Issuu

PROUDLY BROUGHT TO YOU BY

SPONSORED BY

NEWS & INFORMATION FROM NEW LITHO GROUP

WINTER/SPRING 2026

WHY AUTHENTICITY IS PRINT’S GREATEST ADVANTAGE IN A CHANGING WORLD By Clinton Daley, Chief Executive Officer, New Litho Group

FEW WEEKS AGO, I sat in on a presentation in Brisbane by Amanda Helder, an Australian keynote speaker, author and consumer trends expert, and one idea she reminded us of has been ringing in my ears ever since: in a world that is changing faster than most of us can comfortably keep pace with, authenticity and trust are no longer nice-to-haves. They are the two qualities that will determine who navigates that change well and who gets left behind. It struck me because it’s a lesson our industry has understood, perhaps instinctively, for a very long time.

TRUST IS EARNED, NOT ISSUED

Trust is a strange thing to try to define. It isn’t a number on a scorecard or a line item you can budget for. It’s closer to an emotion, a belief in something, or someone, even when you can’t be entirely certain of the outcome. You extend it because experience has taught you that it will hold, and you stick with it because, over time, it does. That’s the part people forget. Trust isn’t declared. A business can’t simply claim it and expect the market to agree. It accumulates, job after job, deadline after deadline, decade after decade, until, eventually, it becomes a reputation. In print, we’ve had the privilege of building exactly that kind of trust. Long before “authenticity” became a marketing buzzword, our industry was proving it in the most literal way possible, through tangible, physical products that either meet the standard or don’t. There’s nowhere to hide in

print. You can’t fudge the quality of a paper stock. You can’t dress up a poor finish. The weight of the sheet, the way ink sits on it, the crispness of a freshly honed guillotine cut, the feel of an embellishment, these things are either right or they’re not, and clients know it the moment they hold it in their hands.

PRINT AS AN AUTHENTIC MEDIUM IN AN INAUTHENTIC WORLD

We’re living through a period where more and more of what people see and read is generated, filtered, or manipulated in ways that are increasingly hard to detect. Against that backdrop, print’s greatest asset might not be its capability, but its honesty. A printed piece is what it is. You can hold it, feel it, and know that no algorithm produced it overnight. That tangibility is, in itself, a form of authenticity, and it’s one of the reasons I believe print, done well, will always have a seat at the table.

ONE SIZE FITS ONE

One of my old marketing professors used to say something that has stuck with me ever since: “one size fits one.” Not one-size-fits-all; one size fits one. Authenticity doesn’t come from trying to be everything to everyone; it comes from being unmistakably, specifically yourself. That principle runs right through how we think about our group of brands. Part of our strategy is to give each of our operating companies the room to be completely authentic in the areas in which they specialise, rather than force them into a single, homogenised offering. Each brand earns its own trust, in its own market, on its own terms, and together they add up to something larger.

A SYMBOL OF WHO WE ARE

You may already have seen our new group identity, the sculptural “N” that now sits at the centre of how we present ourselves as New Litho Group. A fair bit of the thinking behind it came from Gavin MacMillan, a university buddy of mine, who was an MD of Ogilvy Australia at the time and led the identity project with his team. He has since moved on to a new chapter beyond Ogilvy, and now helps us execute a number of our marketing initiatives, as well as supporting other companies with their own, different strategic objectives. He’s written a far more detailed account of the thinking, the process, and the moment that logo came to life, and it’s well worth a read – it’s on pages 4–5. But I will say this: for me, the new logo is a physical expression of everything above. It is unmistakably a print company’s mark, built from the language of paper, fold, and form, and it says, plainly, that this is who we are. Not a services business that happens to touch print, but a group that is, at its core, undeniably and proudly a print company.

HOLDING FIRM WHILE EVERYTHING ELSE MOVES

Trust, authenticity, identity, these aren’t separate conversations. They’re the same conversation, told from different angles. Amanda’s presentation in Brisbane was a timely reminder to me that as the world around us keeps changing, the businesses that will thrive are the ones that don’t chase every shift, but instead hold firmly to what makes them genuinely, recognisably themselves. For us, in this ancient and stubbornly physical craft, that has never been truer, or more valuable.

PAGE 2

LITHONET WINTER/SPRING 2026

THE OPEN HOME: Real Estateʼs “Point of Sale” experience by Dean Manns, National Sales Manager

NE CONVERSATION WE continually have with our real estate clients is about brand building. Whether it’s at an individual, team, office or network level, every interaction contributes to how an agency is perceived. Increasingly, agents are recognising that the open for inspection isn’t just about showcasing a property, but it’s one of the most powerful opportunities they have to showcase themselves. Every successful open home begins long before the first buyer walks through the front door.

By the time inspection day arrives, a significant investment has already been made. Professional photography, video, social media campaigns, online advertising, email marketing and premium portal listings have all worked together to achieve one goal - to bring people to the property. Getting people through the door is a marketing success. What happens once they’re there is a sales opportunity.

For many agents, the open for inspection is the single most important brand-building moment in the entire campaign.

Of course, your priority is achieving the best outcome for your vendor. But every open home also has the potential to generate future listings, future buyers and future advocates for your brand. Every open home is an opportunity to meet future vendors who are quietly researching the market. Neighbours wander through to see what their own home might be worth. Prospective sellers visit competing opens to compare agents. Buyers may not purchase this property, but they’ll remember the experience when it’s time to sell their own.

In many ways, every open home is an interview for your next listing.

It’s where your professionalism, knowledge, presentation and attention to detail are on display. It’s where your brand comes to life.

The question is simple...

What do people remember after they leave? The digital campaign has already done its job. The social media ads have disappeared from feeds. Online listings are replaced by tomorrow’s new properties. Emails are quickly buried beneath dozens of others. But the brochure and physical marketing they take home? That stays.

It sits on the kitchen bench. It gets discussed over dinner. It’s picked up again a few days later as buyers compare properties. More importantly, it’s often seen by people who never attended the inspection - partners, family members and future vendors who happen to pick it up. A quality piece of print marketing becomes a lasting reminder of both the property and the agent behind it.

That’s why the physical collateral at an open home deserves just as much consideration as the online campaign that brought people there. What impression are you leaving on those attending your open homes?

We’ve seen agents invest heavily in digital marketing, only to hand visitors a basic in-office printout at the inspection. Every touchpoint contributes to how your brand is perceived, and the quality of your marketing often influences the calibre of clients you’re able to attract.

Whether it’s a premium brochure, an information booklet, a neighbourhood guide or your current listings magazine, these pieces represent your brand long after you’ve packed away the flags and signs. Just as a beautifully styled home creates an emotional connection, premium print can do exactly the same. Special finishes such as Spot UV, soft-touch laminates, foiling and premium paper stocks don’t simply make a brochure look impressive - they communicate something much deeper. They tell prospective clients that you care about presentation, you invest in quality and you don’t cut corners.

These subtle details create a “wow” moment that people notice, even if they can’t quite explain why the brochure feels different. These impressions matter, they last, they build your brand.

When someone decides to sell, they rarely remember the online advertisement they scrolled past six months earlier. They remember the agent who made an impression. Another often-overlooked opportunity is the humble property catalogue or listings magazine.

A professionally produced catalogue showcasing your current listings does far more than help buyers discover additional properties. It demonstrates market presence. It also creates the perception of market leadership. People naturally gravitate towards businesses that appear active, successful and visible within their local area.

PAGE 3

For your vendors, it delivers another powerful advantage. Their property is no longer marketed solely through its own campaign. Instead, it’s promoted at every open home your agency conducts, exposing it to buyers who may never have seen the online listing or planned to inspect it.

Every visitor attending another inspection becomes a potential buyer for their property, creating valuable cross-selling opportunities and expanding the potential buyer pool. In today’s market, where connecting the right buyer with the right property is more important than ever, that additional exposure is incredibly valuable.

The best marketing campaigns don’t stop once people arrive. They continue throughout the inspection. They continue after visitors leave and, in many cases, right up until the next homeowner decides who they’ll trust to sell their property.

The open home isn’t simply where properties are sold. It’s where reputations are built. It’s where memories are created. It’s where future listings begin.

At Neo, we believe every piece of marketing handed to a prospective buyer or future vendor should reflect the quality of the agent behind it. Great print isn’t simply about presenting a property - it’s about creating confidence in your brand and leaving a lasting impression that sets you apart.

AI AND GLOBAL COLLABORATION DRIVING THE FUTURE OF PRINT By Alastair Troedel, National Key Accounts Manager and Industry Ambassador

EW LITHO GROUP is proud to be an active member of the International Printers Network (IPN), a global alliance of leading independent print companies committed to sharing knowledge, innovation and best practice. In May, Clinton Daley and I represented New Litho Group at the IPN Spring Meeting in Madrid, Spain, joining print leaders from more than 15 countries to explore the future of our industry. A major focus of the three-day conference was Artificial Intelligence and the question every business is asking: “What is your AI strategy?”

Presentations and workshops demonstrated how AI is transforming every stage of the print journey—from AI-generated quotations and personalised sales proposals to automated prepress workflows, predictive maintenance, real-time quality control, smarter production planning and enhanced customer portals. AI is also enabling highly personalised marketing campaigns while

providing powerful business intelligence to support faster, smarter strategic decisions.

The conference also included visits to Canon’s European Demonstration Centre, Truyol Digital and MailTeck, where we experienced world-class automation, digital print technology and workflow innovation in action.

The insights gained through our IPN membership ensure New Litho Group remains at the forefront of innovation. By learning from some of the world’s leading print organisations and sharing our own experiences, we continue to bring new ideas, greater efficiencies and future-focused solutions to our customers.

Just as valuable were the conversations outside the conference sessions. Networking with like-minded printers from around the world reinforced that New Litho Group is operating at the leading edge of the industry. These relationships also strengthen our global network of trusted print partners, allowing us to confidently deliver international print solutions for our customers whenever local production is required in overseas markets.

As Australia’s premium print marketing partner to the real estate industry, Neo is uniquely positioned to help you create exceptional brochures, magazines and premium marketing collateral that elevates every open home experience. Because while digital marketing gets people through the door, it’s the tangible marketing they leave with that keeps you front of mind when they’re ready to buy, or when it’s time to choose an agent to sell their own home.

When the inspection is over and everyone’s gone home, how are you creating a lasting impression that goes beyond the open home?

IPN - a global gathering of print professionals meet in Madrid. Clinton Daley 4th from left. Alastair Troedel smiling in the centre.

PAGE 4

LITHONET WINTER/SPRING 2026

THE SCULPTURE OF IDENTITY: How a Single Letter Can Redefine a Company By Gavin MacMillan, Group Marketing Manager In every industry, there are inflection points - moments where a company must decide whether it will continue to be defined by its past or reshape itself for the future. For New Litho Group, that moment arrived when we realised that our organisation had grown into something far larger, more complex, and more ambitious than the brand identities that carried us here.

CROSS NEARLY NINE decades, the business evolved from New Life Publications to Newlitho, then to Neo, and in recent years expanded through Eastern Press, Valiant Press, and Doculink. Each acquisition brought new capabilities, new leaders, and new cultures. What we didn’t have was a single, unifying identity that reflected the reality of who we had become: a modern, multi brand print and production group with institutional capability and family owned values. This is the story of how a single letter - the sculptural “N” - became the anchor for a new era. And more importantly, why the journey behind it offers lessons for any organisation considering its own brand identity.

The Strategic Imperative: Why Brand Identity Matters More Than Ever Brand identity is often misunderstood as a cosmetic exercise. A new logo, a new colour palette, a new typeface. But identity is not decoration - it is direction. It shapes how employees see themselves, how clients understand your value, and how the market perceives your ambition. In our case, the need was clear. Internally, many team members still identified with their operating companies rather than the group. Externally, clients saw strong individual brands - Neo, Eastern Press, Valiant, Doculink - but not the powerhouse behind them.

A strong identity doesn’t just communicate who you are. It communicates who you intend to become.

The Design Challenge: Crafting a Symbol Worthy of the Group When Ogilvy began the identity project, the brief was deceptively simple: create a brand that could unify 120 people, four operating companies, and 88 years of heritage—while signalling a future defined by innovation, design, and modern production. The solution emerged from the very material that defines our craft: paper. “Inspired by the physicality of paper and print, the form folds and flows in space, symbolising movement, transformation, and the beauty of lithography.” — NLG Branding Presentation, Ogilvy The sculptural “N” was not chosen because it was neat or convenient. It was chosen because it captured the essence of what we do. The fold. The tension. The transition from flat to dimensional. The interplay of light and shadow. The

movement from heritage to innovation. It was a letterform that could only belong to a company that understands print not as ink on paper, but as craft, engineering, and design.

The Moment the “N” was Chosen Every brand project has a moment where the right idea reveals itself - not loudly, but unmistakably. For us, it happened during a review session where multiple territories were on the table. Some were safe. Some were expressive. Some were clever. But one concept stopped the room: a folded, sculptural “N” that felt less like a logo and more like an object. It had weight. It had presence. It had tactility. The internal reaction was immediate. People leaned in. They asked questions. They imagined it on signage, on presses, on the side of a truck, on a business card. It felt premium, modern, and timeless. It felt like us. That moment matters. Because when a brand identity is right, people don’t need to be convinced, they recognise themselves in it.

The first time we saw the 3D Render The 2D concept was strong. But the identity came alive when Ogilvy presented the first ultra realistic 3D render. The sculptural “N” transformed from

PAGE 5

a mark into a physical object. Light wrapped around its curves. Shadows created depth. The form felt engineered, crafted, almost architectural. It looked like something you could pick up, rotate, and place on a desk.

Identity creates alignment. Alignment creates momentum. Momentum creates culture.

It was at that moment the identity transcended design and became brand. Not a logo, but a symbol of capability, precision, and modern craftsmanship.

For clients, the new identity communicates:

For a print group, that mattered. It demonstrated that we don’t just produce premium work, we embody it.

The Internal Shift: Identity as Culture A brand identity is not successful because it looks good. It is successful because it changes behaviour.

The External Signal: Identity as Strategy • A premium, design led organisation • A group with deep capability and modern infrastructure • A company that values craft, precision, and innovation • A partner with long-term stability and ambition For current and future employees, the new identity communicates something deeper than a visual refresh. It signals: • A unified group with shared purpose

The sculptural “N” did exactly that.

• A place where careers can grow

Teams began referring to “the group” rather than their individual operating companies. Leaders started imagining how the identity could unify processes, standards, and expectations. Conversations shifted from “what we were” to “what we are building.”

• A brand they can be proud to represent • A culture that welcomes new talent and new ideas • Identity is not just how you look. It is how you are understood.

The Lesson for Any Business Considering a Rebrand The NLG identity project is not a story about a new logo. It is a case study in how brand identity can reshape a company from the inside out. If you are considering your own brand evolution, here are the principles that mattered most: • Start with strategy, not aesthetics - Identity must solve a business problem • Design for the future, not the past - Heritage should inform, not constrain • Choose a symbol that carries meaning - The sculptural “N” works because it expresses our craft • Involve your people - Internal alignment is the real measure of success • Make it premium - Quality signals ambition • Make it dimensional - Modern brands live across physical and digital worlds • Make it yours - A great identity feels inevitable in hindsight

The Power of a Single Letter In the end, the sculptural “N” is more than a logo. It is a statement of who we are, what we value, and where we are going. It represents the fusion of heritage and innovation, craft and technology, physicality and design. And it proves a simple truth: A strong brand identity doesn’t just change how the world sees you. It changes how you see yourself. For New Litho Group, that has made all the difference.

DID IT START WITH GUTENBERG? By Paul Daley, Group Executive Chairman

HE BIGGEST-EVER shipment of Chinese EVs to Australia docked in Melbourne in early June. The BYD ship had 4809 new cars on board, and this comes as China has overtaken Japan as Australia’s largest supplier of vehicles.

BYD is also outselling Tesla 2:1 in Australia, representing a 641% year-on-year increase. BYD has rapidly expanded in the European market, again overtaking Tesla to become the top seller in key countries like the UK and Germany. The sheer magnitude and complexities of the global Chinese EV onslaught is an ideal prompt to turn back the clock and reflect on how China has contributed immensely to the world, giving us inventions and cultural treasures that have shaped human history. From the revolutionary compass, which made long-distance travel and exploration possible, to paper and printing, which transformed the way knowledge spread, China has been at the forefront of innovation. The ancient silk trade not only introduced luxurious fabric to the world but also connected continents through the legendary Silk Road.

Compass Before the compass was invented, explorers had to look to the sun, moon and stars for directional guidance. The Chinese were the first to use magnetic rocks to determine north and south. This technique was later incorporated into the design of the compass. Gunpowder The Chinese first used gunpowder to make explosives used by the military in the 5 dynasties and 10 kingdoms period (907960). The Chinese invented cannons and landmines made of cast iron, as well as rockets, that utilised gunpowder.

Paper The first paper was made of hemp, rag and fishing net. This coarse paper was created in the Western Han Dynasty (206 BC-AD 24), but it was difficult to write on and wasn’t widely used. Cai Lun, a eunuch in the Eastern Han Dynasty (25-220) court, invented a fine, white paper made of bark, hemp, cloth and fishing net that could easily be written on.

Moveable Type and Printing Moveable type was invented by Bi Sheng, a craftsman who worked in a book factory in Hangzhou in the eleventh century. Characters were carved into reusable clay blocks, which were fired, then arranged in a metal holder and brushed with ink. This invention contributed greatly to the history of printing. The True Pioneers of Moveable Type. In February 2026, I found myself walking through the historic streets of Amsterdam alongside our CEO, Clinton Daley. Having spent sixty years of my life working as a printer, I had always accepted the history taught to me for decades: that Johannes Gutenberg single-handedly revolutionised the world by inventing the first printing press. But during that chilly Sunday afternoon, a chance encounter with an alternate historical account revealed a far more complex and thrilling story—one that positions East Asian innovators as the true, unsung pioneers of print. In a corner of Wereldmuseum, I was staggered to see a tribute display of China’s role in the history

Twenty five years ago, I spent ten days exploring Jordan - at one point the guide stopped the car in a desolate expanse, and ask me to alight an walk towards a rocky outcrop. Then he pointed and I could see an ancient road stretching into the distance. I was standing on the Silk Road - still in place after a millennium.

Global Innovator Even modern technologies, such as highspeed rail systems and advances in renewable energy, reflect China’s ongoing role as a global innovator. The country’s legacy is vast, combining ancient wisdom with contemporary breakthroughs and shaping life, culture, and innovation worldwide. In Chinese history, there are 4 great inventions: the compass, gunpowder, paper and printing technology.

Clinton Daley at Wereldmuseum, Amsterdam - China’s role in print history

PAGE 7

of printing, and I alerted Clinton to it.

In the West, Gutenberg’s innovation around 1440 AD in Mainz, Germany, is rightfully regarded as an inflection point in human history. Before his press, European books existed only as precious, hand-copied volumes tightly controlled by the clergy. Mass-produced books altered global literacy, politics, and religion, paving the way for the Renaissance and the scientific revolution. However, the foundational innovations of printing technology actually began in East Asia, driven by Chinese nobles, Korean Buddhists, and the descendants of Genghis Khan—centuries before Gutenberg.

The journey toward printing began around 800 AD in China with woodblock printing, a painstaking process where an entire page of text was chiselled backwards into a block of wood, inked, and pressed onto paper. By 971 AD, printers in Zhejiang successfully produced the massive Buddhist canon, the *Tripitaka*, using an astonishing 130,000 carved woodblocks—one for each page.

Later efforts would create early movable type – including the successful but inefficient use of ideograms chiselled into wood and a brief, abortive attempt to create ceramic characters. Movable type was an 11thcentury Chinese invention, refined in Korea in 1230, before meeting conditions in Europe that would allow it to flourish – in Europe in Gutenberg’s time. In 1232, invading Mongol troops conquered the capital of Korea and proceeded to burn the Korean copy of the Tripitaka to ash. The Mongol Empire, founded by Genghis Khan in 1206, became the largest contiguous land empire in human history. At its peak, it spanned 9 million square miles from the Pacific Ocean to the Danube River, connecting East and West. Genghis Khan’s successful far-right one-nation outfit makes today’s Putin, Xi and Trump look like rank amateurs. And global illiteracy prevented Khan’s propaganda unit from using the printed page to his advantage, making it a case of the sword being mightier than the pen.

But 90% were illiterate... 9 million square miles.

Bi - Sheng - Hangzhou book factory 11th Century AD

During this era of rebuilding, a Korean innovator named Choe Yun-ui took earlier Chinese concepts of movable type and adapted a method used for minting bronze coins to cast three-dimensional characters in metal. He arranged these metal pieces in a frame, coated them with ink, and pressed them onto paper.

It is important to recognise what this means. The innovation that Johannes Gutenberg is said to have created used small metal pieces with raised, reversed letters, arranged in a frame, coated with ink, and pressed onto paper, allowing books to be printed more quickly. But Choe Yun-ui had already done that – and he did it 150 years before Gutenberg was even born.

Ultimately, early European capitalists invested heavily in Gutenberg’s business venture. He successfully combined movabletype technology—remarkably similar to Choe Yun-ui’s innovation—with a screwthreaded spiral mechanism from local wine and olive presses to achieve true commercial speeds.

Indeed, the entire history of the printing press is riddled with gaps. Gutenberg did not tell his own story in the documents produced on the printing presses he built, and, to the best of modern knowledge, he left no notes on his work at all.

Continued on page 8...

Perhaps it should be Choe Yun-ui whose name we salute, instead of Gutenberg!

If East Asia pioneered the technology, why does Gutenberg get the credit? Korea’s early printed books did not spread at the rapid, commercial pace that Gutenberg’s would centuries later. Similarly, despite inventing paper around 200 BC, China did not initially establish widespread, cheap printing presses. Paper itself took over a thousand years to travel from China to Europe, finally arriving around 1100 AD.

Gutenberg’s primitive printing press 1440 AD

PAGE 8

LITHONET WINTER/SPRING 2026

NEO 5-7 Dunlop Road, Mulgrave VIC 3170 03 8809 2500

Know someone whoʼd enjoy Lithonet? Get them on our mailing list. Email hello@newlitho.com.au for more information.

Continued from page 7...

EPILOGUE

NEO NSW 7/108 Warrane Road, Chatswood NSW 2067 1300 600 636 Eastern Press 5-7 Dunlop Road, Mulgrave VIC 3170 03 9561 8200

Scan the QR code to read Lithonet online

VALÉ NORMAN J. FIELD

HE SOUTH CHINA Morning Post reported that a Chinese teacher named Zheng Wenfeng was suspended in 2019 for causing “vicious social impact” by ‘belittling’ great inventions in online chat. He was an associate professor at the University of Electronic Science and Technology of China (UESTC) in Chengdu. In June 2019, he was reported by students after stating in a WeChat group that the “Four Great Inventions” of ancient China (papermaking, printing, gunpowder and the compass) were “neither world-leading, nor did they enhance productivity or collaboration.”. He also remarked that students shouldn’t look to ancient times for examples of innovation. After students leaked the conversation online, it sparked a massive debate on Chinese social media platforms like Zhihu and Weibo. The university ethics committee subsequently punished Zheng in August 2019, suspending him from all teaching duties for 24 months.

Norman J. Field checks the National Geographic Diary at New Litho in 2005.

The Australian printing industry has collectively joined to acknowledge the passing of Norman J. Field. His extraordinary 62 year career was defined by milestones that saw lithographic printing shape the industry. In 1971 he installed Australia’s very first 4 colour Komori A2 press, and in 1974 Prince Philip admired Norman’s art reproductions in Parliament House, leading to its acquisition for the permanent Royal Collection at Buckingham Palace.

By 1980, Norman J. Field & Co, had grown into an industry titan, being Australia’s largest privately owned printing company. It was acquired by US conglomerate Textron Inc.

The “Four Great Inventions”

Norman consulted to New Litho from 2000 – 2005, and was instrumental in achieving many Print Awards for the work New Litho produced. He then consulted for Eastern Press for a further 15 years – and again lead their team to achieve many National Print Awards. He was guided by his philsophy – “Let the world print to a standard, and I will just better it!”

Valiant Press 64 Geddes Street, Mulgrave VIC 3170 1300 769 985

Lithonet is produced wholly at New Litho Group, printed using four colour process with spot matte and gloss varnish and the stock is ecoStar+ 100% Recycled Silk.

The Quiz. 01. W hat year d i d t h e

09. Wh o i nve nte d th e

02. W hich plan e t i s kn ow n

10. What i s th e sm al l e st

03. W h o wro te ‘ To Ki l l a

11.

Tit anic s ink ?

as t h e Re d P l a n e t?

M o ckin g bird ’ ?

04. W hich co un t r y i s t h e

wo rld’s larg e st exp o r te r o f co f fe e?

05. How m any s i d e s d o e s a h exa go n have?

06. W hich o cean i s t h e larg e s t?

07. W hat is t h e ch e m i c a l sy mbo l fo r g o l d ?

08. In what year d i d t h e B e rlin Wall fa l l ?

te l e p h o n e?

co untr y i n th e wo rl d ? Whi ch Shake sp earean p l ay feature s th e chara c te rs Ro se n crantz an d G ui l d e nste rn?

12. How m any b o n e s d o e s an a d ul t hum an b o d y co ntai n?

13. What i s th e d e e p e st o cean tre n ch?

14. How m any stri n g s d o e s a stan d ard v i o l i n have?

15. What was th e f i rst

feature - l e n g th ani m ate d f i l m re l ease d by Di sn ey ?

16. W hich co un t r y h a s t h e m o s t t im e zo n e s?

17. In what year d i d Wo rl d War I be gin?

18. W hat is t h e n a m e o f t h e an c ie nt s upe rco n t i n e n t t hat bro ke a pa r t?

21. Whi ch o f th e Seve n

Wo n d e rs o f th e A n ci e nt Wo rl d sti l l stan d s to d ay ?

22. In what year d i d hum ans f i rst l an d o n th e Mo o n?

23. What i s th e ch e m i cal

fo rm ul a fo r tab l e sal t?

19. W h o dis cove re d

24. Wh o pai nte d th e Si sti n e

20. How m any ch ro m o so m e s

25. In what year d i d th e

pe nicillin?

do humans h ave?

Chap e l ce i l i n g ?

Deano’s Limerick There once was a print co. named NEO Who with Eastern, Valiant and Duo Had all rivals at sea With the rise of NLG Never a better place to be, oh!

G ute nb e rg p ri nti n g p re ss revo l uti o ni se Euro p e?

Word Search. Fin d 20 delicious dish es J

O P

W S

H O

M E

M B

O U M H

C O

B N

G O A

Q D N

N R

H N

R O

G U M Z

O U D Q

N B

W U

A M A

D D

Z M S

O P

B U

H W P

O O N R

P M

U D G U P

E M C

C W P

R Q U

H W

G D

N O

O N

E W P O R

O B

U O

D O G

H P

Q B

O N

M G

A M E

H O P

A O Q B U

R O O

O H Y

J W N

L W

U D G

O O

APPLE PIE BURRITO CHEESEBURGER CHICKEN NUGGETS CHOCOLATE CROISSANT FALAFEL GUACAMOLE HOT DOG LASAGNA MISO SOUP NACHOS PASTA PEPPERONI PIZZA PORK CHOP RAMEN SUSHI TACOS TOFU WONTON

Get it solution.

hint - traditional method of printing

Answers. 1. 2. 3. 4. 5. 6. 7.

1912 Mars Harper Lee Vietnam Six Pacific Ocean Au

8. 1989 9. Alexander Graham Bell 10. Vatican City 11. Hamlet 12. 206 13. Mariana Trench 14. Four

15. Snow White and the Seven Dwarfs (1937) 16. France 17. 1914 18. Pangaea 19. Alexander Fleming 20. 46

21. Great Pyramid of Giza 22. 1969 23. NaCl 24. Michelangelo 25. 1440 Get It - Offset