Australian Printer July 2022

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JULY 2022


WHAT’S YOUR PRINTIQ? Cloud-based print MIS, intelligently designed to support your future growth ambitions.

COVER: printIQ evolves with customer needs

Candy Yelavich on Women in Print

People in Print: Derek Michalanney

A focus on Fespa Berlin and PacPrint

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JULY 2022 6-12

NEWS: Australian Printer’s comprehensive industry news

14-16 PRINTIQ DELIVERS ON THE NEEDS OF TODAY AND TOMORROW: A renewed focus on customer service and innovation has resulted in its continuous evolution 22-31 FESPA REVIEW: ALL THE LATEST TECHNOLOGIES THAT WERE ON SHOW


WOMEN IN PRINT: Platypus Print Packaging’s Candy Yelavich

20-21 PEOPLE IN PRINT: Signageworld managing director Derek Michalanney 22-31 FESPA REVIEW: All the latest technologies that were on show 22 Durst 24 Epson 24 EFI 25 Fujifilm 25, 26 Pozitive 32-33 BEST OF THE BEST RECOGNISED AT NPAS

26 28 30 30 31

Ino DuPont HP Canon Starleaton

32-33 PACPRINT/2022 NATIONAL PRINT AWARDS: Best of the best recognised at the NPAs, which was held in Melbourne 34-35 PACPRINT/WOMEN IN PRINT BREAKFAST BRIEFING: Enhancing female employment, inclusion and leadership 36

PACPRINT/CURRIE GROUP AND HP PARTY GALLERY: Currie Group and HP celebrate Gatsby style

38-39 PACPRINT/GALLERY: Familiar faces spotted out and about at the tradeshow in Melbourne 42



THE REAL MEDIA COLLECTIVE: CEO Sleepout – print industry unites for a good cause


DEBORAH CORN: How to help overworked print customers buy from you


MEQA SMITH: Employment is a relationship


FELLMAN CLASSICS: Teach the kid, not the lesson


NSSN: Industry collaboration eliminates label contamination in plastics


Advertiser’s Index To advertise call Carmen on 0410 582 450 or ABC Copier Solutions............ 35 All Work Crane Services....... 54 Allkotes.................................... 35 Bottcher Australia................... 53 CTI Colour Printer.................. 52 Currie Group.......................... 37 Cyber (Aust)........................ OBC D&D Mailing Services........... 56 Dataflow Business Systems..IBC Dockets and Forms Australia... 58 DuPont..................................... 29 Durst Oceania ....................... 23 EH Manufacturing & Alltab.. 54 Epson Australia.......................13 Express Envelopes..................51 FUJIFILM Australia ...................5


Gecko Sticker Signage......... 57 Giga Print Silverwater........... 55 Guru Corporation ................. 53 Hero Print...........................IFC, 2 JTS Engineering ..................... 50 Labelline.................................. 54 Lifhart ...................................... 50 National Auctions.................. 58 Penrith Printing Museum........ 35 Periodical Press...................... 52 POZITIVE................................. 27 printIQ............OFC,14,15,16,17 ProPrint Awards................40, 41 Screen GP (Aust).......................7 Top Line Binding..................... 50 Vivad........................................19

48-52 WIDE FORMAT +PLUS: Australian Printer’s comprehensive wide format news, powered by Wide Format Online 53

PRINT DIARY: All the upcoming events

54-62 CLASSIFIEDS: The Australian print industry’s biggest marketplace


The new blueprint for wide format

Introducing the all new Acuity range from FUJIFILM A true flatbed with a unique, exceptional design and high value, the Acuity Prime offers high quality printing on a range of rigid and flexible media, supported by its five dedicated vacuum zones and jettable primer. This range is available at a cost effective price point and offers an excellent return on investment. Visit or contact your FUJIFILM representative to request print samples or organise a demonstration. • FUJIFILM Graphic Systems Australia on 1300 650 504 • FUJIFILM Business Innovation Australia on 13 14 12



Editor’s Comment

Melbourne Mailing and Precision Group merge By Hafizah Osman

Australian mail house Melbourne Mailing and Victoria-based print, mail and communications company Precision Group are joining forces to create a full-service marketing agency. There has never been a better time for the print industry to invest in technology than now. Why do I say this? It’s because the world is almost operating in the pre-pandemic way that it did before. Events are back on at full steam and innovation is at the front, right and centre of these tradeshows. Just in the last few months, FESPA Berlin and PacPrint happened within weeks of each other. All the usual names were present at these events, eager to learn, invest and innovate. Automation was everywhere, and machines promised faster speeds as well as efficiencies. The printers at the front of technology adoption were quick to make purchases – in some cases, multiple purchases. It just goes to show that printers are emerging from the dire times that COVID brought and are investing in their companies as business picks up. Have a read of this issue of Australian Printer, which covers all the happenings at FESPA Berlin and some of the key events of PacPrint. We hope you enjoy this read.

Precision Group founder Cory Hall said the merger enables the combined business to offer a full suite of direct mail, print, graphic design, data analytics and 3PL services that rival some of Australia’s largest providers. The two businesses will operate separately in the short-term, with Hall adding that it will be “business as usual across both sites.” Established in 1993, Melbourne Mailing has been a trusted long-term industry supplier providing Direct Mail and 3PL services throughout Australia. Having recently moved to a huge 15,000 metre square warehouse facility in Somerton, Victoria, the business has made a mark in the field it operates in and has seen year on year growth. Precision Group was founded in 2008, and some 14 years on, has expertise in the print, direct mail, fundraising and marketing agency space. It has a stronghold in Australia, and has also expanded its operations into New Zealand. According to Hall, now the Group CEO of the companies, the merger will deliver significant benefits for clients of both Melbourne Mailing and Precision Group. “We are committed to working collaboratively to combine the best systems and processes from each organisation to create a new industry benchmark,” he said.

Precision Group founder Cory Hall

“This merger will bring together some of the most talented people in the industry. Both companies have similar DNA and have expanded in their respective specialties, but together, our market offer is unique.” Precision Group will gradually relocate its operations into Melbourne Mailing’s huge facility in Freight Drive Somerton in the second half of 2022. “We are excited to extend and grow our commitment to provide innovative solutions that enable brands to connect with people through effective strategies and memorable experiences,” Cory added. Hall has more than 25 years’ experience in the industry, including 11 years with Melbourne Mailing across several roles. “This is an exciting time. In the past, we have competed strongly in the marketplace but together with Precision Group, we have great people, enormous firepower, and an extended market reach,” Melbourne Mailing CEO Felice Armato said.

Managing Director James Wells / 02 8586 6101

Editor Hafizah Osman / 0431 466 140

National Sales Manager Carmen Ciappara / 0410 582 450

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Printed by Hero Print Alexandria, NSW, 2015

Mailed by D&D Mailing Services Wetherill Park, NSW, 2164

Design and Production Manager Sarah Vella / 0406 967 559

Australian Printer is published bi-monthly by Printer Media Group (a division of Charted Media Group and The Intermedia Group). This publication may not be reproduced or transmitted in any form in whole or in part without the written permission of the publishers. While every care has been taken in the preparation of this magazine, it is a condition of distribution that the publisher does not assume any responsibility or liability for any loss or damage which may result from any inaccuracy or omission in the publication.

DISCLAIMER This publication is published by The Intermedia Group Pty Ltd (the “Publisher”). Materials in this publication have been created by a variety of different entities and, to the extent permitted by law, the Publisher accepts no liability for materials created by others. All materials should be considered protected by Australian and international intellectual property laws. Unless you are authorised by law or the copyright owner to do so, you may not copy any of the materials. The mention of a product or service, person or company in this publication does not indicate the Publisher’s endorsement. The views expressed in this publication do not necessarily represent the opinion of the Publisher, its agents, company officers or employees. Any use of the information contained in this publication is at the sole risk of the person using that information. The user should make independent enquiries as to the accuracy of the information before relying on that information. All express or implied terms, conditions, warranties, statements, assurances and representations in relation to the Publisher, its publications and its services are expressly excluded save for those conditions and warranties which must be implied under the laws of any State of Australia or the provisions of Division 2 of Part V of the Trade Practices Act 1974 and any statutory modification or re-enactment thereof. To the extent permitted by law, the Publisher will not be liable for any damages including special, exemplary, punitive or consequential damages (including but not limited to economic loss or loss of profit or revenue or loss of opportunity) or indirect loss or damage of any kind arising in contract, tort or otherwise, even if advised of the possibility of such loss of profits or damages. While we use our best endeavours to ensure accuracy of the materials we create, to the extent permitted by law, the Publisher excludes all liability for loss resulting from any inaccuracies or false or misleading statements that may appear in this publication. Copyright © 2022 — Charted Media Group Pty Ltd



“The Best Label Printer” Winner of the 2021 European Digital Press Association’s category

Why has the SCREEN Truepress Jet L350UV SAI won another EDP Award for the company? It’s the third time, as each generation of the L350UV label printers have received this accolade. The judges claimed it was primarily “for its ease-of-use thanks to its excellent software, as well as for its improved quality and speed.” We agree, adding:

• 7 vibrant colours including a brilliant blue and orange • Speed of 60 mpm and 50 mpm when using white • Engineered for highest (>93%) uptime • Fully supported by local factory-trained technicians • User-friendly EQUIOS software integrates with MIS SEE US AT:

NEWS benefits it had to offer in terms of business diversification and meeting customers’ expectations grew. Today, the biggest and smallest print operators in Australia have significant digital footprints.

Konica Minolta Australia’s Sue Threlfo announces retirement

“Working with the team at Konica Minolta and, in particular, with David Proctor, David Cooke, and most recently Yohei Konaka, has been invaluable and helped me deliver great results for the company while supporting the customers we care so much about.”

By Hafizah Osman

Konica Minolta Australia has announced that its general manager of production and industrial print Sue Threlfo has retired at the conclusion of this year’s PacPrint after 33 years of being in the printing industry. The industry veteran, who has attended five drupas, has had an amazing career in the printing industry, spending the last five years with Konica Minolta leading the production and industrial print team through one of the most challenging periods in the industry. Despite this, Konica Minolta Australia said the industry is seeing great signs of recovery with demand in label, light packaging, and wide format. “The pandemic afforded me the time to evaluate and dream about what the next stage of my life would look like. With PacPrint having gone ahead in June, after being postponed due to COVID-19, it seemed a fortuitous time for me to retire following the opportunity to experience one last show,” Threlfo said.

Along with her work in Australia, Sue has worked in other regions including Singapore and New York, which has given her a unique perspective on the market.

Sue Threlfo has retired at the conclusion of this year’s PacPrint

“I will always be grateful for the opportunities I have had throughout my career and amazed by the positivity and passion of the people that have helped shaped that. There is so much resilience in this industry in the face of great change and I’m proud to have been a part of it. “One of the biggest and most remarkable journeys I was privy to was the evolution from analogue to digital. This has come ahead in leaps and bounds since it was first implemented, as the technology and

“I’ve been extremely fortunate to make many connections, and indeed friends, around the world and I look forward to staying in touch with so many of them as I move to the next phase of my life,” Threlfo said. She has also been a keen role model and advocate for women in print. “As a woman in the industry, I have enjoyed the camaraderie and the impact you can have as a woman. Many years ago, I would be one of a handful of women at trade shows and industry events. I’m pleased that has shifted and I hope that I’ve shown other women that an exciting and successful career in print is possible,” she mentioned.

Cactus Imaging’s Nigel Spicer wins OMA award

Anna Wyatt-Spratt – oOh!media for the Rising Star Award.

By Hafizah Osman

OMA CEO Charmaine Moldrich said, “The refreshed awards program acknowledges both the maturity of the industry, as well as the boost in OMA membership which has seen 13 companies join in the last 15 months.

The Outdoor Media Association (OMA) recently hosted its Annual Industry Awards ceremony that celebrated the individuals who contribute to the Out of Home (OOH) industry. Cactus Imaging’s Nigel Spicer received the Excellence in Innovation Award, while Karissa Fletcher from Shopper won the OMA Industry Award. Meaghan Spencer from oOh!media took home the Ben Walker National Rising Star Award, while Alex Anthony from VMO nabbed the Emerging Leader Award. Other winners include: NSW’s Cassandra Cameron – JCDecaux, Queensland’s Elise Taylor – oOh!media and Nick McAlpine – Bishopp, South


Brian Tyquin – Outdoor Systems, Daphne McPhee (Posthumous) and Kelvin Whitford won the Hall of Fame Award.

Cactus Imaging’s Nigel Spicer received OMA’s Excellence in Innovation Award

Australia’s Russell Bilsborow – JCDecaux, Victoria’s Christian Zavecz – QMS and Western Australia’s Mark Treasure – oOh!media for the Outstanding Service Award. NSW’s Alec Mowat – VMO and Meaghan Spencer – oOh!media, Queensland’s Octavia Bellekens – VMO, South Australia’s Natasha Jarrett – oOh!media, Victoria’s Tess Fellows – oOh!media and Western Australia’s

“We received 58 nominations, submitted to acknowledge the talent of our members’ teams. From Rising Stars to the Hall of Fame, we are proud to celebrate the incredibly significant contribution made by our members, not just to their company but to the wider OOH industry. “We are a very tight-knit and collegiate industry, and our members and their teams go above and beyond the call of duty to support the OMA and MOVE. The nominations and awards acknowledge this contribution and give us a chance to show our gratitude and say thank you.”


NEWS “He will be remembered fondly by many friends and colleagues, not only locally but all over the world. He was well respected, and the news of his passing was felt all the way back to the German Headquarters of Heidelberg where those who knew him spoke fondly of him and sent their condolences immediately,” Heidelberg said.

Major figure in print industry Rod Spencer passes on By Hafizah Osman

Family, friends and the printing industry were saddened to hear about the recent passing of one of its great icons in Rod Spencer. Spencer, who was a major figure in the A/NZ printing industry over several decades – from his time with Heidelberg distributor Seligson & Clare/Aldus Group, through to his retirement – left the world peacefully surrounded by family and friends at 80 years of age. Heidelberg A/NZ said he was a man who made a huge impression on all those who he met and truly dedicated his life not only to his beloved family, but the printing industry and Heidelberg Australia and New Zealand.

Heidelberg A/NZ managing director Savas Mystakidis said Spencer will be fondly remembered and sadly missed.

The late Rod Spencer is remembered by many

Spencer retired in 2001 after over 44 years of commitment to Heidelberg and played an instrumental role in helping to shape the industry and countless companies who dealt with him over the years.

“I had the great pleasure to start my career at Heidelberg under the guiding eye of the great Rod Spencer. His knowledge, generosity, wisdom and charisma were inspiring as he helped all those around him like a father figure. He will be sadly missed, and our thoughts and prayers go to his wife Patricia, family and friends,” he said. Plenty of the print industry’s known personalities also expressed their loss, reflected upon the time they spent together with Spencer, and passed on their condolences to his family.

Ken McLachlan, a friend, workmate and perfectionist

During his working life and beyond, McLachlan was an active member of many groups including industry groups the Galley Club and Society of Old Friends as well as Macarthur Press’ Social Club that created long-term friendships.

By Hafizah Osman

“Ken was a friend, a workmate and a perfectionist who liked everything to go according to plan,” Richardson said.

A friend, a workmate and a perfectionist is how the printing industry has remembered Kenneth (Ken) McLachlan. McLachlan recently passed on, leaving behind his wife Ruth McLachlan, three children and six grandchildren. McLachlan started his working life as an apprentice compositor at the Government Printing Office, following his father Alex McLachlan’s footsteps. During this time, he was called up as part of the Government’s National Service. As technology started to make his trade redundant, he then moved into a management role, which led to him meeting colleague and friend for 52 years, Jim Richardson, when he joined Macarthur Press in Parramatta to manage the book printing segment of the company. As Richardson was a redundant letterpress printer who had also turned to management, the duo easily formed part of the team at Macarthur Press. On the unexpected passing of their managing director back then, they took


Ken McLachlan leaves behind friends and family

on the task of keeping the business alive with McLachlan looking after the books and buildings division while Richardson headed the men and machines division. Following the sale of Macarthur Press in 1992, the book division was relocated to the new owners’ factory in Victoria, so McLachlan then took up a new sales position at Star Printery in Erskineville. In 1995, the three owner/directors retired, following which McLachlan approached Richardson to take on the factory/ production role and bring the company up to industry standards, so both McLachlan and Richardson looked after the books and buildings and men and machines divisions of the business respectively again. Following a successful five years together again, technology and future costs (along with the owners wanting to sell the premises for units) saw the closing of Star on 11 September 2001.

“Along with working together for many years in the printing industry, we also shared our love of cars with matching company cars, V8 Toranas, then Commodores, and a belief in training our own apprentices to grow business. He was always hard but fair and respected. “Ken’s craftsman skills showed in his ability to make things – his Wooden 18’ boat and his many house and garden improvements, managing to create a beautiful home for Ruth and the family to share. “His love of cars saw him learning panel beating and he had superb welding skills. We watched all our children grow up and had the pleasure of attending their weddings. Over the years, we developed our Friday night dinner which gave us a chance to catch up socially and these continued after retirement until Ken could no longer attend. “I will always remember the many good times we had as a team over the years.”



Koenig & Bauer Durst launches new industrial production press By Hafizah Osman

Koenig & Bauer Durst has used its latest SPC Open House to announce a new addition to its product portfolio with the unveiling of the Delta SPC 130 FlexLine Eco+ industrial production press for run lengths from one to millions of square metres. The entry-level, compact model will offer corrugated converters a new route into digital packaging or will enhance their current capabilities. The Delta SPC 130 FlexLine Eco+ press, using water-based, food-safe, sustainable inks, will offer a price performance ratio for converters with media sizes up to 1.3m by 2.8m. This new press will be fully upgradeable to the Delta SPC FlexLine Automatic press. Based on the Delta SPC 130 FlexLine Automatic press, the new machine will be addressing converters with volumes

The Delta SPC 130 FlexLine Eco+ industrial production press

of between four million and eight million square metres a year. It also includes a compact drying system. Koenig & Bauer Durst also announced the introduction of Dynamic Nozzle Management (DNM). This tool is said to significantly reduce the printhead maintenance across its Delta SPC 130 product portfolio, which will be another boost for customers’ productivity. DNM will become part of the standard package for the Delta SPC 130 portfolio, including the new Eco+ model, and will further reduce the maintenance cycles of the Koenig & Bauer Durst’s printheads. The tool identifies nozzle clogging and can then be programmed to manage the level of ink being jetted from the head. It ensures that high-quality production is always maintained.

Koenig & Bauer Durst Delta SPC 130 product manager Matthias Krautgasser said, “We have already implemented our automated non-contact cleaning system – DNM will further increase uptime and productivity of our Delta SPC 130 product lineup. “DNM is another tool in our parcel of advanced technologies which will give our customers even more confidence in these challenging times. The DNM will be fitted to all new products, including the Delta SPC 130 FlexLine Eco+ model that will be available from next year. It can also be upgraded to existing customer machines. “Many of the corrugated converters we are in discussion with have run lengths of between 4-8 million sq/m per year, so the new Koenig & Bauer Durst Delta SPC 130 Eco+ will be perfect for them, with the capability to upgrade to the SPC 130 FlexLine Automatic press later.”

Ball & Doggett expands team; hires Marisa Smyrneos and James Merhab By Hafizah Osman

Ball & Doggett has added to its experienced sign, display and digital team with the appointment of James Merhab in Sydney and Marisa Smyrneos in Adelaide. Ball & Doggett sign, display and digital general manager Rob Brussolo said the hires come as the business beefs up its experience and resources available to support the growing sign, display and digital market. “Together with the employment of James, Marisa and behind them our knowledgeable sign, display and digital team we are backed with an extensive range of material which puts us as a strong distribution partner in this market,” he said.


Ball & Doggett has hired Marisa Smyrneos and James Merhab

Merhab has joined Ball & Doggett as a sales executive of sign, display and digital, bringing to the team 10 years of industry experience.

Smyrneos also joins the business as its sales executive of sign, display and digital but based in Adelaide.

He is an expert across all wide format printing technologies and has extensive knowledge across rigid, self-adhesive vinyl and flexible medias.

She has 10 years’ experience in the print and graphics market and said she is excited to join and continue the momentum and growth already experienced in the South Australian market.

“My time at Ball & Doggett aligns with my professional career development. I enjoy supporting my team and customers and my goal is to always look outside the box and develop new ways of finding a solution to problems,” Merhab said.

“My return to work and Ball & Doggett comes with a lot of excitement as I look forward to helping customers in Adelaide grow and expand their business through a mutual partnership,” she said.



Imagination Graphics throws open the doors for LIA NSW tour

Opal’s paper division announces paper surcharge

By Hafizah Osman

Imagination Graphics, a multidisciplinary graphic design, web design and print studio in Sydney, recently hosted a site tour for members of the NSW branch of the Lithographic Institute of Australia with a dinner afterwards at the Marrickville Bowling Club. From humble beginnings some 40 years ago, Emmanuel Buhagiar, his wife Colleen, and super skilled staff including Matthew Zunic, a NSW LIA Graduate of the Year Finalist and the Editor’s Choice at the 2021 ProPrint Awards Emerging 50, have developed the business into the cutting edge powerhouse it is today. Also in attendance were Dean Cox of Agfa and Adam Todd, representing Konica Minolta’s industry print division.

By Hafizah Osman

Opal’s paper division has announced that it will implement a nine per cent surcharge on orders for copy and printing paper, envelopes and stationery.

Adam Todd (Konica Minolta), Emmanuel Buhagiar (Imagination Graphics) and Dean Cox (Agfa)

LIA NSW secretary Mike Williams said Imagination’s facility is packed full of kit, from pre-press to finishing with members enjoying technical insight to all areas of production. Following the site tour, visitors dined at the local Bowling Club where they were entertained with a most enthusiastic working life history by Emmanuel.

“Global impacts of supply shortages and cost increases linked to the COVID-19 pandemic and more recently, the Ukraine/Russia situation plus significant ongoing freight and fuel levy increases, year-on-year, have also compounded the situation,” it said.

Currie Group gets accredited for EFI Fiery for Display Graphics By Hafizah Osman

“As a result, Opal Paper will implement the surcharge of nine per cent from 1 June, which will be reviewed on a quarterly basis and adjusted in line with significant future cost changes.

Currie Group has been recently accredited as the first EFI Fiery for Display Graphics premier partner in the A/NZ region. Further strengthening the partnership between EFI and Currie Group, this program ultimately benefits the wide format customer base by way of additional support and expertise. As a Fiery for Display Graphics premier partner, Currie Group was required to complete sales and technical training for the entire line-up of Fiery display graphics products. The portfolio has grown beyond the EFI Fiery XF and Fiery proServer itself. There is a complete suite of software solutions that will make customers more efficient, including Fiery JobFlow for prepress automation, Fiery Prep-It for true shape nesting, and Fiery IQ for display graphics to better manage fleet, even across multiple locations, by providing real-time operational data via the cloud. Fiery for Display Graphics global sales director Chris Schowalter said, “We are very proud to have Currie Group joining the premier partner program. They quickly met all our criteria achieving the highest-level accreditation for Fiery Display Graphics products. They are a trusted partner and doing a great job


Like many Australian businesses, over the past two years, Opal said it has been experiencing persistent cost escalation for key manufacturing inputs such as gas, electricity, fibre, chemicals and other raw materials.

The accreditation further strengthens the partnership between EFI and Currie Group

supporting all our customers in the region. Now our partnership is even stronger, and we can together keep our customers happy and loyal”. Currie Group sign and display business unit manager Paul Whitehead said becoming an accredited Fiery Display Graphics premier partner ensures that Currie Group can support its EFI customers to a greater level, whilst also providing a full suite of workflow support to customers that utilise printers from other manufacturers. “Currie Group is committed to becoming the leading supplier in both the Australian and New Zealand Sign & Display markets. EFI hardware was only the first step, and now we are excited to add the Fiery for Display Graphics software to our portfolio,” he added.

“Opal will continue to keep its customers informed and updated on any planned adjustments. Opal Paper sales representatives have communicated with their customers about the surcharge and appreciate that some customers may have additional questions. “Customers are encouraged to contact their Opal Paper sales representative to discuss the surcharge changes in greater detail.”








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Opus Group acquires Ovato’s book printing business By Hafizah Osman





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Left Field Printing Group is listed on the Hong Kong stock exchange.

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Australian group of specialist print and related services businesses and wholly owned subsidiary of Left Field Printing Group, Opus Group, has purchased Ovato’s book printing business for $8.5 million. Opus Group is a key player in Australian print, with a focus on book printing, as the owner of CanPrint, Ligare and McPherson’s Printing Group and is headed by executive director, Richard Celarc.



Ovato CEO James Hannan


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In addition to purchasing Ovato’s book printing business, Opus Group has invested $2.5 million into Ovato as a Convertible Note Subscription Agreement.

On conversion of the convertible Note into shares, Ovato said Opus will hold approximately 14.7 per cent of the issued capital in Ovato assuming there are no changes to the capital structure of Ovato and that Opus does not acquire a relevant interest in any Ovato shares prior to conversion of the Convertible Note. Ovato mentioned that the funds raised from the sale of its book printing business and the Convertible Note Subscription Agreement will be applied to its general working capital initiatives. Ovato CEO James Hannan said, “This deal provides a refreshed debt profile and a path towards equity and investment from an experienced and respected industry player.

As per the deal, the conversion price is $0.14 per share (subject to customary adjustments for dilution), with the Convertible Note bearing no interest.

“Further narrowing of Ovato’s focus will only strengthen our ability to continue to deliver quality and efficiency to our valued clients across our packaging, sheetfed and offset printing businesses.”

As part of this Convertible Note Subscription Agreement, Opus may also require conversion of the Convertible Note into shares at any time prior to 25 November 2023, which is the maturity date of the note.

This new deal follows Opus Group’s payout of the $4.86 million owed by Ovato to trade financier, Scottish Pacific, and advancement of a further $5 million to Ovato in early April.



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printIQ has reinvented itself with a corporate rebrand, which it has aligned with the transformations across the industry

printIQ delivers on the needs of today and tomorrow A renewed focus on customer service and innovation has resulted in printIQ’s continuous evolution with the times and the needs of the industry


ne of Australia’s most successful software businesses, printIQ, has dedicated itself to supporting and empowering the print sector with innovative technology that improves commercial performance and drives future success. The privately-owned company has been delivering IT-based solutions to businesses for the past 22 years and has since grown to employ staff based in Australia, New Zealand, Canada, the US, and the UK. It specialises in providing business solutions and custom software development to the printing industry – namely a seamless, end-to-end estimating, ordering, e-Commerce and production MIS that offers flexibility, control and visibility of a print business.

across the printing industry. While printIQ still operates under the same business name, its new branding includes an updated logo and tagline, along with an enhanced website experience for visitors. “The new printIQ brand is an evolution of our previous branding and reflects our company’s ambition, drive, and determination to empower the printing industry through technology,” printIQ chief operating officer Rachel Davis said. “Our new brand is more than just a logo; it’s a symbol of our commitment to putting our customers first and being their partners in success.”

At the core of printIQ is the company’s ability to evolve with the times and the needs of the industry.

This renewed focus on customer service and innovation is key to its success and the company has worked hard on both sides of this balance: providing customers with solutions for their current needs while developing products ahead of time so they can expect even more in the years ahead.

Case in point is printIQ reinventing itself with a corporate rebrand, which it has aligned with the significant transformation

Davis added, “Over the last two years, we as an industry have faced some incredible challenges. Through it all, we have


remained strong and resilient. Together, we have innovated and evolved. “Customers will discover how printIQ has pivoted to help them successfully adapt to any changes in the market, including accessibility, automation and constraints in supply chain management and labour shortages.” At the front of minds printIQ has exhibited at several recent tradeshows to showcase its latest range of products and solutions and to understand where the market is at. Most recently, it was at PacPrint, and also exhibited at Edge Rockies 2022, INFOFLEX 2022, and the RMX Network 2022 Spring Partner Executive Conference in the US, as well as the Sign and Digital show in the UK. “As technology continues to evolve, it is more important than ever for printers to stay ahead of the curve and adopt new solutions that can help them grow their businesses,” printIQ sales manager Justin Webber said.


COVER FEATURE “Having spent time at the forefront of our industry, we know that printers are always looking for ways to improve their process. We’ve made some great progress at PrintIQ and are excited to showcase how we can help printers win.” printIQ has been continually developing its systems and aims to satisfy customers by implementing the most comprehensive workflow in the market today into businesses in print. The business is unique in that it updates its software several times a year following customer feedback and recommendations. At PacPrint, it launched v45 of its software and Webber said, “it has already been a ‘game changer’ for many of our customers. The response at PacPrint was incredible and it reinforced that we are on the right track”. This version simplifies how paper and materials are managed, improves line of sight for estimators and production staff, and makes it easier to maintain constantly changing prices. V45 also demonstrates a focus on building out the range of functions that can be carried out automatically or remotely. The result is a huge step forward in how an MIS can help drive business, according to printIQ CEO Anthony Lew. “The next challenge for our team has been to automate more day-to-day functions. By moving more of the estimating and quoting functions into the hands of customers and account managers, and streamlining of the accounting functions along with integrations with Xero, MYOB, Quickbooks and other finance packages, we can reduce the load in key areas,” Lew said. “We have further enhanced accessibility options, to open up business applications to work from anywhere. Combine this with a true Cloud-based platform and the end result is a mobile workforce that doesn’t have to be in the office to be in control.”

“They have the flexibility to bring on more integrations or additional modules down the track with an upgrade path.” Following a soft launch of the Small Business edition in the UK earlier this year, printIQ bagged eight sales in a month. “That has really taken off because of the growth in the wide format and signage segments. The idea is to have allencompassing solutions,” Lew added. A one-stop Cloud print solution The Cutting Edge in Sydney is one of the companies that recently installed printIQ’s software. Trading since 1999, it specialises in custom packaging and displays, priding itself on keeping up-to-date with the latest technology, trends, and practises. When the pandemic hit, it faced a huge challenge as its outdated system couldn’t handle the sudden digital transformation the industry required due to employees having to work from home in hybrid environments. Cutting Edge knew it had to proactively hunt for a cloud-based solution that could meet its evolving needs and ensure a perfect finish every time – even if its employees were working from home. Word-of-mouth brought the business to printIQ, which suggested that the proofing module and ease of use would make the transition to a new MIS considerably easier for The Cutting Edge. The Cutting Edge managing director Matthew Elliott said, “After years of trialling separate cloud-based production board systems external to our existing MIS, we now finally have these combined in a collaborative print-focused system”.

The build started in August 2021, and after a few months, the new MIS was up and running. From dedicated workflows to simplified proofing to calculators that deal with duty, freight, transfer margins, and financing costs so pricing is managed in a single system, The Cutting Edge quickly reaped the benefits of its move to the new MIS. “With labour shortages and varying uncertain working conditions, we needed a one-stop cloud solution to keep everyone on the same page and maintain productivity. printIQ’s ability to have a live view of production, art and document storage, customer and supplier portals, and the access from anywhere did just that,” Elliott added. The Cutting Edge also quickly realised the benefits of printIQ’s quoting system as to be competitive in today’s market, companies must provide clients with quick and accurate quotes. As such, The Cutting Edge increased productivity and efficiency, resulting in more than double its quoting speed without adding additional estimators to its team. “printIQ was the only solution flexible to our needs. It has more than doubled our quoting speed, reduced our processing time, and brought our workflow up to speed. Finally, we have a solution that we can rely on now and in the future,” Elliott mentioned. Meeting the challenges of a new MIS Another company that has profited from its install of printIQ is Litho Superpak. Wellknown in the local manufacturing space, Litho Superpak has been in operation since 1985. From food to cosmetics, the Australian-owned company has become the standard for customer service within the packaging industry.

printIQ also recently launched its Small Business edition – a streamlined version of its enterprise software for smaller players in the industry. “There are plenty of enterprise solutions in the market and it can be quite expensive and far reaching considering the needs of small businesses,” Lew said. “So, we saw an opportunity to create a package for print businesses that have up to 10 staff but still need a solution in their business to help with improving efficiencies. It works as a Software-as-aService (SaaS) model – their server, cloud hosting fees, and the cost of the MIS, is all wrapped up into a monthly subscription.


The Cutting Edge in Sydney is one of the companies that recently installed printIQ’s software


COVER FEATURE large format work. After much research, it chose printIQ in 2020 and despite interruptions due to COVID lockdowns, it has now implemented the solution, and the cloud-based remote access is being progressively rolled out to its customer base.

printIQ has been continually developing its systems and aims to implement the most comprehensive workflow in the market

The company faced a problem when it was growing rapidly, but its production and quoting system couldn’t keep up with the demand. Litho Superpak looked at several different systems that would allow it to speed up order processing times while streamlining the paperwork that transforms a purchase order into a production ticket. But printIQ checked a majority of the boxes required to build a sustainable, scalable system for Litho Superpak. Shortly after, printIQ provided the business with crucial support primarily due to the learning curve involved with an entirely new system. “Coming this far and printIQ’s support to get us this far has been huge. We would not be in the position we are today without their level of support and their level of care to get us to this stage. And for that, I cannot praise them enough,” Litho Superpak head of implementation David Browne said. Since then, the glaring inefficiencies that existed with the outdated system have been remedied. Not only was information manually entered and done so multiple times, but it was often incorrectly duplicated. With printIQ, an employee enters the job information once, allowing Litho Superpak to control the accuracy as they can control information and mitigate it before it becomes a production issue. Increasing bottomlines with printIQ printIQ’s customer success extends beyond Australia. With growth in its organisation, ColorDynamics in Texas, US, felt that its initial MIS was no longer fit for its organisation and wanted an upgraded, modern and flexible system.

anywhere on any device, automation, costing, problem-solving solutions, and more. The production staff can manage the floor while customers quote, order, and track all from within the same application. ColorDynamics vice-president of manufacturing David Dey said, “The build team comprised of print specialists that developed and implement the printIQ software. The build team understood the industry and the challenges, making the transition to the new system much easier”. With the number of products and categories ColorDynamics is dealing with, flexibility was key with this new system. Now, it has a system that could specialise in the various formats, rather than focusing on one general segment like other traditional systems. “As a printer that offers the gamut from web offset, sheetfed, wide format, digital, to special components, printIQ gave us the flexibility to build a system that worked around all our different segments. And we found out after building it, we had even more flexibility than we realised in the beginning,” Dey added. The result: ColorDynamics saw the number of orders being produced jump from 2,700 to 7,500 with no additional production coordinators. In fact, it said it saw nearly a 567 per cent increase in quotes with no additional estimating staff since installing printIQ’s quoting system. Ballyprint, in Europe, is another international success story for printIQ. It is a commercial printer offering small format, large format and label work with design services, to a customer base across Ireland.

The company, which is a full-service print communications powerhouse that provides custom printed and visual communication products to clients across North America, then partnered with printIQ.

Based in Ballymena, about 30 minutes’ drive north of Belfast in Ireland, the company was set up in 2009 as a copy shop. Rapid expansion into commercial print led to the business needing a modern, versatile MIS to handle its spread of print work across small format, large format and labelling.

The result was the install of a cloud-based system that allows 24/7 access from

It wanted to replace its existing five-yearold system, which was largely dedicated to


“Our first MIS system was a custom-built system, but we outgrew this very quickly. We then adopted a MIS system from the US, which primarily catered for large format work. We were attracted to its production boards, which did help our process become leaner. It did however lack the estimating intelligence we required for quoting, which we still had to do manually,” Ballyprint managing director Aaron Klewchuck said. “What drew my eye to printIQ was the simple navigated design and uncomplicated user interface. Once I had a closer look at printIQ, I was very impressed with the pricing engine and the end-to-end management, which could help us grow as a business. “The biggest thing for us as a company has been the process of estimating. We have gone from spending hours on complicated quotes to being able to send this in minutes to a customer. The pricing engine in printIQ is amazing, the transparency and in-depth information regarding a job has led us to see where we have been losing margin on historical jobs. “Artwork automation is also another driving factor, with the seamless integration with Enfocus Switch, which has let us deploy pre-press staff to other departments.” With only a few months from implementing printIQ, Ballyprint’s goal is to increase its bottom line by 15 to 20 per cent by the end of the year. “With the help of printIQ I am totally confident this is achievable!” Klewchuck added. Even with these successes under its belt, printIQ doesn’t have plans to slow down any time soon and aims to keep empowering printers. “We’ve come a long way since our inception, and it’s all thanks to our passionate team who work tirelessly to create and implement innovative technology for print shops across the world,” Davis said. “We are still passionate to keep developing products that empower printers to overcome any obstacle they may face, and we believe that the technology we create can be a key part of that success.”


GROW SCALE SUCCEED Built with flexibility and simplicity at the core, printIQ is created for the modern printer to grow, scale and succeed. PrintIQ does the work for you. All our key software modules are fully integrated into one core ecosystem, making managing every aspect of your business much easier, and allowing you to seamlessly consolidate your objectives across all areas of operations efficiently and intelligently. Plus, you can access printIQ anywhere you’re working from on your preferred device.

Our passion is developing innovative technology that empowers printers to adapt to any change in the market and overcome your greatest obstacles. Discover your printIQ today.


Thinking outside of the box: Candy Yelavich According to Candy Yelavich, the traditionally male-dominated industry is changing but she would like to see more women in leadership roles throughout Australia


andy Yelavich started her career at QDigital in West Perth as a graphic designer. She was 21 years old, bright eyed, and a rookie postgrad – and the only female out of 50 male staff. Eternally grateful to QDigital’s Derek Williamson for giving her that opportunity, Yelavich has since secured under her belt 25 years of industry experience.

provided me with is positive reinforcement and respect. I have always been given props by my peers and fortunate enough to have so many inspirational people by my side. “I am also inspired by my cousin Justine Ross, the author of ‘Every Bastard Says No: The 42 Below Story’, who reminds me to be fearless and more of a ‘yes’ person.”

“Even though I started my career in Perth, I have spent most of my time in Brisbane and a couple of years in London. In 1999, my portfolio caught the attention of the late Ron Weideman ‘Ronzo’ from George Patterson Y&R, famous for the Mitsubishi Tarago ‘Not so Squeezy’ sumo wrestler campaign,” she said.

According to Yelavich, designers have the natural ability to think outside of the box, helping businesses with innovation and originality. “Designers are wired different; we go against the grain, find a new system, goal or strategic proposition and build a solution,” she said.

“He employed me as an art director across Paul’s Dairy, Energex and Warner Bros Theme Parks. Advertising was fun and fast-paced. At that time, Platypus was my preferred print supplier for my corporate clientele’s print collateral deliverables, and renowned as the best printers.”

“We try to make the impossible possible – creatives forecast, set trends, and do the opposite of what people expect. Anyone can add value by asking ‘what if?’ and I constantly do just that.

In late 2017, Platypus Print Packaging director Tom Lusch offered her the opportunity to creatively consult at the business, with her first job as having to rebrand the Platypus logo. “I designed the logo that we use today, known as Picasso Platypus. Picasso illustrated his animals with one line and the logo represents paper running through the machines, like an infinity closed loop cycle or racing car track,” she said. “Overall, in my time, I have created award-winning tv ads, brands and integrated campaigns, and art directed six national magazines. The most awarded were Energex Earth’s Choice Frog, Breaka and Trim Milk Pat Rafter campaigns. It is a bonus to see your designs in the marketplace and meet so many clever and talented individuals. “Life in printing is fun. It is abundantly full of colourful people, paper, swatches, and innovative packaging. Being a creative, no one day is the same. “I am proud of serving years and contributing to my industry committees or events such as Women in Print, the Australian Graphic Design Association, the Brisbane Advertising and Design


“As a child, I loved scratch and sniff stickers. Print has scented, invisible, soy inks and augmented reality today all because someone asked ‘what if we added extra-sensory to the user experience?’.” Platypus Print Packaging creative director Candy Yelavich

Club, The Design Conference and World Packaging Organisation. Our community and industry network is very generous and supportive of one another, especially of industry women. “I am also involved in the education of design students and provide lectures and industry tours at Platypus. They are our future generation game-changers.” Yelavich said the traditionally maledominated industry is changing and that she would like to see more women in leadership roles throughout Australia. “The importance of balance and equilibrium can only filter down from leadership,” she said. “All my mentors have been strong sanguine rule breakers. The best tools they have

Yelavich added that as Australia is evolving into an eco-conscious country, the time is ripe for designers to create exciting solutions for problems. One of Yelavich’s aims, apart from promoting gender equality, is advocating for responsible consumption and production as well as sustainability. “I hope more industries can even out their workforces equally between men and women. I am lucky that Platypus is a progressive business that has a positive environment for all employees with an equally balanced and healthy culture,” she said. “It is also important for our industry to get motivated in the sustainability and innovation space of compostable or recyclable packaging and the manufacturing of resource bi-waste products. As a female designer and consumer, I would like to design products with the SDGs and four ‘Rs in mind – reduce, reuse, recycle, rethink! My passion is innovative sustainable design.”


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‘The Ghan’ train wrap by Signageworld recently won the ISA Sign Expo award

A recession-proof business in signage Having already produced some stellar signage and vehicle wrapping work in multiple states, Signageworld further discusses its growth plans


ignage and branding specialist Signageworld is a proudly South Australian family-owned company that designs, manufactures and installs all types of signage. The business launched only recently, in January 2021, with Derek Michalanney appointed as its managing director to lead the business. Having already produced some stellar signage and vehicle wrapping work in multiple states, AP spoke to Michalanney about the company’s projects and growth plans. Q: How did the business get into signage and vehicle wrapping? Derek Michalanney (DM): Signageworld is located in Regency Park, South Australia, and in its first 12 months, has already undertaken signage projects and installations in multiple states. All the design and printing work is done in the Adelaide workshop. The signage materials are then couriered interstate and installed by sub-contractors (where required) to Signageworld’s high quality finish. Local quotes, manufacturing and installation is undertaken by the Adelaide -based team. Vehicle wraps were always going to be a niche arm of the business, given that we


have many long-term customers that have supported me throughout my 30-plus year professional career. We also positioned our business premises in the commercial freighting hub of Adelaide – we call it ‘the Golden Triangle’ because it is central to the majority of our customer base. Our business premises needed to be able to cater for a range of vehicles, including oversized truck/trailers to be stored undercover during installation. Recently, we had a walking floor trailer delivered from interstate to be wrapped by us. However, we are more than just vehicle wrapping! Q: What have you had to do to steer change or challenges within the business, especially during COVID? DM: Signage is a recession-proof business i.e. if business is performing well, you may need to expand premises or your fleet, or you need new signage – so you need a signwriter. If business has a downturn, you may need to scale down your premises – so you need a signwriter. If you are quiet, you need to advertise – you need a signwriter. If you are busy if you have money to advertise – you need a signwriter. There is never going to be a perfect time to launch a business. As we began operating in January 2021, right before the COVID

pandemic hit, we were lucky to be able to trade normally the whole time because the South Australian government managed the pandemic response well for our industry. We took possession of our purpose-built workshop in July 2021 – the day before the whole state was forced into lockdown. That could have been an absolute disaster but we managed that challenge. We also put on a new staff member a month later based on the level of work we had – we weighed up the risks and this was the right decision. We made a conscious decision to manage our staff operations carefully to avoid being in isolation all at once as we didn’t want to risk having to stop production and let customers down. Q: What is the most memorable and unique project that Signageworld has worked on? DM: It has to be the ‘The Ghan’ train wrap. We knew that ‘The Ghan’ wrap was going to be a really special project and we were humbled to be entrusted to deliver the artist’s work to a worldwide audience. ‘The Ghan’ Expedition is a legendary train journey which intersects through the heart of Australia from Darwin to Adelaide. ‘The Ghan’ undertakes this return trip once a week.



More vehicle wrapping done by Signageworld

again, without delaying ‘The Ghan’s’ next scheduled departure. Q: What is fuelling Signageworld’s upward momentum? DM: Signageworld has invested heavily in top-of-the-line printing and signage equipment. We want to be able to offer a wide range of signage solutions and are always looking at new technologies or offerings.

The project was to transform the iconic and historic train into a visual art display for the launch of Parrtjima - A Festival in Light, a Northern Territory Indigenous arts festival in April 2021. It was also the first trip of the season for ‘The Ghan’. The artwork featured in the design is ‘Crossroads’ by artist Chantelle Mulladad. We are incredibly proud to have recently won the ISA Sign Expo award for ‘The Ghan’ train wrap and we have been shameless in celebrating our success. We feel it’s important to show off our special work and strive for excellence. We want to be the best at what we do. Q: What did the process of ‘The Ghan’ train wrap entail? DM: An important customer of ours is Rail First. They put us forward to Journey Beyond, which operates ‘The Ghan’ Expedition, to deliver this project for the Northern Territory Tourism Commission. Signageworld was engaged to undertake the adaptation of the artwork, printing and installation on three carriages. This was a unique, one-of-a-kind, grand format print applying artwork to a famous Australian icon. This was the biggest display to be ever featured on ‘The Ghan’. The project showed how vehicles can be transformed into mobile artwork and the sheer scale of the train in the vast outback was a ‘wow’ moment. The success and reach of the project has opened up opportunities for more artwork to be displayed in this way. Spicers supplied all the products including the 3M IJ40 removable SAV, 3M 8548G laminate and Clear Focus one-way vision. Two printers were used in printing the wrap – the HP 360 latex and HP 560 latex. The finishing was lamination with 3M 8548 laminate. As for the process itself, firstly, Mulladad’s artwork was provided to Signageworld in vector format. The original piece of art


was a square design. Using Corel Draw, Signageworld created a seamless tile to span the carriages. The design work and proofing took approximately two days. Signageworld then supplied visual mockups/renderings for the client to view and approve. Once this stage was approved, a 2m by 1.5m sample was printed then applied to a carriage for the client to view and sign-off. The printing of the job took an estimated 30 hours with 400 square metres of printed area. Signageworld also needed to make sure that the material could withstand being on a moving object, travelling over thousands of kilometres at high speeds in the harsh Northern Territory outback. With the train carriages having windows, one-way vision material was selected to ensure the wrap did not interfere with travellers experience on their journey. Installation was carried out over a twoweek period with a team of four signwriters at the Rail First Islington workshop in Adelaide. Work was undertaken indoors and undercover in a secure facility to ensure the project was under wraps prior to the unveiling. Working with the complex profile of the train carriages was the biggest challenge of the project. The signwriters used wrap techniques to ensure perfect application of the material. Also, there was limited time to complete the wrap from start to finish given ‘The Ghan’s’ strict timetable and the short time carriages can be out of service.

For example, I trained in the art of flex neon last year because there were no local flex neon manufacturers in South Australia. By controlling turnaround times – by manufacturing ourselves – also gives us a competitive edge over competitors who order from overseas. We also recently purchased and installed a new HP printer with white option that has opened up architectural opportunities. This adds value to our current customers and has attracted new work. We are focused on delivering for our customers and we have the support of returning customers because they can’t get the service or quality elsewhere. Q: What is your short- to mediumterm vision for Signageworld’s future? DM: We have a clear vision to build our business. Currently with three fulltime employees, we want to build our workforce. Plans for the future also include offering customers the choice of purchasing environmentally friendly signage materials, given the wastage associated with the industry. We also aim to build strong relationships with our suppliers and customers – that is always at the forefront of our minds. We wanted to be trusted and reputable. This means being flexible enough to think outside the box and change what we do to give our customers excellent service. That’s why we are a member of the Australian Signs and Graphics Association and the Big Picture Brain Squad. If you are in Adelaide, feel free to contact us to say hello.

Because the carriages had to be disconnected from the main train and needed to be secured undercover, there was also limited time to coordinate shunting activities in the rail workshop. The signage was only applied to the carriages for the festival’s duration. The material was chosen to ensure that when the wrap was removed, it would not leave any residual adhesives and

Signageworld managing director Derek Michalanney



Durst launches new P5 500 press at FESPA

Easy Signs buys two Durst P5 210 HS printers at FESPA

By Sheree Young

By Sheree Young

Durst has launched its new Durst P5 500, a 5.2m-wide roll-to-roll LED press at FESPA Global Print Expo in Berlin.

Australian success story Easy Signs sealed the deal on two Durst P5 210 HS printers at the FESPA Global Print Expo in Berlin.

Durst Group CEO Christoph Gamper said it marks an evolution of the previous Durst Rho 512 and utilises Ricoh Generation 5 printheads. It also brings a 5m option into the P5 platform, offering commonalities which add to greater operability and ease of servicing.

The 2.1m-wide presses have been purchased as dedicated flatbed printers, but can also come in a hybrid flatbed and roll-to-roll setup. Easy Signs co-founder Andy Fryer flew in from America, where he is setting up a new division of the company, to complete the deal with his business partner Adam Parnell. Fryer said he was looking for more speed to build into his business so he can better meet customer demands as the key reason for the purchase. “We have been looking for something that would give us greater throughput and these can produce 90 boards an hour. We are now producing

Double Durst for Easy Signs 24 hours a day and are really stepping up production,” Fryer said. The P5 210 HS is a hybrid press for both rigid substrates and rolls but Easy Signs has opted for a true flatbed version as this best meets its needs. The P5 210 is the hybrid solution for roll and board printing up to 2.1m and reaches (in the high-speed version) a productivity up to 500 sqm/h. Fast media change, easy maintenance handling and full safety render the printing process a way more efficient. Durst Oceania sales manager, Ashley Playford-Browne handled the sale and was on hand at the Durst stand in Berlin to finalise the arrangements.

Gamper described the press as reliable and robust. He added that it includes an inbuilt mesh kit which saves operator time and increases productivity. It also features an integrated horizontal cutting system which means the press, which includes options for single or multi-roll setup, does not need to stop while cutting. The other key feature is the option for double sided registration. “With the Durst P5 500, Durst once again demonstrates its full focus on the reliability of its own printing systems for unattended production processes. With the integration of Durst Workflow Software and the introduction of new functionalities, we are also achieving a significant increase in efficiency,” Durst head of product management Andrea Riccardi said.

Next Printing buys a Durst P5 350 HS at FESPA Berlin By Sheree Young

Next Printing managing director Romeo Sanuri first saw the original Durst P5 350 press during a visit to Durst’s headquarters in Brixen, Italy in 2019 but decided then wasn’t the time to make the purchase. Three years later, he is glad he waited because now the P5 350 has evolved into the P5 350 HS which means it can print at higher speeds and is now an even better fit for what was needed to meet growing demand at Next Printing. After beginning the journey three ago, Sanuri returned to Europe and visited the FESPA Global Print Expo to finalise the deal. He is now looking forward to the new press arriving to further bolster production capacity. The new Durst will replace a P10 250 HS which Next Printing installed in 2014. “I travelled to Brixen in 2019 looking at this machine but we didn’t get it then which turned out to be good timing because at that time it was in its first iteration and now this one is the high-speed version. This will help speed up things for us, better up time is more critical than high volume,” Sanuri said.


Romeo Sanuri (Next Printing), with Ashley Playford-Browne, Matt Ashman and Dan Mantel (Durst) “This new P5 will predominantly handle our Re-Board production. We will be able to load 3m-wide material as a landscape so this will save a lot of time. This is also a very high-quality machine and it will be better for our high end retail work. Before when we needed to print small print, we had to print on our roll to roll and then attach the print to a board so now we don’t have to do that. “We also found printing the small text many pharmaceutical companies want so it can be readable was not so easy. The quality with this new P5 is much finer than our current one so this will no longer be an issue. “We are getting the quality and the speed – before if you needed to use high speed the quality would suffer, but now that doesn’t happen.” The Durst P5 350 HS is a hybrid solution for roll and board printing of up to 3.5m and reaches productivity levels of up to 650 sqm/h. Fast media change, easy maintenance handling and full safety render the printing process as more efficient.




P5 350/HS The hybrid printer that elevates the efficiency in your production cycle. For more information, please visit SPRINTER.COM.AU


FESPA REVIEW In the signage space, the SureColor SC-R5000L was on show. This printer offers flexibility across substrates including wallpaper, soft signage and fine art paper.

Epson showcases new Monna Lisa ML-8000 at FESPA

The prints off the SureColor SC-R5000L model are ideally suited for more sensitive indoor settings such as schools and hospitals.

By Sheree Young

The Epson stand at FESPA Berlin had a range of technology on show including the Monna Lisa ML-8000, which is pitched at print companies looking to shift into digital fabric printing and those transitioning from dye sublimation printing. It has the capacity to print direct to fabric at speeds of up to 155 square metres an hour at 600×600 dpi on a double pass. The Monna Lisa incorporates eight of the latest PrecisionCore printheads and is set at a price point which makes it ideal for companies looking to move into digital printing or those looking to transition from dye-sublimation. It can run with pigment inks, along with reactive and dispersable inks. Also on show were two of Epson’s desktop dye sublimation printers plus the F2100

Epson Europe textile product manager Neil Greenhalgh

DTG printer which can be used for mugs, key fobs, phone covers, mouse mats, t-shirts and cushions. The SureColor SC-F100 is Epson’s first A4 sized dye sublimation printer and with a compact size is perfect for small spaces. The 24-inch model, SureColor SC-F500 offers fast turnaround times, reliability and a low total cost of ownership. In direct-to-garment offerings, it showcased the SureColor SC-F3000 together with a Schulze heat tunnel and heat press. Epson said this is a complete packaging needed to produce t-shirts, polo shirts, tote bags and other fabric items.

The SureColor SC-V7000 also made its first appearance at a trade show. This flatbed can produce rigid applications and features Epson’s unique UltraChrome UV ink configuration including red, grey, white and varnish. Marc Tinkler, head of product marketing for commercial and industrial printing at Epson Europe said, “With companies all over Europe now emerging from lockdowns, there has never been a better time to diversify into new growth markets and maximise on the revenue potential that these areas can deliver. “Our range of printers on display at FESPA together with the solutions offered by many of our key partners, demonstrate just how easy and cost-effective it is for printers to do just that.”

EFI launches new VUTEk Q3r LED inkjet at FESPA By Sheree Young

EFI had a range of products on show at FESPA Berlin, including the new VUTEk Q3r LED inkjet which comes in 5.2m and 3.5m wide options. The new EFI VUTEk Q3r is priced between €400,000 and €600,000, and includes a new inline print quality inspection system and a new UltraClear Coat option for more design and application possibilities. The EFI VUTEk Q3r printer delivers production speeds up to 558 square metres per hour making it suitable for high volume applications ranging from fleet graphics, truck side curtains and building wraps to POP signage, backlit and exhibition graphics, and window decorations. EFI says it offers resolutions up to 1,200 dpi with superior white ink printing performance and options for single- and multi-layer print modes. Also on display was the EFI Pro 30h LED 3.2m wide printer. “This hybrid printer allows you to print both rigid and flexible substrates and it


The EFI VUTEk Q3r LED inkjet printer

will go a little bit north of 200 square metres per hour and a really attractive price positioning at just under that €200,000 category – so we believe there is an opportunity to upgrade a lot of those customers that started off in display graphics with an entry level product and probably in the 1.6m category – to jump up to the 3.2m category with the Pro30h,” EFI vicepresident of marketing Ken Hanulec said. This printer continues to offer an ideal solution for businesses targeting sign and display graphics as a growth opportunity. It runs at speeds up to 230 square metres per hour, it features four colours plus dual channels of white as standard, prints in resolutions up to 1,200 dots per inch (dpi), and includes an EFI Fiery proServer Core digital front end (DFE) with FAST RIP acceleration technology.

In other announcements, the ecoTERRA was unveiled as part of EFI’s Reggiani range which provides a new option for sustainable direct-to-fabric printing. According to EFI Reggiani SVP and GM Adele Genoni, the ecoTERRA solution gives customers competitive advantages by dramatically cutting energy and water consumption in the overall digital textile printing process for a more-sustainable direct-to-fabric production experience. This eco-friendly, water-based offering delivers excellent wet- and dry-fastness properties, remarkable sharpness in detail, and extraordinarily high durability, while also yielding longer printhead life with reduced maintenance costs. Plus, thanks to ecoTERRA’s enhanced polymerisation and finishing unit, customers can deliver a softer hand feel to their digitally printed fabrics.


FESPA REVIEW “One of the key things with the Kudu is it has got neon yellow and neon pink which are also iridescent under backlight. By having them mixed in with other colours it is possible to make green by mixing the yellow with the cyan. We can also make other colours as part of the process so that is where the versatility comes from,” Trumble said.

swissQprint launches new Kudu flatbed at FESPA Berlin By Sheree Young

swissQprint, distributed exclusively in Australia by Pozitive, has been working on a new high-end flatbed printer for the last couple of years and used the FESPA Global Print Expo in Berlin to show it off. The Kudu is an entirely new product for swissQprint. The 3.2 x 2 metre high-end UV LED printer complements the existing flatbed range – Nyala, Impala and Oryx. It offers 10 colour channels and three rows of printheads giving it a new level of versatility when it comes to colour options whilst maintaining speed due to the increased number of printheads.

Philip Trumble (Pozitive) with the swissQprint Kudu

It has a maximum production speed of 300 square metres per hour. Pozitive managing director Philip Trumble is in Berlin and he said the versatility that is possible because of this expanded colour gamut is a huge bonus. The Kudu, which weighs in at a mighty 2.6 tonne, can handle full CMYK plus light cyan, light magenta, orange, white, varnish and neon. Trumble expects when it arrives in Australia later in the year it will do well as it will offer printers greater versatility and high production speeds.

Fujifilm has pledged a change in direction after announcing a range of new products at FESPA including the addition of a new Acuity Prime L to its Acuity Prime series of flatbed printers.

This unit is a 3.3m high-end printer offering print speeds up to 218 square metres per hour with print resolution up to 1200 x1200. Fujifilm wide format inkjet systems European marketing manager Kevin Jenner said, “Our ‘new blueprint for wide format’, announced last year is our answer to industry demand for greater flexibility, ease-of-use and better ROI.

David Burton, Fujifilm UK’s commercial director, announced the new technology offerings and said it marks a “substantial change in direction” for the company as it shifts to a closer focus on manufacturing using Japanese style techniques. Fujifilm’s new Acuity Prime L launched at FESPA

The Acuity Prime L is a 3.2m by 2m LED UV flatbed which Fujifilm says offers exceptional ROI. It will be available commercially in late 2022.

Fujifilm wide format inkjet systems marketing manager Anda Baboi said, “The Acuity Prime series, when we launched it last year, represented both a ‘next step’ and a new start for Fujifilm. We’re delighted to be adding to the versatility of the range with the Prime L and FESPA is the perfect place to showcase what it can do.

It has a headline print speed of 202 square metres per hour and six vacuum zones and 16 media location pins as well as the ability to print side by side jobs with its dual zone function.

“Like the Prime 20 and 30, it’s built on our knowledge and expertise, but at the same time it’s something fundamentally new – “ a new blueprint for wide format” that offers unbeatable standards of performance, as


“The Kudu is not a new generation printer. It has a really very different mechanical construction and completely new electrics. The printing size is the same as the Nyala 4 but the weight of the printer is much greater,” Preuss said.

Also launched was the Acuity Ultra Hybrid LED, part of the Acuity Ultra family. Fujifilm said the new Acuity Ultra Hybrid LED marks its first foray into the high-end wide format hybrid.

By Sheree Young

In all, Fujifilm had six new machines on its booth at FESPA.

swissQprint applications manager Michael Preuss said the development process has been going for the last two years.

well as exceptional value, versatility, ease-of-use, and the best ROI available on the market.”

Fujifilm unveils new products at FESPA in Berlin

The Acuity Prime series utilises Ricoh’s Generation 5 printheads, while the new Ultra range features Kyocera heads.

“The print quality is always consistent across all of the swissQ machines and that really sets them up. Yes, we print at great speeds as well but we are not focussed on speed if it means we are not going to have the quality or versatility.”

“Our all-new Fujifilm Acuity range, built to that new blueprint concept, has been designed to offer exceptional performance and unbeatable value, and the Acuity Ultra Hybrid LED is the latest evidence of Fujifilm’s commitment to the continued development of this range to meet changing market needs. “Fujifilm has combined its expertise, built up over decades developing exceptional flatbed and roll-to-roll platforms, to design a new wide format hybrid platform that will set a new standard in price and performance and offer exceptional versatility and ROI.”


FESPA REVIEW “Summa acquired a company in the UK that worked very closely with Cad Cam Technologies. They were focussed on laser cutting but they used all the Summa control systems to make their machines and they would make laser cutters. Summa acquired that company and together they brought out the first laser cutter for textile but it was all still made in the UK so this is the new machine that has come out of that collaboration.

New Summa laser cutter launched at FESPA Berlin By Sheree Young

Summa, distributed in Australia by Pozitive, has launched a secondgeneration laser cutter at FESPA Berlin with the Belgium-made L1810 cutter now also sold to Australian sportswear producer, Bravo Print Group. The L1810 includes new features to increase productivity and accuracy. These include three cameras to check registration on the fly and a new control software system, Go Produce Laser Edition. Pozitive managing director Philip Trumble was on the stand at FESPA and confirmed Bravo will soon have the cutter installed and that it will also double as a reference site for Pozitive. “We have just done the deal with Bravo Print Group, a company which produces sportswear in Melbourne. Bravo will be a reference site for us and we have been able to source the machine in the configuration they are after,” Trumble said.

Philip Trumble (Pozitive) with the Summa laser cutter

The new laser cutter will not be on display at PacPrint, but Trumble will be showcasing the F Series Summa flatbed cutter, the R Series cutter and a new Tray 1 cutter which has a small footprint and is a handy option for smaller print shops, like franchises. Speaking about the new laser cutter, Trumble said, “Laser is not new for Summa but this particular machine is new. “This is the generation 2 machine. We have a few of these machines in the market but they are the generation 1 and now we have a generation 2.

“It is completely made in Belgium with the rest of the product line and a whole bunch of new features that we didn’t have in the previous models.” The new features on the Summa L1810 is it has a whole new set of control software. Trumble said this laser cutter can read printed registration marks and has three built in cameras which reads everything on the fly to ensure accuracy of the cut. “Fabric can stretch in production so it is important to register where the graphic is on the textile but if it is being stretched we also don’t want to cut it stretched because then it won’t fit in the frame so we first of all understand where it is and then reference the original shape so we reference the correct shape,” Trumble said.

Ultra Colour’s Ben Carroll installs third Ino, visits the team at FESPA By Sheree Young

Ultra Colour, which previously operated under Vicon Transfers, has added a third Ino screen printing line with a view to adding a fourth in the future as the business continues to grow. The Brisbane-based trade printer supplies transfers for sportswear, uniforms and other forms of apparel and was visiting FESPA Global Print Expo to catch up with the team at Ino and other suppliers in this space. “We recently installed our third Ino. It is the latest in innovation of the traditional screen print process, so it uses the latest in laser and optical registration to innovate a real traditional screen printing process to get the best result for today’s market,” Carroll said. “By using a system like this where they have innovated the technology in this way


Mandy Olivier and Ben Carroll (Ultra Colour) with Blaz Mur and Michel Zombra (Ino)

allows us to use screen print for short run custom work in a much more efficient and effective way. Screen printing traditionally was good for long runs where the set-up time takes a long time. “This sort of technology minimises that set up time down to a smaller possible moment and allows a maximum uptime which matches against the market’s demand for short, customised runs.” Carroll is pairing the Ino screen printers with a newly acquired HP Indigo 7600 Digital Press, with all these investments marking a serious commitment to manufacturing in Australia. Ultra Colour handles tens of thousands of transfer orders every day with the minimum

quantity being 20 so a set up that could quickly handle new designs and print simultaneously was key for the business. The Ino takes the printed digital sheets from the HP Indigo and runs a white ink over the back of them so the final product is bright against any colour of clothing. It then drops a power glue over the back, goes through a drying process and is ready for guillotining and despatch. “We are merging the best of both worlds – the best of digital print with the HP Indigo and the Ino. “This is very exciting. It is a massive investment into Australian manufacturing,” Carroll said.


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DuPont shows its latest Artistri inkjet inks at FESPA Global Print Expo 2022 DuPont showcased the new pigment ink series in its digital inks portfolio, the DuPont Artistri Brite P5500, at the recently held FESPA Global Print Expo in Berlin, Germany

The DuPont team at Fespa 2022


rtistri P5500 ink is specially designed for direct to garment (DTG) decorators and fulfillment houses who want to move to digital printing but need a faster, more reliable process that provides high quality and repeatability.

curing times for oven and press while still delivering printing consistency and dependability to help lower operations and maintenance costs,” DuPont Artistri Digital Inks commercial inks global sales leader Bernd Daiber said.

The new Artistri P5500 set of ink colours deliver improved wash fastness with both press or oven curing and even faster curing times. Artistri P5590 white ink offers the opacity and stretch that customers value for longer shelf life.

Key features that benefit DTG printers include: • Brilliant colours: delivering gamut volume > 175,000 • White coverage: L*>92 • Longer shelf life through improved redispersibility • Dark shirt wash fastness (after five washes at 45°C) for press and oven cure > 4 (0-5 scale)

The high gamut volume aqueous-based ink set is designed to work in printers with low-viscosity piezo-electric printheads and is suitable for all direct to garment applications, including Direct to Film (DTF) printing. With the DuPont Artistri P5500 ink set, printers will be able to tailor their ink usage to the application without compromising colour, fastness and repeatability. “We are delighted to deliver a full solution that helps enable leading printing performance in all the areas that contribute to our customers’ success: brilliant and durable colors with less ink plus reduced


With more than 45 years of experience in packaging through Cyrel solutions, DuPont said it is committed to developing digital ink solutions to help the sustainable growth of packaging, including a full range of food compliant ink products and leveraging global customer partnerships to develop ink solutions for label and flexible packaging printing. “Artistri aqueous pigment inks are a key asset for digital printing customers or press manufacturing customers looking for short runs, customisation and a shortened supply chain, while addressing the demand for sustainability,” Bernd added.

Brand owners and printer/convertor customers are focused on improving the sustainability of their packaging solutions while maintaining a high level of print quality and productivity. With 30+ years of innovation in ink jet inks, DuPont said its Artistri digital printing inks deliver high performance for home, office, textile, commercial and packaging applications including printing on coated and uncoated paper, corrugated and folding carton.

Applications using the DuPont Artistri Brite P5500 were shown at Fespa 2022


Speed up your Inkjet Printing Process

DuPont™ Artistri® digital ink technologies cover a wide range of commercial, packaging, food and beverage printing applications. Deliver high productivity, consistent performance and great print quality with Artistri® inks.

© 2022 DuPont. All rights reserved. DuPont™, the DuPont Oval Logo, Artistri® and all trademarks and service marks denoted with ™, SM or ® are owned by affiliates of DuPont de Nemours, Inc., unless otherwise noted.


HP tells sustainability story at FESPA

Rob Stalenburg and Angelika Selg of HP

By Sheree Young

HP has long been supporting its own sustainability journey and the results of this focus on the circular economy were on show at FESPA, along with its waterbased Latex 700 and 800 printers and the R2000 flatbed. The HP Latex 700 and 800 printer series bring a suite of features that enable businesses to be more agile, increase their revenues and take on the highest value print jobs. They use the latest technology to deliver vivid colours and striking contrast on a range of substrates. With greater levels of application versatility, PSPs can tackle more ambitious jobs to impress their customers and stand out from the crowd. As for the R2000 flatbed, it powers PSPs with ultimate versatility through a single

HP’s Angelika Selg took us on a tour of the booth and said every part of it had been made from materials which would find a new home, from the timber to the trees. She also explained HP first started using water-based inks in 2008, a practice that is now wide across the industry. “At HP we operate on three pillars: safety for operators, care for our end customers and also care for the environment,” Selg said. She explained the safety for the print operators was catered for with the 65 per cent water-based inks meaning no air pollutants are circulating in the print room, also meaning no ventilation is required.

ink set. Applications such as retail, outdoor signage, window graphics, events and exhibitions, decoration and car wrapping are now a possibility. On the high-speed quality setting, the HP Latex R2000 prints at speeds up to 88sqm/hr. The R2000 is also coupled with HP Latex White Ink which the company says is delivering the glossiest white on transparent and coloured media.

“We also care for our end customers as we have the certifications they need to prove to their customers what they are doing in terms of the Greenguard certification we offer,” she added. She added HP has been part of the Planet Partners programme since 1991 which has resulted in tens of tonnes of printheads, cartridges and printers themselves being recycled.

Canon delivers UVgel mixed matte and gloss innovation at Fespa 2022 By Sheree Young

Canon Europe has made three announcements at the Fespa 2022 exhibition in Berlin. The first announcement was the ability of its FLXfinish+ patented UVgel that with one ink set, lets large format graphics customers produce matte, gloss and mixed matte and gloss in one print. “Canon’s large format graphics, roll-to-roll Colorado series is known for giving customers a choice between a velvety matte or vibrant glossy finish with just one ink set,” Canon Europe wide format printing group marketing and innovation EMEA director Mathew Faulkner said. “We are unveiling the next step for the Colorado series: FLXfinish+, the unique ability to print a mixed matte and gloss finish in one print, at the click of a button.


FLXfinish+ has the ability to print a mixed matte and gloss finish in one print

“Being able to have both finishes in one print enables print service providers (PSPs) to take a whole list of applications to the next level – from making brands stand out on point-of-sale and retail advertising, to bringing labels and decals to life with glossy highlights, to creating amazing effects for interior décor applications.” FLXfinish+ will be featured as standard on all Colorado 1650s and optional on all Colorado 1630s. It is also available as an upgrade to all 1630s and 1650s already installed with customers, which emphasises Canon’s commitment to offering customers a smart investment solution. Canon also announced two new models within the Arizona 6100 Mark II flatbed printer range – targeting print service

providers with volumes from 20,000m² up to 300,000m² per year. The Arizona 6100 XTS Mark II offers independent control of vacuum zones to simultaneously handle multiple boards, unusually shaped substrates and staged/ staggered jobs for continuous printing. The Arizona 6100 XTHF Mark II was created for large format graphics PSPs and print factories who specialise in packaging or print on more challenging substrates that may not adequately seal the vacuum area. Canon also announced an upgrade of its PRIMA print production and workflow software with the launch of the PRISMA XL Suite, designed to help large format graphics designers and PSPs create unrivalled and inspiring print applications.



Zünd unveils robotic arm at FESPA Berlin By Sheree Young

Zünd, distributed exclusively in Australia by Starleaton, has unveiled a new robotic arm which can fully integrate with Zünd cutting tables to offer boosted efficiencies in the print room. Dale Hawkins, industrial manager at Starleaton, said the new Robot Factory innovation marks a new direction towards plug and play technology, rather than bespoke robotics. “Here at FESPA we are demonstrating this G3 Zünd cutter which has also got a robotic arm working alongside it. “What this does is it cuts your pieces and packs them into boxes or puts them on a pile on a table so suddenly you are removing labour out of the process,” Hawkins said. “This has been a quite significant launch because what was happening before was you had someone at the end of the table

Jacob Hansen (Zünd) and Dale Hawkins (Starleaton) with the new robotic accessory

picking it all up or someone at the end would have to sort out the basket at the end.

and interfaces that you need for it to be plug and play.”

“This is not the first time they have shown robotics but it is the first time it is a fully integrated system so what would have happened in the past is we would have worked with the robotic suppliers and they would have worked out how to integrate it bespoke for each customer but what they have done now is create a system which has all of the components

Zünd managing director Jacob Hansen said, “The concept of this is that this is a standard table which has the robot integrated with suction caps and air and safety so you roll it up next to your cutter and it can be any of our Zünd cutters. You connect it up with a cable and you are ready to go. You don’t need to programme anything as the software programme”.

Starleaton CEO Ben Eaton said it is exciting because for the first time in 15 years the ‘green story’ is really starting to take hold.

Neschen’s FESPA stand makes its green focus clear By Sheree Young

The Neschen stand at FESPA Global Print Expo was impossible to miss. Filled with real trees and every part of it covered in beautiful green adhesives, the message was clear about the value it places on sustainability. The Neschen range is distributed in Australia exclusively by Starleaton and group sales and marketing director, John Buitenkamp, said the new PVC free Neschen Green Easy Dot Pet Matt L-UV adhesive is now available in Australia. Both Buitenkamp and Starleaton CEO Ben Eaton spent the week at the FESPA Global Print Expo in Berlin. Buitenkamp spent over 20 years working at Neschen and has deep product knowledge of the entire range. He says now in Australia many customers are asking for a more sustainable option for print work, mainly because job specifications from brands demand


Starleaton’s Ben Eaton and John Buitenkamp at Neschen’s stand

that sustainable products be used in the production of a job. The Neschen Green Easy Dot is a fully recyclable product. It is made using polypropylene and can be recycled in standard recycling systems. It can be printed with UV and Latex printing technologies and is also compatible with the HP Indigo Digital Press. “Stock is now in Australia and we are really excited because customers are starting to ask and look for products like this which is really great. The whole nonPVC push is really starting to come from brands,” Buitenkamp said.

“It will either happen through legislation or specification and the legislation just isn’t here but the specification is really happening now. For us, we are attached to European manufacturers in our DNA. We do not bring in anything from Asia. Europe is really at the forefront of these standards but it is good so I think we are going to be in a great position to have leading, specified and endorsed products,” Eaton said. “The challenge has always been can the products go into standard household recycling systems and the products from Neschen now can and that is the key. “There are still challenges if there is a release liner on it, you need to separate it. We still have some way to go as an industry to make sure these products truly have a life cycle.” Starleaton also recently recruited Thomas Anderson to the sales team who is bringing fresh perspectives to sustainability and is playing a key role in educating the market about the benefits of looking at a more sustainable adhesive option.



Best of the best recognised at 2022 National Print Awards in Melbourne Carbon8 took home a slew of awards again, Emmanuel Buhagiar won the Lifetime Achievement Award, and Jacob Williams was named Graduate of the Year at the 2022 NPAs

2022 Exceptional Women in Print winner, Susan Davies of MSP Photography

Carbon8 directors Kenneth Beck and Peter Musarra with one of their many awards


Emmanuel “Budgie” Buhagiar honoured at NPA

he 39th National Print Awards (NPAs) was recently hosted by the Print & Visual Communications Association (PVCA) in Melbourne, with both National and State PICA winners announced at a presentation dinner.

Printer of the Year – Digital Gold: Carbon8 (NSW) for Dive – The Magic of the Solomon Islands Silver: Carbon8 (NSW) for Aura by Aqualand Bronze: Multi-Color (VIC) for Usher Tinkler Wines Mr T’s Rare Batch

Leaflets, Flyers & Brochures – Offset Gold: Lighthouse Print Group (NSW) for Portman House Books Silver: Eckersley Print Group (QLD) for Uvex Protecting People

The night’s biggest winner was Carbon8 from NSW, with five gold awards, including Digital Printer of the Year, and two silver awards.

Book Printing – Offset Gold: Foot & Playsted (TAS) for Government House Tasmania – A Remarkable Story Silver: Focal Printing (TAS) for Paradise Lost Bronze: Ellikon Fine Printers (VIC) for Tall Poppy

Bookets, Catalogues & Magazines – Digital Gold: Carbon8 (NSW) for Coopers Brand Book Silver: Colour Chiefs (QLD) for Mason Edition – Azure Bronze: Openbook Howden Print & Design (SA) for St Peter’s College Prospectus

“The National Print Awards is truly a testament to the resilience, strength and commitment of our industry. The PVCA commends all entrants and extend our warm congratulations to all this year’s winners,” PVCA president Peter Clarke said. The full list of NPA winners are: 123 Print! Gold: Rawson Print Co. (NSW) for Dr Van Park Folder Silver: Taylor’d Press (VIC) for Supellex Printer of the Year – Offset Gold: CCL Label (SA) for Silver Moki – Marlborough Sauvignon Blanc Silver: Kuhn Corp Print (QLD) for IGA Marketplace Magazine – Christmas 2021 Bronze: Multi-Color (VIC) for Woodwork’s Mark


Book Printing – Digital Gold: Carbon8 (NSW) for Dive – The Magic of the Solomon Islands Silver: Openbook Howden Print & Design (SA) for St Peter’s Girls School Prospectus Bronze: CMYK Colour Online (VIC) for Back to the Sea Photography Book Leaflets, Flyes & Brochures – Digital Gold: dms CREATiVE (VIC) for Shelton Homes Look Book Gold: Lighthouse Print Group (NSW) for Pienza Book Silver: Eckersley Print Group (QLD) for Packing Leather Celebrating 130 Years Silver: Rawson Print Co. (NSW) for Ancient Greeks Exhibition Invitation Bronze: The Fotobase Group (SA) for 40 Hawker Avenue – Ouwens Casserley Property Brochure

Specialty Printing Gold: Carbon8 (NSW) for Gage Roads Beer Taps Silver: The Fotobase Group (SA) for Accolade Wines Office Display Bronze: Multi-Color (VIC) for Websters Estate Pearl Commercial Printing Gold: Ball & Doggett for From our Family to Yours – A Collection of Recipes and Quotes on Optimism Silver: Rawson Print Co. for Orlebar Brown News Print Bronze: The Fotobase Group (SA) for Samantha Hirniak (Ouwens Casserley) Set and Forget DLs



Onpack Victoria’s Scott Aston, 2022 Media Super Young Executive of the Year

Multi-Color celebrates its wins at the NPAs

Stationery Printing Gold: Carbon8 (NSW) for Hansen Yunken Tender Submissions Silver: Taylor’d Press (VIC) for Miss Trixie Bronze: Sunprint (QLD) for Moonstration Calendar Embellishment Gold: Multi-Color Corporation SA for Rested Rum Barrels Mr Black Silver: See & Co (NSW) for Wilton Hill – A vineyard with Two Views Bronze: Intafoil (WA) for Argyle Diamonds Printer of the Year – Labelling Gold: Jamesprint (VIC) for Airs & Graces Malbec Silver: CCL Label (SA) for Head Wines – Wilton Hill Shiraz Bronze: Multi-Color Corporation – Griffith for Isabella’s Barrel Aged Gin Self-Promotion Gold: Styleprint (VIC) for Fun with Styleprint 2021 Silver: The Greenridge Group (QLD) for Greenridge Group 2022 Calendar Silver: Carbon8 (NSW) for Carbon8 Brewer’s Dozen. Printer of the Year – Large Format Gold: Signageworld (SA) for Transforming the Iconic – The Ghan Silver: Cactus Imaging (NSW) for Woolworths Indigenous Art Building Wrap Silver: ColourChiefs (QLD) for QAGOMA APT10 Kids Printer of the Year – Packaging Gold: Percival Print & Packaging (WA) for Tarmi Brand 1kg Scampi Carton Silver: Colour Chiefs (QLD) for Pure – Colour Conditioners Presentation Box


Bronze: MJ Printing (VIC) for Evry.word Candle Packaging Limited Edition Pieces Gold: Ellikon Fine Printers (VIC) for WONDER – 175 Years of Royal Botanical Gardens Victoria Silver: The State Library of Queensland for Kindred Spirits Bronze: Se&Co (NSW) for Wilton Hill – A Vineyard with Two Views Regional Printer of the Year – Up to 12 Employees Gold: Sunprint (QLD) for Wild Visions – 40 Year Anniversary Book – Darren Leal Silver: Illawarra Print & Signage for NSW for Head to Health. Regional Printer of the Year – Over 12 Employees Gold: The Greenridge Group (QLD) for Greenridge Group 2022 Calendar Silver: WHO Printing (NSW) for Capturing the Hunter Small Business Printer of the Year – Up to 12 Employees Gold: Sunprint (QLD) for Shoreline Brochure Silver: The Print Department (VIC) for Worth Holding Onto Bronze: Morgan Printing (NSW) for The Stars Nodded Branding & Identity Gold: Carbon8 (NSW) for Maui Jim Expand the Brand Presenter Silver: 121 Creative and Kwik Kopy Printing Geebung (QLD) for Ginger Beard Branding and Bottles Bronze: Styleprint (VIC) for Kmart Lift Lobby Branding Boards

Matilda Mulligan and Jacob Williams (middle) receive LIA Graduate Awards

Multi-Piece Promotions & Campaigns Gold: John Fisher Printing (NSW) for Bridgerton Dymocks Window Display Silver: Carbon8 (NSW) for Tasmania – Hairy Tips for Slippery Locals Bronze: Ball & Doggett for From Our Family to Yours – A collection of Recipes and Shared Experience on Optimism Designer of the Year Gold: Ball & Doggett for From Our Family to Yours – A collection of Recipes and Shared Experience on Optimism Silver: Cactus Imaging (NSW) for Woolworths Indigenous Art Building Wrap Bronze: The Fotobase Group SA for Taarnby Branding and Identity Suite 2022 MEDIA SUPER LIFETIME ACHIEVEMENT AWARD Emmanuel Buhagiar, Imagination Graphics 2022 MEDIA SUPER YOUNG EXECUTIVE OF THE YEAR Scott Aston, Onpack ENVIRONMENTAL SUSTAINABILITY AWARD Eckersley Print Group EXCEPTIONAL WOMEN IN PRINT AWARD Susan Davies, MSP Photography WORKPLACE CULTURE AND WELLBEING AWARD Fotobase Group LIA GRADUATE OF THE YEAR Jacob Williams LIA FUTURE LEADERS AWARD Matilda Mulligan



Enhancing female employment, inclusion and leadership Businesses can increase their successes by adopting gender equality in their workplaces, as told in this Women in Print breakfast briefing You may find someone from the wider visual communications industry instead of print that may suit the role you’re looking to fill,” she said. “The industry also needs to be more open in sharing information about this as sharing information results in shared intelligence. Male or female, young or old, and whatever background they come from, there needs to be no bias when it comes to hiring – you need to focus on what knowledge this person brings to your organisation.” Fountain spoke about her transition from education to working in a company, saying that she did face a few challenges.

(l-r) Mark Moro (Ricoh Australia), Charlotte Fountain (Worldwide Print), Tony Bertrand (Ball & Doggett) and Sandy Aspinall (Women in Print)


omen in Print recently held a breakfast briefing in the morning of the second-last day of PacPrint, with a panel session discussing gender equality in print, a presentation on adopting gender equality and networking opportunities. Women in Print deputy chair and SA patron Sandy Aspinall, Ball & Doggett national marketing manager and APIA chairman Tony Bertrand, Worldwide Print graphic designer and ProPrint Emerging 50 2021 winner Charlotte Fountain and Ricoh Australia national sales manager Mark Moro led the panel discussion.

“We need to get to a stage where our industry believes in fairness, in diversity and equality when it comes to their hiring practices.” Moro said the conversation needs to extend beyond design to other areas of the industry including engineering. “As a vendor, we’ve got a very ageing population with male dominated techs. Without these techs, we don’t have the right people to work on our equipment. So, we need to pass on these skills to women as well as the younger generation,” he said.

According to Bertrand, the stigma that printing is a male-dominated industry needs to change, especially as it faces the challenge of attracting new talent.

“It’s difficult to fill those positions, but we need to persevere. Otherwise, we just keep putting old people – who are mainly males – on and we’re getting nowhere.”

“We need to do something about this. One of the challenges that we are facing right now is attracting talent. When you’re looking to attract people to your company, you need to be attractive. So, it’s incumbent on organisations, or the industry, to make sure that they’re setting themselves up for success. And a part of that is to be inclusive and diverse,” he said.

Aspinall said this results in the need for cross training in the industry and opening up the opportunities in print to both men and women in other sectors.


“Being gender diverse is one thing, but we also have to be open about hiring people from other industries and presenting them with training opportunities.

“I started applying for jobs prior to me finishing my studies. I knew that I was really under skilled, especially with print work. Coming out of high school, straight to university and into an apprenticeship, I found the teaching style to be very different. An apprenticeship is very handson so it was challenging, but a learning curve for me,” she said. “The gap of print knowledge in university was also huge – we only had four subjects that involved print. So some better structure in universities and TAFE in terms of how the print industry operates is welcome.” At the breakfast briefing, The Real Media Collective (TRMC) CEO Kellie Northwood also spoke about how businesses can increase their success by adopting gender equality in their workplaces. “As our industry develops and grows, addressing new challenges and opportunities, the Women in Print dedication to enhancing female employment, inclusion and leadership across our industry provides more than a ‘good thing to do’. It provides increased business success and profitability,” she said. “In 2014, McKinsey found that companies in the top quartile for gender diversity on their executive teams are 15 per cent more likely to outperform companies in the forth quartile. Following this, in 2017, these numbers increased to 21 per cent likelihood of outperforming fourth-quartile companies.



Women in Print chair Susan Heaney

“Gender diversity also correlates to positive behaviour relating to better organisational health, which is associated with better business performance.” Northwood outlined a number of ways that businesses can develop a gender equality strategy and policy, which includes addressing biases, creating an action plan for inclusive work culture, having a structured and transparent promotion process, have the right training and resources to accelerate skills building and providing employee motivation and satisfaction. “This is something we as businesses and leaders need to be looking deeper into.

TRMC CEO Kellie Northwood

We need an all-industry approach so Women in Print will be sending out a letter explaining what we’re trying to achieve to business leaders across our industry and asking for their support,” she said. “The purpose of this policy is to set out principles and strategies for the ongoing improvement on gender equity across the industry; we want this policy to be the industry standard.” Northwood also attributed findings from McKinsey & Company which found that: • Print and print support employees are 33.2 per cent women and 66.8 per cent men, while the national average

is 51 per cent women and 49 per cent men • Men earn 17.3 per cent more than women in print compared to men earning 19.7 per cent more than women as a national average • 16.7 per cent of employers in print offer paid primary carer’s leave versus 54.6 per cent of employers offering paid primary carers leave nationally • Only 7.7 per cent of the print industry has female CEOs, 14.9 per cent have senior female managers and 24.3 per cent have female directors. This is compared to a national average of 19.4 per cent female CEOs, 34.5 per cent senior female managers and 31.3 per cent female directors.




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Industry joins Currie Group and HP to celebrate Gatsby style at PacPrint Currie Group and HP hosted another sensational party during PacPrint, this time a Gatsby-themed riverside extravaganza in Melbourne. The gathering for Currie Group and HP partners and customers was held at the Showtime Events Centre with Currie Group’s Will Currie making a heartfelt speech honouring retiring executive Bernie Robinson. HP’s Arnon Goldman was also on stage to welcome guests.

Will Currie (Currie Group) making his heartfelt speech on stage

Ben Carroll (Velfex Imports) and David Currie (Currie Group)

Peter Harper, Michelle Cruise, Joy Skeels, Robyn Frampton and Debrah King (Visual Connections)

Mark Daws and Marcus Robinson (Currie Group)


Ben Testa (MCC Label, VIC), Duncan Bray (HP), Craig Walmsley (HP), Arnon Goldman (HP) and Tony Delia (MCC Label, WA)

Sheree Young, Sam McCool, Jaime Bolla and Carmen Ciappara (Printer Media Group)

Dave Bromley (Currie Group), Kenneth Beck-Pedersen (Carbon8) and Vedran Martinovic (Currie Group)

Arnon Goldman (HP) making a speech on stage

Mark Orel (Finsbury Green), Matt Tangey (Currie Group) and Colin Edwards (Currie Group)

Liam Talbot (Torque Digital), Paul Whitehead (Currie Group), Craig Paul (Currie Group NZ) and Mark Bult (Torque Digital)




Industry comes together at PacPrint PacPrint recently opened its doors to the print and visual communications industry after a three-year hiatus because of COVID, attracting businesses from all across Australia and New Zealand. Attendees gathered at the Melbourne Convention and Exhibition Centre to check out the latest technologies and catch up with friends from the industry.

(l-r) Debbie Pendergrast (KeenCut) and Mark Canavan (Graphic Art Mart)

(l-r) Steven Gamble (Man Anchor) and Ben Eaton (Starleaton)

(l-r) Peter Harper (Visual Connections) with his son and PacPrint exhibitor Simon Harper (Sign To Badge Solutions)

(l-r) Darren Best, Jill Walsh, Kelly Morgan and Aaron Pryde from Ricky Richards

(l-r) Kevin Gregory (HP), Ernie Gal (Spandex) and Phillip Burns (Agfa)

Ben Testa (MCC Label) with his children at PacPrint – following in the generational footsteps as his father brought him to PacPrint as well

(l-r) Fathers and sons – Will and David Currie with Bernie and Marcus Robinson

(l-r) Old friends – David Cascarino, Sue Threlfo, Mark Williams and Stuart Collins

(l-r) Adam Todd, Rob Whiting and Andy Cocker (Konica Minolta)




(l-r) Jack Malki (Jet Technologies) and Peter Scott (Screen)

The Esko team at PacPrint 2022

(l-r) Carmen Ciappara (PMG), Sheree Young (PMG) and Sandra Duarte (Sandra Duarte Consulting)

(l-r) Emily Coop (Vivad), David Lazzari (Melbourne Visual Events), Vinnie Vitetta (Vivad) and Ewen Donaldson (Vivad) (l-r) Carmen Ciappara (PMG) and Keith Ferrel (Cactus Imaging)

(l-r) Sam McCool (PMG) and Phil Trumble (Pozitive)

(l-r) Jacques Stalens and Brenton King (Hybrid Software)

(l-r) Matt Aitken (IVE) and Jill Cowling (Blue Star Group NZ)

(l-r) Sam McCool (PMG) and Troy Neighbour (Fujifilm Australia)

(l-r) Phillip Mariette (TRMC), Emmanuel Buhagiar (Imagination Graphics) and Kellie Northwood (TRMC)


(l-r) Valery de March (Caldera) and Nigel Spicer (Cactus Imaging)



AWARDS Thursday October 27, 6pm Shangri-la Hotel, Sydney

Nominations Now Open Which senior industry leader, rising star, supplier who goes above and beyond or industry legend will you nominate? Self-nominations are accepted You can nominate more than one person from the same company Nominations closing soon


Scan to watch

Sponsors announced so far Platinum



All w be inner on annou s will t pub he nig nced lish ht a Dec e nd em d in of P ber is the roP sue rint

Formerly known as the Power 50, this peer-voted award is independently audited by PKF & recognises senior leaders. The top 20 leaders are ranked, and the remaining 30 nominees will be announced alphabetically. Self-nominations are accepted and you can nominate more than one person.

Recognises those who go over and above to help print businesses flourish. Supplier 50 recipients are judged on the quality of the award submission based on achievements over the last 12 months. There is no overall winner of the Supplier 50 – all recipients are acknowledged alphabetically.

Recognises industry rising stars from all parts of the print industry with around five years of experience. Nominees can also apply for The Real Media Collective mentorship prize which includes a $1000 Australian Institute of Management gift voucher. An industry panel judges the winner of the mentorship prize.

This exclusive award recognises an Outstanding Achiever in Print – someone who has spent at least 25 years in the industry and has been integral in improving the industry. The Top 10 Power 50 from 2021 and our platinum sponsor, Durst, will decide who deserves this exclusive honour.

For more information about becoming a sponsor and to nominate please visit:


HP and ASGA celebrate National Sign and Graphics Awards winners The sign and graphics industry came together again to celebrate the diverse range of skills and talent that it offers

Wolf Signs won the Sustainability Award

Kingman were big winners at the 2022 HP National Sign and Graphics Awards


he signage and graphics industries were out in full force at the recent HP 2022 National Sign and Graphics Awards Gala Dinner hosted by HP and the Australian Sign and Graphics Association (ASGA). The awards ceremony, which took place in Melbourne on the first night of PacPrint, celebrated the best in Australia’s sign and graphics industry. In all, 478 entries were received across 22 categories for the awards with categories including wide format printing, car wrapping, printed fabrics and fabrication. The full list of winners include: Digital Media (LED & LCD) Gold: OMG!, NSW, Theatre Royal Directional & Wayfinding Signs Gold: Cunneen Signs, NSW, University of New South Wales Plinths Engraved Signs Gold: Artcom Fabrication, WA, Performing the River

The team from Status Signs at the 2022 HP National Sign and Graphics Awards in Melbourne

Fabrication – Large Plyon & Sky Signs Gold: Cunneen Signs, NSW, QBE Sydney Illumination – LEDs Gold: Specialbuild, NSW, Urban Clock Tower Illumination – Neon Gold: Neolite, NSW, Moulin Rouge Installation Gold: Signcraft, VIC, The W Hotel Darling Harbour

Small Sign Business Gold: Signco Manufacturing, NSW, Selection of Work Traditional Signcraft Skills / Airbrushing or Handpainted Murals Gold: Sign Hub, QLD, Emerald Creek Icecream Mural Vehicle Wraps – Full Vehicle Gold: Grafico Group, VIC, Porsche Taycan NFT Art Car Vinyl Gold: Kingman, WA, Flight Club

Large Format Digital Print Gold: Grafico Group, VIC, Louis Vuitton Sydney Airport Hoarding

Training Innovation Gold: Australian Skills Management Institute, QLD

Original In-House Design Concept Gold: Grafico Group, VIC, Louis Vuitton – Virgil Abloh Pop Up Sydney

Young Star Gold: Luke Lambourne – SS Signs, QLD, Blundstone Arena LED project

Printed Fabrics & Textiles / T-Shirts & Garments Gold: Status Signs, QLD, Cairns Taipans Carpet Print

Innovation Gold: Kingman, WA, Brookfield Place

Fabrication – General Signage Gold: Cunneen Signs, NSW, Lean Learning Academy

Retail Sign Package – Total Shop Fitout Gold: Zimmermann Industries, VIC, Witchery – Bondi Flagship

Fabrication – Sculptural Gold: Albert Smith Signs, QLD, RBWH 3D Feature Walls

Router Output Gold: Atomic Signs, QLD, 487 Southpine Rd


Artcom Fabrication representatives pick up an award

Sustainability Gold: Wolf Signs, QLD, Wolf Signs Sustainability Project People’s Choice Liberty Signs, NSW, Donuts Anyone? (Vehicle Wrap – Full Vehicle Wrap) For the full list of winners, please visit



CEO Sleepout – print industry unites for a good cause Kellie Northwood shares her experience on the night of the CEO Sleepout and calls for more people from the industry to join the team in 2023 The actual night is the time to rug up. On arrival, you are seated in small groups with other CEOs, GMs and participating industry leaders to hear the story of a person who has been homeless or sleeping with insecurity (17,700 Australians are ‘couch-surfing’ and given the instability of their day-to-day sleeping, are homeless).

(l-r) Graham Morgan (Morgan Shaw Consulting), Michael Schulz (SOS Print Media Group), Kellie Northwood (TRMC) and Rodney Frost (The Lamson Group)

Kellie Northwood is the executive secretary of Women in Print, the CEO of The Real Media Collective and incoming CEO of the Print and Visual Communications Association. For more information contact: 03 94212206 or


n January, The Real Media Collective (TRMC) issued a call out to all of the industry to consider joining the Print Industry CEO Sleepout Team to raise money for the Vinnies CEO Sleepout. Without pause, the industry support began.

With Frost heralding the longest tenure of completing 15 consecutive years, Morgan was not far behind on 12 consecutive years, myself on five years and Schulz on his second year this year.

For those not familiar, the Vinnies CEO Sleepout is a one-night event on one of the longest and coldest nights of the year – on 23 June. It involves hundreds of CEOs, business owners, community and government leaders sleeping outdoors, without shelter, to support Australians who are experiencing homelessness.

Collectively, the team raised $47,849, which is a massive effort and a solid contribution to the $9,522,355 raised nationally by Vinnies. Across the funds the team raised, with industry donor support, 150 Individual Support Programs have been funded, 396 beds have been provided as well as 1,594 meals. We thank every one of you who supported us.

Each participant commits to raising a minimum amount of funds to help Vinnies provide products and services to those in need, and The Real Media Collective formed an industry team across members and non-members.

This was the first of many years to come and I hope we can build the print industry representation next year with the ultimate goal to have four to five people in each state and territory raising money for our most vulnerable each June.

The three individuals who joined the Print Industry CEO Sleepout Team this year were Rodney Frost (The Lamson Group), Graham Morgan (Morgan Shaw Consulting) and Michael Schulz (SOS Print Media Group).

The event is quite humbling and is an experience worth considering. From registration and throughout the fundraising journey, Vinnies provides full support. It shares social media tiles, tips to raise money, content across how to draft emails, engage colleagues, understand the facts and statistics of homelessness across Australia, as well as the Vinnies programs your fund-raising will support.

They all have participated in the past and from their year-on-year commitments, raised $259,541.


These provide you an immediate understanding and insight into why you are involved in this charity, what people are experiencing and the support they have received from Vinnies to then turn their opportunities around. You then go through media – a moment of fame – then to find your bed. A quiet warning – do not choose your sleeping area with Frost or Morgan. They are the ‘Bear Grylls’ of the CEO Sleepout looking for the coldest, wettest corners, preferring to fully embrace the experience. I say stick with people like myself who seek shelter and a wind break. With your two pieces of cardboard, sleeping bag, beanie and water, you build your shelter. One piece of cardboard goes on the ground and the other is bent to form a triangular roof for your head. These cardboards are supplied by industry partner Visy. In the centre hall area, families and individuals further share their journeys from homelessness to today. These stories are more than ‘feel good’; they are humbling, reflective and incredibly inspirational. The soup kitchen and the most amazing cookies are also handed out with hot tea and coffee, which I recommend grabbing just to keep your hands warm, before a quiet natter amongst ourselves. Sleep is what it is after and a warm ‘gunfire’ brekkie is served the next day before dashing home for a hot shower and central heating – something the very people you have raised the money for will not enjoy. So, consider it, join the team, or reach out to us with questions. Our entire team is more than willing to share their experiences with you. I hope you will join us next year in this worthy cause.



How to help overworked print customers buy more products from you Take some time and consider how you can help professional print customers do their jobs – it just might save yours Deborah Corn is the Intergalactic Ambassador to The Printerverse at Print Media Centr, a Print Buyerologist, international speaker and blogger, host of Podcasts From The Printerverse, cultivator of Print Production Professionals, Head Girl in Charge at Girls Who Print, host of #PrintChat, the founder of International Print Day and the founder of #ProjectPeacock.


aking print sales isn’t easy these days. Supply chain issues are disrupting the process, as is the ability to promise everything will be okay with 100 per cent certainty. This situation can make even the most seasoned print customers nervous especially if they work as a print producer at advertising agencies, brands, or corporations that plan their print marketing and media placement strategy well in advance. These plans often require that campaign materials are coordinated to hit the market on target dates. Not so easy these days, as I’ve said. I recently reached out to a friend who is the VP and director of production of a specialised, full-service production agency with a roster of clients that includes other ad agencies in this space. When he didn’t answer, I followed up and this was his reply: “Sorry Deborah. My department is haemorrhaging. Three rounds of layoffs and now three more people resigned. I went from 17 people down to three, and I’m working 65 hours a week. I’m literally just trying to survive.” He is one of three overworked and overwhelmed print producers responsible for every job from every client at this full-service production agency. Think about that. Professional print producers can be pains in the ass, but we – you, me, agencies, brands, marketers, and printers – cannot let them go extinct. Our world without them is only about price. Craft will eventually transform to commodity and then game over in so many ways. Here is what you can do right now. Stop bothering these customers unless you have something very specific to discuss. If they need your help, they will


find you. You can send a ‘checking in’ email, text, or social media messages now and them to remain top of mind from a human vs sales perspective, and without any expectation of a reply. Review all their past work. If they always do a mailing in June, don’t wait on them to contact you. Figure out how to get the paper and when it can arrive, share that information and a quote with the customer – now. Repeat that process or everything you can think of to pre-empt a quote request and be super attentive to being super proactive every way you can. Especially with paper and postage. Price increases are coming. Inform your customers now and help them create a plan to print everything they can before it happens. Provide a list of projects they have printed in the past; suggest how they can be improved. Provide estimates for all scenarios with very clear caveats around securing supplies and the pricing and payment terms. The fine print is critical when hard costs are fluctuating. Consider a next-level move Unless we figure out a workable solution to help professional print customers, the infiltration of print management services is imminent. The situation for printers when print management services (PMS) take over is more complicated. Some printers benefit and can get more work from the network if they can print at the price required. In many cases, they can’t afford to print at the required pricing for PMS companies to profit and they lose work they may have had for years. Work that they counted on to keep the lights on – next month.

Craft will eventually transform to commodity and then game over in so many ways without professional print producers

My counterproposal is this: Create your own PMS. Find a freelance print producer to work for you remotely. The cost of professional PMS (plus your mark-up) can be built into the job as a line-item option on the estimate. If they need help, you have it. The opportunity to discuss what this service is, and entails opens with every quote you send out. Your print producer functions as they would in the agency – presenting project options to creatives and account management, developing specs, and getting an estimate. But instead of just sending back a quote, your print producer is also part of the customer team. They manage the projects for the customer and liaise with a CSR and/or salesperson in the print shop. Your print producer has worked with project management and purchasing systems during their career. And, they can learn new ones quickly to navigate internal job scheduling and secure agency approvals. You can also consider offering this service on an ongoing basis. It’s less expensive for agencies to pay for help job-by-job than to find and keep employees, and your customers don’t need to spend time that they already don’t have to look for freelancers if you can help them manage the job from start to printing to finishing. The agencies will bill their clients for this service. Don’t focus on that. Charge accordingly. Be flexible and be accommodating. If possible, arrange a test run on a small project with a great customer and a potential candidate for your print producer. Work out the process kinks on your end before you launch the service. Please take some time and consider how you can help your professional print customers do their jobs, literally. It just might save yours.



Employment is a relationship The key to an activated employee is to create emotional connection and spark desire. When was the last time you did that? Great employees are looking for jobs where they can play to their strengths, be respected, and do work they feel is worth doing. There’s even a new phenomenon called The Belief Driven Employee, which Edelman describes as:

Great employees are looking for jobs where they can play to their strengths, be respected, and do work they feel is worth doing

To unlock profitability through emotional engagement in marketing and communications, Meqa Smith launched The Unforgettable Agency, which she currently heads as its strategist.


here’s a lot of talk about flexible working being the ‘new black’ when it comes to talent attraction. It’s a hot topic and something employees are looking for, but attracting the right people for the roles you need to fill in your business takes more than writing ‘fully remote’ in your job ad. Have you ever stopped to think about what employees are really looking for when they’re scrolling for a new role? Remember the last time you did that? Selecting the category and clicking ‘search’ is usually not a moment of anticipation because almost every single ad reads like a carbon copy of the last one, and most jobs are as generic and unexciting as the ads. We could go into all sorts of complicated concepts about what to do to stand out in this sea of sameness, but we don’t have time for that. Just remember this – employment is a relationship, and your job ad is your Tinder profile. Your goal is to honestly, but creatively describe your business and the role you have on offer as well as what you’re looking for in your ideal employee.


So, when you’re looking for your next great team member, take yourself to Seek and search for similar roles. Armed with your new inspiration, write a job ad that uses as few cliches as possible and that is as specific as possible about what you’re looking for and what you’re offering. Include intangible things like “Has an appreciation for sarcasm” if that’s how you roll in the office, or “Must be able to confidently negotiate with customers on price objections without caving” if that’s something you need. Don’t add things that everyone is asking for like “Must be a team player and also be able to work unsupervised”. You want the ideal candidate to read your ad and think “This job is perfect for me!” not because your job is perfect (no jobs are perfect) but because they see themselves in the picture you’ve painted of the ideal candidate and because they can imagine themselves working in your role and being as happy as one can be at work. It’s all about painting that picture. If the picture is too vague or cliche, you’ll only end up with applications from people who would take anything or need to tick a Centrelink box.

“The employee is now as belief-driven in selecting and staying with a company as a consumer is in buying and sticking with a brand. The Employee Value Proposition (EVP) now looks like a tripod, balanced on the traditional enticements of pay and career advancement, a newer focus on employee well-being, with flexible hours and remote work, and now an employer commitment to act for good on society’s biggest challenges. Employers must stand up every leg of this tripod if they want to win and retain the activated employee.” A job ad that reads like a combination of a copy and paste, together with your website’s ‘About Us’ section with a job description will create zero emotional desire. You’ll need to get out of your comfort zone and write the way you speak at work – which is the original stuff without having to explain too much. To catch the attention of the kind of candidate you’re really looking for, you need a job ad that creates desire to land this role. Without this initial desire, you’ll be like the desperate person on Tinder who’s always messaging other people with very little response. You’ll be offering to go out of your way to meet up, pay for everything, forgiving their lack of response. You’ll be setting yourself up to fail because a one-sided relationship can never work. The key to an activated employee is to create emotional connection and spark desire. Of course, you need to make sure you know what you’re looking for so you can be specific enough to find it, and you need to be as interested in them as they are in you before you decide to make it official. But you’ve got to start with a great job ad. One last caveat. As with online dating, be honest, don’t do the job ad equivalent of posting an old profile picture. If things aren’t great in certain areas, say so, admit flaws without going into too much detail and play up your strengths instead. This is not the time to fake it till you make it.



Teach the kid, not the lesson It is crucial that sales staff focus on customer needs rather than their own solutions You have to teach the kid, not the lesson

their current supplier is not helping them to recognise and capitalise on. If they have no problems, why would they stop buying from that other printer and start buying from you? I define prospecting in several ways. One of them is the search for dissatisfied customers. If you can find some other printer’s dissatisfied customers, you are well on your way to developing a new happy customer of your own. But it’s not always easy, because many of them don’t want to admit that they have made bad decisions. Beyond that, many of them cling to their status quo, and that can include sticking with an imperfect supplier (the devil you know is better than the devil you don’t know) or ignoring new marketing opportunities (if it ain’t broke, don’t fix it).

Dave Fellman is the president of David Fellman & Associates, a graphic arts industry consulting firm based in the US. His Sell More Printing book is now available in both print and eBook formats through Contact Dave at Visit his website at


y wife and I were sipping cocktails before dinner one night when she said, “You can learn a lot when you let them talk”. She’s a fourth-grade teacher, and she was referring to her students, specifically in terms of what they need to get to the next level of their educational development. She said, “Too many teachers just teach. They present the lessons and the kids either get it or they don’t. It works better when you engage the kids in the conversation. That way you can tell whether they’re getting it or not, and if not, you often learn why they’re not getting it, and that helps you to refine your teaching strategy”. In other words, she said you have to teach the kid, not the lesson. To put that in sales training terms, you must sell the customer, not the printing company. So please ask yourself, are you doing that, or are you locked into a presentation style as opposed to a consultative selling style?


Let them talk I know that you are proud of your company, your capabilities, your offset and/or digital presses and the ability to print brochures and catalogues and QR codes on anything from postcards to posters and banners. What you need to know is that I’d rather talk about my stuff than listen to you talk about yours. If you don’t let me do that, I’m probably going to start tuning you out pretty quickly. And here’s something else you need to know. I can do that without showing you that I’m not really listening to what you are saying. So here’s the question, are you communicating if you’re talking and I’m not really listening? Make them talk Here’s still another thing you need to know. If you’re talking to someone else’s customer, you really need them to have problems – or at least opportunities that

So please understand that when you are prospecting, the status quo is your enemy. And the first step towards defeating that enemy is to identify and understand it. That may mean getting beyond letting them talk to a point where you actually make them talk. You do that by asking good questions – provocative questions – and then by resisting the temptation to start talking again if an answer is not immediately forthcoming. A successful and talented salesperson once told me that sales conversations often get to the point where the next one to talk loses. “I had to learn,” he told me, “not to let the people I was trying to sell to off the hook. Asking the questions was easy. The hard part was waiting for the answer. But once I learned how to do that, I found that they often told me everything I needed to know.” So here’s the moral of this story: Education is all about the kid. Selling is all about the customer. If that is the way you are selling, you’re in pretty good shape. If it’s not, though, your strategy needs some serious adjustment. By the way, I also define prospecting as the search for people with a good attitude. “I’m happy to talk with you,” is a good attitude. “The devil you know” is not, nor is “if it ain’t broke, don’t fix it.” Don’t ever forget that when you encounter a bad attitude, you have to change it. Otherwise they will be fighting you rather than thinking about working with you.



Industry collaboration eliminates label contamination in recycled plastics Many recycling processes are underpinned by better sorting, and this fundamentally means better sensing important step to enable benchmarking of improved processes. It was found that more than 50 per cent of residue label adhesive remained in recycled HDPE after the pre-existing industrial washing processes. An improved washing processes was proposed, based on different solvent formulations and found to be very effective. Existing removal processes were effective but were affected by recontamination; this can be designed out.

The project solved a global problem of how to effectively remove the glue that adheres a label to a plastic milk bottle

Dr Don McCallum is the industrial futures lead at the NSW Smart Sensing Network (NSSN). To learn more, contact Dr McCallum at


ew South Wales intends to be at the global forefront of recycling and the circular economy. The pressure on our environment and carbon cycle, the pointed impact of changes to global recycling which began in 2017, further exacerbated by the disruption to global supply chains by COVID-19, are all structural features demanding more innovation in our recycling sector. Many recycling processes are underpinned by better sorting, and this fundamentally means better sensing. The NSW Smart Sensing Network in collaboration with PEGRAS Asia Pacific are proud to have formed a team of collaborators including small and large businesses, and several participating universities, in first proposing, and then successfully delivering on, a great project that was supported by our federal counterparts as part of the Cooperative Research Centre Projects (CRC-P) scheme. This project solved a global problem of how to effectively remove the glue that adheres a label to a plastic milk bottle. This contamination problem has adversely impacted the industrial washing process of recycling food grade HDPE for the past 20 years.


There are firm indications the major Materials Recovery Facilities (MRFs) and supermarket chains will use more innovative approaches because of this project. PEGRAS Asia Pacific developed the initial proof of concept chemistry for glue removal, then designed the research program that has evolved into this CRC-P project and provided leadership in chemical and process engineering. The NSW Smart Sensing Network (NSSN), a not-for-profit innovation network, brought together the project team, driving the grant application for CRC-P and contracting, and continued to support the program with events, governance and project management.

Impact delamination technology delivered completely clean HDPE flakes without chemical washing. Impact delamination is a process of striking the contaminated HDPE flakes and label at high speed with sharp metal blades. The intellectual property behind this is patented. A test rig was built that proved washing concepts, validated models, and aided scale-up from laboratory to industrial use. Collaboration between universities found the rig to be comparable to the real industrial process at two per cent of the production volume. The project has identified that the milk bottle recovery rate is far below the 70 per cent recycling rate target. HDPE recycling is technologically mature, so this is of concern. Collection losses are the greatest barrier to better recycling with 59 per cent lost to landfills. This could be addressed by a container deposit scheme (CDS) for milk bottles. Expansion of kerbside recycling services to all jurisdictions and better at-home consumer awareness and disposal practices is required.

This enables the recycled content in HDPE to increase to 50 per cent and beyond, and thus supports the transition to the circular economy for the 48,000 tonnes per annum of HDPE plastic used for fresh milk production in Australia.

Local recovery volumes of natural HDPE are sufficient to achieve the recycled content target of 20 per cent for HDPE packaging, however adequate local demand must continue to grow. This includes removing the contaminants in recovered HDPE for food-grade applications.

The fundamental chemistry aims of the project were met: The University of Sydney developed an analytical method which can efficiently quantify the glue content in plastics with a high degree of accuracy, an

The project was led by PEGRAS Asia Pacific in collaboration with Labelmakers, NSSN, the University of Sydney, UNSW and the University of Technology Sydney.


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Canva shuts down all access to its platform in Russia Following Australian-owned global online design giant Canva’s initial dismissal of criticism for its ongoing operations in Russia, saying it’s strongly opposed to the war in Ukraine and has a responsibility to promote ‘anti-war content’ to its users in Russia, the company has since shut down all access to its platform there. Australian-owned global graphic design software company Canva (valued at $US40 billion) has blocked access to its platform in Russia after speaking with the Ukrainian government to “better understand the ongoing changes in the war”. Canva last month had dismissed criticism of its ongoing operation in Russia, saying it had a responsibility to promote ‘anti-war content’ in Russia. “With increasing levels of propaganda and heavy restrictions on access to most communication platforms within Russia, we knew we had an important role and responsibility to provide a channel for promoting accurate and important information,” Canva co-founder and COO Cliff Obrecht said. “This included providing our global community, and particularly our Russian community, with access to pro-peace and anti-war content to

Signarama Australia posts record $78 million in revenue Canva co-founder and COO Cliff Obrecht

champion important messages about peace, unity, and support. “While we’re proud of the impact we’ve been able to have by raising awareness within Russia through our anti-war templates and banners, with the war escalating and the Russian government continuing to tighten its grip on protest and activism, we know the situation has now changed and our response must change with it. “Most recently, in talking with the Ukrainian government to better understand the ongoing changes in the war, the decreasing impact that our platform can now have inside Russia became apparent to us. Our goal has always been to most effectively support Ukraine and respond in the manner most likely to help bring an end to the war, which is why we’re fully withdrawing from Russia. “Our pro-peace and anti-war templates will remain available to those outside Russia that wish to continue to use their voice and reach to make a difference and inspire others to get behind the cause. We stand for Ukraine, and we’ll always stand up for what we believe is right.”

Outdoor independents form rebel Alliance Three of Australia’s independent large format roadside providers, Goa (Brisbane), Civic (Melbourne) and EiMedia (Sydney) have launched the Alliance Outdoor Media Group to better compete across the eastern seaboard with major outdoor players oOh!media, JCDecaux and QMS. “We’ve found consensus that since consolidation in 2018 when JCDecaux bought APN and oOh! acquired AdShel, the market has become too small, considering large format nearly makes up nearly 50c in the dollar of all outdoor campaigns,” Goa & Alliance Outdoor Media Group national sales director Dan McConochie said. “There’s desire for a fourth national player. We are eager to bring this unique and impressive collection of assets to the table to provide the reach and impact we know agencies are looking for.” Alliance, with more than 400 large format billboards across Brisbane, Melbourne and Sydney and “more alliance members to follow,” is aiming for a 20 to 30 per cent


Goa, Civic and EiMedia have launched the Alliance Outdoor Media Group

share of the large format market across eastern seaboard cities. Civic Outdoor CEO Adam Whitford said, “Our businesses haven’t been tasked with KPIs or directives from investors or third parties. Our site locations have been selected based on our unparalleled local knowledge on where to find engaged audiences and our businesses have been successful as a result.” EiMedia CEO Kevin Malouf added, “The Alliance Outdoor Media Group is a sensational opportunity to harvest the best local and independent assets into a national outdoor network that is repped and serviced by genuine experts in the outdoor industry. We are excited by the prospect of welcoming more providers into the alliance – so watch this space.”

Sign shop franchise business Signarama has reported more than $78.3 million in 2021 revenue from its 100-plus strong network of franchisees across Australia – a 17.1 per cent rise on 2020. “We are incredibly proud of the success our franchisees have enjoyed over the last 12 months,” said Timothy Smith, managing director of Signarama parent company United Franchise Group, which has reported that both of its Australian franchisee networks – Signarama and branded apparel business Fully Promoted – posted record level revenue and doubledigit growth in 2021. “It would be an understatement to say it’s been very tough trading conditions since the pandemic, so to see our two franchise brands thrive through this period is extremely satisfying. It’s a true joy to see all the effort pay off from first and foremost our franchisees, but also our support staff, operational, sales and marketing team,” Smith added. Fully Promoted – a branded apparel, promotional products, and marketing service business – recorded more than $30.5 million in revenue, up 24 per cent, across its Australian network of 50-plus stores. In 2022, Signarama and Fully Promoted have set ambitious goals for network growth in Australia, both with new greenfield locations in the final few available metropolitan territories as well as regional expansion.


WIDE FORMAT roadside/overhead colours convey meanings of what the sign represents.

A special report on roads and traffic signage Not too many would be aware that an important but specialist trade show recently took place in Sydney. The Roads & Traffic show was about all things to do with vehicle logistics but of course, signage was everywhere. Leading reflective materials supplier Orafol had a major presence, demonstrating that, in parallel with LED and LCD digital signs and alerts, prominent reflective signage is still a vital part of road safety and wayfinding. Even vehicle wraps were a feature of the Roads & Traffic event. According to a Marketwatch/360 degree survey: “Increase In Demand (2022): At 4.0 per cent CAGR, The Traffic Sign market size is expected to grow from US$919.4 million In 2020, to reach US$1.21 billion by 2026”. The earliest signs were simple wooden or stone milestones. Later, signs with directional arms were introduced. With traffic volumes increasing since the 1930s, many countries

The manufacture needs to be to a very high standard – peeling and fading is out of the question as signs must last at least five years.

Roads and traffic signage needs to be to a very high standard

have since adopted pictorial signs or otherwise simplified and standardised their signs to overcome language barriers and enhance traffic safety. Such pictorial signs use symbols in place of words and are usually based on international protocols. This market extends into vehicle conspicuity – the identification of support and emergency vehicles in such a way as to make them profoundly distinguishable from ‘ordinary’ traffic. It involves high use of reflective media such as Orafol’s Prismatic Oralite range. As would be expected, this market is regulated and material/ink approval certifications need to be adhered to. Colours need to be consistent and accurate also since

Mutoh said these products reflected the technical capabilities required to engrave scales accurately and marked the beginning of the company’s spirit of supporting monozukuri (the act of making things). In March 1952, Mutoh Memori Chokoku (Mutoh Scale Engraving) LTD was established. With this came new products like the drafter and pen plotter that printed product drawings.


Unlike, say the printed advertising billboard market, displacement by digital LED/ LCD/OLED signage where content can be changed in an instant; demand for printed reflective traffic signage is increasing. Of course, overhead digital sign gantries are everywhere but, static reflective signs still rule for route finding as well as driver knowledge.

With world headquarters in Japan, and its affiliates in the US, Europe, and Australia, Mutoh prides itself on being a source for wide- and small-format printers and plotting cutters.

Manufacturer of wide-format printers and cutting plotters, Mutoh has celebrated its 70th anniversary. Starting in 1952, Yoshiro Mutoh founded Mutoh Scale Engraving Research Center in Mishuku, Setagaya, a company that manufactured measuring equipment.

In 1952, Mutoh initially produced measuring equipment such as disk-type slide rules for aerial navigation, calipers, and rotary protractors.

To this extent, Orafol offers approved traffic sign printers, optimised for the applications. Four are based on Agfa’s Anapurna series and one on OKI’s ColourPainter M64-s.

in procurement, and turmoil in logistics, but all employees will continue to work to overcome these difficulties.”

Mutoh celebrates 70-year anniversary

Today, it is renowned for its high-quality ‘Made in Japan’ wide format printers and cutters.

As for fixing, the utmost care and safety is essential – we remember the sign that fell onto a passing car on Melbourne’s Tullamarine Freeway a couple of years ago. The company Signfix was an exhibitor at Roads & Traffic Expo – it doesn’t make signage but specialises in certified fixing systems.

Mutoh Australia managing director Russell Cavenagh

Over the years, Mutoh said it has continued to uphold the same spirit by supporting those in various aspects of monozukuri, especially when it comes to large-format printer products. “Understanding the customer’s needs, providing security and trust, and the excitement of our future to reach new milestones and breakthroughs is our commitment to achieving our target of celebrating our 100th anniversary,” Mutoh president Yasuhiko Isobe said. “We are still in a difficult business environment due to the new coronavirus, soaring prices of materials due to the situation in Ukraine, difficulty

“Seventy years is quite a milestone for Mutoh. It says a lot when a company can grow and adapt over the many decades and remain a leader in the markets they serve. I’m very proud to be part of this organisation and to celebrate this giant achievement,” Mutoh America president Brian Phipps said. “It says a lot when a company can grow and adapt over the many decades and remain a leader in the markets they serve. I’m very proud to be part of this organization and to celebrate this giant achievement with Mutoh.” Locally, Mutoh Australia managing director Russell Cavenagh said, “Monozukuri (the act of making things), and a commitment to quality are at the heart of Mutoh’s design philosophy. Our customers benefit from this, and I am proud to represent Mutoh in Australia and New Zealand”.



Agfa boosts revenue as ‘extraordinary inflation’ hits profit Print technology manufacturer Agfa-Gevaert Group reported a 22 per cent year-on-year increase in earnings before tax to €19 million in Q1, 2022. Revenue was up 7.2 per cent to €424 million but the group posted a net loss of €7 million. Agfa’s sign and display business “continued its upwards trend”. “We are living in a time of extraordinary inflation, geopolitical uncertainties and in particular the Russia-Ukraine conflict, unseen volatility in our supply chains and continuing COVID effects, particularly in China,” AgfaGevaert president and CEO Pascal Juéry said. “All input costs from raw materials, energy, packaging, transportation and salaries continue to increase materially and supply chain disruptions are strongly impacting our activities. In this complex inflationary context, we are able to maintain margins through pricing and cost management actions. “Driven by the strong performance of the Offset Solutions division, we significantly improved our recurring EBITDA, which shows that our pricing strategy and strict cost management are paying off.

Mimaki’s new clear ink with glass-like transparency for 3D

Agfa’s Jeti Tauro H3300 UHS LED hybrid large-format printing press

“Furthermore, we again took major steps in our transformation program in recent months. “Only a few weeks ago, we announced our plans to acquire Inca Digital Printers. This investment will strengthen our position in the high-speed wide format market as a whole and specifically in the promising packaging segment.” The Group’s revenue increased by 7.2 per cent, mainly driven by the Digital Print & Chemicals and Offset Solutions divisions. Despite extended inflationary pressure and supply chain issues, adjusted EBITDA increased from €15 million (3.9 per cent of revenue) in the first quarter of 2021 to €19 million (4.4 per cent of revenue). Adjusted EBIT reached €4 million, versus a loss of €1 million in the first quarter of 2021. “As a result of the elements mentioned above, the Agfa-Gevaert Group posted a net loss of €7 million,” the company said.

The merged business will continue as before and will complement each other to offer customers an even broader range of cutting solutions, according to Summa. “Valiani, with its headquarters in Certaldo, Florence, Italy, is a developer and manufacturer of small to medium sized, highly reliable flatbed cutters with a worldwide distribution network,” Summa said. “Valiani has an extensive history in the picture framing industry and is a pioneer in converting this market to digital solutions: designing and cutting matboard and offering passepartout tools for bevel cuts. Their innovative approach has ensured the company to grow into other markets as well. “The recent Omnia auto feed die cutting machine is a unique automated solution for the corrugated


The merged business will continue as before and will complement each other

and folding carton market, whereas the brand new Integra offers an appealing finishing product for the sign and display market.” Nico Valiani, CEO (and son of Franco, founder of the company) said, “In the recent years we have renewed our complete portfolio with a wider range of solutions.” Now, this is starting to pay off with a significant growth. However, there is still a lot more potential. Summa managing director Geert Pierloot said, “In this merger, I see an absolute win-win as while we help accelerate Valiani’s growth, our portfolio can be expanded with the solutions of Valiani and more markets can be served.” Both companies will continue to operate under their current company names with the same management teams in place. In Australia, Valiani mat cutters are sold by Antons.

“Responding to customer demand, the newly developed pure clear ink MH-110PCL is a product reducing the yellowish tint evident in the conventional MH-100CL clear ink, enabling a more clear-cut, transparent modelling,” Mimaki said. The ink is capable of depicting the clear expressions as intended by designers and architects. It is also suitable for use in medical and architectural models requiring visualisation to confirm internal structures. In the field of 3DCG design, the ink is eligible for use in the expression of artworks, etc.

Summa buys flatbed cutter competitor Valiani Cutting equipment manufacturer Summa has acquired Italy-based Valiani – a developer and manufacturer of small to medium sized flatbed cutters and framing matt cutters – to strengthen its position as “a leading manufacturer in print finishing equipment”.

Mimaki Engineering has introduced its new Pure Clear ink MH-110PCL for use with the Mimaki UVcurable full-colour 3D inkjet printer 3DUJ-553.

“As with the conventional MH-100CL clear ink, the pure clear MH-110PCL ink is not only limited to the expression of transparency but can also be combined with colour inks (cyan, magenta, yellow and black) for the reproduction of translucent colour (transparent with colour) expressions,” the company said. “Accordingly, the Mimaki 3D printer 3DUJ-553 featuring the full colour modeling capability with more than 10 million colours, allows for use in designs emphasizing a broader range of colours and visuals than ever before with the addition of the clear and translucent colour expressions enabled by the transparent pure clear ink MH-110PCL”.



Tharstern launches ‘world first’ instant carbon footprint calculator “We’re now entering an era when it’s as normal to ask about the environmental footprint of goods or services as it is price,” according to MIS specialist Tharstern as it launches its new carbon footprint tool which instantly adds the certified carbon footprint of each print job to a quote. Tharstern said it has achieved a world first with the launch of its live carbon footprinting tool, in partnership with print carbon measurement experts CarbonQuota. The two companies have collaborated to deliver instant carbon footprints on every quote and invoice produced by the Tharstern MIS, along with carbon offsetting costs or carbon neutral certification that the end client can choose to add to their order. “Carbon accounting is becoming as mainstream as cost accounting, and

The tool instantly adds the certified carbon footprint of each print job to a quote

we’re now entering an era when it’s as normal to ask about the environmental footprint of goods or services as it is price,” CarbonQuota co-founder Dominic Harris said. “With many of the world’s organisations making pledges to be Net Zero, the need for scientific measurement and detailed reporting of packaging and print is often a pre-requisite for doing business with these organisations. So, print service providers who want to be included in these supply chains will have to be able to provide details of their own carbon footprint. “Historically, print businesses often only looked at the carbon footprint of paper which accounted for about half of the total carbon footprint of the job, so we were determined that our calculations not only measured paper, but also included production, consumables, transport,

“In a mature market what are the opportunities for growth? I asked this question when I explored the maturity of the wide format market. I looked at how the latest system capabilities in terms of application versatility, service delivery, and sustainable performance, could help win work,” Sondaal said. There are other opportunities, too including waste reduction, cost savings and automation. Sondaal said unused and wasted substrate quickly adds up which is why ganging and nesting jobs can be a gamechanger for profitability. “Manually ganging and nesting jobs is a constant trade-off between labour and waste. Profitability is reduced by the


The first user of this new integration is Gecko, a direct marketing agency based in Leeds, which had already achieved ISO accreditation ISO14001, ISO9001 and ISO27001, as well as being FSC certified. “The project at Gecko shows that carbon footprinting for the packaging and print sector can be automated and science based,” Tharstern CRO Lee Ward said. “The carbon impact of the manufacturing sector is under enormous scrutiny right now and the print industry has a rare opportunity to demonstrate leadership in sustainability and show the wider sectors how it should be done – this solution ticks all the boxes of even the toughest customers.”

diverse range of applications such as indoor and outdoor signage, Point of Purchase, vehicle wraps, posters, art, event, and floor graphics, and décor,” he mentioned.

How to boost profit in wide format print: Ricoh Waste reduction, cost savings and automation are three key areas for wide format printers to consider when looking to boost profit in a maturing market, according to Ricoh Europe’s Sander Sondaal.

postage, outwork, fulfilment and end of life, as that truly reflects the total lifecycle environmental impact of a job.”

The Ricoh Pro TF6251 combines flatbed and roll-fed printing capabilities

minutes spent planning and impositioning print jobs while every square inch of the unused substrate costs money,” he said. “Nesting and tiling is something the modular and scalable workflow solution ColorGATE Productionserver can manage for large and wide format printing devices including the Ricoh Pro L5100e Series.” With costs rising in all areas of print production from energy to inks, Sondaal said an accurate understanding of the margins possible on each job has never been more important. “This is especially so with new systems such as the Ricoh Pro TF6251 that combines flatbed and roll-fed printing capabilities in an all-in-one system to deliver a hugely

“ColorGATE Productionserver includes optional ink saving and cost calculation tools. They allow users to have full visibility over their print costs both before and after printing and ensure their target profit margins are being achieved across multiple jobs, substrates, and devices. “ColorGATE Productionserver also offers integrated ICC colour management and calibration tools to help clients meet in-house or industry colour standards or to reproduce the best results possible using the maximum colour gamut possible from a given printer, ink, and media combination. This ensures quality standards are maintained and the risk of reprints is avoided.” In addition, greater automation can reduce manual labour, increase production efficiency, and save time. “ColorGATE Productionserver quickly and accurately processes graphically rich PDF content from creative design and page layout applications, thereby allowing PSPs to manage and reproduce complex design files with integrity versus the original design,” he added.



PRINT DIARY Got an event? Send an email to with all the details and we will put your event on the page

* event dates correct at time of publishing Wide Format Summit July 25-27, 2022 Florida, US

Labelexpo Americas 2022 September 13-15, 2022 Chicago, US

2022 ProPrint Awards October 27, 2022 Sydney, Australia

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The Print Show September 20-22, 2022 Birmingham, UK

FESPA Australia Conference 2022 October 27, 2022 Sydney, Australia

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