Image Reports - August September 2022

Actively investigating and supporting the wide-format print sector

ISSUE 4 • VOLUME 30 • AUGUST / SEPTEMBER 2022

DIGIMURA: THE DESIGN COLLECTION Papergraphics introduces 26 exquisite finishes in latest wallcovering range www.paper-graphics.com

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Editorial

IT’S ALL ABOUT YOU… Editor: Lesley Simpson lesley.simpson@imagereportsmag.co.uk

…well, it always is - that’s the whole point of Image Reports! But this issue we delve even deeper into the issues that are impacting Britain’s

Production / Design: Alex Gold

large-format print community, with the publication of 2022 Widthwise

Publisher: Wayne Darroch wayned@sjpbusinessmedia.com

Report - the 15th consecutive year we have polled the sector to obtain grassroots data that we analyse and provide free-of-charge to help you

Advertising Manager: Carl Archer carl.archer@imagereportsmag.co.uk Tel: 07723 079928

get a better handle on the sector in which you operate. The full report can be downloaded at: www.imagereportsmag.co.uk/widthwise. To give \RX D KHDGV XS WKHUHâV D SUHFLV RI WKH NH\ ðQGLQJV RQ S 7KHQ WXUQ WR

SJP Business Media, 2nd Floor, 123 Cannon Street, London, EC4N 5AU www.imagereportsmag.co.uk

the ‘What To Watch’ technical pieces where we ask kit manufacturers questions based on the information collected from the 201 PSPs that answered this year’s Widthwise survey.

For circulation enquiries contact: SJP Business Media Email: subscriptions@sjpbusinessmedia.com

One of the areas where the feedback from the sector’s PSPs always

Image Reports is available free to printers based in the UK. Register at www.imagereportsmag.co.uk/register.

paints something of a confused picture is the environment - more than three out of four Widthwise respondents (78.61%) are focused on reducing energy consumption and almost as many (77.61%) are looking

To purchase a subscription please visit www.imagereportsmag.co.uk/subscribe – UK £54, overseas £84

to reduce and recycle in-house waste. The other most common goals are measuring and reducing carbon footprints (54.71%) and using recyclable

Printed in Great Britain.

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materials (54.22%). All good. Yet 62.19% say that few customers still enquire about their environmental accreditations, and 5.47% say their clients never ask. That may be why many PSPs are yet to get involved LQ HFR SURJUDPPHV OLNH WKRVH RσHUHG E\ )HVSD 8. $VVRFLDWLRQ DQG WKH SGP. Turn to the ‘Environment’ section to read why the heads of both of those organisations are calling on you to take more action.

In this issue too, we talk to Tom Goddard, president, World Out of Home Organization, who has issued a rallying call for this industry to get behind classic OOH, where he believes many an opportunity still lies. And we DOVR WDON WR -LP .HUU &(2 RI WKH QHZO\ IRXQGHG $VWUD *URXS DERXW KLV GHFLVLRQ WR XQLWH WZR RI WKH 8.âV OHDGLQJ GLJLWDO DQG WUDGLWLRQDO VLJQDJH businesses - and ask if it’s a move he thinks others will follow to create new powerhouses.

From Top: Lesley Simpson Alex Gold Wayne Darroch Carl Archer

There’s a lot to take in, so grab a cuppa…

Editor LESLEY SIMPSON LESLEY.SIMPSON@IMAGEREPORTSMAG.CO.UK TEL: 01932 707173

www.imagereportsmag.co.uk | 3

Contents

CONTENTS AUGUST / SEPTEMBER 2022

REGULARS: p6 News Keeping you abreast of all the latest news in relation to digital wide-format print.

p8 Cover Story Advertorial Introducing the Design Collection by Papergraphics.

p28 Forum Digging below the surface with Industry Mole; Out and About events diary; Legal Eagle advice.

p30 Zeitgeist Are we likely to see more regional powerhouses created via acquisition and merger?

16 SECTIONS: Special p11 Widthwise 2022 The key findings from this year’s Image Reports survey of UK/Ireland-based large-format PSPs.

Technical p13 What to Watch I: Textile printing - a seam of gold?

A look at the kit that could take you into this moneymaking market.

p16 What to Watch II: Focusing on the findings Manufacturers respond to the issues thrown up by the Widthwise data.

20

Business p20 Talking Point

NEWS AND VIEWS ONLINE Go to www.imagereportsmag.co.uk for all the wideformat sector’s industry news, updated regularly online. Image Reports can also send a twice weekly enews bulletin straight to your inbox – register at: www.imagereportsmag.co.uk/ newsletter

Has classic OOH had its day? Not by a long shot according to World Out of Home Organization president Tom Goddard.

p22 Show and tell How and why the Simpson Group is in teaching mode.

Environment p25 Waste not Why the Fespa UK Association’s MD is calling out to printers and suppliers.

p27 Grounded, but ready to roll The SGP certification pilot failed to take off in the UK. But can it fly?

www.imagereportsmag.co.uk | 5

News

GO TO WWW.IMAGEREPORTSMAG.CO.UK FOR THE FULL STORY…

Canon Europe appoints new director

] Solopress signs the Menopause Workplace Pledge

Canon Europe has appointed Mathew Faulkner to the role of EMEA director, marketing and innovation, wide-format printing group.

Faulkner - who now reports into the newly appointed European production planning, marketing and innovation senior director, Jennifer Kolloczek - also sits on the council of the Independent Print Industries Association (IPIA) and is chairman of its training and education subcommittee. He is also a member of the marketing steering group for the notfor-profit organisation Two Sides.

He said of his new role: “Canon has a world-class wide-format offering, from innovative large-format

] Shaun Holdom leaves Drytac ] New trading name for Granthams Graphic Technology ] Eska Board now available from Premier ] Chris Martin joins CMYUK team ] The Printing Charity’s Rising Stars applauded ] Summa becomes Brett Martin approved partner ] BCF creates online history resource ] Innotech ebook tackles sustainability in large-format print ] New Elizabeth Line gets first 12-sheet Halo Media Panels ] Color-Logic partners Taktiful ] ArtSystems makes senior promotions

print technologies to the software solutions that support them, to the specialist partners we work with to help customers work smarter. I’m excited to come back into the vibrant world of wide-format print and inspire our customers with all of the creative applications and growth opportunities that are within their reach.”

Faulkner has undertaken a range of marketing roles in Canon’s production print business over the last decade, including almost five years working in applications-led marketing and business development for wide-format, following two years marketing the imagePrograf portfolio.

] YPS makes new appointments ] UPM Kymmene-Austria sold off ] Manchester Printers Group acquires Signature Printing ] New chairman for Picon ] Fastsigns Crawley partners with Crawley Pride ] EFI acquires Inedit Software ] Swedish group acquires Astley Signs ] Fujifilm buys inkjet systems integrator Unigraphica ] Fujifilm appoints Martin Fairweather as national digital business manager ] Siegwerk receives EcoVadis Silver Medal rating ] Xaar commits to three year charity support programme ] Case studies from CMYUK, Drytac, EFI, Durst, HP

Fespa UK Association extends waste management project Fespa UK Association is extending its waste management scheme to provide an end-of-life print recycling option following requests from printers.

“Our new scheme gives a solution to end of campaign banner recycling. It will provide either a tube or box system that will allow the end user to take down the banners, put them in the boxes or tubes and send them directly to the recyclers.

This gives Fespa UK members traceability of their substrates even after installation,” said

Fespa UK MD Suzi Wilkinson.

Fespa UK has also recently launched a sustainability hub ‘Responsible Print Solutions’ - an ever-evolving site that aims to help printers become more sustainable. The association has researched all the services on the site and spoken to member printers that have used the partnered companies.

See feature in the ‘Envirornment’ section of this issue.

Imageco now carbon neutral

Fespa Awards 2023 open for entry

Imageco Visual Imaging has been certified a carbon neutral printer with the internationally recognised PAS2060 standard.

MD Nathan Swinson Bullough said: “I am delighted to share this news after all the work we have done on our sustainable journey. Massive thanks to CarbonQuota for helping us. I didn’t think this was possible as we set off on our journey years ago, but after the introduction to Dominic Harris [co-founder at CarbonQuota] and the team our goals have been accelerated.

“Our carbon credits will work towards CarbonQuota Portfolio projects including: PacajaiREDD+, Brazil (Verra Project 981); Tropical Mix, Panana (Gold Standard Project 2940); and Green Infra Wind Gujarat, India (Gold Standard Project 7795).

“I’m always open to helping anyone that wants to look into becoming carbon neutral. It’s not easy but it is achievable as we have demonstrated.”

Entry is now open to the Fespa Awards 2023. The closing date for entries is 25 January 2023. The shortlisted entries will be announced on 13 March and will be displayed at Fespa Global Print Expo 2023, 23 - 26 May at Messe Munich, Germany.

Fespa has added a new awards category to zone in on sustainably produced applications.

This award will be judged across all categories against environmental considerations, including a reduction in the use of materials, energy and labour throughout production; whether the product can be reused or recycled; if notable attention has been paid to lifecycle analysis; and whether the entry is economically viable.

The other awards categories are: Display and POP on Paper and Board; Packaging on Paper and Board; Display and POP on Plastic; Packaging on Plastics; Posters; Serigraphies and Fine Art; Decals and Printed Labels; Wrapping; Creative Special Effects Paper Board and Plastics; Special Effects on T-shirts,

Garments and Other Textiles; Printed Garments; Roll-to-Roll Printed Textiles; Glass, Ceramic, Metal and Wood Products; Direct Printing on 3D Products; Non-Printed Signage; Functional Printing; Printeriors There is a charge of 100 Euro per entry for Fespa members or 150 Euro per entry for non-members.

The final category is the Young Star Award, which can be entered by those aged 16 to 25 working as a vocational trainee or student. Entrants can enter this award by submitting work in any of the print related categories. There is no cost to enter the Young Star category and the prize for the winner is 1,000 Euro.

In addition to the Sustainability Award, there are three further awards that all entrants are automatically considered for. The People’s Choice Award is voted for by Fespa’s online community across all categories and voting for this award will be open from 13 February 2023. The Best in Show Award and the Judges Award for Innovation are chosen by the Fespa Awards judges.

Avery Dennison introduces new Sustainable Print portfolio products Avery Dennison has introduced various media products as part of its new Sustainable Print portfolio.

The Avery Dennison SP 1504 Easy Apply is a PVCfree digital film for automotive wraps said to provide excellent conformability and repositionability, while the Avery Dennison SP 3523 Opaque Matt is a PVC-

6 | August / September 2022

free alternative for short-term promotional graphics.

Also, the company used Fespa to show its Organoid Natural Surfaces portfolio that includes media made from renewable materials with self-adhesive backing for application to walls and windows.

Alessandro Sacchi, product line director, graphics

solutions Europe, said: “These Sustainable Portfolio materials are the result of extensive research and development. They have been developed to make sure that installers don’t have to offer second-best when transforming their own and their end users’ environmental footprint.”

News

EFI Fiery makes key moves EFI’s Fiery business has acquired software company Cadlink Technology Corp which provides solutions for digital wide-format print and vehicle wraps, digital direct-to-garment (DTG) and direct-to-film (DTF) printing, and digital cutting and engraving.

Ottawa, Canada-based Cadlink serves markets that require unique workflows involving different types of production devices. Its products cover design, Rip and workflow, and are sold globally through OEMs and resellers. EFI said the products, partners and channels are a natural complement to what the Fiery business delivers for its global commercial, display graphics and industrial printing customer base.

“The synergies between our two companies are tremendous and we look forward to providing

1 in 5 businesses struggling to remain competitive shows new data Time Finance research has revealed that one in five businesses are struggling to remain competitive in the wake of rising costs and UK inflation reaching a 40-year high of 9.1%.

The data also shows that 91% of UK SMEs have been forced to hike their own prices to keep up with soaring operational costs. 63% of firms were found to have increased their prices by 10% and one in five by up to 30%.

Of the businesses surveyed, ‘soaring energy and utility costs’ and the rising ‘cost of materials and stock’ ranked the two greatest threats to businesses right now.

“As inflation continues to rise at an accelerated rate, the only option businesses have to deflect the detrimental impact and continue trading, is to increase their costs. But with the interest rate now taking a hike consecutively month on month, the mountain of rising costs across the board are not sustainable for anyone. Something needs to change in order for businesses to not only survive, but create jobs, inspire innovation and continue generating wealth for our economy,” said Ed Rimmer, Time Finance CEO.

customers with more world-class software and support to accelerate their adoption of digital print and imaging,” said Toby Weiss, chief operating officer, EFI Fiery. “This acquisition will directly benefit our customers and it significantly strengthens and expands our presence in growing markets.”

Meanwhile, EFI has launched a service that makes it easy for print companies to achieve Ghent PDF Output Suite 5.0 conformance certification for digital printers and presses using EFI Fiery digital front end (DFE) print servers.

Once certified, PSPs receive a digital badge to show their PDF output workflow is compliant with the PDF/X-4 standard (ISO 15930-7:2010) for use on their website etc. Certified companies also

have their name and location displayed on the international Ghent Workgroup site. The service costs 380 Euro.

Print businesses that use EFI Fiery DFEs on their digital equipment for wide-format or cutsheet production can order the certification service from EFI by filling out an online form. EFI then electronically sends personalised Ghent Workgroup test forms along with a short video on how to set up their Fiery server to achieve a pass.

Once they print the forms, Fiery users can take photos of their output using a smartphone and transmit the images to EFI for evaluation of each test element required for certification. EFI and the Ghent Workgroup can complete the certification within a week of receiving output photos.

Onyx Graphics appoints new president and CEO Onyx Graphics has appointed Matt Crawford as president and CEO, replacing Kevin Murphy who retired in July.

Crawford has worked directly with Murphy for the past ten years and has over 20 years at the company in various roles. Over the past two years Crawford has been responsible for developing and delivering Onyx products, including the company’s new subscription software. Before that he served as the Americas regional general manager and as a territory sales manager for the Central North America region.

The company has also announced that its new Onyx 22 wide-format Rip and print workflow

software, previewed at Fespa Global, is now available worldwide.

The latest version introduces drag-and-drop file management and quick set automation, smart job submission from design to print, artwork placement controls for flatbed and DTG printing, and easy-touse tools for everyday automation.

Onyx 22 also provides tools for increased colour output accuracy and an all-new Onyx Color Reference Library to easily match colour for any printer. It highlights in-and-out of gamut colours and can be printed or used in Onyx software to show what colours are possible on each device and media combination.

Simpson Group takes part in Stemfest Net Zero The Simpson Group has taken part in Stemfest Net Zero in Newcastle, where more than 3,000 young people from the region’s schools attended the event, organised by the North East Stem Hub in partnership with Newcastle United Foundation in direct response to the growing alternative energy sector in the region.

Businesses in the area were invited to deliver fun, interactive and hands-on sessions relating to

their industry, specifically in response to climate change and their plans to reach Net Zero by 2030.

The face-to-face event - held at St James’ Park and the new NUCastle building - was split into five areas - climate adaptation, power and natural resources, transport, building and construction, business and industry. Simpson Group featured in the latter.

See feature in the ‘Envirornment’ section of this issue.

Creative Retail Awards and Save The High Street partner The Creative Retail Awards and Save The High Street have formed a partnership to promote the importance of design and display in independent retail.

Save The High Street is sponsoring the ‘Best Independent Store’ category at the 2022 awards, which span a number of disciplines including store design, surfaces, omni-channel, technology, sustainability, lighting, and more.

Save The High Street is an industry movement formed to ensure successful high streets by supporting over 25,000 local businesses. John

Abbate, the retail design and visual merchandising expert on the Save The High Street advisory board, is a staunch believer that effective design and display can provide a real competitive advantage to independent retailers: “Independents are the heartbeat of our high streets. Their ability to provide a more personal touch, together with the individual look and feel of their physical space, adds character to our high streets. Many large brands often try to emulate the spirit of an independent shop, but noone can do it as authentically as the real thing. And

that’s what we need more of in the retail design and display world, the real thing. To be inspired, creative and quirky - making retail fun. To offer a personal experience and become a ‘destination’ - even on a small budget. SaveTheHighStreet.org are proud to be associated with this award.”

Antony Behiels, SDEA director added: “Effective VM, design and display is imperative. When it is done correctly it will engage and attract more customers, help increase sales and give customers a reason to return to stores in the future.”

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Cover Story

INTRODUCING THE DESIGN COLLECTION, BY PAPERGRAPHICS With close to 40 years of experience at the forefront of the large format print supply business, Papergraphics is known for its superior technical knowledge, support and customer service, and since 2004, the company has become the market leader and innovator for wallcoverings and interior décor. Papergraphics’ world-renowned brands of Digimura and Muramour wallcoverings are featured in hotels, retail outlets, healthcare and education establishments as well as offices, and even in high-end domestic environments, across the Globe – specified by architects & designers.

Digitally printed wallcoverings are an endlessly versatile medium for designers to work with. They can also be quick and easy to put in place, when installed by an experienced installer; they’re simple to maintain and can be updated when required without damage to the wall surface. They can renew interior spaces with fresh life, breathing imagination and invention into the environment.

They bring personality and vibrancy to a building and offer a medium to help convey moods, feelings and ambience.

WHAT’S IN IT FOR PRINTERS? The European wallcoverings market was valued at £8.61 billion in 2020, and is expected to grow up to £11.1 billion by 2026. The European region has witnessed a significant rise in the construction of new buildings, residential as well as commercial. With inkjet printing predicted to account for 11% (£1.2 billion) by the end of 2022, there is definitely growth, both now and in the future; and inkjet will continue to take more print share over time.

8 | August / September 2022

With the ever-evolving development within inkjet printing technology, the interior décor sector is becoming more and more accessible, and lucrative(!!), for print service providers. Can you afford not to be involved?

Papergraphics has been advocating the digital interiors market for some time and has been gaining traction with a loyal band of customers who fully subscribe to the benefits of utilising fit-for-purpose wallcovering materials, designed specifically for interior décor, in their successful printed-interiors businesses.

However, even with an extensive range of established Digimura and Muramour wallcoverings; not content to sit on their laurels, Papergraphics has been busy developing something new behind the scenes over the past few months. Something that is sure to shake up the digital interiors market and set your designers and clients’ imaginations alight.

THIS WEEK, PAPERGRAPHICS LAUNCHED ITS BRAND NEW RANGE FEATURING 26 BEAUTIFUL UNIQUE DIGITALLY PRINTABLE WALLCOVERINGS They’re calling it ‘The Design Collection’. And we can see why.

This new collection is a revelation to the digital print market for interiors. It includes a series of coloured base wallcovering materials, as well as a host of new intricate textures. We’re also talking metallic and eye-catching glitter-flecked finishes; there’s some with beautiful iridescent pearl finishes and even luxurious suede textile surfaces. In all, these new wallcoverings are nothing short of design-chic!

Cover Story

With the addition of these 26 wallcoverings, the new offering doubles Papergraphics’ range of worldrenown wallcoverings, meaning even greater design and specification choice for printers and their clients to choose from!

The Design Collection includes a series of colour groups and finishes that have been specifically selected to offer designers a series of timeless shades and tones on which to start building their designs. Much like an artist would build layers in creating a masterpiece.

Papergraphics has long spoken about the importance of the substrate complimenting and adding to the printed design for interior wallcoverings; now the design possibilities are even greater, with the name of this new collection highlighting exactly where they see these wallcoverings shine!

The introduction of this new range of digitally printable wallcovering was the brainchild of Papergraphics’ Interiors Product Manager and specialist, Michelle Dellow. With 25 years working within the interior décor industry, Michelle is passionate about the creative design possibilities that inkjet printing can offer specifically when substrates actually feature as an integral part of the overall finished design.

“A design can be ‘wow’ in its own right when printed on to a flat, white surface. However, I believe that by adding the right texture, with perhaps a specialist finish such as a pearl, or maybe a luxurious textile, you can just completely elevate that same design to a whole new level.”

THE CONCEPT SEEMS TO BE SOMETHING THAT EVEN EXPERIENCED DESIGNERS ARE NEW TO Papergraphics held an exclusive launch event at their large, purpose-built exhibition facility in Crawley, inviting digital interior print customers as well as guest speakers, John Amabile (interior designer and famed for his work on ITV’s ’60 Minute Makeover’) and professional designers Annette Taylor-Anderson (ATADesigns) and Katja Behre (Elli Popp).

Papergraphics’ exhibition space was transformed into a series of exquisite room-sets, featuring some of the new wallcoverings, printed with Annette & Katja’s designs.

On pairing designs with the wallcovering finishes, Michelle continues “When we first discussed the project with Annette and Katja, and talked about using some of our wallcovering surfaces or finishes as feature parts of their designs, they were unsure of how their artwork would look. However, their reactions on seeing the results were priceless.”

Katja commented “I’d never thought to use the texture or finish of a substrates as part of my designs before.

They look truly amazing, and I can’t wait to show my clients my designs on these new wallcoverings.”

Annette said, (of the event & her designs on the new wallcoverings) “They just look fantastic. Thank you for inviting me to show my work on your wonderful new substrates. Your experience and knowledge is amazing and thank goodness we have industry experts like you among us”.

John Amabile was blown away by the sets created by the team for the launch event, loving the combination of design artwork with the wallcovering finishes, and saying “It seems you can teach this old dog some new tricks!”

IT SEEMS YOU CAN TEACH THIS OLD DOG SOME NEW TRICKS!

WHY TALK TO PAPERGRAPHICS? As the pioneers for digitally printable wallcoverings, Papergraphics has established itself, over the years, as the market-leader in digital interiors. Having invested in a team of highly skilled and experienced print- and interiorsindustry professionals; whether it’s product specification advice, technical print assistance, or installation guidance and training, Papergraphics can support you every step of the way.

And talking of product specifications, the Design Collection, of course boasts the same high quality and durability standards expected of all Papergraphics’ Digimura and Muramour wallcoverings, and they meet all of the relevant fire regulations and legal specification requirements for domestic and contract interiors. The Papergraphics team are also on hand to provide answers or assistance with any questions your clients might have on the suitability of their interiors range across Global specification requirements.

Notably in recent years, Papergraphics has become certified as RIBA (Royal Institute of British Architects) and BIID (British Institute of Interior Design) CPD (continuous professional developments) providers – providing advice and guidance on specifying the correct materials for interiors projects.

A truly exciting new offering from Papergraphics, The Design Collection not only offers printers and designers new creative possibilities for the world of digitally printable wallcoverings, but it also demonstrates the company’s commitment to continually providing new solutions and opportunities for its customers to grow their business. For more information about the new Design Collection, or support with your next interiors project, contact Papergraphics. www.paper-graphics.com Design artwork by ATADesigns & Elli Popp

www.imagereportsmag.co.uk | 9

Special: Widthwise 2022

WIDTHWISE 2022: THE KEY FINDINGS THE 15TH ANNUAL IMAGE REPORTS WIDTHWISE REPORT IS BEING PUBLISHED ALONGSIDE THIS ISSUE AND CAN BE DOWNLOADED FOR FREE AT: WWW.IMAGEREPORTSMAG.CO.UK/WIDTHWISE . IT’S A DETAILED READ, INCORPORATING DATA FROM 201 PSPS BASED HERE IN THE UK/IRELAND TO HELP YOU GET A GOOD GRASSROOTS FEEL FOR THE LANDSCAPE IN WHICH YOU NOW OPERATE. HERE ARE SOME OF THE KEY FINDINGS YOU CAN EXPECT TO BE EXPLORED IN THE FULL REPORT. It’s official - things are getting better. Well, they are according to almost three quarters (73.63%) of the 201 UK/Ireland-based large-format PSPs that look part in the 15th annual Widthwise survey conducted by Image Reports earlier this year. In fact, 31.34% went as far as saying they were ‘very optimistic’ about their businesses over the next couple of years despite all the difficulties of readjusting to continued global, national and more local pressures. Only 11 companies (5.48%) said they were pessimistic.

That’s not to say all has been, nor is expected to be, wall to wall sunshine. The depressing, but hardly unexpected, fact is that half (50.25%) of those questioned had seen a drop in turnover in the 12 months to the start of 2022, but that’s fewer than the year before when two-thirds of respondents had. And this time around 36.82% said they had actually seen a rise in turnover, with more than a quarter of all those polled (26.37%) having logged an improvement of more than 10%. Again, these are much better figures than those thrown up by the 2021 survey.

40% of the respondents to the 2022 poll said they had suffered a drop in print margins since the start of last year.

Yet a similar proportion said they had stuck at about the same levels, and a fifth (20.40%) of the sample said they’d seen an improvement.

The findings come from a cross-section of those in the digital inkjet large-format focused domestic professional print sector. Off the 201 PSPs that took part in this independent exercise more than half (114 companies or 56.72%) have five or fewer employees, though eight firms (3.98%) have over 100. 42.79% turnover less than £250,000 while 8.46% turnover more than £1-2m, and same proportion again turnover more than £5m. The full Widthwise survey dataset is analysed and published with editorial comment in the free-todownload Widthwise Report 2022 at www.imagereportsmag. co.uk/widthwise, but for your quick consumption we’ve here highlighted some of the other key findings.

One of the those findings is that though almost 1 in 10 (9.45%) expect the UK’s wide-format print market to shrink over the next two years, two-thirds (66.17%) expect it to grow!

That’s not necessarily leading to investment in new kit however. Asked ‘how much are you expecting to invest in new hardware/software across your business in 2022 compared to 2021?’ over half (58.21%) said less, though almost a third (32.34%) said more.

Asked how much they expected to invest in wide-format technology specifically over the next two years, the majority (69.65%) said under £20,000, and when asked if they would be buying a new digital wide-format printer in that period more than half (58.21%) said no to that too. Where investment is planned, more than half (51.74%) said it was to increase capacity. To improve efficiency was cited next (22.89%) followed by a requirement to move into new applications/ markets (15.42%).

That tallies with what the respondents had to say about their priorities for 2022 and their strategic development. Over half (55.72%) said growing turnover was the main focus.

Reducing costs was perhaps not highly listed as expected - 11.44% put this top - nor was focusing on sustainable practices, which 6.47% put top.

Don’t let that latter figure fool you into thinking environmental concerns are unimportant however. A massive 91.04% said it was now more important for their company to be seen as environmentally friendly than it was two years ago, and almost two-thirds (62.19%) said their use of recycled/ recyclable print materials had increased over the last year. But tempering the situation was the feedback that almost twothirds (62.19%) said few clients ask for their environmental credentials/policies. Only 7.46% said most ask.

Asked ‘what is the biggest technological issue you face in wide-format?’ many said there are none! 22.39% noted ink and media reliability as continuing issues, 15.42% said machine reliability, 14.93% cited workflow/system integration issues and 11.44% colour management.

So, what else is eating the UK/Ireland’s large-format PSPs? Take a guess - the cost of supplies topped the list of fear (88.56% cited that), the cost of energy came second (81.09%) and the state of the UK economy came third (48.26%). 79.60 said they had experienced supply chain disruption to their business over the last year so that continued to be a downer, and 40.80% said they thought Brexit would prove bad for business in the medium- to long-term.

There’s obviously an acceptance that the game has changed, that it’s not going to change back to what it was, and that if you get involved in creating a new game it may be even more rewarding as a player - however large or small.

73.63%

are optimistic for their business over the next two years

66.17%

expect the UK’s wide-format print market to grow over the next two years www.imagereportsmag.co.uk | 11

Technology | What to Watch

TEXTILE PRINTING – A SEAM OF GOLD? WE HEAR AN ENORMOUS AMOUNT FROM PRINTER MANUFACTURERS ABOUT THE OPPORTUNITIES AFFORDED PSPS BY TEXTILE PRINTING. YET, OUR WIDTHWISE SURVEY FINDINGS SHOW RELATIVELY LITTLE EXUBERANCE IN THIS SECTOR WHEN IT COMES TO THE OFT FORECAST MONEYSPINNER. SO SHOULD YOU BE HAVING ANOTHER LOOK AT TEXTILE PRINT KIT?

Of the 201 UK/Ireland large-format PSPs polled for Widthwise 2022, under 10% are involved in textile printing for garments, under 5% for banner/flags - and textile printing for home/interiors barely registers. Under 10% own a dye-sub machine, and of those buying a new large-format printer in 2022/23, only 4.08% said it would be dye-sub. Nevertheless, the printer manufacturers are convinced that there’s still enormous scope for their textile printers in this graphics-focused wide-format digital print sector - and here they flag up the kit they believe best suited to this market.

AGFA Agfa recommends the Avinci CX3200, a dye-sub roll-to-roll printer of 3.2m width, that was introduced in June 2021.

The Avinci prints on a variety of polyester-based materials for soft signage and décor applications. The company points out that being able to print directly to fabric is easy and ideal for fast handling and for special applications such as flags, where showthrough is a benefit. Agfa says the use of transfer paper allows for super sharp prints, eliminates any set-off, and keeps media waste to a minimum. In addition, it extends the application scope to non-coated polyester fabrics.

ALL PRINTER COMPONENTS ARE PRODUCED IN EPSON-OWNED FACTORIES TO BETTER GUARANTEE THE SUSTAINABILITY OF THE PRODUCT

EPSON Phil McMullin, pro graphics head of sales, Epson (UK), stresses that the textile printing market continues to be a growth area for the company and that its large-format textile printers “all deliver consistent quality driven by Agfa’s Avinci CX3200

Epson’s Monna Lisa 8000

micro piezo printhead technology that gives our printers an industrial, fit-and-forget quality, which helps minimise the intervention and after-sales service time and costs from the end-user”.

He points out that “all printer components are produced in Epson-owned factories to enable it to better guarantee the sustainability of the products at every stage of the lifecycle, from design and manufacturing to transport, usage and recycling. This also helps achieve greater control of our product lifecycle and supply chain footprint.”

Pricewise, Epson’s textile printer range starts (RRP ex VAT) with the £4,795 44in-wide SureColor SC-F6300 dye-sub machine and goes up to the £162,000 Monna Lisa 8000 range of direct-to-fabric printers that can handle natural fabrics including silk and cotton. In between are the £10,995 SC-F2100, £11,250 SC-F7200, £20,700 SCF9400H, £33,995 SC-F3000, and £75,000 SC-F10000H. The latter is a new 76in-wide, 6-colour dye-sub printer for polyester-based fabrics. It can be configured with either light colours or fluorescents via a 10-litre bulk ink system.

Remember that the 64in-wide SC-F9400H can also print with Epson’s fluorescent yellow and pink inks.

Epson’s DTG printer offering comprises the SC-F2100 and its more robust big brother, the SC-F3000, which is designed for higher productivity and has a staggered head configuration that lays down white and colour in one pass.

DURST Durst flags up its 3.3m-wide P5 Tex iSub, launched in April 2021. The machine has inline fusing for direct printing onto polyester fabrics - though it can also be used with transfer papers. And there is an integrated finishing unit that can sew/stitch media.

The maximum print speed is 383m2/hr when the 330cm print format is fully utilized. Access to two rolls via the Multiroll option makes changing materials easier and a Dualroll option allows two rolls with a width of 1.6m to be printed.

The Sublifix dye-sub ink, developed by Durst, is said to deliver vivid colours, even on difficult media such as Durst’s P5 Tex iSub

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Technology | What to Watch

internal spectrophotometers. It’s also worth noting that the large-format printers are Rip independent, and Rixon points out that HP continuously assesses ways to improve workflow solutions - as with the likes of the HP Print OS app.

HP’s Stitch S1000

Mimaki’s TS100-1600

Roland DG’s ZT-1900 blackback or backlit - and Durst says the iSub contactless technology ensures excellent colour consistency and sharpness of detail. The Durst Rip plays a central role too in ensuring consistent colour across all media.

“The P5 Tex iSub is proving its reliability in 24/7 operation and deliver a significant increase in quality to our customers,” says Peter Bray, managing director, Durst UK/Ireland.

HP The HP Stitch and Latex portfolios “offer PSPs an ideal textile printing solution at a great range of price points” says Jane Rixon, large format production business development manager, HP UK/Ireland.

HP Stitch dye-sub machines have 1.6m and 3.2m widths respectively and print direct-to-fabric or onto transfer paper. “With this technology, HP has simplified colour management and has made it easier to achieve consistent colours and high-quality prints on a wide range of media, saving users time, money and ensuring customer satisfaction. The HP Stitch has been designed specifically for new to dye-sublimation professionals, prototyping departments and growing print providers looking to expand their offerings to end-user customers,” stresses Rixon.

Bear in mind too the 54in, 1.6m, 2.5m and 3.2m HP Latex printers - the relatively new Latex 700/800 Series offering a white ink option. “PSPs wanting to print on the most diverse range of substrates, from natural fabrics to synthetics, need look no further than this technology,” Rixon says, reminding PSPs that: “This water-based ink technology performs in a very similar way to pigment ink and offers huge environmental benefits. The HP Latex technology delivers stunning results with consistently high image quality across a wide range of applications.”

The dual-device solution delivers simultaneous and continuous printing and cutting in a single, integrated workflow.

When it comes to workflows and colour management options, both the Stitch and Latex printers are fitted with

THE HP STICH HAS BEEN DESIGNED FOR NEW TO DYE-SUB PROFESSIONALS, PROTOTYPING DEPARTMENTS AND GROWING PRINT PROVIDERS LOOKING TO EXPAND THEIR OFFERING

MIMAKI Mimaki’s history in textile printing stretches back to the 1990s and its portfolio incorporates machines that it says meet the varying needs of large-format PSPs looking to either take the plunge into a new market or expand their existing textile printing capabilities.

The company makes the point of reiterating that dye-sub is an ideal entry point for PSPs taking their first steps, and that by printing onto transfer paper, polyester prints can be produced via a heat press or calendar. Mimaki’s entry point into dye-sub printing is the TS100-1600 - a 1.6m-wide printer that costs circa £10,000. As part of the 100 Series it benefits from trickle down core technologies found on Mimaki’s industrial printers that aid ease of use, ensure high output quality and minimise wastage.

For those requiring higher output, the newly launched TS330-1600 is Mimaki’s latest high production dye-sub printer, with headline print speeds of up to 135m2/hr.

Priced at £23,995 it offers scalable production with an optional mini jumbo roll and 10kg ink supply.

For those wanting to print onto natural materials such as cotton, direct-to-textile machines using reactive or pigment inks provide an answer and Mimaki flags-up its £24,995 Tx300P-1800MkII model. This incorporates features such as a trough sited below the printhead - used to capture any ink that permeates through the material to avoid it marking off on the reverse - and a feed and winding mechanism that helps the fabric path through the printer.

The Mimaki Tx300P-1800MkII can be loaded with two different inksets (eg pigment and dye-sub) for flexibility and the ability to print to both natural materials and heat transfer paper. “For customers requiring the option to rapidly respond to customer demand, by offering a broad portfolio of materials, it represents the holy grail of textile printing,” says Duncan Jefferies, head of marketing and business development at Hybrid Services, Mimaki’s distributor for the UK and Ireland.

Its stablemate, the Tx300P-1800B, incorporates a sticky belt to enable printing to even the most stretchy or lightweight fabrics. With its integrated belt washer, even sheer materials like voile can be printed onto. The Mimaki Tx300P-1800B costs £69,995 and as is the case with all prints onto natural fabrics, will require some form of finishing equipment to fix the ink into the material.

ROLAND The DG ZT-1900 industrial level dye-sub printer is spotlighted by Roland for existing users of digital dye-sub printers seeking to increase production. The 190cm wide machine has a hefty price-tag at £102,999, but boasts printing speeds of up to 220m2/h and has a heavy-duty feeding system for jumbo rolls of up to 450kg and 600mm diameter, enabling unattended printing.

The printer - which incorporates four Kyocera printheads - uses highly pigmented water-based inks to deliver vibrant solid colours across an extensive colour gamut. And Roland says low running costs will also benefit anyone working to extremely tight margins.

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Technology | What to Watch

FOCUSING ON THE FINDINGS IN CONJUNCTION WITH THE NEWLY PUBLISHED IMAGE REPORTS WIDTHWISE SURVEY 2022 WE ASKED A NUMBER OF MANUFACTURERS HOW THE FINDINGS REFLECT WHAT THEY’RE SEEING WITHIN THEIR OWN COMPANIES AND IN THE WIDER MARKET - AND HOW THEY ARE TACKLING KEY ISSUES FLAGGED UP BY THE POLL. If you get your hands/eyes on a copy of the Image Reports Widthwise Report 2022 (just out and available to download for free at www.imagereportsmag.co.uk/ widthwise) you’ll get a full analysis of the data supplied from the 201 UK/Ireland companies that took part in the poll earlier this year. That data showed that more than a third of those large-format print providers who took part have no technical issues with their wide-format kit, which is great, but it means the other two thirds obviously do have issues - 22.39% flagged up ink and media reliability issues, 15.42% machine reliability, 14.93% workflow/system integration issues, and 11.44% colour management concerns.

From a technology development and adoption perspective, it’s also worth noting that when asked if they intend to invest in the Internet of Things (eg. automation, AI, remote diagnostics) in the year ahead, almost three-quarters (74.63%) said ‘no’. Only 5.97% said a decided ‘yes’.

We gave a number of the sector’s manufacturers/ suppliers these findings and asked for their responses.

Here’s what they had to say…

AGFA Paul Fitch, sales manager UK/Ireland, Agfa UK The findings are in-line with what we hear when talking to professionals in the wide-format market. Agfa’s strengths is to offer solutions. Colour management is in our DNA as we have more than 150 years of experience in the graphic industry. Our R&D teams stay up-to-date to the worries and concerns, but also to the needs in the field. In close coordination, we can thus offer help quickly.

ANTALIS Paul Duffy, visual communication business development manager In my experience, issues with machinery, media and ink compatibility tend to be more prevalent just after the installation of a new machine, or with a new user unfamiliar with the technology, media and applications - things that often can be overcome by comprehensive training.

Antalis’ technical experts are on hand to help users of all experience levels and to provide support in diagnosing issues and finding solutions. We first look at the media selection to ensure compatibility with the printer, or the intended application if the reported issue has arisen after fitting. If it is print-related, we look at the printer, ink type and Rip settings including colour management, offering

16 | August / September 2022

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Technology | What to Watch

finishes on one print without a varnish, just using the curing properties of UVgel.

We’ve found that generic ‘IoT’ or ‘workflow software’ is not perceived by most customers as adding significant value - what they want is tangible automation that is simple to implement, delivers clear benefits and has justifiable costs, and we’ve seen strong interest from customers looking to invest in such automation. In response, Canon has designed specialist wide format-focused applications such as our recently launched Prisma XL Suite, which has powerful tools to simplify and automate production for both flatbed and roll-to-roll technologies. The software helps customers to create amazing high-value applications in simple steps, with a common interface and with remote tools for unattended operation.

advice on how to make necessary adjustment. We also assess environmental factors, such as whether the media is acclimatised to the working temperatures in production.

If the reported issue has developed after fitting, we assess the way the product has been finished and installed as many variables contribute to application issues once the job is in situ.

Antalis media is tried, tested and distributed internationally. Fortunately, manufacturing media faults are rare, but issues can arise, and our suppliers are on hand to assist.

CANON Mathew Faulkner, EMEA director, marketing and innovation, wide format printing group, Canon Europe The results of the Widthwise Report 2022 are not surprising and in fact reflect the conversations we’ve had with PSPs. Following on from the heavy impact of the Covid-19 pandemic, PSPs need solutions that enable them to achieve maximum uptime and meet changing customer demands for faster turnarounds and an increasing number of personalised applications. As a result, many are looking for more productive systems that offer a broader application range. This was one of the main reasons Canon developed UVgel technology and, based on that technology, we designed the Colorado and end-to-end print solutions, such as our wallpaper factory.

Print/graphics producers are also looking to reduce the total cost of ownership of their systems and avoiding the technical issues flagged up in the survey plays a big part in this. To help them achieve profitable growth we are continually investing in R&D for both hardware and software, as well as working with partners.

We’re always adapting our products to meet the changing needs of our users. Recent innovations have included increasing the ‘stretchability’ of UVgel inks by 15% to 85% so that customers can print a wider range of applications; and the introduction of FLXfinish+, which provides the ability to print on the Colorado mixed matte and gloss

Canon’s Prisma XL Suite simplifies and automates production for both flatbed and roll-to-roll machines.

Durst analytics collects information for predictive maintenance and is now standard on all new machine installs

DURST Peter Bray, managing director, Durst UK/Ireland I can see a correlation between the findings and what we have seen both for ourselves and from feedback within industry in general. In the last year, industry has had to face a series of global challenges and anything that impacts upon manufacturing lead times does contribute towards intense pressure points at times within business, ours included.

We have grown our technical departments, both from our headquarters and in the UK/Ireland, as well as enhanced our service desk to provide continuity with ongoing relationships. In addition to our Durst Customer Experience Center in our headquarters in Brixen, Italy, we now also have a new state-of-the-art training facility there.

Our Durst Analytics - clever software with an important role in collecting information for predictive maintenance and now a standard part of all new machine installs - is helping us going forwards.

We have also been developing a technical infrastructure with machine-learning technologies that enables predictive maintenance measures in production environments and that will soon become a reality.

The analysis is based on a framework for AI (Artificial Intelligence) or machine learning prediction analysis.

By constantly tracking and analysing sensor data and parameters, we will be able to determine whether a part will fail before it fails. This gives us the time to proactively organise with our customers a service intervention according

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Technology | What to Watch

to their production planning. This is part of our wider aim to have no unplanned service requirements by 2025.

EPSON Tom Owers, product manager, commercial imaging, Epson UK Epson has developed its own ink technology and printhead technology that have been designed to work in harmony to deliver optimum performance.

Having the ability to create consistently sized output is crucial - a common issue is the misalignment between neighbouring panels from tiled output, for example indoor décor. Epson has developed a media handling system for its S Series range that has also been deployed on the SureColor SC-R5000 series resin ink large-format printer.

The system monitors the media feed and applies back tension to compensate for the change in roll weight. It ensures the feed remains constant from the start of the roll to the end of the roll.

The SureColor SC-R5000 series also uses a three-stage curing process that allows more accurate control of the temperature on the media for enhanced colour consistency.

The curing process starts as the ink hits the substrate, which means a lower overall temperature can be used.

As a result, the material is not over stressed avoiding deformation to the backing sheet or elongation of heat sensitive substrates.

In terms of machine reliability Epson’s systems are developed specifically for applications (eg. the SureColor SC-F2100 is a genuine DTG printer rather than a re-purposed consumer grade Epson photo printer). They incorporate micro piezo printheads that generate little to no heat, so the nozzles don’t degrade, ensuring stability and accuracy during the lifetime of printer. They also are equipped with built-in auto maintenance (auto head wiper, ink circulation etc.) that minimises user intervention and maximises printer uptime.

The SureColour R5000 also features user replaceable printheads limiting printer downtime should an issue arise.

From a workflow/system integration perspective, Epson’s systems include Edge Print Rip software and Epson Total Solution Cloud Port platform for cloud-based services.

When it comes to colour management Epson’s printheads deliver stable and accurate colour. For signage and dye sublimation there is a cloud-based library of EMX files that can easily be downloaded and contain the ICC profiles and mecca parameters for a wide range of thirdparty media.

HP Jane Rixon, large format production business development manager, HP UK/Ireland HP is always striving to mitigate technical issues for customers and has many solutions designed to make the printing process as seamless as possible, with software designed to offer simple fixes to common printing issues.

Software like HP PrintOS simplifies the production processes, offering remote diagnostics, granting greater workflow integration and opening up new opportunities for growth.

As part of HP’s PrintOS platform, users have access to a media solutions locator which provides profiles for various approved and certified materials. PSPs can deploy these profiles to all the machines in their fleet and ensure accurate colour management across multiple devices.

HP Print OS simplifies the production processes, offering remote diagnostics and allowing greater workflow integration

WE’VE FOUND THAT GENERIC ‘IOT’ OR ‘WORKFLOW SOFTWARE’ IS NOT PERCEIVED

BY MOST CUSTOMERS AS ADDING SIGNIFICANT VALUE

Users can also access PrintOS to give them information on the jobs being printed, ink and media usage etc from their mobile, tablet or desktop computer, and with the PrintOS Mobile app, they can immediately identify printing issues and get control over fleet production virtually anytime.

Learn @HP is also part of this suite of software which brings together a whole raft of online training for operators on how to get more out from the machine, colour management skills etc.

SWISSQPRINT UK Carmen Eicher, chief sales and marketing officer As to your findings on ink issues, swissQprint set up an in-house ink laboratory some years ago, providing research and development as well as systematic quality control and application tests. By doing so, we contribute towards trouble-free operation in the field. Generally, we develop our inks with a focus on versatility, qualified by actual tests with specific applications.

After that, we systematically test every ink batch before it is delivered from our ink suppliers to customers. Tests include curing behaviour, viscosity, surface tension, colour values, particle size and stability. If a batch is out of specifications, it will not be delivered to prevent problems in the field so customers can rely on consistent quality.

Reliability is a key criterion when evaluating a printer.

Productivity is, too. However, what use are high print speeds if the machine keeps being down due to technical issues, not to mention the loss of material and time? At swissQprint, reliability is part of the mission - as we see it, the foundation is solid machine engineering. Also, we attach great importance to designing our machines for a long service life, and we use high-quality parts. We believe that it is crucial to have full control over the components and production of the machines. That is why we develop everything in-house at the Swiss headquarters, starting with mechanical components over to boards and firmware to the output software. The interplay of the different elements is thoroughly tested before anything is released. In production, the machines are put through several stress tests again.

Last but not least, the machine design is optimised for easy field support. For example, if need be, the printbed can easily be re-levelled at a customer’s site.

Generally speaking, it is essential that the machines are well maintained to guarantee smooth operation. While the operator performs small tasks on a regular basis, swissQprint recommends annual maintenance done by a qualified technician to check all moving parts, adjust the machine, and possibly detect issues at an early stage.

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Business | Talking Point

talks to...

Tom Goddard, At the World Out of Home Organization’s Global Congress in Toronto earlier this year, a speaker told delegates this could be a new golden age for classic (print) out-of-home (OOH) advertising.

So, what does the association’s president think of the claim?

At WOO’s Global Congress this spring, you told delegates that striking the right balance between classic (print) out-of-home (OOH) and digital is one of the keys to sector growth for the medium. What do you consider to be the right balance, and why?

There’s no doubt that digital is growing faster than classic (print) in value terms, but it’s worth remembering that even in the UK - one of the biggest digital OOH markets - at least 40% of OOH revenue is still classic and therefore this constitutes a far greater percentage in terms of actual number of sites. Classic therefore remains an important part of the mix and will continue well into the future.

Classic is a highly creative medium and remains popular with many large advertisers, including tech companies. Apple is a major user for example.

There is also the geographical element. Digital OOH is transforming many large city centres in terms of advertising, but smaller towns and out of town remain important when a client is looking to build brand awareness often complementing and amplifying campaigns in other media. At the same time, it can provide key directional signage for a small business or restaurant. This is particularly the case in larger countries like the USA and India. Classic OOH is a vital part of the ad. landscape here and will remain so for many years to come.

WOO represents key players in the OOH space, but what proportion of your current membership is involved in print for OOH - and would you like to see that change?

A significant number of our members are media owners.

20 | August / September 2022

Most large OOH players have a foot in both camps, partly reflecting the points made above. So, for example, transport specialists will offer both - you can have digital in, say, a tube station but not, so far anyway, a bus side.

These will remain a vital outlet for entertainment and gaming advertisers, for example.

We welcome new members from all sides of the industry.

WOO has grown from just over 100 members pre-pandemic to over 150 members today and it’s vital that we continue to be a global forum for the entire eco system.

Is OOH print still losing ground to digital - and do you think that tide can be turned?

2021 figures from our members show that worldwide digital is now about 40% of the OOH market in revenue terms - around $14bn a year, and it’s growing rapidly in many countries - China is a good example.

What the industry needs to do - and this is a priority for the World Out of Home Organization - is get behind classic OOH and remind advertisers, agencies and others that it’s an incredibly powerful medium - one which has hosted and continues to host some of the most famous and best ads ever produced. It shouldn’t be a case of either/or, as both have an important role to play going forward.

What are the main gripes OOH advertisers currently have about print media as opposed to digital - and who’s ‘job’ is it to convince them of print’s value?

Measuring campaign effectiveness is obviously an issue both for classic and digital OOH as it is with any other medium and play out reporting can be more challenging

Business | Talking Point

president, World Out of Home Organization for classic out-of-home, especially when you’re dealing with very large territories where there are many classic posters scattered in rural areas. However, in the UK, Outsmart the industry Association have developed specific standards which need to be supported by all elements of the industry.

In broader measurement terms the OOH industry - and WOO specifically - has made great strides recently in introducing new and more accurate ways of measurement. These were announced at the WOO Global Congress in Toronto and should go a very long way to giving advertisers the assurance they need.

Again, all industry players need to buy in to these for them to be successful.

We shouldn’t forget that audience measurement is hardly a done deal for other media. Digital, for example, is bedevilled by accusations that it reaches more bots than people. TV measurement is based on relatively small panels which often under-report the audiences for smaller channels.

The lack of flexibility offered by classic OOH in terms being able to change an ad. very quickly is sometimes seen as a disadvantage but as mentioned previously the constant presence offered to a brand is seen as critically important to an OOH advertiser particularly if complements and amplifies advertising in other media.

In addition, the industry is working on ways of automating the out-of-home buy, whether it be classic or digital OOH. Making out of home easier to buy is the responsibility of the whole OOH Industry but will be critical to our long-term success.

Sustainability is another issue but that’s being tackled energetically by the bigger operators using more

sustainable materials. This is arguably becoming a defining issue for OOH, where clients and agencies are signing up to initiatives such as AdNetZero. Out-of-home is undeniably ‘on notice’ in this area and clearly those printing posters have a major responsibility - or you might call it an opportunity - to support the industry in helping to make it a truly sustainable advertising medium.

I understand WOO 2023 will take place in Lisbon next June. Does the print sector need to be more vocal and convincing at that event?

Perhaps - we must continue to promote the positive benefits of classic.

We all need to be more vocal about the benefits of classic OOH and that should involve everyone in the chain. Printers could certainly get on the front foot about the changes they’re making to make the medium more sustainable. Sustainability should be a benefit for OOH in comparison to other media. This will certainly be on the agenda in Lisbon.

Engaging with clients more directly is certainly something we need to do more of. The OOH ecosystem can be complicated, with media agencies and specialist agencies playing important roles but we also need to communicate with clients directly - to persuade them of the value and impact of the medium - and creative agencies. If you look at the Grand Prix winners at the recent Cannes Lions Festival many of them were actually for OOH executions, not just the winners in the outdoor category.

So, yes, we have much to do. But we have a great story to tell.

WHAT THE INDUSTRY NEEDS TO DO - AND THIS IS A PRIORITY FOR THE WORLD OUT OF HOME ORGANIZATION - IS GET BEHIND CLASSIC OOH

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Business | Knowledge

SHOW AND TELL IN JULY THE SIMPSON GROUP TOOK PART IN AN EVENT IN NEWCASTLE CALLED STEMFEST NET ZERO, WHERE LOCAL BUSINESSES WERE INVITED TO ENGAGE WITH MORE THAN 3,000 YOUNG PEOPLE FROM THE REGION’S SCHOOLS VIA FUN, HANDS-ON SESSIONS RELATING TO THEIR INDUSTRIES AND THEIR NET ZERO GOALS. IT’S JUST ONE MANY INITIATIVES THE GROUP IS INVOLVED IN AS IT PLAYS ITS PART IN MAKING PRINT A MORE OBVIOUS CAREER CHOICE. DEVELOPMENT DIRECTOR SARAH TISHLER EXPLAINS. How proactive are you in ‘selling’ print - as a career?

Perhaps not as much as the industry needs you to be.

As Simpson Group development director Sarah Tishler reiterates, “the average age in the print industry is currently 43 years old - according BPIF stats. You may find it’s even higher in your own business.”

We know the situation all too well, but in Tishler’s words: “It would appear a whole generation has fallen out of love with print, potentially seeing it as messy and

22 | August / September 2022

unsustainable compared to smart phones and digital screens, or just generally adding to the environmental woes of the world we live in.

“What is more worrying, is that many of the school pupils I am in contact with are not even aware that the print industry exists. There is no connection made between their Happy Meal box, football programme or advertising hoardings for the latest must-have trainers to the versatile and engaging industry we work in.

“Not only do we, as an industry need to be more proactive in selling the exciting products that we produce, but we need to connect with the youth - and now is the time that the schools around you will welcome your support and interest with open arms, as they grapple to fulfil their Gatsby Benchmarks requirements of good career guidance [these are: having a stable careers programme, learning from career and labour market information, addressing the needs of each pupil, linking curriculum learning to careers, encounters with employers and employees, experiences of workplaces, encounters with further and higher education, and personal guidance] and comply with the Baker Clause [introduced as an amendment to the Technical and Further Education Act 2017, the clause stipulates that schools must allow colleges and training providers access to every student in

Business | Knowledge

Years 8 to 13 to inform them about approved technical education qualifications and apprenticeships].”

Tishler continues: “I have been a STEM ambassador for several years, working with RTC North as a mentor to local students and I am also an Enterprise Adviser, working with the NELEP and matched to a local school, Oxclose Academy.

“As a member of industry, volunteering your time within the education sector, you get a chance to give back to the community around you and to help prepare today’s students for the time they leave their years of education and start to work.

“Schools are measured on exam results, so that’s where their focus often lies.

“Post Covid, there has been a lot of work that has needed to be done to get some year groups back on track. Many have not been permitted to leave the classroom and engage with employers as the logistics or transport, cover for absent teachers who oversee any visit etc can become too complex and the return on the school’s investment is sometimes not seen immediately in the students’ exam results.

“We at the Simpson Group have successfully engaged in some visits to Influence Park [where the group is based in Washington, Tyne and Wear], introducing students to print and the imaginative displays we can create, and taking them on a tour of the print hall, grabbing their interest when they see the large-format machines in action.

“It is also beneficial for the schools to work with industry and promote the top ten employability skills as highlighted by STEM [www.stem.org.uk/resources/ elibrary/resource/418157/top-ten-employability-skills].

These are as equally important as exam results and students should be encouraged to start thinking about how they can demonstrate these skills ahead of applying for jobs or further education, whilst they may not yet have examples of work experience to quote on their CVs. “At Simpson Group we have participated in the Esh Group ‘Building My Skills’ programme [http://www. eshgroup.co.uk/wp-content/uploads/2017/04/BuildingMy-Skills.pdf ] - going into schools to talk to students about the print industry in general and, more specifically, to introduce students to our focus sector - point of sale.

“Within the programme, we have also covered student checkpoints such as where individuals can go after leaving school [known as ‘My Pathway’], job applications including CV writing, online appearance (think twice about that email address you find so comical at 13), personal finance (the latest smart phone is not essential expenditure), employability skills and preparing for interviews, culminating in a mock interview day away from school.

“Where we can spare the resources, we will also attend careers day and aspiration events at local schools including classroom talks covering print or how an individual landed in the job they are doing. We will also offer work experience and internships to Year 9 students and above if appropriate mentors are available within the workforce.

“We have supported Bring It On, The North East Exhibition for Future Engineers, which targets young people aged 9-14, aiming to raise the aspirations of North East youngsters and help to address the

EACH ENCOUNTER CREATES A POSSIBLE CHAIN OF EVENTS THAT COULD LEAD FUTURE TALENT THROUGH THE WELCOMING DOORS OF PRINT

engineering skills gap [https://bringitonne.co.uk/].”

Tishler adds: “The 3D cardboard engineers we employ to create eye catching displays to influence our customers’ brands instore, created an interactive Halloween stand across two days, allowing 2,000 students (and adults alike!) to experience print in 3D, creating subtle learning opportunities, introducing visitors to the stand to print, whilst they took selfies on our Ghost Train and lost their heads with Frankenstein’s standee.

“Having worked with RTC north on several occasions we saw the recent STEMFest as another great opportunity to engage with both primary and secondary school students and let them know about print.

“With the support of PopHeads [part of StackaWraps Global] we caught the imagination of over 3,000 students across three days, working with them to cut out, create and secure 3D dinosaur heads. The enthusiasm and feedback were amazing, and if just one student remembers their experience when they are starting to think about their career and what job they would like to do, then today’s investment in time was worth it.

“This isn’t something any of us are necessarily going to see the return on overnight but each encounter creates a possible chain of events that could lead future talent through the welcoming doors of print and more specifically your front door.

“If you are interested in getting involved in events near you, speak to your local LEP (Local Enterprise Partnership) in the first instance.”

www.imagereportsmag.co.uk | 23

Environment

WASTE NOT AT THE END OF 2021 FESPA UK ASSOCIATION ANNOUNCED A PRINT WASTE REDUCTION PROGRAMME AND CALLED ON PSPS TO GET INVOLVED. THE RESPONSE HAS BEEN DISAPPOINTING. SO IS ALL THE HARD WORK ALSO GOING TO GO TO WASTE? Buy-in to the Fespa UK Association’s print waste collect and recycle scheme is just not happening as MD Suzie Wilkinson had hoped it would when it was launched at the end of last year.

She outlined at the time that: “Our aim is to bring as many printers together and then as a collective group build an infrastructure to responsibly dispose of as many types of substrate waste as possible.” An initial flurry of interest from PSPs and the involvement of companies like Prismm Environmental and Soyang Europe boosted hopes that the plan could be delivered - and the initial programme has indeed been extended - but now Wilkinson is beating the drum for more industry input.

“As an association we want to find solutions to the waste issues that so many printers have, and we are here to do the legwork on behalf of printers around the UK, so that they can focus on what they do best - print.

“For too long have we accepted a certificate to say that recycling or waste management has been discussed and briefly attempted, but nine times out of ten it hasn’t actually been achieved because the correct infrastructure isn’t easily available to printers - unless they have a huge number of resources and staff to throw at the issue.

“After only six months of research into this project it was easy to see why businesses settle for a certification system that makes them look good but doesn’t actually make a real dent in the landfill issue.

“So many printers are faced with unreliable waste management companies who don’t collect when they say they will, not enough tonnage to bail and collect due to the weight of things like PVC banner, not enough space for a bailer and not enough time of staff to separate to contaminated substrates from the ones that can be recycled.

“On top of trying to make a living why would anyone burden themselves with facing the challenges they face when trying to be responsible?

“Towards the end of 2021 we made the decision to try our best to make it easier for printers of all shapes and sizes recycle more efficiently. We started by focusing on two frequently used materials - PVC banner and Polyester.

We did this so that we could find out what the issues were with recycling these products and then try to find a workable solution for them.

“Very quickly we identified that a huge number of printers had the materials to recycle but just didn’t have enough tonnage to warrant a bailer system, and that got us thinking. Can we create drop-off points for smaller

WE HAVE TO START TO MOVE FORWARD AS A COMMUNITY AND AS AN INDUSTRY

amounts of waste in a region to be bailed in one place?

Can substrate providers collect the waste from their clients in their returning empty vehicles and bail it on their site, and can we find recyclers who are willing to take smaller amounts of waste banner and have it sent directly from end of campaign in the store directly to them. The answer to all these is ‘yes’! But only if we work together.

“We need suppliers to start to pick up waste and bail it at their sites. We need printers to start talking to their clients and seeing if they would like to recycle end of campaign waste. We need printers to come forward and offer to bail other printers’ smaller amounts of waste and create local community collection points.

“These are all things that can be achieved and won’t cost the earth, but we have to start to move forward as a community and as an industry - as a group that not only wants to better our businesses but secure a better more environmentally friendly future for print.

“This is not about greenwashing nor about burying our heads in the sand and saying ‘well we tried that once’. This is not going to be an easy journey, and there will be mistakes along the way, but surely now we have started the ball rolling and are working on finding more solutions for additional different substrates we should be working together and taking small steps to utilise the options we have found to this point.

“As an association we want printers and suppliers to get involved, share their thoughts and ideas and tell us what materials they struggle with disposing. We have no problem working alongside trusted specialists to solve these issues, but we need feedback and we need guidance on what waste issues printers actually face.

“We are so grateful for the support of our members - they are the ones who help us to fund projects like this. Their membership fees [from £49 a month] are what allow us to research issues and look for viable actual solutions on their behalf. We welcome printers who are proactive, who want to engage with us and keep us on the right path. Lasting change doesn’t happen overnight and it isn’t created with just one company, we often use the #strongertogether and to us nothing is more true.”

www.imagereportsmag.co.uk | 25

Environment

GROUNDED, BUT READY TO ROLL LAST SUMMER THE US-BASED SUSTAINABLE GREEN PRINTING PARTNERSHIP ANNOUNCED IT WAS LAUNCHING A PILOT SCHEME EXTENDING ITS SUSTAINABILITY CERTIFICATION TO THE UK. SO HAS IT TAKEN OFF? In case this information is yet to reach you, the SGP certification programme recognises top sustainability leaders in the printing industry - those that have have fulfilled rigorous certification requirements and completed a comprehensive facility audit evaluating three areas of sustainability - people, planet and profit. If that sounds a big deal, that’s because it is, yet it is gaining a certain amount of traction in North America where more than 50 operations are involved. In the UK, where a pilot scheme was launched a year ago, it’s yet to take off.

“After numerous enquiries, no UK printer applied to start the certification process,” confirms SJP chairman Jonathan Graham. “Being SGP certified takes commitment and resources. SGP certification typically requires one dedicated person to lead a certification committee for 6-12 months. While the certification itself costs under $4,000, applicants need to factor in the cost of staff and development of a sustainability management system and other documents.”

The drawbacks are obvious. But are the benefits becoming more so as the supply chain demands ever greener credentials? If you’re thinking that may be the case, bear in mind that the SGP - an all-volunteer organisation - comprises leaders from companies wellknown for supporting a more sustainable future for the printing industry. With its sustainability management system (SMS) and annual improvement projects, SGP certified facilities are widely recognised in the US as industry leaders in providing sustainable printing and trusted by major brands by having independent validation of their claims to be part of a sustainable supply chain. Indeed, the state of New York and the Department of Natural Resources in Wisconsin require their printers meet the SGP certification criteria.

Sounding any more attractive?

AFTER NUMEROUS ENQUIRIES, NO UK PRINTER APPLIED TO START THE CERTIFICATION PROCESS

The SGP’s certification criteria is revised every five years, and as such has undergone some changes in 2022 that are worth noting.

Version 4.0 of certification criteria, in addition to the mandatory environmental, safety and health and energy audits, now requires a mandatory solid waste audit, increased emphasis on employment issues in the workplace, and a new management system requirement to review impacts of change in the facility.

“The 2022 revision represents the programme’s continued commitment to moving the sustainability needle in the print sector. Now, facilities will be required to discuss possible end-of-life strategies with not only their supply base but their customer base as well. It is our biggest step yet towards a circular economy model that offers clear documentation for leaders in the sustainable supply chain,” points out Graham.

“Version 4.0 enhances its integration with the programme’s sustainability dashboard, the SGP Impact Tracker, to promote standardised metric reporting to help print customers their print production as optimised for sustainability.”

To continue to meet the needs of the industry, the SGP announced the expansion of the certification programme to include suppliers with Version 4.0. Primex Plastics was the first to achieve SGP certification in June 2022. The facility served as the SGP programme’s beta for this expanded programme which now opens the way for other printing industry suppliers to achieve the certification.

The criteria are accessible for any company and can be used as a blueprint for a more sustainable business. As SGP criteria are publicly vetted so public bodies can ask their suppliers to comply with criteria without having to go through the certification process. This is called a ‘selfdeclaration’ and is a formal statement from a company that the certification compliance is authentic and accurate. The actual SGP certification is granted through an independent, third-party auditor.

The full list of criteria guidance can be found at: https://sgppartnership.org/wp-content/ uploads/2022/05/2022-SGP-Certification-Criteria.pdf

www.imagereportsmag.co.uk | 27

Forum

DIGGING BELOW THE SURFACE WITH INDUSTRY MOLE It’s about this time of year, Wimbledon being over, that Mrs Mole starts pining for France.

We’re heading down to the Loire, which is lovely - although Mole Jr always complains that it is shut - but not until the end of summer. I used to holiday in France with my parents and my schoolmates always found it amusing that the whole nation went on holiday for the whole of August. Thinking about it today, I wonder if the French have a point. My inbox has already started filling up with out of office replies, and getting any business done before the end of August becomes increasingly difficult.

Clients are the worst. I sometimes have to refrain myself from shouting down the phone: “The clue’s in the job title, you are a print buyer so why don’t you buy some print?” Summer - coupled with what I believe is known as the ‘vacation ripple effect’ - just provides them with more excuses to prevaricate. A typical conversation will start something like this: “A colleague suggested we might go down a

Comments please to industrymole@imagereportsmag.co.uk

different route creatively on this project but he’s off for two weeks so we’ll have to wait till he’s back”. (Spoiler alert: when the colleague returns, he has forgotten what this ‘different creative route’ was.)

There are those who say that, as business slows down, with many meetings cancelled, the summer is a great time to reflect on the past year and to anticipate the year ahead. I can see the logic but, oddly, I find it easier to think about the big stuff when it’s busy - usually in autumn and winter. So why don’t we all just turn out of office on and promise to get back to each other in September?

The irony is that, for all that we mock the French for downing tools in August, they are more productive over the year than they are.

We may like to see ourselves as akin to Americans when it comes to industriousness but we generate just under $49 an hour, compared to almost $63 for the French. So I say, vive les grandes vacances! If only…

SIGN AND DIGITAL UK

FESPA GLOBAL PRINT EXPO

DRUPA

When?

20 - 22 September, 2022

When?

21 - 23 March, 2023

When?

23 - 26 May, 2023

When?

28 May - 7June, 2024

Where?

NEC, Birmingham

Where?

NEC, Birmingham

Where?

Messe Munich, Germany

Where?

Messe Dusseldorf, Germany

Cost?

TBD

Cost?

Free

Cost?

TBD

Cost?

TBD

Who will be there?

This is a ‘general’ print exhibition so you’ll find a smattering of exhibitors from across the whole spectrum.

Who will be there?

Expect an array of exhibitors from across the the sign and digital print space.

Who will be there?

Pretty much everyone connected with digital large-format print and more - across 32,000m2 of exhibition space.

Who will be there?

It’s so far ahead of the event that it’s pointless looking at the exhibitor list yet but, suffice to say, you can expect most of the major players to get involved.

Should you go?

If you want a UK-based overview of what’s out there.

Should you go?

If you want to network in the Midlands.

Should you go?

Yes

Should you go?

Decide closer to the time, but it’s worth noting the dates.

EVENTS

THE PRINT SHOW

28 | August / September 2022

Rating

5/10

Rating

6/10

Rating

9/10

Rating

8/10

Forum

LEGAL EAGLE LEGAL EAGLE

MANAGING PAYRISE REQUESTS FROM JANE BAALAM, REWARD CONSULTANT, MENZIES LAW

In the face of both a competitive recruitment environment and rocketing inflation, employers are set to award record pay rises this year. Pay increases planned last year will now struggle to keep pace with inflation. 3% average awards were planned for 2022 but the current rates of inflation (and the reasons for them) were not. Employers have also raised wages for hard-to-fill roles. Employers are likely to see an increase in requests for payrises this year in most sectors. As an employer, how should you approach such requests?

Don’t say no Resist the urge to say “no” straightaway, whichever employee is asking. If you value this person, don’t dismiss their request out of hand. Remember their next step after a refusal may be to look elsewhere for a job.

Discuss Understand your employee’s motivation for asking for a pay rise and don’t forget it’s nerveracking asking for one. Your employee may have built up a list of reasons for why they think they deserve one - and may be a bit emotional when they ask. Of course, there may be something personal prompting the request too. Salary is best discussed when everyone is calm and prepared.

Arrange a meeting to discuss - better for you both.

Look at performance It’s easy to justify a pay rise or bonus when your employee performs well in their role. Holding

regular appraisals and reviews tells you know who’s meeting their objectives and who isn’t.

Conversations around pay increases can be framed around actual performance. If you don’t work directly with your employee, speak to their line manager to get a feel for how reasonable their pay rise request is. Are they delivering? Going above and beyond? Under-performing? Do you have several employees in the same role? If so you’ll be sure to get requests from others if you give a rise to one. Be prepared to factor this in.

Benchmark thoroughly What are other local businesses/your competitors paying for this sort of role? Use salary surveys, ask friendly recruiters, look at job adverts etc. Are they being paid about right or under-paid for the market?

Are they actually paid very well and need to be told this? If the market is paying more, consider and analyse why. Are they asking for stronger qualifications or experience? Is the location tricky?

Look into factors that may be driving the pay up.

Look at the bigger picture Can you afford it? One employee’s request could signal others. Make sure you can justify your decision if you say no to other employees who come knocking. Nobody can force you to agree to a pay rise but if your employee is a real business asset, you won’t want them to go to a competitor.

Can you offer something else?

If you’re not willing/able to offer a rise, could you offer additional benefits instead? Increased

holiday entitlement, more flexibility, cash plans and health cover are all worth considering. Bear in mind too that in the current environment anything that focuses on individual preferences, e.g. hybrid working, flexible hours, etc is being seen by potential employees as a right not a benefit.

Make a decision then tell them Make a decision quickly and let them know.

Explaining your decision in person might be more your style, but make sure you send them a letter to confirm everything. If you said “no” it could be because they’ve got room to improve their performance, and you might want to review their salary in six months. It might be that they lack understanding of costs or sales and a bit of insight would be useful for them. For the employee who does persuade you to give them a raise, tell them how much their new increased salary will be, when it comes into play and when it will next be reviewed.

Other top tips • Fix a regular date for salary reviews so expectations are clear and people don’t need to work themselves up to ask for a raise • Have a transparent process for performance reviews to stop issues building up on both sides • Review your pay structure - even go as far as asking managers and staff if it is working for them. If it’s not, why not?

• Consider other ways of helping them understand the value of their pay - e.g. financial awareness training through MAPS, benefits statements etc.

www.imagereportsmag.co.uk | 29

Zeitgeist

Equalling more than its parts ARE WE GOING TO SEE MORE ‘REGIONAL POWERHOUSES’ AS THE PRINT SECTOR CONTINUES RESHAPING? WE ASKED JIM KERR, CEO OF THE NEWLY FOUNDED ASTRA GROUP, ABOUT HIS DECISION TO UNITE TWO OF THE UK’S LEADING DIGITAL AND TRADITIONAL SIGNAGE BUSINESSES - AND IF IT’S A MOVE HE THINKS OTHERS WILL FOLLOW. “It would be easy to associate the consolidation of the sector with the impact of the pandemic, but we started to see the shift in some of our markets prior to Covid-19.

“The supply chain is getting smaller and businesses have been working around this and acquiring one another while others are unfortunately no longer with us. I anticipate we’ll see more regional powerhouses - servicing large national roll-outs in order to maintain scale. For those able to move with the times it will be one of opportunity,” enthuses Jim Kerr, CEO of the newly founded Astra Group, brought about by the merger of ADXBA and Astra Signs this spring.

Kerr continues: “Where the strongest wins will be is difficult to predict, as we work across such a broad spectrum of areas and the market is continually evolving. Diversification of revenue will however be key to futureproofing businesses and achieving sustained growth. It was the driving force behind the merger of ADXBA and Astra Signs and, in turn, the formation of Astra Group under which both businesses now sit. Both were, prior to merging, incredibly strong independent businesses and proud leaders in their respective fields - both, however, stood to enjoy far greater growth and protection from market changes as one.

“It’s a lesson I learnt early on in my career - the importance of having a diverse revenue stream. ADXBA was born in 2008, just at the start of the economic crisis, and let’s just say it was an interesting time. I very quickly identified the need to develop individual specialist services within the business to protect our revenue stream and achieve increased stability. It was an effective strategy and has seen ADXBA go on to enjoy significant success.

“I have, however, always been mindful that the nature of our work and our client base, which lies largely in the airport and transportation sector, limits the opportunity for ongoing significant growth, which in-turn exposes us to risk. You only have to look at Covid-19 to see how the difficulties faced by one sector can significantly impact that of another. Broadening our range of services and further diversifying our revenue stream has always been a part of our long-term strategic plan and entering into an acquisition or merger the obvious route forward.

“We started conversations with vendors long before the pandemic. We were looking for businesses that presented key differentials, including location, mentality, in-house services, client base, revenue and profitability.

Astra Signs stood out.

“We’d had the opportunity to work together on the new Manchester Airport terminal - for which ADXBA was responsible for the digital provision and Astra Signs the signage - and got a good understanding of each other’s specialisms. I also got on very well with David [Derbyshire], the founder and managing director of

30 | August / September 2022

BOTH BUSINESSES STOOD TO ENJOY FAR GREATER GROWTH AND PROTECTION FROM MARKET CHANGES AS ONE

Astra Signs, and had utmost respect for what he’d built.

It’s a relationship that grew throughout the pandemic as we shared strategies for navigating the crisis and leading to the merger of ADXBA and Astra Signs in April of this year.

“It’s early days - both businesses are now being led by myself but are still in what I would describe as the collaboration phase. We are however further ahead than I could have hoped and are already seeing the rewards.

“We’re fortunate in that what we’ve created is quite unique at the moment. There are obviously people that do the digital aspect of what we do just as there are those that do the signage aspect - and there are also some that do both. Where we stand out however, is in our technological capability. We have an entirely dedicated technology division that’s developing the software and the systems that monitor and manage all of these assets.

“We also have a division that’s nationally and internationally available to maintain all products and be reactive to faults, ensuring an overall quality output.

I’m pleased to say that the existing client base on both sides of the business is ready for what we’re offering as a true, fully-fledged end-to-end provider. We’ve also recently won some significant work, which is without question, the result of our combined strength, capabilities and expertise.

“In Astra Signs ADXBA was lucky to find the right partner - the two businesses complement one another equally. Over the coming months we’ll be looking to further incorporate the businesses, including a review of our management structure, physical locations, continued integration of systems and more. It’s important to get these things right and so we’re taking our time and feeling our way. I’d encourage any provider looking to enter into an acquisition or merger to do the same - to take their time and do their homework.

“Whilst we couldn’t be more pleased with how things have developed it’s been a long and difficult process and I’ve learnt a lot along the way. We’ve been fortunate to have the right people around us.

“You’ve also got to be prepared to invest. Whilst we’re obviously anticipating the bottom line to improve over a period of time there are investments to be made to make that work.

“We’ve achieved what we set out to. We’ve opened the door to increased opportunities and provided the collective group business with increased stability. Our revenue make-up is now quite unique in that we have several big recurring makeup pieces for which are contracted long-term - largely for five to eight years, some of them ten - alongside short- and mid-term contracts, and fixed big projects. That span of revenue is really what this has been about for us and the launch of Astra Group.”

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