Image Reports - Dec2020 Jan2021

Actively investigating and supporting the wide-format print sector

ISSUE 6 • VOLUME 28 • DECEMBER 2020 / JANUARY 2021

FESPA 2021 Bringing Colour Back

Angel Awards Our choice of the best large-format products to have launched in 2020 Brexit Is it going to mean a white-knuckle ride for business in 2021?

Talking Point …with IPIA general manager Brendan Perring on getting print on the Government’s agenda

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Editorial

KEEP CALM AND CARRY ON Editor: Lesley Simpson lesley.simpson@imagereportsmag.co.uk

So, it’s the season of good cheer! Well I’ll raise a glass to the concept, and in the hope that as the year turns so do many a

Production / Design: Alex Gold

struggling company’s fortunes. It would be amiss of me not to

Publisher: Wayne Darroch wayned@sjpbusinessmedia.com

acknowledge that it’s going to be a bleak midwinter for lots of EXVLQHVVHV VWUXJJOLQJ QRW RQO\ ZLWK &RYLG UDPLðFDWLRQV EXW

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

also with trying to understand what a post-Brexit Britain means for their operations.

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

Given the timing of this issue the Zeitgeist piece focuses on Brexit as you might expect, and the Legal Eagle column within the Forum section looks at the new laws surrounding the recruitment and the

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retainment of overseas workers.

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Other key topics impacting how individual companies - and the print industry as a whole - manages to not only survive, but thrive in the new normal of 2021, are highlighted and discussed in the

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

Talking Point interview with IPIA general manager Brendan Perring, and with Widthwise Live presenters Will Tyler of Octink, Richard

Printed in Great Britain.

No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means without the Publisher’s permission.

The editorial content does not necessarily reflect the views of the Publisher. The Publisher accepts no responsibility for any errors contained within the publication.

Courtney of Gardners and Stuart Maclaren of Your Print Partner.

You may be surprised by the level of optimism.

Let me leave you with a few inspirational words stolen from Rudyard Kipling: ’If you can keep your head when all about you are losing theirs‌’ You can do it. Keep calm, carry on - and may you have a happy Christmas.

From Top: Lesley Simpson Alex Gold Wayne Darroch Carl Archer

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

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Contents

CONTENTS DECEMBER 2020 / JANUARY 2021

REGULARS: 7 News Keeping you abreast of all the latest news in relation to digital wide-format print.

10 Cover Story Advertorial Fespa - Bringing Colour Back.

26 Think Bigger Gallery showing off the creativity and complexity of largeformat inkjet print.

28 Forum Vital stats to help you run your business; Digging below the surface with Industry Mole; Out and About - events diary; Over to You with Mikey Walker of Signs Express (Nottingham).

30 Zeitgeist Brexit - is it going to mean a white-knuckle ride for business in 2021?

25 SECTIONS:

26

Business 12 Widthwise Live takeaways What key print company bosses had to say about doing business in this shape-shifting sector.

14 Talking Point … with IPIA general manager Brendan Perring on getting print on the Government’s agenda.

Technical 17 Angel Awards Our choice of the best large-format products to have launched in 2020.

20 What to Watch NEWS AND VIEWS ONLINE Go to www.imagereportsmag.co.uk for all the wideformat sector’s industry news, updated regularly

A round-up of this year’s new large-format printer launches.

Environment

online. Image Reports can also send a twice weekly

25 The elephant in the room

enews bulletin straight to your inbox – register at:

Why we need to better engage with the waste industry.

www.imagereportsmag.co.uk/ newsletter

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News

Expanding YPP wins awards Your Print Partner and spin-off Custom Gifts have clinched two Lincolnshire Technology and Innovation Awards - ‘Business of the Year’ went to YPP and ‘Online Retailer of the Year’ to its subsidiary. The wins came as the group launched various new personalised gift products, including a collection of personalised Sesame Street products.

Elmo, Big Bird, Oscar the Grouch, Count von Count and the Cookie Monster are just a few of the characters that will be featured on Custom Gifts’ bean bags, cushions, bedding, hooded fleece blankets, towels etc via a deal struck through Bulldog Licensing, Sesame Workshop’s agent for the UK and Eire.

Stuart Maclaren, YPP group CEO, said: “Sesame Street’s Muppets are iconic children’s characters, so we’re excited to introduce the first range of personalised Sesame Street products to the UK!”

British Business Investments announces £15m commitment to Compass Business Finance British Business Investments, a subsidiary of the British Business Bank, has announced a commitment to Compass Business Finance enabling an increased flow of asset finance products into UK-based smaller businesses in the print, packaging and manufacturing sectors.

The commitment to Compass Business Finance, from British Business Investment’s Investment Programme, amounts to £15m of block discounting funding. It will provide the specialist lender with funding for smaller and medium-sized businesses over the next three to five years, and allow it to continue its own growth trajectory.

Judith Hartley, CEO, British Business Investments, said: “British Business Investments supports independent operators in the asset finance sector by providing additional funding and widening the choice of finance options that smaller businesses across the UK can access on the market. We look

forward to working with Compass Business Finance Ltd over the next five years to help those businesses get the finance they need.”

Mark Nelson, director of Compass Business Finance, added: “The commitment from British Business Investments, will enable us to meet the growing demand for funding in our markets, including the provision of CBILS and other asset-based finance.

Having the ability to support our customers and maintain our high service levels is paramount, and this partnership gives us the confidence to know that we can continue provide that.”

Compass Business Finance has been partnering with the British Business Bank for several years and has participated in several initiatives designed to support UK businesses, including Regional Growth Funds, the Enterprise Finance Guarantee and currently, the Coronavirus Business Interruption Loan Scheme (CBILS).

GO TO WWW.IMAGEREPORTSMAG.CO.UK FOR THE FULL STORY… ] Roland releases VW-S1 densitometer ] Caldera makes big claims for V14 Rip and updates PrimeCenter ] Solopress launches new scheme for top customers ] Government replies to GMPA call for means-tested disaster relief grant fund ] Agfa provides new finance options on wide-format kit ] Precision Proco launches Print Out to Help Out ] Roland brings out its fastest textile printer yet ] Gary Peeling champions personalisation as way forward ] St Bride Library aims to raise £50,000 in crowdfunding campaign ] EFI introduces two soft signage printers ] Agfa launches Jeti Tauro H3300 S LED printer ] SMBs need to maximise the value of their data warns TrueCue ] ImageCo makes key appointment ahead of new business launch

StackaWraps launches into consumer gift market StackaWraps Digital Studios is using its 3D technology on a new range of toys and gift ranges aimed at the B2C market.

The company - which has so far aimed its photorealistic 3D cardboard engineered products at the B2B market - has developed an exclusively B2C application for transforming 2D images into craft kits, 3D posters and interactive wall art. A deal has been struck with a licence holder for many of the leading UK football clubs, and talks are underway with some of the leading sports brands in the USA. The new sports range kicks off with a Gunners souvenir poster featuring a replica of the FA cup. This 3D offering measures an 80cm tall, has a canvas effect and a high gloss finish. It will soon go on sale

with an RRP of £25.00 plus shipping. The company plans to introduce a range of 3D packs featuring club players shirts in Spring/Summer 2021.

“The team has created an impressive innovation that spans the sustainability, toy, and craft agenda at just the right moment in time,” said StackaWraps CO Natasha Leigh.

With an international manufacturing network for its B2B 3D cardboard engineered products, StackaWraps is set to rollout its new offerings across the globe to major license holders and toy makers.

Adapted from its POS design, the new hybrid poster/models have modular 3D elements that fit together without compromising high quality photorealism, and fit inside an envelope for low cost, low carbon logistics.

] New supply chain risk tool launches ] Brett Newman takes the helm at Hybrid Services ] EFI pulls out of Drupa 2021 ] Mimaki launches entry-level roll-to-roll printer series

Mutoh works with Global Graphics on new VerteLith Rip software

] Keencut responds to market requests ] EFI launches Nozomi C18000 Plus ] Spandex extends interior décor films range ] Onyx 21 launches ] Xaar launches printhead platform and outlines strategy ] Antimicrobial film launch from Drytac ] Perspex Distribution grows offering ] APS launches Print Marketplace ] Adapt expands team as it moves to new premises ] Report warns employers of remote working ‘Zoom fatigue’ ] Antalis brings out Coala Interior Film ] Ad-Venture Sign and Image opens in Consett ] Expert forecasts acquisitions spike in print industry ] OneVision enhances Workspace Pro X ] Epson announces large-format MFPs

Global Graphics Software has licensed its Harlequin Host Renderer to Mutoh for integration into the latter’s VerteLith Rip software. The agreement includes licensing Global Graphics’ new Opal Advanced Inkjet Screens to provide high-quality halftone screening specially developed for inkjet printing.

Mutoh expects VerteLith to lead to the development of new markets as well as being made available to existing customers. The new software is initially for the VJ-1638UR/UH and XPJ-461/661UF UV machines and ultimately for all the company’s major inkjet models, including the eco-solvent machines.

“By making extensive use of the Harlequin Host Renderer features VerteLith delivers advanced features that conventional Rip software does not offer, such as avoiding printing jobs incorrectly by

displaying a soft proof and ripped image preview, and ink cost calculation before printing,” said Mutoh executive engineer Norishige Kakuno.

“Additionally, while conventional Rip software mainly targets roll media, VerteLith is the new all-inone Rip software covering most features required for roll media printing as well as integrating a jig layout tool to improve usability for UV flatbed printers. It saves a lot of time and effort by enabling auto-image positioning of the printing material on the flatbed table or auto-page layout on each individual jig slot.”

With the Harlequin Host Renderer Mutoh has experienced improved Rip processing times for both PDF and PostScript files, as well as improved accuracy in printing PDF files with live transparency and spot colours.

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News

CMYUK makes key strategic RMC Digital Print installs EFI Vutek H5 moves RMC Digital Print has installed an EFI Vutek H5 Richard Spencer become chairman. At the Sue Hayward has been promoted to the position of sales director at CMYUK Digital. Other key moves include the appointment of Emily Falconer as textile business development manager for CMYUK’s décor and fashion range of digital print ready fabrics. Former ‘Image Reports’ editor Melony Rocque joined as group brand communications and PR manager.

Meanwhile, CMYUK has launched the High Roller Carousel for wide-format roll media storage. It can be loaded or unloaded with an adapted manual trolley on wheels or a lift trolley. A control panel allows for simple manual up/down press button or automatic selection of a specified roll that is delivered to operator/picker height at linear speeds between 4 and 6m per minute. Each roll position can be adjusted every 100mm on a handling chain - helping to maximise capacity depending on the roll diameter.

The High Roller comes in 13 different heights, 3 types of handling chain options, and offers several ranges rated on the external diameter sizes of a roll, which can go up to 980mm, in widths from 2-6m. It comes with a 12-month guarantee.

Durst takes majority stake in Vanguard Digital Durst has taken a majority stake in Vanguard Digital Printing Systems, headquartered in Lawrenceville, Georgia/USA. The move adds new printer classes to Durst’s large-format portfolio, while Vanguard now has access to a global distribution and service network.

“Despite the global pandemic, we are positioning ourselves for the long term and are determined to invest in the large-format graphics market,” said Christoph Gamper, CEO and co-owner of the Durst Group. “With our technical expertise, Vanguard will continue to ensure that its products and services are industry-leading and a wider customer base will understand what it is like to be part of the Durst family.”

The new company will now operate as Vanguard Durst Digital Printing Systems. David Cich remains CEO while Jim Peterson continues to serve as vice president of sales.

as part of the recent MBO team’s growth plans.

Installation was at the start of November.

Alongside the new printer - which replaces an EFI Vutek LX and a Durst P10 - the company is implementing a new PrintIQ web-based management workflow system and upgrading some of its other software. It is also in the process of rebuilding its website and expanding its print offering.

The family-run Hull-based trade printer, founded in 2012, underwent an MBO in August that saw Fespa UK president Nicole Spencer take over as managing director and

time they said long-term plans for the business included investing in new equipment, with the ultimate aim of expanding its client-base and broadening RMC Print’s customer offering.

Nicole Spencer said the new H5 “is as fast as the two outgoing machines put together, and is better in terms of quality, plus it will give us the opportunity to play with more multi-layer print applications.”

Of the £12,000 PrintIQ system, which will replace the company’s Clarity system, she said: “It should enable us to be more efficient, and drastically improve workflow.”

Fespa 2021: ‘Bringing Colour Back’ ‘Bringing Colour Back’ has been announced as the promotional campaign strapline for Fespa Global 2021, scheduled to take place 9-12 March at the RAI exhibition centre in Amsterdam.

The show website is also now live at: www. fespaglobalprintexpo.com.

For exhibitors, the site features an online ‘showroom’ where they can publish product information and technical content to support their participation, as well as managing enquiries from prospective buyers. Visitors can register their interest and access information about entrance fees and promotional codes for discounted entry.

CEO Neil Felton said: “By the time we open the

doors on Fespa next spring, many businesses will have been in a state of suspended animation for more than 12 months, closed off to real-world connections and experiences. But it’s our human instinct to meet, network, discuss and discover.

Talking to print businesses, there’s a definite appetite among decision-makers to get out, come up close to new products and unearth fresh ideas.

They want to be re-energised and turn their focus to the future.”

Over 200 exhibitors now signed for Fespa 2021, still expected to be the first live Fespa event to take place after all its 2020 events were moved to 2021 due to the Covid-19 pandemic.

Vivid extends VeloBlade cutter range Vivid has extended its VeloBlade range with the Nexus and Volta series of cutters.

The VeloBlade Nexus is a series of wide-format digital die cutters, including an optional CNC router for cuts up to 25mm. VeloBlade Volta gives users the ability to cut anything from kiss-cut labels up to 10mm thickness.

Available in two sizes - 600mm x 400mm and 600mm x 900mm - the Volta range comprises the

VeloBlade Volta 64, VeloBlade Volta 69, VeloBlade Volta 64+ and VeloBlade Volta 69+. They key difference is that the + range has a cut depth of up to 10mm with optional oscillating tool whereas the standard Volta 64 and 69 cut up to 2mm.

There is a 150mm auto-feed sheet capacity and a fully automated workflow with barcode reader to support multiple jobs at once. The VeloBlade Nexus has an automatic cut depth setting.

Azutura links up with creatives for wall mural service Durham-based Azutura has partnered with a number of creatives to develop a personalitydriven wall mural service - and is seeking more. The move is in response to a shift in its customer demographic owing to Covid-19 restrictions.

Azutura uses HP machines to print the murals.

It runs two HP Latex 570 printers and one HP Latex 315, alongside an older Latex machine.

Prior to Covid-19 they were used for commercial orders, but as artist liaison, David Atkinson explained: “We ran a skeleton staff for a short period but business has picked up as people are

looking to improve their homes with wall murals and wall decals.”

He pointed out that with the popularity of wall murals and decals increasing, Azutura wanted to offer murals using more than stock photography.

“We have partnered with over 100 artists, illustrators, designers and photographers. We want our customers to get to know them through blog posts and interviews, and to make it easy to for them choose their favourite designs from each artist.

“We are also creating a local connection.

City skylines are a very popular choice for wall

murals but with stock photographs you tend to see the same images again and again. Through the designs available on Azutura people can see brand-new views and concepts by local creators, which give real personality to a space. We are actively looking for more artists, as many in the UK as possible - in every city and every town.”

Atkinson added: “HP Latex ink is safe to use for use in domestic settings and HP-branded wallpaper media is also easy to install and to clean - many of our customers install them in their bathrooms. And the speed of turnaround allows Azutura to offer next-day delivery.”

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Cover Story

FESPA GLOBAL PRINT EXPO 2021: WE’RE BRINGING COLOUR BACK Neil Felton, FESPA CEO

We’re just a few months away from FESPA Global Print Expo 2021 (9th to 12th March 2021) in Amsterdam, The Netherlands. By then, we’ll have felt the effects of the COVID-19 pandemic for over a year. Its impact on our personal and business lives has been huge and the restrictions on our face-to-face interactions has left us all looking for a return to normality. We all want to turn our focus to the future and look for positive opportunities for recovery and growth.

After 10 years at the helm of FESPA, I know that our print community thrives on the buzz of live events. Faceto-face meetings spark energy in a way you just can’t recreate virtually.

I believe strongly that printers prefer to see production technologies and media up close before

10 | December 2020 / January 2021

they invest. They want to compare products and talk to experts. They need to network with peers in the real world and be inspired by new ideas and opportunities.

We all have a strong appetite to connect with one another in the real world, to build and nurture our communities. FESPA is a special, community-driven event and that’s clearly reflected in the feedback from our exhibitors and visitors. After a year behind a screen and with no live events, they can’t wait to be back at FESPA Global Print Expo.

A SHOWCASE FOR INNOVATION As this edition of Image Reports goes to press in early December 2020, over 220 brands are already confirmed to exhibit at FESPA 2021 and European Sign Expo,

Cover Story

which are side by side in Amsterdam.

As ever, the two events will bring together the brightest and best of digital wide format print, textile and screen printing and non-printed signage, along with areas focused on more niche applications like printed décor and vehicle wrapping. Printing and finishing equipment, software solutions, media and inks - it’s all there for you to discover.

We’re expecting the event, as always, to be an important platform for suppliers to show you their major product innovations. Many of our exhibitors are already signalling that it will be a key launch platform in 2021, and they have exciting things to share with you.

Of course, right now, many of you are focused on making essential investments to shore up your day-today business operations. But from conversations with printers around the world, I know you’re also still looking for chances to diversify into new markets to support your ambitions to grow.

And this year has exposed the fact that there are still many ways for PSPs to improve their processes and make production more efficient and cost-effective, which will make them more resilient in the future.

I’m expecting to see many PSPs in 2021 zoning in on short-run, on-demand production, increased automation, web ordering and workflow enhancements for maximum efficiency, as well as investing with a clearer focus on sustainability.

If that sounds like you, then I’m confident you’ll find all the information and inspiration you need at FESPA Global Print Expo 2021.

NEW ONLINE EXHIBITOR SHOWROOM To support your planning ahead of the exhibition, we’ve launched our online FESPA Exhibitor Showroom at www. fespaglobalprintexpo.com/exhibitor-showroom. It’s a one-stop information hub that will give you a brilliant overview of all our exhibitors. It’s easy to download product brochures, browse press releases, explore product information and watch videos. You can even use it to build a list of exhibitor stands you plan to visit, to

help you navigate around the show and make the most of your time in Amsterdam.

It’s just one of many ways we’re using FESPA’s online platforms to help printers plan and access information in different ways.

BRINGING COLOUR BACK All our aspirations for 2021 are expressed in our campaign theme: Bringing Colour Back. I’ve no doubt that 2021 will continue to throw up challenges for print businesses, but we’re beginning to see encouraging signs of recovery and regeneration in the market.

Let’s begin to put 2020 behind us, look to the future and consider the new revenue and application opportunities that exist. We all want a dose of energy, positivity and inspiration, and nothing delivers that quite like a FESPA exhibition.

The FESPA team is working incredibly hard to make this a bright and inspiring event for our exhibitors and visitors. Together, we look forward to welcoming you to FESPA Global Print Expo 2021. See you in Amsterdam!

For more information on the show, and to register to attend, visit: www.fespaglobalprintexpo.com Use the promotional code FESM101 to save €30 on your entrance ticket.

A COVID-secure event The health and safety of our exhibitors, visitors, contractors and staff is our number one priority. We’re working closely with the RAI exhibition centre, our venue in Amsterdam, to follow the latest guidelines provided by the Dutch government, the National Institute of Public Health and the Environment, and the city’s Municipal Health Service.

With their guidance, we’re aiming to deliver a COVID-secure event with all the measures you’d expect, such as social distancing, hand sanitising stations, and improved signage to ease movement around the show.

And, in partnership with our registration company, using QR codes on exhibitor stands and promotional materials, as well as graphics around the halls, visitors and exhibitors will be able to capture leads, and exchange information quickly and easily. No direct contact required, helping us to be fully COVID compliant.

It’s fair to say that the overall event experience is likely to feel a little different. But I’m confident that a visit to FESPA Global Print Expo 2021 is by far the best way for you to discover the new technologies and materials that can drive your business forward from here, and fuel you with fresh ideas to energise you and help you succeed.

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Business | Widthwise Live

WIDTHWISE LIVE KEY TAKEAWAYS AS WE HEAD INTO 2021 - AND THE NEXT WIDTHWISE POLL OF UK LARGE-FORMAT PSPS - NOW IS A GOOD TIME TO REFLECT ON WHAT KEY PRINT COMPANY BOSSES HAD TO SAY ABOUT DOING BUSINESS IN THIS SHAPE SHIFTING SECTOR AT OUT FIRST EVER WIDTHWISE LIVE WEBINAR THIS AUTUMN.

Growing turnover, reducing costs and diversifying the large-format print offering - those were the three key themes of our first ever Widthwise Live initiative, conceived as a physical event in what was the 13th year of our annual Widthwise poll of the UK and Ireland’s large-format PSPs, but which ended up being a virtual programme of talks for obvious reasons. We did two Widthwise surveys in 2020, for reasons just as obvious - one pre-coronavirus at the start of the year, and another in the summer following the first lockdown - and from those polls we extrapolated where the sector’s main focus lie in the short to mid-term. So, for those of you who missed out on the insights provided by our illustrious panel of speakers, here’s a précis of the key takeaways from the three print bosses who took part, in the hope they help you in 2021.

As the first presenter Will Tyler explained, Octink was purchased in January this year [2020] by the Paragon Group and now operates as a subdivision of Service Graphics - a move he admits was somewhat fortunate timewise.

“The percentage of our turnover - around £18m last year - that was directly large-format print was in the region of £11-£12m. Octink is primarily dedicated to serving the property industry in the South East, but back in 2019 we were noticing a margin squeeze within this industry, and an increased amount of competition. We wanted to be in a position to tell a property developer they could literally order the same things in Scotland as they could down in Cornwall, something that would allow them to have consistency. The risk to us of doing what needed to be done was simply too great, so to buddy-up with somebody like Paragon, which is cash rich and with desires to build a much bigger large-format company, fit well with our own desires for expansion. With Paragon, and through Service Graphics, we’re currently in the process of setting up offices in Glasgow, Skelmersdale, Chippenham and Taunton - and probably other places.

“That Paragon is a particularly acquisitive company is important on other levels too. They have bought another four companies [more since this interview] during the Covid period. With the increased sales exposure that Service Graphics gives us, we see opportunities to continue to grow. Looking forward, we remain optimistic new customers are coming to us on a daily basis. We’re taking on work in areas that we’d not have done so before because we are supported by other companies in the group and take on each other’s overspill were it makes sense to do so.”

12 | December 2020 / January 2021

Being part of a bigger family is also key to Richard Courtney’s optimism about Gardners, a £30m, 100 staff business based in Cardiff that was founded in the early 1970s and bought out of administration by Courtney and James Morris in 2012.

“Last year [2019] we decided the time was right to become part of a larger group because even as a then £12-13m business we still felt like a cork on the ocean some days. It felt that to grow, we needed to be part of something bigger and better. So, we are now part of the £65m group of Hexcite companies owned by Elaghmore.

The reasons for deciding to go that route are similar to those Will [Tyler] mentioned - it was really all about being able to build revenues.

“The ideas I have about building revenue are certainly not the only ways of doing so. I’m not sure they’re even the best ways, but we do have a plan - and I think that’s probably the most important thing,” he said, explaining that Gardners “focusses on four main sectors - retail and POS, fleet, OOH and events/venues - which have served us well over the last few years, but it’s fair to say that Covid hit us like a hammer. We lost £1m of work in the first few days of March 2020 - quite a lot to a company turning over £1m a month!”

Surprised by how quickly that work was replaced with mainly Covid messaging work, mainly for retail, and mainly for large grocery stores, and supported by the Government furlough/job retention schemes, Courtney said the company “ended up having a Covid period that was actually quite successful, but I’m not sure what the second phase of Covid will do to the business. Whatever happens, having a growth plan is essential and we base ours on four pillars.

“The first pillar is what I call systematic and consistent new business development activity. Our new business team is fully segregated from our key account management team, and we have a strong marketing programme. We have a 90-day rolling plan for social media and digital marketing so we know what is going out when, and we’re following that up constantly with report going to board level. This has one goal - to deliver warm and qualified leads to the new business team. We manage the programme through a client relationship management tool called HubSpot, which does cost us a few quid but is very worthwhile. On top of this, we are putting together a Hexcite proposition that will support the separate group company programmes and brands.

“Pillar two is automation and capital investment. We

Business | Widthwise Live

are finding that speed to market is vital to winning new business. So improving the digital workflow is high on the agenda and we have a £2m cap ex plan in terms of IT and automation, and for new production and finishing machinery over the coming year.

“Pillar three is differentiation and diversification. The Hexcite proposition will be useful here, being able to offer the group’s expertise across various areas. We also are taking time to remind our clients - who continually pigeon hole us - that we can do other things. We are really trying to cross-fertilise.

“We are focussing quite a lot too on sustainability. We have a green promise to our clients that we will try to offer green alternatives where available. There’s still a price premium for that, but it’s going to be increasingly important. We’re also trying to acquire niche products and niche licenses. Agrippa, a fleet signage system, and ReActivair, a nitrous dioxide eating coating, have been very successful for us. We’re finding that once we get talking about these products it gives us an opportunity to talk to clients about what else we can do.

“Pillar four is commercial control. It’s very easy to fall into the busy fool trap and win work at low margin. We’ve been there and have worked hard to get out of that kind of market and mindset. It’s vital to understand cost and margin at the top table - and not leave it to the sales team and estimators. We escalate all cost and margin sign-off to as senior a level as we can without sacrificing speed to market. And we have daily sales virtual meetings with the commercial teams to understand opportunity, and risk, in real terms.

Stuart Maclaren of Your Print Partner (YPP) honed in on that pillar three point - diversification - pointing out that the company started as a specialist large-format textile printer, doing work for other print firms and for a number of years did really well at it because it was an early adopter of digital print kit in that sector. But then things needed to change.

“YPP was doing great during the summer when there were large sporting events etc, but the winter months were very quiet, so in 2014 we launched a brand called Santa Sacks which was probably where our first diversification came,” said Maclaren. “Santa Sacks was an idea to fill the kit during that time, and it really took off with us getting 40,000 orders over the Christmas period.

“We run 13 3.2m textile printers, three 1.8m printers, have two ovens, two cutters, and have about 47 staff onsite, and we’ve grown to that because of the diversification we’ve undertaken. We look at the capacity we have, at what we can do differently from others, and go from there.

“In 2019 we diversified again with Custom Gifts [online personalisation service]. It was launched to focus on the B2C market rather than the B2B business we’d been at the start. There are a lot of companies that do personalisation, but its largely about adding a name or a photo to a product, and that wasn’t the market we wanted. We wanted to add major brands to the personalisation offering so we’ve signed licenses with the likes of Warner Brothers to produce personalised products using over 50 of their major assets like Scooby Doo, Harry Potter etc. We saw the value in that so we’ve since signed up over 60 football clubs, and the value of having their

TO BUDDY-UP FIT WELL WITH OUR OWN DESIRES FOR EXPANSION. Will Tyler, Octink

HAVING A GROWTH PLAN IS ESSENTIAL, AND WE BASE OURS ON FOUR PILLARS. Richard Courtney, Gardners

WE LOOK AT THE CAPACITY WE HAVE, AT WHAT WE CAN DO DIFFERENTLY FROM OTHERS, AND GO FROM THERE. Stuart Maclaren, YPP official branding and items go out in that official packaging is really key.

“It’s meant a lot of work and investment. We’ve had to develop API feeds into the clubs’ retailers for instance so if you go onto the Arsenal FC website you can buy a personalised towel, the order for which comes directly to us. The only way we’ve been able to do this, and reach the volumes and turnaround times requires is, as Richard [Courtney] said, by having the systems in place. It’s really not about price - it’s about someone thinking: ‘It’s my partner’s birthday tomorrow. I want to order a gift online now and have it arrive on the birthday.’

“It’s all about filling the machines with work that will pay. Back in March things did look scary with Covid but we did OK out of it because we had a set-up that meant we could get new products out to market quickly - things like branded hand sanitiser units etc.

“We have been hit by cancellations of orders like everyone - especially since events and sports events thought things were going to get up and running again, only to be told they were being put back on ice. So the B2C online part of the business is where we’re being successful at the moment. We’re still using the same equipment, just for new markets in effect.”

Videos of all the Widthwise Live presentations can be found in full at: https://www.imagereportsmag.co.uk/ image-reports-videos

www.imagereportsmag.co.uk | 13

Business | Talking Point

talks to...

Brendan Perring The IPIA (now encompassing the BAPC) has been especially proactive in getting print’s voice heard throughout 2020, not least via its GPMA membership through which it has tirelessly lobbied the Government for a better deal for the industry in these difficult times. I asked IPIA general manager (and BAPC chairman) Brendan Perring for the association’s take on the opportunities and pitfalls for print in 2021 and beyond, and on where wide-format PSPs fit in.

14 | December 2020 / January 2021

Covid-19 has knocked everyone for six, but I’ve got to say, the IPIA has been really quick and forceful in its actions.

Back in March, and together with the then separate BAPC, it produced an impact statement on the print industry for the Department for Business, Energy, and Industrial Strategy (BEIS). It continually called for industry input and in September, as part of the Graphics and Print Media Alliance (GPMA), called on Government for a means-tested disaster relief grant fund for the UK print industry. In October it got a reply, basically saying ‘we’ve heard you’. Do you believe all the hard work will pay off, and that the plight of the print industry will be taken seriously by those in power?

Historically, its cry has been largely ignored.

The short answer is yes. The hard work has paid off and will have a lasting legacy as we have worked so closely with senior civil servants to assist them with policy development.

We are around the table at the Department for Business, Energy and Industrial Strategy, our industry has put itself back on the political map through the mass MP letter-writing campaign, and I am confident that our relationship with Government is only going to grow and strengthen. And that very much extends to large-format as we have been sure to represent its interests too.

The longer answer is that you are bang on about being largely ignored historically, but it’s a subtle story. When you think, 25 years ago, commercial print was still the most powerful and ubiquitous form of marketing and communication available - it was like turning on the taps and expecting water. It was that exact dominance and strength that became its greatest weakness - it didn’t need to have strong multi-organisation Government lobbying because it didn’t need it, so it didn’t develop a culture of representing itself to those in power, or indeed to major print buying professionals such as marketers, procurement officers and designers.

When the commercial print industry began to contract, due to the digital communications explosion, its great and good just didn’t realise that ebbing away inside Government and these sectors was an understanding of our industry, the value and strength of its products, the challenges it faced and the support it needed.

When it comes to large-format, it grew out of what was really a cottage industry of sign-makers, design agencies, map printers, drawing offices and copy shops that were very disparate and so just did not have a cohesive voice.

This is changing though, as its supply chains and market identity solidifies.

To be clear, there has been really good work done by the

BPIF, BSGA and organisations such as Two Sides and Print Power, but there was such a massive number of challenges that trying to campaign and gain ground on any one front is tough work. Compare that to the resources that Microsoft, Apply, Google, Twitter, Facebook and so fourth have had to represent their interests.

That is why the GPMA was founded, to bring together all the associations and create a unified voice for print and all its allied industries. Its purpose has now been used effectively during this campaign. And the difference this time is that this single big issue gave us a platform to effect change and get support, as we could clearly demonstrate that if it didn’t act, the Government was risking a £14bn sector and hundreds of thousands of jobs. That placed the GPMA, IPIA, BAPC and BPIF at the centre of an effort to support the industry.

That work, together with trade associations from across manufacturing industries, has led to some big wins: 80% flexible furloughing and its renewal for lockdown II, tax relief, rent protection, local authority grants and Government backed loans.

Wide-format has perhaps been a victim of its own success it hasn’t been in the dire straights of ‘commercial’ print and thus had little reason to call on trade associations to amplify its voice. Does the IPIA have much contact with this sector?

We have been really focussed on ensuring that wide-format print’s voice has not gone unheard. Hundreds of our trade print members have a strong presence in this field, part of the migration of consumer retail and trade printers that have diversified into the sector - and so we could generate really good data to provide to Government.

In addition, we count Epson, Roland DG, Fujifilm, Printmax, YPS, Antalis, Premier Paper, Stanford Marsh, Canon, EFI, HP, Ricoh, Sign and Digital UK and Vivid as members, so we have a strong conduit of business intelligence and data from the sector.

As some will know, I was the editor of ‘SignLink’ magazine for nine years, and so I have deep understanding, and abiding passion for large-format print. Its predicament has varied. The explosion in demand for Covid-19 safety graphics and signage for retail environments especially helped mitigate the huge loss in markets such as sports, retail, hospitality and leisure. But that said, it has been a bubble that has burst for many and they are suffering just as badly as those in commercial print.

Our industry-wide surveys have seen a good representation from large-format print specialists, and what we see is that because it has so many more micro-businesses and SMEs,

Business | Talking Point

general manager, IPIA the Government help is proving more effective. By comparison, commercial print businesses with a turnover of £20m + have seen huge damage to their businesses that the support has not been able to nearly cover.

It’s ironic really, that the print industry hasn’t traditionally been very good at communicating its own message to the wider world. You have said a core problem is that the print industry doesn’t do enough evangelising. Agreed! I’ve been championing the idea of print ‘ambassadors’ for years now.

The IPIA has its ‘Heroes’ programme. Do you have many large-format orientated ‘Heroes’? Do you need more, and what are the criteria?

Yes, we are very happy that Canon, EFI distributor Konica Minolta, Vivid and Antalis represent large-format as part of Heroes. It is an IPIA initiative to create positive communications and change our industry voice for good.

Our industry is facing misconceptions on its resilience, sustainability and future. For too long the industry has been negative in its messaging, both internally and probably more importantly externally, giving fuel to the idea that print is no longer a relevant and appropriate channel. We believe we must now drive a new conversation to address volume decline with fresh thinking and an entrepreneurial attitude.

We must address common monikers such as ‘print is dead’ with a rallying cry to embrace the changes and encourage discovery of innovations that deliver game changing results through print.

We always welcome new members of the group, and if you would like to find out more about getting involved just let me know (brendan@ipia.org.uk).

We both know there’s loads of innovation and creativity within the large-format space that could create real resonance with would-be print buyers – and which would help strengthen the perception of print to those in the outside world. Are many large-format PSPs currently members of the IPIA? If so, are they very active?

We have seen large numbers of print members diversify very strongly into large-format print. When it comes to the BAPC members, most of whom are business-to-consumer SME printers and copy shops in retail units, I would say that 99% have a wide-format printer and laminator so they can say ‘yes’ to such work.

Both memberships are very much engaged, as we have focussed very heavily for the last six years especially on quality members and building long-term connections with them. We know each and every member on a first name

basis, understand their challenges and goals and work with them to leverage our resources and benefits to assist with achieving them.

What kind of cultural shifts do you think need to take place to enable print to thrive in a post Covid-19 and post Brexit Britain?

There is so much opportunity for print businesses that focus on being flexible and adaptive in terms of targeting new growth markets and focussing on profitability over sheer volume revenue generation. This is the most important cultural shift that needs to take place. Our product is not ink on paper, it is enabling everyone from brand to agency marketers and individual business owners to engage and communicate with customers in an effective way. Print in all its myriad of forms is a fantastic delivery method for that product, especially when it forms part of a multi-channel marketing mix.

It’s a designer’s dream to be able to create a really amazing, powerful piece that can engage the senses of their target consumer demographic and know that it won’t be watered down once it has gone through budget approval with the client. This is now possible because printers have technology that can realise that designer’s dream without it breaking the bank in terms of production costs.

What does the IPIA see as its key objective going into 2021 - and what’s it key message to PSPs - large-format ones particularly?

The IPIA and BAPC intends to continue its crucial role as an industry ambassador championing print, both at Government level and also to major print buying sectors such as marketing.

We are deeply committed to supporting our members and our industry. We pursue this commitment by helping businesses expand their horizons, grow using targeted member collaboration, adapt to ever evolving market forces, and thrive through mutual support.

The value proposition of the IPIA is that its executive and council work hard to make sure every member is pushed to take advantage of all relevant core member benefits and then presented with the specific suite of opportunities to aid business growth appropriate to them they can pick and choose as it suits them.

Our message to PSPs and large-format-print specialists is that the value of belonging to a trade association is that you have a new group of friends that have your back, amplify your voice, connect you to new opportunities and can open your eyes to possibilities you did not know existed.

WE COULD CLEARLY DEMONSTRATE THAT, IF IT DIDN’T ACT, THE GOVERNMENT WAS RISKING A £14BN SECTOR AND HUNDREDS OF THOUSANDS OF JOBS.

www.imagereportsmag.co.uk | 15

Technology | Angel Awards

2020 HASN’T ALL BEEN BAD. WE’VE SEEN SOME TREMENDOUS INNOVATION IN THE WIDE-FORMAT DIGITAL PRINT SECTOR, AND THAT GOES FOR KIT, CONSUMABLES AND SOFTWARE AS WELL AS COVID-19 RELATED PRINT APPLICATIONS. HERE WE APPLAUD THOSE WE THINK WORTHY OF PARTICULAR APPRECIATION.

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www.imagereportsmag.co.uk | 17

Technology | Angel Awards

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www.imagereportsmag.co.uk | 19

Technology | What to Watch

GIVING NEW LFPS SOME LIMELIGHT THE VARIOUS VIRTUAL LAUNCHES OF LARGE-FORMAT PRINTERS THIS YEAR MAY MEAN SOME HAVE PASSED YOU BY, SO HERE’S A REMINDER OF THE LATEST INTRODUCTIONS JUST IN CASE NEW KIT IS ON YOUR CHRISTMAS LIST! The last several months have presented digital inkjet printer manufacturers a chance to re-evaluate their target markets and supply chains, many eying up the main chance for developing machines that will bring them new customer-bases. But that’s not to say the ‘traditional’ graphic arts sector has been ignored, as you will have noted despite the lack of hoo-ha that would, in normal times, accompany product launches at trade shows etc. The switch to virtual launches may however mean that some introductions have passed you by given the circumstances, so here we provide a low-down of the key developments of 2020, just in case there’s a possibility you want to include any of them in investment plans going into 2021.

AGFA Jeti Tauro H3300 S One of our 2020 Angel Award winners, this is an upgradeable, entry-level, hybrid printer. The 6-colour machine - with optional white and primer - has a top speed of 302m2/hr, but can be upgraded to the higher speed of the H3300, capable of delivering prints up to 3.3m wide at speeds up to 453m2/h.

There are six possible configurations - four of these are dedicated to board printing, ranging from manual to fully automatic. The three-quarter automated version makes use of an automatic board feeder. The two remaining configurations focus on roll printing, with a master roll-toroll and a light roll-to-roll model.

The new printer is powered by Agfa’s Asanti workflow software. The smart Asanti Production Dashboard displays ink and media consumption and printing time for each job and printer.

Oberon Agfa had intended to show this 3.3m high-end UV LED roll-to-roll printer at Fespa Global 2020 had it gone ahead.

It comes in 4-colour plus white, and as a 6-colour version.

In ‘express mode’ it has a top speed of 150m2/h, and in ‘production mode’ it’s said to reach a consistent 85m2/h.

The dual-roll option is capable of handling two rolls each up to 1.6m wide.

The UV LED inks for the Oberon RTR3300 have obtained the highest category of Greenguard Gold certification. In addition to its air-cooled LED curing lamps, the printer has a water-cooled table that keeps the printing zone at room temperature for processing heat-sensitive media. There is a dedicated mesh printing function, smart multi-queue functionality, and a free fall option.

20 | December 2020 / January 2021

Agfa Oberon

Canon Arizona 2300 series

CANON Arizona 2300 series According to Canon, these LED-UV flatbed printers another of our 2020 Angel Awards winners - are more than 20% more productive than the previous generation of Arizona machines.

The series comprises the Arizona 2340 XTF, 2360 XTF, 2380 XTF machines with flatbed area of 2.5m x 3.08m, and the Arizona 2340 GTF, 2360 GTF, 2380 GTF with a smaller 1.25m x 2.5m flatbed. Three versions are available: 4-colour, 6-colour (CMYK, double white, or white and varnish) and 8-colour (CMYK, Lc, Lm, double white or white and varnish). The 4- and 6-colour are both field upgradeable.

The new printers use Arizona ‘FLOW’ technology, an airflow suction technique that combines a zoneless, multiorigin table layout with easy-to-use pneumatic registration pins to better secure the substrates in place. The pneumatic registration pins allow users to align media to either the left or the right edge of the table - or both - and 2-up, 4-up and 6-up printing is possible. Top speed is 95m2/hr.

With the Arizona 2300 series, Canon is also introducing Arizona Xpert version 2.1, which supports ‘recipes’ for print and cut workflows via integration with Canon’s ProCut software. The software also enables easy recipe exchange between print supplier and designer, so they can see the end product with a 3D view in Adobe Creative Suite.

The printers are said to use less than 8ml/m2 of ink on average - including maintenance. A roll media option is available that allows the use of thin, heat-sensitive media up to 220cm.

ColorWave and PlotWave It’s worth noting that Canon updated its ColorWave and PlotWave large-format printers in 2020.

Comprising three ColorWave models (3600, 3800 and 9000) and five monochrome PlotWave models (3000, 3500, 5000, 5500 and 7500), the series incorporates Smartshield integrated printing security, as well as built-in ClearConnect software and uniFlow technology.

DCS UV-84DTS

DCS UV-84DTS US-based Direct Color Systems (DCS) introduced the UV-84DTS 120cm x 243cm UV LED printer, which uses Ricoh printheads with variable drop greyscale technology for print resolutions up to 1200dpi. It has an integrated

Technology | What to Watch

vacuum table, uses a 1.5L bulk ink system, and incorporates Color Byte 11 software.

EFI Colors 340 and the Power 340 The EFI Colors 340 and the EFI Power 340 are aimed at the high-end, high-volume soft signage market. They leverage EFI Reggiani technology, with the EFI Colors 340 printing at up to 850m2/hr (4-colour x 4 configuration) and its big sister up to 1,564m2/hr.

The 3.4m-wide EFI Colors 340 can handle fabrics up to 450gr/m2 and uses EFI water-based CMYK dispersed dye inks. Available with up to 24 printheads, it comes in 4-colour x 2, 4-colour x 4, or 6-colour x 4 configurations, as well as an 8-colour configuration featuring standard CMYK and light CMK colour inks, plus a penetrating agent.

The printer’s 2,400dpi resolution with four level greyscale printing and drop sizes from 4 to 18 picolitres can deliver 100% penetration on both sides of the material. There’s a sticky belt feeding mechanism and the inclusion of EFI’s continuous ink recirculation system.

The Power 340 is also capable of printing directto-fabric or onto transfer paper using EFI water-based CMYK dispersed dye inks. It too has a sticky belt feeding mechanism and comes in 4-colour x 4 or 4-colour x 8 configurations.

Nozomi C18000 Plus The 71in-wide Nozomi C18000 Plus is a direct-to-board LED UV inkjet model that can operate at speeds up to 75m/min (producing up to 10,000 890x890mm boards per hour two-up). In addition to its standard CMYK inkset, the printer is available with optional orange, violet or white inks.

Job processing for the Nozomi Plus model is 5% faster thanks to the latest version of the EFI Fiery NZ-1000 DFE, which features Smart Ink Estimator, and Fiery Edge profiling technology. Other Fiery products included are: Fiery JobFlow Base, which automates repetitive job setups; Fiery Spot Pro; and Fiery FreeForm Create, a visual variable-data print creation application. The Plus model Nozomi also integrates with EFI IQ, a new suite of applications to help users extract value from their operational data.

EPSON SureColor SC-V7000 This is Epson’s first UV LED flatbed printer. The 10-colour machine has a 2.5 x 1.25m maximum print size and can handle substrates up to 80mm thick. It has a four-zone vacuum system, ionizer and registration pins as standard.

Epson Edge Print Rip software along with UV Flatbed controller software are intended aid print speed and job repeatability.

SureColor SC-R5000 Epson also brought out its first resin ink large-format machine in 2020. The 64in SureColor SC-R5000 uses a new 6-colour UltraChrome RS water-based resin ink and has three independent heating stations to ensure colour uniformity.

The machine incorporates long-life PrecisionCore Micro TFP printheads and an Advanced Auto Tension Control (AdATC) for dimensional stability.

EFI Colors 340 and the Power 340

Epson SureColor SC-V7000

Epson ML-8000

ML-8000 January 2021 will see the first UK shipments of the new Epson ML-8000 entry-level digital textile printer, aimed at the fashion industry, hence the very brief mention here. With eight PrecisionCore printheads, the ML-8000 reaches typical print speed of 155m2/hr (600 x 600dpi in 2 pass).

SureColor SC-F10000 Epson manufactures all the components for this, its first 76in dye-sublimation printer. The SC-F10000 offers speeds of up to 255m2/hr using new PrecisionCore Micro TFP printheads and Epson Precision Dot Technology (blending new Halftone, LUT and Micro Weave technologies). It has an easy media setting (media loading lever front and back), auto-adjustment technology including an integrated RGB camera, a new dryer for less ink transfer to the reverse of the media and wrinkle elimination, an advanced auto tension control (Ad-ATC), and operator-replaceable parts. Ink comes in 10-litre or 3-litre ink boxes supported by ‘hotswap’ function.

SC-T3100M and SC-T5100M MFP These two new large-format MFPs - the 24in-wide SCT3100M and 36in-wide SC-T5100M - are aimed at those printing assets for the retail and hospitality sectors as well as those handling technical drawing, plotting CAD and GIS maps.

HP Latex R1000 This is an entry-level Latex machine that can handle media up to 64in wide in sheet-fed configuration - a roll-fed available as accessory. It has a white ink printing capability and uses 3 litre cartridges.

The HP Latex R2000 Plus feeds materials (roll-fed or sheet-fed) up to 98in wide (2.5 meters), and uses 5 litrecartridges.

Epson SureColor SC-F10000

HP Latex R1000

MIMAKI 100 Series This series comprises two entry-level roll-to-roll inkjet printers - the UJV100-160 (UV model) and the JV100-160 (solvent model). The UJV100-160 uses LUS-190 UV ink and the JV100-160 the SS21 inkset.

Both printers utilise Mimaki’s DAS (Dot Adjustment System) feature - a new function that performs drop position adjustment for bi-directional printing and media feed compensation automatically.

Core Mimaki technologies, such as NCU (Nozzle Check Unit), NRS (Nozzle Recovery System) and MAPS4 (Mimaki Advanced Pass System4), will all be available as standard, as is the new RasterLink7 Rip software that incorporates the Harlequin Rip as a core engine. With this new engine, the Rip time can be reduced by up to 25% and variable data printing and favourite settings have been added to the Rip.

www.imagereportsmag.co.uk | 21

Technology | What to Watch

Air purifier for SWJ-320EA Worth a note that Mimaki Europe has worked BOFA International to introduce an air purifier for the 3.2m-wide SWJ-320EA solvent printer.

ROLAND XT-640S DTG Launched at the end of February this is 5-colour (CMYK, white) pigment ink direct-to-garment machine with a multi-jig system. It has a bed size of 1695mm (w) x 1500mm (d).

ZT-1900 The 1.9m-wide dye-sub ZT-1900 is Roland’s largest, most productive textile printer to date. It runs at up to 220m2/hr in draft mode and 150m2/hr in production mode - and has a mirrored CMYK configuration. There’s an integrated infrared dryer and a 5kg ink container capacity, with high levels of automation to enable 24hour production.

The printer incorporates four double-channel Kyocera printheads and uses high-density dye-sub inks compatible with coated and uncoated paper. It handles lightweight paper (>18gr/m2) and large paper rolls up to 450kg.

Mimaki’s new air purifier for SWJ-320EA

Roland ZT-1900

EJ-640 Deco The EJ-640 Deco printer first mooted by Roland DG at Fespa 2018 is now commercially available, albeit with a crucial tweak - it now runs off VersaWorks 6 rather than the ErgoSoft software originally previewed.

Developed for the interior decor market, the roll-to-roll EJ-640 Deco uses water-based resin inks for the printing of customised wallpaper, lampshades, blinds etc. It has a maximum print width 1615mm (63.6in).

VF2-640 Available in several ink configurations - including green or orange options - this roll-to-roll device has a max print width of 1615mm (63.6in)

swissQprint Tip Switch Vacuum

SCREEN PacJet FL830 This water-based inkjet system for flexible packaging can handle media up to 83cm wide and run at up to 75mpm.

It is scheduled for release around March 2021.

Screen has pointed out that the system - which can print at 1,200dpi in CMYK and white - will be able to handle promotional to production applications. It also demonstrates exceptional responsiveness for small lot jobs of less than 4,000m. At present, the PacJet FL830 can handle both PET and OPP media and Screen is working to further expand compatibility.

SWISSQPRINT Nyala 3, Impala 3 and Oryx 3 October 2020 saw swissQprint introduce upgraded Nyala, Impala and Oryx models. All now come with the new Tip Switch Vacuum system.

The Nyala 3 is a flatbed with roll-to-roll option and a 3.2m maximum print width. The UV-curing machine inkset includes CMYK, Lc, Lm, Lk, orange, white, varnish and primer. Read the same for the Impala 3 and Oryx 3, though these have a 2.5m maximum print width.

The company’s Karibu roll-to-roll printer has featured the patent pending Tip Switch Vacuum since its introduction last year. Now all the swissQprint flatbed printers have a vacuum table, subdivided into as many as 256 segments, which can be switched on or off via the Tip Switch. This eliminates masking and taping, and because there is no air leakage, the vacuum develops its full force to hold down even unruly media. The vacuum table also incorporates a cutting channel that provides a defined and precise trimming edge for roll materials and thin media. For tandem production, the vacuum table is divided into two zones, each independently adjustable by the Tip Switch Vacuum.

For easier media handling the user can regulate the vacuum strength and is also able to reverse the thrust.

This creates an air cushion on the print bed that eases the handling of heavy boards.

Magazine Newsletter Website Supplements Bespoke Events Roundtables Research Reports www.imagereportsmag.co.uk @imagereports Please contact Carl to discuss advertising and sponsorship opportunities: Tel: +44 (0) 207 062 2526 Carl.Archer@imagereportsmag.co.uk

Environment

THE ELEPHANT IN THE ROOM ALL THINGS ENVIRONMENTAL MAY BE CLIMBING UP THE AGENDA, BUT WE HAVE TO FACE IT - MORE NEEDS TO BE DONE TO ENGAGE WITH THE WASTE INDUSTRY IF THIS SECTOR IS TO REALLY IMPROVE ITS GREEN CREDENTIALS. There has been a ‘call to environmental arms’ for some time now within the wide-format sector, with with an ever-increasing sense of duty and requirement pushing things on. There have been welcome advances by suppliers focusing on eco-friendly media, and in uptake of those products, and buy-in to more sustainable behaviours by PSPs. The environmental agenda is clearly a priority and the whole supply chain is eager to demonstrate a commitment to sustainability.

But there’s an elephant in the room - the sector’s relationship with, and the aims of, the waste and recycling industry.

As Jon Hutton of Prismm points out: “Until we have a workable, sector-wide recycling service, all the hard work, eco-friendly media, brand marketing about ‘made from 100% recyclable material’ is just that marketing with no ‘final destination’ accountability.

This is because by far in a way the biggest problem is that the waste and recycling Industry is not geared up to collect small volumes of these substrates for processing and then recycling.”

He adds: “A common misconception is that a waste contractor’s primary concern is the environment. The reality is that they are focused on making profit like any other business, and waste is just their mechanism for doing that. Handling small amounts of waste is not cost effective, and waste from large-format print is most definitely small volume relative to the vast majority of domestic and other commercial wastes processed by the companies that collect our general waste bins. Much of this media is also low in value as a waste, based on weight, handling and processing costs involved. High tech municipal recycling facilities may capture some media types, but these are not common throughout the UK. All this may paint a bleak picture, but things are happening to change that.

“The key to recycling success is joined-up thinking by suppliers, distributors, and printers, to work with recycling specialists. Thankfully, that is starting to happen, and we are seeing far a better-educated supply

PRISMM IS FORMULATING A NEW SCHEME CHAMPIONED BY BPIF - FOR EARLY 2021 ROLL OUT.

chain, capable of making informed decisions on end-oflife media disposal strategies. As re-processors tend not to offer small-scale collect services, mapping and implementing collection services is the key.

“This is the exact approach Antalis is taking for instance - creating environmental platforms and engaging with customers regarding eco-friendly media options, whilst working alongside Prismm Environmental [which specialises in recycling on behalf of the printing industry] to supply actual solutions.

“Vuflex and Soyang are two other suppliers that use this approach and have their PVC banner waste collected, shredded, and used as either equestrian bedding in the UK or converted into secondary PVC products. These collection services are being utilised at print sites throughout the country, but it’s clear that UK’s mainstream waste industry currently has no infrastructure to offer wide-format media recycling solutions produced in small volumes.

“The supply chain needs to come together and use the ‘power of print’ to perhaps sway the waste industry - but the commercials will always be paramount, so building and using specialist recycling services looks like the best way forward.

“To this end Prismm is working with a number of large-format printers directly on a number of new waste management fronts, and on a new scheme - championed by BPIF - for early 2021 roll out.

“The objectives include a nationwide collection infrastructure for recycling rigid polypropylenes and acrylics, flexible PVC’s and polyester re-use, cardboard and polythene recycling, and ensuring each scheme member is achieving the waste hierarchy as required by environmental law.

“The scheme will be open to all printers - regardless of BPIF membership - and each will receive annual certification.

“It’s crucial we work together to ensure we continue to build on all the hard work that continues to take place to make print more environmentally-friendly, and to take the opportunity to promote wide-format to customers as a credible, sustainable option.”

www.imagereportsmag.co.uk | 25

Think Bigger | Gallery

a. The art of giving Your Print Partner (YPP) has introduced a DC branded range of Christmas Eve/storage boxes to its Customised Gifts offering. It has also added a collection of personalised Sesame Street products, a deal secured via Bulldog Licensing, Sesame Workshop’s agent for the UK and Eire

b. It’s a cracker Where The Trade Buys is offering a 2m-long Christmas cracker as part of its online seasonal personalised product offering. It has also created a range of life size ‘sitees’ - full size cut-outs that can be created from uploaded photography as a reminder of friend or family members missing from the usual festive gatherings this year.

c. Close encounters of a 3D kind Pop Media created this 2D/3D billboard with inflatable tongue made by X-treme Creations as a stunt for Frisk. The tongue distributes mints to passers-by - an alternative way of sampling, without the human contact! d. Sitting pretty Dublin-based Vinehall Displays used its swissQprint Nyala 3 flatbed printer to create a new range of workstation solutions for people suddenly having to work from home. The company has since extended its online range of home working products and brought out a range of ‘Exercise From Home’ products too.

e. Walk this way Brindleyplace in Birmingham has been transformed with a giant floor graphic created by Newport-based Ollywood as part of a campaign to encourage people to ‘#RediscoverBrindley’ following Covid-19 restrictions.

The 35m-long floor display - printed on Drytac Polar Street FX - serves to direct pedestrians to nearby restaurants and attractions. f. A rubbish product Data Image is taking recycling seriously, and is showing how it can use sustainable products, like Swedboard, to provide bespoke creations like this bin.

26 | December 2020 / January 2021

a.

Think Bigger | Gallery

b.

c.

d.

f. e.

www.imagereportsmag.co.uk | 27

Forum

DIGGING BELOW THE SURFACE WITH INDUSTRY MOLE Comments please to industrymole@imagereportsmag.co.uk

How are you coping? Does everyone else feel that they are making it up as they go along?

Orders are unpredictable, sporadic and yet incredibly urgent. Staff are putting a brave face on things while, I suspect, waking up in the middle of the night in a cold sweat, worrying if they will have a job in a few weeks’ time. And virtual meetings, I have to say, are not being the boon to communication at Mole Graphics as I initially hoped.

It’s difficult because, as in the actual workplace, some people ask questions and some don’t.

Google Hangout has, at least, encouraged some unusual suspects to ask questions. I know some of my mates at other wide-format companies say they have never had so much employee participation. I can understand that but there is more to communication, consultation and collaboration than asking questions. It’s the next bit - what decisions are made, why they are taken and by whom - that is problematic.

Simple problems slip through the digital cracks.

It can be as simple as someone devoting time to a pitch for a client that senior management have already decided isn’t worth the effort. Projects are harder to coordinate virtually, especially if a lot of departments are involved.

Some staff hide - and not necessarily because they are coasting, it’s just easier for them to do that remotely and, to be fair, I know some of them just feel they are better off just getting on with stuff which they know is urgent.

I must admit I am struggling to know what to say in my periodic, allegedly morale boosting video messages. When I try to be positive it comes across as all a bit young Mr Grace in Are You Being Served? - “You’re all doing very well” - and when I try to sound cautious, there is always an undertone of Private Fraser - “We’re all doomed!”.

It’s not easy to strike the right balance.

I suppose there is no perfect way to manage a crisis like Covid-19. The only way to cope is, in the immortal words of Winston Churchill, to keep buggering on.

FESPA GLOBAL 2021

DRUPA 2021

THE PRINT SHOW

When?

2 - 4 March, 2021

When?

9 - 12 March, 2021

When?

20 – 28 April, 2021

When?

28 - 30 September, 2021

Where?

NEC, Birmingham

Where?

RAI, Amsterdam, Netherlands

Where?

Dusseldorf Messe, Germany

Where?

NEC, Birmingham

Cost?

Free to trade visitors

Cost?

TBA

Cost?

TBA

Cost?

TBA

Who will be there?

Traditionally, this is the UK show serving the sign and digital print market, and the exhibitors reflect that. Given all that is happening we’ll have to wait until a bit closer to the event to see how it is shaping up. And of course, it is now very close to the bigger, more encompassing Fespa Global.

Who will be there?

The ongoing Covid-19 pandemic has prompted organisers to move Fespa Global to 9 - 12 March 2021, at the RAI Exhibition Centre in Amsterdam. This event will replace the originally scheduled May 2021 event in Munich. The show will return to Munich in 2022. It is hoped that the usual key players will be in evidence, but worth checking closer to the time.

Who will be there?

Mmm, well…good question! This has been the key international trade how for years, but many big names have pulled out and others have reduced stand space so it will pay to keep an eye on developments.

Who will be there?

Given the moves in the trade exhibition space at the minute, it’s hard to call yet. Will need to revisit

Should you go?

Worth checking out the exhibitor list online beforehand.

Should you go?

This would normally be a resounding ‘yes’, but Covid-19 may make it a more difficult decision this time around.

Should you go?

Depends. Do you want to travel to Germnay to see as much print kit/ systems and supplies as possible under one roof?

Should you go?

Need to wait and see….

EVENTS

SIGN AND DIGITAL 2021

28 | December 2020 / January 2021

Rating

7/10

Rating

10/10

Rating

8/10

Rating

5/10

Forum

OVER TO YOU...

MIKEY WALKER, WORKSHOP AND FABRICATIONS MANAGER, SIGNS EXPRESS (NOTTINGHAM) WWW.THEPRINTHIVE.CO.UK What’s having the greatest impact on your business at the moment?

At the time being it is companies advertising to gain work. Large and small companies are unsure of their future and are looking at advertising prospects to get them through or get that extra work. This has lead to upgrades with nearly all of our current signage machinery and in hiring more staff to meet the demand.

Where do you see the greatest wide-format opportunities?

I see the greatest opportunities in things like banners and in many other types large-format prints, but the problem is that customers don’t know about all the options so it is often overlooked. Ideally we want to get noticed by architects and developers so that we get the word out about possibilities at the start of projects.

What would make your day-to-day operations easier?

A piece of equipment we don’t have, but which has been recommended by a lot of other sign companies, is a Rolls Roller which we are looking into as it would speed up operations.

Your favourite bit of kit is..? …our new Epson SC-S80600 printer. It has cut printing and drying times drastically and at the same time opened up the option for larger wide-format prints than we were able to print previously.

What’s the best bit of business advice you’ve been given?

That is always strive to put out the best work possible. It helps to have a little bit of OCD in the signage trade - that way you strive to put out a better product every time.

What are you most proud of achieving?

I have only been in the sign trade for around four years and started as a general fitter. Now I run a printroom and workshop and the work we put out is the best we ever have. I put this down to the great achievement we have made as a team. We have expended into different sectors and we have amazing staff that strive for only the best.

What lesson does the wide-format sector need to learn?

There Is new equipment coming out all the time that makes it possible to print larger, quicker and with better resolution. All this means that pricing fluctuates a lot throughout different suppliers.

LEGAL EAGLE LEGAL EAGLE

SPONSORING FOREIGN WORKERS POST BREXIT

BY IMMIGRATION SPECIALIST JAY MOHGUL OF MENZIES LAW

The end of the transitional period is nigh - the UK leaves the EU on 31 December 2020 - so what does this mean for businesses using overseas workers?

Firstly, carry out an audit of your workforce and check whether EU workers have applied for settled or pre settled status? If they haven’t, ask them to do so urgently!

From January 2021, any new arrivals from the EU will have to apply for sponsorship from their perspective employer to live and work in the UK. If your business is likely to need to fill a skills gap by recruiting a foreign national, you’ll need to apply for a licence to enable that.

What is currently called the Tier 2 Sponsor Licence, will become a Skilled Worker Licence (or an Intra Company Transfer Licence) depending on which category suits. The good news is that the new system does make it easier for employers to sponsor such employees.

So, what are the key changes?

- Removal of the Resident Labour Market Test (RLMT)

Currently employers wishing to sponsor an employee from outside the EU must first advertise the position on two approved mediums and confirm that they have been unable to fill the position advertised by a local worker. The new rules place no such requirements on employers.

minimum salary of £30,000 per annum but the new rules reduce this to £25,600 per year. There is further flexibility if the potential employee is under 26 (or switching from a student visa), effectively reducing the minimum salary to £20,480 (in line with average wages for graduates).

- Lower skill threshold At the moment employers are only permitted to sponsor employees if the job in question has a minimum skill level equivalent to NQF level 6 (think graduate level and above), unless the role falls within ‘The Shortage Occupation List’ - which is constantly monitored and will continue to be so. However, the new rules mean all positions that are at a skill level of NQF level 3 will be roles under which foreign employees can be sponsored. The Home Office has a published list of roles that are considered to be at NQF level 3.

- No annual cap At present the Home Office has a cap on the number of people that can be sponsored under the skilled worker routes. This can sometimes lead to delays in receiving a ‘certificate of sponsorship’ if the limit has been reached in a particular month.

Under the new rules, there is no cap and employers will be given a certain number of certificates every year depending on their recruitment needs. Further certificates should be made available within 24 hours if they are needed.

All in all, these changes should make it a lot easier for employers and businesses to continue to recruit the talent needed.

- Lower salary thresholds Employers are currently required to pay a

www.imagereportsmag.co.uk | 29

Zeitgeist

Preparing for Brexit 2021 IN BREXIT BRITAIN IS UNLIKELY TO BE THE WORST OF TIMES - OR THE BEST OF TIMES - AS WALTER HALE SUGGESTS AHEAD OF ITS EU DEPARTURE.

“Check, change, go”, the British government slogan urging businesses to focus on Brexit only begs three questions - check what exactly, change how, and go where?

In the absence of clarity or certainty, companies are doing what they can. Some are establishing units in mainland Europe, keeping one foot inside the European Union. Others plan to invest in their administrative capacity or their marketing. Many print service providers are factoring in the impact of price rises from suppliers and taking steps to ensure continuity of supply.

Many managing directors will console themselves with the thought that “At least we’re not based in Northern Ireland”. Those businesses that are in Northern Ireland will operate on the basis of F. Scott Fitzgerald’s famous quote: “The test of a first-rate intelligence is the ability to hold two opposing things in mind at the same time and still function. One should, for example, be able to see that things are hopeless yet be determined to make them otherwise.”

Some analysts insist that, whether there is a deal or not, Brexit will be just like the Millennium Bug furore and that the catastrophic scenarios being spun by some in the media are just the latest phase of ‘Project Fear’. (One head of a professional association told me, in private, that ‘Brexit is a perfectly sensible economic strategy - if Britain were still a SeventeenthCentury maritime power’.) Others maintain that as the British economy didn’t improve much when we joined the EU in 1973, it probably won’t deteriorate dramatically when we leave.

There is something to be said for keeping things in

30 | December 2020 / January 2021

IF THE FIRST YEAR OUT OF THE EU IS AS PROBLEMATIC AS OUR FIRST YEAR IN IT, 2021 COULD BE ONE LONG WHITEKNUCKLE RIDE

perspective. That said, such rosy nostalgic memories of the British economy in the 1970s have little to do with reality. In the first quarter of 1974, before EU membership had time to simulate business, the British economy shrank by 2.4%, even exceeding the impact of the credit crunch in the last quarter of 2008. (Obviously, Covid-19 has wreaked greater economic havoc: the UK economy may shrink by 10% in 2020.) With inflation briefly soaring to 20%, Britain had to beg the IMF for loans in 1976.

To be fair, the OPEC oil embargo didn’t help. Much of the pain was self-inflicted, with the Edward Heath government’s kamikaze ‘dash for growth’ policy and the industrial unrest that led to the Three Day Week and power cuts. Even so, this period was typified by the kind of economic, social and political turbulence governments usually do their utmost to avoid.

If the first year out of the EU is as problematic as our first year in it, 2021 could be one long white-knuckle ride even without factoring in the ‘known unknown’ of Covid-19 and the recovery from it. By strange coincidence, the Chinese animal of 2021 is the ox, as it was in 1973.

The most likely outcome for UK plc in 2021 hovers between those extreme worldviews. The Institute of Fiscal Studies predicts that, by the last quarter of 2024, the British economy will have grown by just 1.9% since the same period in 2019. Not great, but not a calamity either.

That could change depending on how quickly consumer confidence rises on the back of a coronavirus vaccine.

The county of Kent will not become Europe’s largest lorry park - although there will almost certainly be disruption at British ports.

But some bad things will happen - such as suppliers in the EU raising their prices for British customers. And, without getting unduly political, the government’s handling of Covid-19 - especially the track and trace system does not suggest that ministers have a flair for detail or diligence. Nor, for that matter, did some of the Brexitrelated contracts they agreed - and later nullified - such as the ferry deal with a company that had never even put one Boaty McBoatface on the ocean waves.

The big questions about Brexit will probably not be answered in 2021. One of those questions being: is Brexit a ‘one and done’ deal? If the economic damage is severe, what is to stop Scotland choosing independence - and, by implication, EU membership - in a new referendum? At some point in the next decade, there will be a new prime minister in 10 Downing Street and, quite possibly, another referendum with a different result.

(Don’t forget that 71% of Britons aged 25 and under voted ‘Remain’ in 2016).

So 2021 Brexit Britain is unlikely to be the worst of times - or the best of times. What it will be, as Charles Dickens observed in his famous opening to A Tale Of Two Cities, an age of wisdom - and an age of foolishness.

Weblook | Inks / Hardware

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Spandex supplies materials and equipment to the graphics industry. Our portfolio includes Avery Dennison, 3M, ImagePerfect, Arlon, Orafol, HP, Epson, Roland and more.

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Landor Uk specialises in providing its own unique range of innovative imaging products that increases productivity, durability and value of the printed image.

Landor UK are the Exclusive distributor in UK & Europe for the Worlds best selling and innovative Landor Phototex Self adhesive Fabric, and Landor Liquid Lamination protective coatings and Coating Systems

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AirplacÂŽ foam board is made in the UK. The lightweight panels come in all formats up to 3050x1524mm. The polystyrene foamboards are rigid, white and extra light. A new 100% recyclable XPS panel AirplacÂŽPRINTFOAM is perfect for environmentally responsible campaigns.

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Drytac has been a leading international manufacturer of adhesive-coated products, digital SULQW PHGLD DQG SURWHFWLRQ Ă&#x20AC; OPV IRU WKH JUDSKLFV and industrial markets for over 40 years.

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