abandon scheduling entirely. Instead, we need to focus on what actually matters; identifying bottlenecks and improving our transparency about what is actually happening.

The Bottleneck Reality

Every sign shop has some critical constraintswhether it’s artwork approval, printing capacity, or installation. These bottlenecks move week to week as new work comes in the door. Smart scheduling doesn’t try to optimise everything; it focuses solely on managing these bottlenecks and improving your capacity in these areas. Borrowing from project management, you focus on the critical paths, those tasks that, if delayed will extend the job.

This approach acknowledges a crucial truth: scheduling doesn’t increase capacity. If you have 15 staff members, a few printers, and a CNC machine, and you can output 50 jobs per week, no amount of scheduling will increase that to 80 jobs per week.

A Practical Alternative: Workflow Orchestration

Rather than worrying about precise timing, successful sign shops enhance their visibility to what is happening on the shop floor. Their goal is to have a clear understanding of all the work ahead of them so that they can identify their bottlenecks in advance. They make sure they know when their team finishes each task so they can work with the actual status of the work within their bottlenecks.

Through toolbox meetings and dashboards, they work with their team to ensure that everyone understands the business priorities and has complete visibility into work coming through, which allows them to make intelligent decisions about task sequencing.

When printing is your bottleneck, all efforts are on pre-flighting, chasing artwork approvals and media batching so you minimise the downtime between jobs.

Use simple list-based scheduling that follows a natural work order rather than arbitrary time slots - you can’t do it yesterday. The list starts now, so it’s all about working on tasks with the highest priority and ensuring your project managers are building in buffers by managing clients’ expectations.

The ROI Reality

Scheduling is expensive; if you are a small shop, it’s the opportunity cost of ‘time off the tools’ at (say) $120.00 per hour. In larger sign shops, a dedicated scheduler’s salary plus system costs can easily exceed $100,000 annually, and in both cases, it’s an overhead that is hard to recover.

The reality is that staff work at their own pace; you can’t make them work faster for sustained periods. The returns come when you equip them to work smarter.

So rather than chasing the myth of microscheduling, focus scheduling efforts where they create measurable value: managing bottlenecks, providing visibility, and enabling proactive communication with clients about realistic delivery expectations.

Most of all, it’s about ensuring you have accurate and up-to-the-minute information on all the work ahead of you. If you are still working with spreadsheets, consider a business software solution that gives complete transparency to the shop floor. That way, you mobilise your whole team to solve this problem.

Actual efficiency comes not from perfect planning, but from ensuring your staff have the information they need to make informed decisions.

Nigel Davies Founder of M-Power

Reducing Impact, Building Futures

Avery Dennison Brings Greenscape to South Asia Pacific

Avery Dennison has introduced Greenscape to the South Asia Pacific market, a new identity that brings its sustainability programs together under one banner and signals a step-change in how the graphics sector addresses environmental impact.

When Avery Dennison Graphics Solutions launched Greenscape in September, it marked more than the unveiling of a brand identity. It signalled an effort to reshape how sustainability is communicated, measured, and delivered within the print and signage industries. By consolidating initiatives that were once spread across responsible sourcing, product development, and community programs, the company is now offering partners and customers a clearer framework for engaging with environmental goals.

For the graphics sector, the challenge has long been fragmentation. Sustainable options exist, but they are often scattered, inconsistently labelled, or difficult to evaluate against performance and cost. Greenscape addresses this by creating a unifying thread, offering customers a single reference point for understanding which materials and solutions reduce environmental impact and how they contribute to the broader circular economy.

At the heart of Greenscape is a growing portfolio of products designed with reduced impact in mind. Non-PVC films, innovations in adhesives, and materials that extend the life cycle of graphics applications are central features. These solutions are intended not only to reduce waste but also to enable installers, print service providers, and brand owners to

make measurable progress towards their own climate and sustainability commitments.

Chris Sherry, Senior Marketing Manager, CX & Sustainability at Avery Dennison Graphics Solutions, says the initiative reflects a recognition that responsibility must be shared across the supply chain. “With Greenscape, we are prioritising circularity and reducing carbon impact, not only for our operations but also for our customers,” he explains. By embedding sustainability into product design and operational practices, Avery Dennison is positioning Greenscape as a collaborative tool, rather than simply a corporate badge.

The program also builds on lessons learned globally. Avery Dennison has been active in sustainability for more than a decade, introducing recycled content into liners, reducing manufacturing emissions, and trialling takeback schemes in different markets. Greenscape represents the next phase of this journey: turning what were previously scattered pilot projects into a coherent regional strategy that customers can access and apply in real projects.

Importantly, Greenscape is not being framed as a finished product but as an evolving platform. The portfolio will expand, with further non-PVC innovations and solutions designed to tackle specific challenges such as recyclability and material recovery. In this way, Greenscape becomes both a present-day offer and a commitment to continuous improvement.

The broader context for this move is undeniable. Sustainability is no longer an optional add-on for print and signage businesses; it is becoming a competitive differentiator. From global brands demanding lower carbon

packaging and display materials, to local councils requiring non-PVC products for public signage, the pressure is filtering down across every part of the supply chain. Initiatives like Greenscape not only provide practical products but also give customers the language and evidence they need to demonstrate compliance and leadership in tenders and client conversations.

Sherry points out that collaboration will be essential if these changes are to scale. “Progress happens when we work together as collaborators and change-makers alongside our communities and partners,” he says. While the words carry the polish of a corporate message, they reflect a broader truth in the sector: no single company can solve sustainability in isolation. Materials, equipment, processes, and disposal pathways all need to align for impact to be genuine.

For printers, Greenscape may offer a useful narrative tool as much as a technical one. By linking their purchasing decisions to a larger framework, they can communicate to clients that their sustainable choices are part of a coordinated industry-wide push. Strengthening the perception of print as a responsible medium in a digital-first world.

For an industry under increasing scrutiny, this matters. As regulators and customers alike raise expectations, initiatives like Greenscape can provide pathways for graphics businesses to stay competitive while reducing their environmental footprint. The sustainability conversation has shifted from “why” to “how,” and Greenscape’s value will ultimately be measured not in press releases but in the projects, installations, and partnerships it enables.

Cinema on the Streets

Drive Creative puts MINI’s creativity in motion

Each August, Melbourne hosts the Melbourne International Film Festival (MIFF), packing in three weeks of screenings, talks, and immersive events. For MINI Australia, a longtime sponsor, the partnership presents an opportunity to celebrate creativity in motion.

This year, a wrapped MINI Countryman SE, supported by six additional vehicles fitted with side-door decals, carried the MIFF brand through the city. The annual “Mini MIFF” campaign sees Drive Creative, based in Braeside, adapt MIFF’s visual branding for vehicles. Working with MIFF’s design team for several years, Drive Creative has refined the process so that artwork arrives near print-ready, translating cleanly from flat layouts to threedimensional forms.

“We never quite know what MIFF will come up with, but the designs are always striking and completely different from the year before,” says Samantha Rogers, Director of Drive Creative. “There’s a thrill in unrolling those first prints, seeing how the design translates, and then watching it come together as the MINI is fully wrapped.”

Wrapping a MINI presents unique technical challenges; however, for short-term campaigns, visual impact and efficiency are the primary considerations.

“It’s technically possible to line up every element across every seam, but for a wrap that’s only on the road for a week, perfection isn’t always the priority. Small adjustments, like colour breaks or panel-specific detailing, make a huge difference without compromising the look.”

That pragmatic approach is why MINI Australia has worked with Drive Creative since 2020, valuing their reputation for consistent, premium work delivered at speed. That confidence extends across the entire BMW group, where Rogers is highly regarded as an

asset to their brand partnerships.

Drive Creative specified 3M 1080 wrap film with a satin laminate for the full wrap, chosen for its clean, glare-free finish in photography and PR. Printing was done on the workshop’s Epson SureColor S80660L.

“Satin and matte finishes photograph beautifully,” Rogers explained. “They diffuse flash photography, so the colours stay clean and vibrant without the glare you’d see on a gloss surface. A small choice makes a big difference when the vehicles are so heavily photographed for PR and social media.”

MINI engages Drive Creative around a month before the festival. The production schedule is efficient: decals are installed onsite at BMW’s workshop, while the full wrap is handled at Drive Creative’s facility across several days.

Rogers’ leadership reflects lessons from her mentor, Nick Caminiti, at Exotic Graphics, which focused on high standards and authenticity. Her crew includes a dedicated apprentice, with print production handled by Dominic and Shaun, a championship-level installer and a former colleague from Exotic. .

All of which has earned her respect from peers and clients alike. “To be trusted and thought of as an asset to any business is amazing success to me,” she reflects.

For Rogers, the MIFF project’s appeal lies in its cultural significance. “MIFF is an institution,” she said. “To be able to contribute creatively, and to see our work become part of the festival experience, is really rewarding. The MINI is more than a car, it’s part of the city’s visual identity during those three weeks.”

Her ethos goes beyond business. Raised in a country town, she relocated to the city to pursue a career in art, design, and entrepreneurship. Her resilience and commitment to inclusion and advocacy for women in trades have earned

Project Specs: MINI × MIFF 2025

Client: MINI Australia / Melbourne International Film Festival (MIFF)

Project: Full vehicle wrap + decals

Lead: Drive Creative (Director: Samantha Rogers)

Vehicle: MINI Countryman SE (full wrap) + 6 MINIs (decals)

Film: 3M 1080 Wrap Film

Laminate: Satin finish

Printer: Epson SureColor S80660L

Wrap Duration: 2-3days (Countryman SE)Decal Install: ~2 hours per vehicle

Timeline: Prep and production commenced ~1 month before festival launch

Festival Dates: 7 – 24 August 2025

her industry-wide respect. Doug Greenslade, BMW Australia’s National Driving Experience Manager, nominated her for the 2025 Barbara Cox Woman of the Year Award, a recognition she describes as one of the most meaningful moments of her career.

The MIFF MINI campaign is a reminder that vehicle graphics are marketing campaigns and moving billboards. They can create cultural connections and bring brands to life in ways that resonate with communities. For MINI Australia, the cars became moving canvases of the MIFF story across Melbourne and into regional Victoria.

For Drive Creative, it showcases their blend of design, materials expertise, and technical know-how, turning a car into a conversation piece that captures a city’s imagination.

Bullying Allegations and Proportionate Responses

In a recent appeal before a Full Bench, the Fair Work Commission handed down a decision that underscores how employers should approach allegations of workplace bullying and disciplinary sanctions that may follow. The decision offers important guidance for employers, HR practitioners and workplace investigators on the principle that the ‘outcome must fit the particular conduct’.

Background

An ambulance officer faced various allegations of workplace bullying against a co-worker. An independent investigation substantiated several of the allegations and concluded the employee had behaved in ways that were unreasonable, belittling, and disrespectful, particularly towards a co-worker. The employee did not dispute the findings; however, he challenged the disciplinary sanction that was imposed on him. Essentially, he was transferred from one work location to another.

The employee argued his employer had not afforded him procedural fairness, and his conduct did not amount to “serious misconduct” as required under the relevant enterprise agreement to justify the transfer. At the first instance, the single Commissioner found the conduct to be serious and that the transfer was neither unreasonable nor unjust. The employee appealed the decision.

Appeal

The Full Bench upheld the employee’s appeal and identified several critical legal and practical errors in the approach taken in the original decision:

1. Bullying does not automatically equate to serious misconduct.

While bullying is defined under the Fair Work Act as repeated unreasonable behaviour creating a risk to health and safety, not all bullying will constitute “serious misconduct”. The two points are distinct legal concepts, although in some circumstances they may overlap. Importantly, the Commission observed that bullying can occur across a spectrum of seriousness. Certain conduct

may be relatively minor, while other cases may be incompatible with ongoing employment.

2. Mischaracterisation of the Investigator’s findings

The Full Bench found the original decision wrongly stated that the independent investigator had found the employee guilty of serious misconduct. In fact, the investigator only found that bullying had occurred. It was for the decision maker, not the investigator, to assess whether the conduct rose to a serious misconduct level.

3. Procedural fairness

The Full Bench found the employer had done enough to satisfy the requirements of procedural fairness, even though the employee was not given the full investigation report at the time. He was later able to access the relevant materials during the Commission proceedings and had opportunities to respond. Nonetheless, this serves as a reminder that transparency is best practice.

Practical lessons for employers

The decision offers several key takeaways for addressing bullying allegations in the workplace.

1. Bullying allegations require a nuanced assessment

Employers must avoid assuming all bullying is “serious misconduct”. Each case requires an objective assessment of the nature, frequency, and impact of the conduct. Some conduct may require counselling, mediation, or training rather than heavy sanctions.

2. Any sanction must be proportionate Disciplinary action should be tailored to the seriousness of the conduct. A punitive response that exceeds the gravity of the behaviour may be found to be unreasonable. Conversely, failing to act on serious misconduct may create additional exposure for an employer.

3. Separate the concepts

Understand the difference between the statutory definitions of “bullying” and “serious misconduct” under the Fair Work

Act and Regulations. It is important not to conflate the two concepts.

4. Ensure procedural fairness

Employees subject to allegations should be:

• Clearly informed of the allegations and evidence;

• Given an opportunity to respond, and

• Informed of potential disciplinary outcomes before a decision is made. In this case, although the Full Bench accepted that during the initial hearing Commission processes cured any procedural defects, employers must not rely on litigation to correct procedural unfairness and errors. Transparency throughout the process is both fair and prudent.

5. Consider alternatives and restorative options

Not all cases of bullying require transfer or termination. Depending upon the severity of the conduct, appropriate measures may include:

• Counselling;

• Mediation between parties;

• Formal warnings; and/or

• Adjustment to reporting lines.

Employers should weigh the impact on the complainant, the respondent, and the broader workplace when determining outcomes.

6. Document the process

Any decision should be well documented, and that evidence should assess the conduct, why a particular sanction was chosen, and how procedural fairness was afforded. This will assist in defending a decision if it is challenged later.

Finally, as I always say, seek objective advice, and seek it as early as possible.

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

Trade Shows Events Seminars Exhibitions

Open Days Conferences Training

AUSTRALIA

FESPA AUSTRALIA CONFERENCE fespaaustralia.org.au

17 October 2025

Sydney, NSW

PRINT & PROSECCO TASMANIA –WOMEN IN PRINT womeninprint.com.au/network

24 October 2025

Melbourne, VIC

PRINT & PROSECCO VICTORIA –WOMEN IN PRINT womeninprint.com.au/network

30 October 2025

Melbourne, VIC

PRINT & PROSECCO WESTERN AUSTRALIA – WOMEN IN PRINT womeninprint.com.au/network

30 October 2025

Sydney, NSW

ASGA GOLF DAY VICTORIA signs.org.au

20 November 2025

Heidelberg Golf Club, Lower Plenty, VIC

VISUAL IMPACT CONFERENCE AND EXPO www.visualimpact.org.au

2-4 September 2026

Sydney Showground, Sydney

INTERNATIONAL

PRINTING UNITED EXPO www.printingunited.com 22 – 24 October 2025

Orange County Convention Center, Orlando, Florida, USA

IMPRESSIONS EXPO LONG BEACH

impressionsexpo.com 21-24 January 2026

Long Beach Convention & Entertainment Center, Long Beach

California

IMPRESSIONS EXPO ATLANTIC CITY

impressionsexpo.com 26-28 March 2026

Atlantic City Convention Center, Atlantic City, New Jersey

FESPA BARCELONA

www.fespaglobalprintexpo.com 19 -22 May 2026

Fira Barcelona Gran Via, Barcelona, Spain

Digital vs. Print Advertising

Which is more sustainable?

In today’s fast-changing advertising landscape, businesses and brands face a strategic dilemma.

Should they invest in dynamic digital screens or continue to rely on traditional print media for point-of-sale and out-of-home advertising? Both formats can deliver impact, capture attention, drive sales, and leave lasting impressions, but increasingly, the question of sustainability is becoming an important consideration. As brands become more committed to environmental, social and governance (ESG) goals, the environmental footprint of various advertising formats is under fresh scrutiny.

When it comes to in-store retail point-ofsale (POS) advertising and out-of-home (OOH) advertising, which is better: digital or print? The answer is not simple.

At first glance, it may seem like digital advertising could be the greener option. Digital dramatically reduces material waste. There is no need for a continuous supply of print materials, no transport emissions to move materials around, and no piles of print materials heading to landfill when a campaign ends. Scratch the surface, though, and the picture is not so clear.

Digital screens require constant electricity, a complex data infrastructure, and vast amounts

of metals and minerals that must be extracted from the earth. Print, on the other hand, has been evolving with the availability of paper and boards sourced from certified and managed forests, PVC-free films and increasingly recyclable options for many materials. Along with improvements in print hardware and inks, these developments have seen a significant reduction in the environmental footprint of printing.

So, is there a clear winner when it comes to sustainability? The reality is that neither can claim an outright victory. The most sustainable choice depends on a multitude of factors.

Material Use and Waste.

Digital signage has a clear advantage in reducing material waste. One screen can deliver endless content. A campaign can be launched, updated and replaced at the click of a button with no waiting and no waste heading to landfill. However, on the other side, digital screens require metals, plastics and minerals. Extracting and refining these materials has a significant impact on communities and ecosystems. While screens can last for many years, when these displays reach the end of their lives, they become part of one of the fastest-growing waste streams in the world, e-waste. If not properly managed and recycled, e-waste can contribute

to environmental contamination.

The good news for print is that supply chains have significantly improved over the years. Paper-based substrates are increasingly sourced from certified and sustainably managed forests. PVC vinyl is increasingly being replaced by PVC-free materials that not only reduce the toxicity of the materials used but are also easier to recycle, which reduces the burden of waste.

Energy Consumption and Emissions.

When it comes to energy use, print and digital follow very different paths. Print’s energy consumption is more front-end. Its greatest energy burden is tied to raw material extraction, material production, manufacturing, and distribution. Once a print campaign is installed, it doesn’t require many further resources.

Digital advertising on the other hand, consumes considerable energy during its lifetime. Although energy efficiency has improved with modern LEDs using less power than older lighting and some screens are set up to run on renewable sources, these advances cannot fully offset the continuous power draw. This is especially true for outdoor billboards that must compete with daylight and usually run 24/7.

Additionally, there is a hidden carbon impact when it comes to digital advertising.

Photo Credit:

Ramon

KagieUnsplash

Energy centres also need energy to manage content delivery, control systems and support network infrastructures.

Content Flexibility and Efficiency.

One of the greatest strengths of digital signage is its flexibility. A single screen can deliver multiple rotating campaigns, target specific audiences by time of day or demographic and update content instantly. This not only saves material but also increases marketing efficiency as advertisers gain more data, responsiveness and creative freedom from each display.

Print is less adaptable. Static campaigns become outdated. Every update requires reprinting, shipping and installation, all of which contribute to waste. However, print can still be highly effective, creative, and impactful with good design. Print can offer longer dwell time than an ever-changing screen. Print is also more flexible when it comes to in-store placement and more cost-effective for budgets that can’t stretch to the initial investment in digital hardware. What works best really depends on the environment and campaign goals.

Life Cycle Assessments.

Life cycle analysis (LCA) suggests that there is no universal winner between print and digital. The more sustainable choice depends on the campaign context.

• High-turnover campaigns: For advertisements that change weekly or monthly, digital may have the advantage, as print generates regular material waste.

• Long-term static campaigns: For signage that remains visible for months or years, high-quality print materials can carry a

• •

relies on access to product stewardship programs and recycling infrastructure, while digital requires specialised e-waste recycling to avoid high-impact waste streams.

• Raw material impacts: Extracting and processing rare earth minerals for screens carries heavy environmental and ethical costs. Paper also requires the use of resources, such as water and energy, in sourcing and manufacturing. Plastic print media is derived from fossil fuels, including oil and natural gas. All have environmental impacts.

Neither digital nor print advertising is universally the more sustainable option. Ultimately, each medium’s impact depends on the campaign’s scale, message duration, infrastructure efficiency, and disposal method. The best choice lies in carefully considering materials, energy, and end-of-life strategies.

Digital’s strength lies in reducing physical waste and delivering highly flexible, targeted campaigns, thereby maximising resource efficiency. It is best suited to high-frequency campaigns, especially when powered by renewable energy and supported by sustainable e-waste recycling programs. Its weaknesses are continuous power consumption, reliance on precious resource extraction, hidden carbon costs from data infrastructure and contribution to mounting e-waste.

Print’s strengths are improved sustainability when derived from FSC-certified paper or PVCfree media and supported by effective recycling. Print can be much more affordable than the initial investment in screens and is valuable for a large variety of in-store and out-of-home applications.

Print’s challenges are waste, especially with

DENISE KIRBY has nearly thirty years’ experience supplying selfadhesive media to the sign and print industry. Initially starting out in the family business as a distributor, she went on to work for leading self-adhesive manufacturers in marketing, business development and product management roles across Australia and New Zealand. She now has her own business, Kirbyco, which develops and supplies eco-friendly, recyclable and sustainable print media, and created ZERO, a product stewardship scheme which recycles end of life printed media. Denise is highly passionate about the industry and enjoys writing about applications, opportunities and new developments in print

Photo

Credit: NikUnsplash

Tinker Tailor Soldier Spy

A great novel by the legendary John Le Carré.

Which is also a great topic for me to tap into. I’ll sum up the easier parts first, the Soldier and Spy.

Nothing… at all. I’m sure you will be surprised to learn that I know nothing of the dark arts within our secret government codes.

But Tinker-Tailor opens up a plethora of creative sign and print people.

In the sign and print industry, the real difference between an average job and an

exceptional one often comes down to one thing: mastery of your tools and techniques.

Many of us started in the trade working with basic equipment and learning on the job. Over the years, we’ll develop a wide range of skills, including CNC routing, vinyl cutting, digital and UV printing, laser cutting, and LED assembly, to name just a few. But possessing the tools isn’t enough. The true craftsmen are those who can make their equipment sing

These are the people who don’t just clock off at

5 pm. They stay back, experiment, test ideas, and push their machines to do more than the manual suggests. It’s in those quiet hours—when the shop is empty and the sun dips into that golden late-afternoon light—that the magic happens. This is where skills are honed, techniques perfected, and future profits created. Take push-through letters as an example. When building black faced letters with edge illumination, many will use black vinyl over clear or opal faces and call it done. The result?

Mediocre illumination at best. But a skilled signmaker knows the trick—underlaminate with white (or another pale colour) before applying the black. The light reflects internally, giving a crisp, bright result that dramatically improves illumination and therefore the entire sign. Want to create a warm glow? Try yellow under the black and see the transformation.

Yes, it costs a little more—an extra layer of vinyl and extra labour. Make the cutting more efficient, apply both layers of vinyl in sheet from,

VERNON KINGMAN

apply application tape over the top to protect the vinyl, then router the acrylic. Saves hours.

If you are questioning the cost, vinyl and labour… this is where you need to ask yourself: Do I want to be the cheapest… or the best?

Light behaves differently depending on colour, diffusion, and distance from the source. A professional signmaker studies these variables— experimenting with LED spacing, testing colour combinations, and understanding how materials behave under real-world conditions.

The truth is, if you’re serious about your trade, you’ll never look at a shopping centre or high street the same way again. Poorly illuminated signs will jump out at you—and you’ll know exactly how to fix them. That’s the difference between a sign shop that simply makes signs and one that produces exceptional, highimpact signage

Apply this thinking to your entire inventory of equipment, or, as I like to call them, toys. I’m like most blokes who love their toys. The bigger, fancier and more technical the better. When the sign industry first went computerised, I bought a Graphix 4B and Apple design station.

And here’s the challenge for the next sign expo organisers: please find a pair of those old gems and put them on display. Today’s signage professionals would find it both humorous and enlightening to see where the transition from brush to tech emerged.

But it was those very early days that I could see the possibilities. Imagine today having to create a logo by digitising. Waypoint to waypoint. ‘Bugger, that was supposed to be a curve, not a straight. ’ If you’ve never digitised anything, you possibly won’t get that.

But the possibilities from that day forward changed the way we work today. I would sit there until midnight, digitising every logo and saving it to a floppy disk. Remember those? Probably in the same cupboard as your fax machine.

Back to the point of this article, which is that it doesn’t matter if you have the best router, laser cutter, printer, 3D printer. If you can buy it for money, then so can everyone else.

Your sheet metal shop is another opportunity for creative excellence. Now, I put my hand up here and admit my welding is appalling, and I was never going to be proficient. Somewhere in this business journey, you do have to employ a person who can do what you can’t. Identifying, employing, and keeping the right person for the job is paramount to changing your business’s quality.

I was very lucky to employ two brilliant sheet metal guys over the years. I would bask in the excellence of what they could do with aluminium and steel, things I could only envisage. Often, I

would walk into our steel shop and just smile. I love it when my team amazes me with their skills, going beyond their job description. Where they turn rigid, unbending metals into fluid, liquid shapes that defy logic. Metal shapes that looked like they popped out of a mould, just stunning and logic-defying. They turned a simple welder, folder and roller into a choir of excellence.

They could make every one of those tools sing in perfect harmony.

Invest in your own skills and invest in the skills across your business. Experiment. Push your equipment to its limits, challenge your people to be better, do better and grow. The results will set your work and your business apart from everyone else for years to come.

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.

Powering On-Demand Growth

How printers can enable brands to harness Meta shopping ads

Apparel decorators and merchandise suppliers have operated using a bulk supply model with pre-planned campaigns for years.

A festival organiser might order branded t-shirts for staff and volunteers, as well as thousands more to sell to festival-goers; or a corporate client might stock uniforms and merchandise for the entire year. But the way buyers engage with printed products has shifted. Today, customers expect to browse, click, and buy without waiting for stock to be ordered or stored.

That shift opens the door for on-demand production, and selling those one-off products supported by platforms like Meta Shopping Ads. Instead of brands investing upfront in inventory, they can showcase products on Facebook and Instagram and only fulfil what

sells. For printers, this model isn’t a threat; it’s an opportunity to become an essential partner in helping clients reduce risk and unlock new revenue streams.

What Are Meta Shopping Ads?

Shopping ads are product listings that appear inside social feeds, showing an image, price, and a “buy now” button. They shorten the distance between discovery and purchase.

For brands, that might look like:

• A carousel of supporter apparel for a local sports club, each tagged with “from $X.”

• Lifestyle photos of branded t-shirts or tote bags for a café’s customer, linked to a direct checkout

• A limited-edition merchandise drop from an event or conference, available only while the campaign is running.

Meta Shopping Ads act as a digital shop

assets they need to create lifestyle imagery and run compelling ads, thereby distinguishing you from other print suppliers as a partner in the brand’s success.

Photo Credit: Pixel-ShotAdobeStock

Impulse and community-driven buysFans of a band, supporters of a sports club, or attendees at a conference are primed to act quickly when they see a limited offer in their social feed. Shopping Ads give brands the immediacy. Ahead of the conference or festival, if you’re offering images and samples as per the previous point, you’re showing your client how to achieve the best sales.

Custom doesn’t exclude POD - Even bespoke products can be simplified into bundles or templates. A “Festival VIP Pack” might include a custom, personalised t-shirt, a cap, branded sunscreen, personalised drinkware, and other items.

How Printers Can Support Clients

This is where the value of printers and merchandise suppliers extends beyond the pressroom:

• Ready-to-use visuals: Supply clients with samples, and product shots, that fit the seasonal templates formatted for Meta Ads.

• Campaign bundles: Create curated product packs — sports kits, corporate starter bundles, event merch packs — that can be sold as ready-to-order items.

• Speed and fulfilment: Guarantee turnaround times so clients can confidently promote “ready in 48 hours” or similar promises.

• Integration support: Connect your workflow with Shopify, WooCommerce, or provide a product set that auto-syncs with Meta Ads. White-label packaging ensures the brand remains theat and forefront.

• Insights and advice: Share knowledge of trending products, seasonal spikes, and customer preferences, helping clients refine their promotional strategies.

By packaging these services, printers transform from output providers to strategic partners, enabling clients to sell without holding stock.

The Bigger Picture

The shift toward on-demand sales is only accelerating. From small businesses wanting single uniforms for a new staff member, to global brands testing limited-edition merchandise, the need for flexible, risk-free fulfilment is growing. Meta Shopping Ads are one of the most effective channels for this new model, placing products in front of buyers at the exact moment they are ready to act.

Printers and merchandise suppliers are uniquely placed to deliver this, but only if they position themselves as enablers of client growth, providing the production and delivery engine behind those campaigns. The opportunity in Meta Shopping Ads isn’t for printers to advertise themselves, but to empower their clients to sell on demand, more efficiently and with less risk.

For the printers, merchandise producers, and apparel decorators, the question is no longer whether on-demand will reshape the market. The question is, will they step forward as the supporting partners powering its growth?

CASS THEODORE

Marketing Director and Founder

Like most people, I get bombarded with news from every direction. Lately, it feels like there’s an overwhelming amount of bad news. Maybe the cold, rainy weather as I write this article isn’t helping my outlook either.

But it got me thinking about how business owners are coping with the current economic climate and growing customer uncertainty. I’m no longer technically a business owner, as I sold my business a couple of years ago, but I still work closely with the new owners. And after 35 years in business, that mindset doesn’t just vanish.

Fear and Opportunity in AI

Moving Past the Headlines and Hype

Over those three and a half decades, we’ve worked with thousands of business owners to help them get their financial act together. One pattern I’ve seen repeated: when times are good, many business owners act as if the good times will never end; that sales and cash flow will keep rolling in indefinitely. But the truth is, business cycles always have ups and downs. The biggest mistake is not preparing for the downturns.

Just recently, one of our CFOs told me about a client with a large overdraft (secured against his home) and upcoming regulations that could render his business uncompetitive. His

challenge is clear: what is he going to do about it? He employs 12 people and understandably feels responsible for them.

The CFO suggested a small price increase. The client hesitated, fearing he’d lose customers to competitors. But here’s the twist: after implementing the price increase, sales didn’t fall at all. Why? Because he has a strong reputation. Customers are willing to pay a little more to deal with a business they trust. In today’s world, that kind of reputation stands out.

Then there’s all the talk about AI (or LLMs), often painted in apocalyptic tones —

predictions of job losses, mass disruption, even existential risk.

It’s not the first time we’ve seen this kind of widespread worry. It reminds me of the Y2K concerns. If you’re under 40, you might not remember the apocalyptic forecasts about planes falling out of the sky. In the end, major disruptions didn’t occur, largely because of the huge global effort by IT professionals who worked tirelessly to fix and update systems in the lead-up.

I also remember the anxiety around the introduction of the GST in 2000. I recall business owners saying, ‘GST will put me out of business.’ My personal take was that GST itself wasn’t the real problem—it was whether businesses had the systems and discipline to handle it. That’s not to deny it was a big adjustment, but I felt the stronger businesses found ways to adapt.

We’ve seen it time and again: what starts out as fear often becomes just another adjustment once you’ve got the right systems in place.

So, back to AI. Whether you see it as a threat or an opportunity likely depends on whether you’re a glass-half-empty or half-full kind of person. The way I see it, AI (or LLMs) builds on tools many of us already use, like Gmail’s writing assistant or apps like Otter.ai that help take and summarise notes. What’s different now is how quickly the technology is advancing, which means staying curious and adaptable matters more than ever.

These tools won’t replace people outright.

Instead, they can help save time, boost productivity, and reduce errors. Humans still crave human interaction. Some jobs will change or even disappear, but that shift also opens up space for work that’s more meaningful and human-centred. The key is to shift towards roles that AI can’t easily replicate, such as caring professions and skilled trades.

I’m reminded of a seminar I attended years ago, just as the internet was taking off. This was pre-webinar days, we had to attend in person! The guest speaker, Phil Ryven, a futurist and analyst, addressed all the panic about this new thing called “the internet”. He described it as a freight train barrelling down the tracks, and said we had three options:

• Stay on the tracks and get run over

• Step aside and watch it pass us by

• Jump on the train

I went back to the office and said, “We’ve got to get on this train!” And we did. It was a big investment at the time, but one of the best we ever made. Had we ignored that advice, I doubt we’d have stayed in business.

So here’s my takeaway: instead of getting caught up in the noise around AI, focus on an abundance rather than a scarcity mindset. Embrace change, and look for the opportunities these tools can create. By learning how AI can support productivity and free up time for the work that matters, you’ll be better placed to stay ahead of the curve without feeling left behind.