Australian Printer September 2020

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WIDENED HORIZONS WITH LVE buys Durst Rho 163 TS HS traffic sign printer

Kurz Australia celebrates 50-year milestone

Finding value in all things offset

Lamson Paragon marks 30 years in operation



HUV PRINTING Hero Print is home to Australia’s only 10 colour HUV press. This means we are able to print CMYK + Spot Colour or CMYK + Varnish on the instant dry B1 press.

6 iMAGS If you print an offset printed magazine or booklet with Hero Print, we send you an online version free of charge. We are also able to link different pages to specific URLs - perfect for product catalogues.

2 FAST TURNAROUND We are super fast at what we do, and track the turnaround times on every product we offer to make sure you are getting your job on time, every time.

7 DAZZLING SPECIALTY FINISHES Make your job stand out with our specialty finishes. Hot stamped silver or gold foil, plus 6 different raised foil colours available. These foils plus Spot UV and Raised UV can be done on small digital qtys to give any job a lift!

3 HIGH QUALITY Even though we are quick, that is not at the expense of quality. Hero Print prides itself on making sure your job leaves our factory in perfect condition.


Let us take a back seat while you take all the credit - everything that leaves our factory goes in blank boxes, and is shrink wrapped - ensuring you can send direct to your client with no fuss.


With presses in four States, we are able to service the whole of Australia as quickly as possible.

9 CONSISTENT COLOURS Stringent monthly calibrations on all print output devices allow us to get consistent colours each time you order - whether it be 50 digital brochures or 5,000 books.

5 EASY TO USE WEBSITE We are constantly getting compliments on how easy our website is to use - it makes sense - we want the ordering process to be as streamlined as possible.

10 DEDICATED ACCOUNT MANAGERS Speak to the same person each time. Tired of talking to a different person each time you pick up the phone? Hero Print assigns a dedicated account manager to you when you first sign up - easy.





September 2020 6-12







































Advertiser’s Index

To advertise call Carmen on 0410 582 450 or

ABC Copier Solutions ������������������������ 56 All Clever Stuff ���������������������������������� 60 All Work Crane Services �������������������� 64 Allkotes �������������������������������������������� 53 Argus Business Brokers �������������������� 56 Böttcher Australia ������������������������������ 54 CTI Colour Printer ������������������������������ 62 Cyber (Aust) ������������������������������������OBC D & D Mailing ����������������������������������� 63 Dataflow Business Systems �������������� IBC Durst Oceania ��������������������������������OFC EH Manufacturing & Alltab ����������������� 60


Epson Australia ����������������������������������� 5 FUJIFILM Australia ��������������������������� 11 Gecko Sticker Signage ����������������� 56,65 Graffica ������������������������������������������� 61 Graphfix Trade Solutions �������������������� 66 Graph-Pak ���������������������������������������� 57 Hero Print ���������������������������������������� 2,3 J W Graphics ������������������������������������ 62 Jetmark ���������������������������������������������� 7 Kurz Australia ����������������������������� 26,27 Labelline ������������������������������������������ 64 Lamson Paragon ������������������������� 30,31

Lifhart ���������������������������������������������� 56 MT Envelopes ����������������������������������� 60 National Auctions ������������������������������ 64 Nettl Australia ���������������������������������� 13 Periodical Press �������������������������������� 58 Print Focus ��������������������������������������� 59 Screen GP (Aust) ������������������������������� 53 Top Line Binding ������������������������������� 58 Visual Connections ���������������������������� 55 Women In Print ��������������������������������� 21


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Editor’s Comment

High Court clarifies personal leave accrual entitlements By Hafizah Osman

It’s not easy conducting business in today’s world. Not only have printing businesses got to grapple with the effects of COVID-19, but also deal with the changes happening within the industry. With digital currently taking a huge precedence, it’s no surprise that traditional print ways need to evolve. Recently, Australian Community Media (ACM), News Corp Australia and Nine Entertainment Group agreed to utilise each other’s printing networks, resulting in ACM’s closure of three of its four print sites. And with Coles ceasing print and delivery of its weekly catalogue, its printer IVE Group has been impacted. Such movements will only be on the rise; so to survive, businesses need to focus on the big picture – celebrate your successes where possible, reinvent your ways of business, and understand the current market needs. This may just be the perfect time to reassess your business direction.

The High Court of Australia has overturned a Federal Court of Australia decision about how personal or carer’s leave is calculated. The ruling relates to a case last year in which the Federal Court sided with the Australian Manufacturing Workers Union (AMWU), which was representing two Cadbury employees who each worked three 12-hour shifts per week in a case against Cadbury owners, Mondelez Australia. The Federal Court found employees working 12-hour shifts should have their 10 days of personal leave paid at 12 hours a day, rather than the notional 7.6 hours per day. Mondelez Australia did not agree and had the view that staff were entitled to a rate of 7.6 hours, and took the matter to the High Court. The High Court overturned the Federal Court’s ruling and said leave calculated under section 96(1) of the Fair Work Act 2009 “must be calculated by reference to an employee’s ordinary hours of work”. “Ten days in section 96(1) is two standard five-day working weeks. One ‘day’ refers to a

The High Court of Australia overturns a decision around leave accrual

‘notional day’ consisting of one-tenth of the equivalent of an employee’s ordinary hours of work in a two-week period,” it said. The Real Media Collective general manager of IR, policy and governance Charles Watson said the decision was of relevance to the print industry given numerous employers utilise variable shifts and spread of hours under the Graphic Arts Award and related enterprise agreements. “The High Court found that the construction adopted by the Federal Court would lead to inequalities between employees with different work patterns, and so would be unfair,” he said.

Managing Director James Wells 02 8586 6101

Editor Hafizah Osman 0431 466 140

National Sales Manager Carmen Ciappara 0410 582 450

Subscriptions (02) 9660 2113 Subscription rate (6 issues) Australia $79

Printed by Hero Print Alexandria, NSW, 2015

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

“This is of particular relevance to the personal leave entitlement for shift workers and part-time workers in our industry, who would otherwise have had an enhanced entitlement under the ‘working day’ interpretation argued by the AMWU and originally adopted by the Federal Court.” Ai Group CEO Innes Willox also said the High Court ruling has clarified the quantum of personal/carer’s leave entitlements for millions of Australian employees. “The High Court’s judgment ensures equity amongst full-time and parttime employees, and amongst 8-hour and 12-hour shift workers,” Willox added.

Design and Production Manager Carrie Tong 02 8586 6195

Australian Printer is published bi-monthly by Printer Media Group, registered in Australia ABN 47 628 473 334. 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.





Vale to three great industry figures of print By Hafizah Osman Three industry identities within the industry – Stan Halkeas, Jack Benyon, and Barry Tombs – have recently passed on, leaving behind their legacies in print. Stan Halkeas, the founder of Halkeas Printing, died at the age of 91. Halkeas was a wellknown industry figure who was the first to install CTP in Sydney, in 2000. “A few years ago, Stan kindly gave me a copper wall-plaque that adorned the ‘marble staircase’ in his Chippendale factory, for many years. I was able to donate it to the Penrith Museum of Printing where it now hangs in the foyer. It is fitting that Stan will always be remembered by that large wall-plaque,” Penrith Museum of Printing committee member James Cryer said. Jack Benyon, former managing director of John Sands, has passed on after 35 years of dedication to the business. He joined John Sands as a young apprentice in 1943, and retired as one of its most successful and widely admired CEOs in 1978. During that time, he led the company to become one of the biggest commercial printers in Australia. Barry Tombs of former print engineering business, Enterprise Printing Machines, has passed on as well. Tombs began his career at 15, as an apprentice with Dolphin & Hannan, and was there for a number of years before starting his own print engineering business, Enterprise Printing Machines, which he ran for about 30 years.

Vivad and Durst collaborate for ‘Community-Masks’ By Hafizah Osman

In response to the Victorian Government’s mandate that people are to wear face masks outside of the home as a result of the ongoing COVID-19 pandemic, Vivad has partnered with Durst to manufacture printed reusable ‘Community-Masks’. The initiative was introduced when Durst announced that it will be producing three-layer face masks which include a high-filtration efficiency filter membrane at its production HQ in Italy. Durst used its experience and knowledge of filter systems to stop microparticles in ink supply systems from clogging up print heads to develop the material for the filter membrane used in the masks. Durst provides the

Vivad’s Ewen Donaldson wears a printed reusable ‘Community-Mask’

filter material to Vivad while the latter prints on the shell and manufactures the face masks in its facility. “Given that the Victorian Government is making outdoor use of masks mandatory, Durst provided Vivad with the opportunity

to make these masks,” Vivad Australia managing director Ewen Donaldson said. The face masks are printed on a Durst Rhotex 325, which Vivad purchased in 2018. The masks are available for purchase through Vivad’s webto-print portal.

ACM, News Corp and Nine to share printing networks By Hafizah Osman

The Australian Community Media (ACM), News Corp Australia and Nine Entertainment Group (formerly Fairfax) have entered into an agreement to utilise each other’s printing networks. ACM also confirmed the closure of three of its four print sites – with Canberra and Murray Bridge closing effective 28 August and Ballarat closing effective 2 October – as ACM moves to print its material and Nine’s at News Corp’s facilities. ACM is still considering the position of its Albury/


ACM executive chairman Antony Catalano says the agreement is a mark of “smart business”

Wodonga site and is yet to make a final decision. According to ACM, the move to consolidate printing networks presents the business with cost savings. ACM also confirmed that the closure of its three print sites will result in a number of redundancies.

ACM executive chairman Antony Catalano said ACM has revised its newspaper printing operations as a result of the “commercial reality of Australian publishing”. “At ACM, without these significant changes... we will be continually swimming against the tide,” he said. “With revenues from printing in decline and the advertising market challenged, we can no longer afford to be hamstrung by big, expensive, capital-intensive manufacturing operations. “So, these changes are the prudent thing to do. It is smart business.”



Fair Work Commission reinstates Schedule X By Hafizah Osman The Fair Work Commission has reinstated a schedule into the Graphic Arts, Printing and Publishing Award which enables employees to take 10 days’ unpaid pandemic leave if they are directed to self-isolate by government or medical authorities and twice the annual leave at half pay. Schedule X was installed as a temporary provision to navigate the COVID-19 period until June 30, but has now been reinstated following a push from The Real Media Collective (TRMC). “Numerous unions successfully applied to extend the life of Schedule X in various Awards. However, no application was made at that time to extend the life of the clause in the Graphic Arts Printing and Publishing Award and it duly expired at the end of June. The AMWU sought to have Schedule X

TRMC has pushed for the reinstatement of Schedule X

retrospectively extended in the Award from June until 30 September. The commission held the provisional view that it should reinstate the clause, however TRMC argued it should not be retrospectively reinstated,” TRMC CEO Kellie Northwood said. Schedule X is the Fair Work Commission’s response to the possible needs of employees and employers as a result of COVID-19. It permits employees to take 10 days’ unpaid pandemic leave if

the employee is prevented from working based on advice to self-isolate from government, medical authorities or a GP. It also enables employers and employees to agree that an employee can take twice the annual leave at half the pay. Parties can seek to extend the life of that term prior to its expiration. As a result of the decision, Schedule X will now be reinstated in the Graphic Arts Printing and Publishing Award effective from an employee’s first full pay period that starts on or after 27 July, and until 30 September, and on the same terms as before with no extension granted. “These times are critical for employees and employers and is the reason to remain on the front-foot. We welcome the decision from the commission as it demonstrates a fair reading of the legislation and industry position whilst providing employee support,” Northwood added.

IVE appoints three women to new key leadership roles By Hafizah Osman

IVE has made key appointments across three new leadership roles in its business. The company has promoted Leana El-Hourani into a new group role as IVE’s head of governance, risk and compliance and Rachel Baldovino to general manager of data-driven communications in Victoria. El-Hourani, who joined IVE in 2015, has held multiple roles within its data-driven communications offering including head of IT, and most recently national process and compliance manager. She was in this role for more than two years. As for Baldovino, she was at SEMA for 22 years prior to the business being acquired by IVE in 2017. Since joining IVE via the acquisition, she has been the head of sales for data-driven communications in Victoria. The conglomerate has also hired Jess Ransley from mmw3degrees as general manager of


IVE has promoted Leana El-Hourani and Rachel Baldovino, and hired Jess Ransley from mmw3degrees into leadership roles

data-driven communications in NSW. Ransley previously served at mmw3degrees for more than 11 years. “I couldn’t think of two more deserving people than Leana and Rachel to be promoted. We’re very excited to be welcoming Jess to our data-driven communications offering too. I have no doubt all of them will continue to be fantastic leaders in their new roles,” IVE Group CEO Matt Aitken said.

Local 3D printing company makes COVID-19 swabs By Hafizah Osman Sydney’s 3D Printing Studios has become the first Australian company to locally manufacture nasal and throat swabs used in COVID-19 testing kits. The 3D printed swabs were approved by South Australian Pathology and the company has received an order for 10,000 swabs from the Northern Territory government. It is also in discussions with the Victorian and South Australian state governments for more orders. 3D Printing Studios co-founder Howard Wood said it took several weeks to develop the swab, which collects mucus and allows it to be transferred for testing, after coming across designs from the Harvard Medical School.

Govt offers paid pandemic leave By Sheree Young The Federal Government has installed a 14-day paid pandemic leave payment of $1500 a fortnight for employees that have been ordered to self-isolate but have no sick pay entitlements available to them. It also applies to employees on JobKeeper or JobSeeker which does not include provisions for sick leave. The move followed intense pressure on the government as COVID-19 cases, particularly in Victoria, balloon as those supposed to be self-isolating for 14 days opt to go to work due to financial concerns.



Top Line Binding purchases Horizon kit from Currie Group By Hafizah Osman

Top Line Binding’s investment in three pieces of Horizon finishing equipment from Currie Group has enabled the NSW business to provide its trade services that include PUR/EVA binding, Wiro binding, saddle stitching, large format and mini format folding, die cutting and fulfillment services. As a first-time customer of Currie Group, Top Line Binding owner Justin Zhang said he made the decision to purchase the Horizon equipment as the business found it challenging to find quality finishing and bindery services in the market. “We found that it was hard to get proper finishing and binding services for short runs. Purchasing these solutions

Top Line Binding owner Justin Zhang (middle) and his staff with the newly-purchased Horizon finishing equipment from Currie Group

has allowed us to evolve our business to include short run finishing and bindery for digital printers,” he said. The company based in Marrickville, Sydney installed a Horizon BQ-470 EVA/PUR Perfect Binder, Horizon CRF362 Creaser and Folder, and

Horizon SPF-200L/FC-200L A4 landscape Bookletmaker with VAC towers. According to Zhang, the installation of the three Horizon equipment beefs up Top Line Binding’s services range, in addition to sitting alongside and working

seamlessly across its current service portfolio. “It allows us to go to market with a more wholesome offering; we’re now able to offer printers with fully finished products,” he said. Since the installation of the three Horizon units, Zhang said he has noticed more enquiries coming in, which has resulted in more business for the company. Currie Group NSW account manager Will Currie said Top Line Binding’s investment in these finishing technologies will pivot the business forward. “With in-house finishing a growing trend, Justin is an early adopter and the Horizon products will enable Top Line Binding to execute the clear business vision that Justin has,” Currie said.

Konica Minolta technicians beat COVID odds for KM-1 install By Sheree Young Two interstate Konica Minolta product support specialists have gone over and above in the installation of a replacement AccurioJet KM-1 at Sydney’s flood-hit Imagination Graphics. Biorn McGinley from Adelaide and Stephen Griffiths from Brisbane arrived in Sydney to dismantle Imagination Graphics’ original AccurioJet KM-1, which was destroyed by flooding in February, and install a new machine, but both were forced to quarantine for 14 days at home upon their return. The 10-tonne press required a crane to lift it into the

(l-r) Konica Minolta’s Stephen Griffiths, Imagination Graphics’ Emmanuel Buhagiar, and Konica Minolta’s Biorn McGinley at the KM-1 install

premises at Marrickville and is now up and running. “We used a rigging company and a crane to help bring the machine in. It is 10


tonnes in weight, so it’s not something you slide around where you need it to go and has to be carefully lifted and positioned,” McGinley said.

Imagination Graphics owner Emmanuel Buhagiar said McGinley and Griffiths had done an outstanding job in installing the new machine. “We’ve got a bi-monthly magazine that we’ve been sending out to get printed but we can bring that back in now. We’ve been using the toner machines, but it is more economical to put that work on the KM-1 so this is very good,” Buhagiar said. “Once this is on the go, I will be out knocking on doors and letting the market know we have it running.” The twin effects of this, combined with COVID-19, have made this year one of the toughest for the print veteran.


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0.03  16.53


Year High

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News Corp


0.11  22.74



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0.011 0.00 — 0.063

0.24 13.10 0.55 0.007

Redbubble 3.31 0.07  3.64 110

















NYSE (US$) Adobe



Year High

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451.58 3.98  470.61


Apple 458.43 1.20  464.35



17.70 0.16  28.41



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News Corp


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Heidelberg 0.74 0.009  1.38 0.48 Koenig & Bauer 19.48

0.24  38.90

Metsa Board 6.72 0.055  6.75 UPM

23.41 0.36  31.50










Ovato looks to shed up to 300 jobs as pandemic bites






14.42 4.17 20.31




Ovato’s Kevin Slaven said a “significant number” of people will be affected

By Sheree Young Ovato, is understood to be looking to make between 250 to 300 positions redundant as the COVID-19 induced downturn continues to slam revenue. The company applied to the Fair Work Commission to have its Enterprise Agreement, which covers 850 of its 1300-strong workforce, terminated which it said is designed to decrease redundancy payouts. “We are focused on saving as many roles as possible through this process, but the impact is massive and unfortunately there is going to be a significant number of people affected,” Ovato CEO Kevin Slaven said. The Australian Manufacturers Workers Union assistant national secretary (print and packaging) Lorraine Cassin said 250 to 300 positions are slated for redundancy, but it is unclear which parts of the business these jobs will come from. “In terms of job losses, we don’t have anything other than a lump sum. We don’t know where, which site or whether it involves site closures. We are

not really sure exactly what it all means,” Cassin said. “We’ve offered to negotiate and bargain with the company, but it has taken the avenue of terminating the agreement, which is an extreme reaction.” Cassin also said Ovato’s application to have the agreement terminated would result in hundreds of workers having their wages reduced in line with the current award pay outlined in the Graphic Arts award. Ovato has strongly refuted this claim saying the application to the Fair Work Commission is about reducing the size of redundancy payouts, not wages. “Any insinuation from the AMWU that we are looking to cut wages is simply wrong – we have categorically stated that we will not reduce base wage rates despite them being significantly above Award, our focus is on negotiating more appropriate redundancy scales so we can resize and save as many jobs as possible. Our goal is to reshape our business... preserving as many jobs as possible. An essential part of that is being able to resize our business quickly,” Slaven said.






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The Latrobe Valley Enterprises female powerhouse of Wendy Bezzina (l) and Suzanne Lewis (r)

Widened horizons with Durst Latrobe Valley Enterprises has opened itself up to a wealth of opportunities following its investment in a new Durst Rho 163 TS HS traffic sign printer


endy Bezzina (known to the industry as Wen) runs a unique organisation that is unlike many – she is the CEO of Latrobe Valley Enterprises (LVE), a not-for-profit social enterprise in Victoria with a network of commercially viable businesses that creates meaningful and sustainable

employment opportunities for people with disabilities. Having been in business for 54 years, a pressing need for LVE was to develop the sign making arm of its operations to keep up-to-date with the nature of today’s demands and modernday technology. With Wen at the helm, the organisation went on the hunt for a large format press manufacturer that could deliver on its needs.


It wasn’t long before Wen came across Durst and its fleet of productive, highquality industrial traffic sign production machines. Within just a few months, LVE chose Durst and has become a first-time customer of the business, having purchased its Rho 163 TS HS traffic sign printer. “We were really impressed with the equipment and its capabilities. For us, because we had equipment that were much older, just to see the speed of the Durst Rho 163 TS was amazing,” Wen said. “There are so many opportunities that the Durst traffic sign printer presents us with – it is one of the only few in Australia with six-colour capabilities. We can do roll-to-roll printing, flatbed printing, and the fact that it has UV capabilities shows that Durst is a leader in the marketplace.


COVER FEATURE “The Rho 163 TS HS traffic sign printer suits our evolving needs, and is reliable and consistent with our 10-year plan moving forward. Machines from other manufacturers just didn’t match up to the level of what we had seen with the Durst press.”

A unique establishment LVE was founded in 1967 by a small group of community members. It started out as a sheltered workshop, a fairly common establishment in the ‘50s and the early ‘60s. “Back then, the thought process was that people with disabilities could only perform the simplest of tasks. In the initial stages, we employed only six people that stuck mosaic tiles to flower pots,” Wen said. 1969 was the turning point for the organisation; it was when local paper manufacturers donated an engraving machine to LVE and also granted the social enterprise with a contract to produce industrial tags for the mill. By 1972, the LVE workshop had three engraving machines that were all donated and had a number of contracts in place with the State Electricity Commission Victoria (SECV), the paper mill, and a number of other organisations. “By 1974, we had about 40 employees. By 2009, we moved into the building that we’re in now – at Morwell, Victoria. This building is more purpose-built as it includes a corporate office and factory,” Wen mentioned. Fast forward to today, the establishment currently has 111 employees, of which 86 of them are people with disabilities. The organisation has five business sectors – sign making, business support services, grounds maintenance, recycling and secure document destruction services. It has also recently taken on the facilities management of a local caravan park, adjacent to a nearby hospital, providing visiting medical staff with much needed accommodation. Within its sign making business, LVE services national companies and has in place a number of contracts with the Federal Government. “We also work with a lot of organisations to meet the requirements of the Victorian Social Procurement Framework,” Wen said. “Within the sign making business itself, we manufacture braille tactile signs, vinyl and window signs, industrial signs and labels, door and wall signs,


With six-colour and UV capabilities, the quality of print on the Durst Rho 163 TS HS is undeniable

LVE signmaking supervisor Wayne Forsyth checking on the prints from the Durst Rho 163 TS HS

informational signs, and directional signs, amongst other signage solutions.” As LVE is known for its braille signs, it had in place a number of small CNC routing machines, a Roland flatbed printer and a Roland printer and kiss-cutting machine for stickers. “The equipment is all at least 10 years old, if not more,” Wen said. “That was all we had in our facilities as far as modern equipment went. “We then went on to buy two new laser cutters to expand and speed up our current product offering.”

Discovering Durst Wen was conscious that LVE hadn’t invested a lot of money within the sign making arm of the business, which meant that opportunities of growth were going to be limited if it didn’t upgrade

its equipment. She started looking for opportunities that would enable the social enterprise to grow over a 10-year period, but also provide opportunities for its employees to upskill. “I started looking into government projects and saw the Major Roads Project in Victoria,” Wen said. “That was planned for the next seven to eight years, which was a good timeframe for our 10-year roadmap and future plans. “I soon realised that there weren’t any social enterprises producing any traffic signs for that project and it could be the niche for us to deliver in.” It was also then that Wen identified the importance of investing a “significant amount of money” in having the latest machinery for the trade. After some research, she met up with Durst Oceania managing director Matt Ashman who took her to a local business



All in a day’s work: An aerial view of the inside of LVE’s facility at Morwell, Victoria

LVE general manager of operations Suzanne Lewis (l) and LVE supported worker Julie Crymble (r)

to see a Durst sign making press in operation, and have a closer look at the press’ features and functionality. “It was then that I knew we had to get a Durst sign making machine. We decided to bring in the Durst Rho 163 TS HS traffic sign printer, and have added to our fleet laminating machines, a Sign-Master applicator machine and a MultiCam cutting machine,” Wen said. “All in all, we’ve invested around $1 million to develop our sign making sector.” Ashman said he found LVE’s background and desire to drive innovation within its segment, coupled with Wendy’s aims to propel the organisation forward, as a unique factor in its establishment within the traffic signs industry. “The traffic signs market within Australia is quite tight knit. Wendy saw a chance to bring LVE into this market, which is something it has never been known for, to expand its portfolio and that’s remarkable,” Ashman said. According to Ashman, the traffic signs market in Australia has traditionally been a mechanical industry, requiring these solutions to be produced in a traditional, manual way that conforms to very strict State and Federal Government rules and outdoor requirements and safety. “With these regulations in mind, around 10 years ago, Durst partnered with a major global media and ink manufacturer to produce a certified, digital version of the traditional process. Matching a new Durst machine (Rho TS versions) with special ink, media and over laminate resulted in a certified road sign with a 10-year outdoor warranty,” Ashman said. “The machine that LVE has invested in is one of our newer-generation models, which has the ability to print traffic signage with the standard traffic signage colours and also render within a traffic sign a full-coloured image or corporate logo. “This versatility was not possible to achieve until the launch of the Rho 163 TS product lineup.”

Up and running at LVE

LVE CEO Wendy Bezzina (l) and LVE signmaking supervisor Wayne Forsyth (r)


The installation process of the Rho 163 TS HS traffic sign printer was slightly hiccupped by the crisis and effects surrounding COVID-19. The printer was expected to be installed in March but since this was at the height of COVID-19 lockdowns worldwide, it didn’t arrive at LVE until May. “The Durst team handled the situation extremely well; the delays were challenging for everyone as it was



Durst Oceania managing director Matt Ashman

The Durst Rho 163 TS HS traffic sign printer changed the way LVE operates

something that was out of the hands of Durst. The printer, when it managed to leave Europe, had to be fumigated when it arrived in Australia, which also caused some delays,” Wen said. “But apart from that, Durst coordinated for the printer to arrive at LVE at the soonest time possible.” Ashman said Durst followed state and regional regulatory requirements during the install and got the unit on site, with social distancing protocols adhered to, within a couple of days. “We already had completed the necessary PPE, social distancing measures, and risk assessments to proceed with the installation and once the printer hit our shores, we got it to LVE as soon as we could,” he said. Since installation, the press has become the dominant piece of equipment at LVE and has been fully operational since June, without missing a beat. “All of our sign printing work goes through the Durst machine; it’s only if it is busy that we utilise our other machines. We try and keep it busy all day, every day,” Wen said adding that the printer has also delivered “massive improvements” in LVE’s productivity and efficiency.

“With the older Roland machines, we could only produce three large signs per day but with the Durst Rho 163 TS HS, we’re able to produce that same number in 15 minutes at most,” Wen said. “It’s just about the absolute speed of that we can get work done. “And even when we were making traffic signs before, we were making them in an old-fashioned way where we had to lay down the reflective vinyl and weed out the lettering to put onto the top later. “We took two weeks to make 26 signs before the Durst install. Once we got the Durst press, we were able to make 92 traffic signs in three hours, and that will improve further as we become more efficient with our new equipment. “It has literally transformed our department’s operations.” All of LVE’s staff had to be educated on how to use the printer, providing them with an opportunity to upskill and learn the trade on this modern-day equipment. “Durst sent its technicians on-site and we got our supervisors and admin staff trained for the new printer,” Wen said. “With that expertise, we have methodically trained our supported workers, teaching them each of the little

A complete Durst turnkey solution for LVE

its website, and once ready in the coming months, aims to have the Durst Smart Shop platform integrated with its system. The Durst Smart Shop platform will not only enable LVE to sell products online but also sell custom products online. It has a fully-featured design tool for customers to design signage on the website, and preview it in either 2D or augmented reality 3D using a smartphone, amongst other advanced features.

LVE also has plans to invest in Durst’s web-to-print Smart Shop solution, which will enable LVE’s customers with a personalised and branded platform that offers more creativity and flexibility when it comes to product design. LVE is currently in the midst of refreshing and redeveloping


steps in using the new machine. One of our supported employees is deaf and mute and has worked in our vinyl room for a number of years. “He has now learnt how to pull the traffic signs together and apply the Durst printed vinyls onto the backings. “It has also given us so much more in terms of efficiencies and we have also set up the layout of our machines in a leaner methodology following the installation of the Durst printer. “Our workspace now has a flow and is more purposeful.” Ashman said having LVE under its client banner could potentially extend its reach into new areas of business. “Any new client in any new sector is of great value to Durst. LVE, operating in the social enterprise space, has expanded our reach. Our aim is to be able to bring Durst into businesses to provide solutions for all business, not just for traditional printers,” he mentioned. “From this partnership with LVE, other businesses of similar operations can learn that innovation is key. They need to look at new ways of doing things to offer new products and services by investing in new technology.”

“It provides the technology smarts for our back-end and allows us to provide our customers with a more comprehensive service,” Wen added. “This investment with Durst will open up a lot of doors for LVE. “It will not only provide us with the opportunity to sustain our business for a long time to come, but also have the ability to deliver on a variety of national projects across Australia.”


PEOPLE IN PRINT Rob Mesaros returns to Australia having joined Currie Group in a newly created role

Meet Rob Mesaros, Currie Group’s new strategic executive advisor




Having recently joined Currie Group from HP in a newly created role of strategic executive advisor, Rob Mesaros has plans for the business’ growth


ob Mesaros is no stranger in his professional circle. Having been with HP for 15 years, many of which were spent abroad and in various senior executive roles, Mesaros recently took on a newly created role at Currie Group, joining the business as its strategic executive advisor. With Currie Group as the distributor of HP Indigo digital presses in A/NZ, it has long-standing ties with HP and its wider circles. That was how executive chairman of Currie Group, David Currie, and Mesaros became acquainted. Mesaros, who most recently served as the vice-president and head of 3D printing and digital manufacturing for Asia Pacific and Japan at HP, was based at the company’s Singapore operations. But he had growing intentions to return to Australia towards the end of 2019 as his children were reaching an age where they needed a permanent place to call home. COVID-19 and its effects accelerated his decisions. “Australia is home for us and living in Singapore was our third overseas adventure – we were in Singapore from 2007 to 2010, Hong Kong from 2010 to 2012, returned back to Australia until 2018, then headed to Singapore again,” Mesaros mentioned. “But deep down, we knew that it was the last


chapter before the kids needed to settle down and closer to the end of last year, were considering our return home. “COVID-19 accelerated that process, so we made a family decision that it was the right time for us to resettle in Australia. It was at that point in time that David and I began discussing the potential benefits of partnership, with the intent to set Currie Group up for continued future success. “Currie Group is a long-standing partner of HP and as a family-owned business, has strong family values instilled throughout the business. In its more recent history, Currie Group and its vendor partners have been successfully driving and enabling their customers’ digital transformation journey within the print industry. “The compelling reason for joining Currie Group was the desire to embed myself into an Australian-based organisation and have an impact in driving digital transformation in Australia and New Zealand – Currie Group ticks both of those boxes.” In this new role, Mesaros is responsible for reviewing the end-to-end business operation of Currie Group, with a focus on business planning, and strategic improvement initiatives. Additionally, he will work closely with the business’ staff, key customers and partners to ensure future success. “Currie Group is great at reading mega-trends and where it’s placed within the industry,” Mesaros mentioned. “Digital transformation has been a cornerstone proposition and with its part acquisition of EVOK3D, Currie Group is once again placed to enable another digital transformation – this time of the manufacturing arena in conjunction with commercial print. “The 3D printing arena allows Australia to get its manufacturing legs back – it’s no secret that the country lost its manufacturing muscle many decades ago. 3D printing technology has come a long way, enabling prototyping through to high-value production and bringing back the manufacturing process closer to where design happens, which Currie Group has unique experience in.

“My background in setting up HP’s 3D printing business in Asia, which at that time, was embryotic and in context a start-up within HP, makes a lot of sense for Currie Group to leverage.” The first stage of Mesaros’ hire at Currie Group involves understanding and diagnosing how the business can be improved strategically and in execution. “David and the executive team want me to give the business a fresh perspective on building the future direction of the business, leveraging my past experiences in managing a variety of businesses and markets. I’m evaluating everything from sales to go-to-market strategies, processes to systems, order to cash and everything in between. The role will evolve with time and priorities,” he said. As Mesaros gets his feet back into the Australian community, he has also started to immerse himself in Currie Group’s external business, connecting with its vendor partners and customers and assessing how better business can be done. “My simplistic message to them is ‘how can we be better for you’. I’m at the stage where I’m listening and understanding what we can do to adapt ourselves to changing market needs and how we can help our partners and customers in their next chapter. I have a particular passion in how technology makes lives and businesses better and if I can contribute in small part to bringing that to bear, I will feel fulfilled,” Mesaros said. As every organisation today is being challenged like never before and change is happening at such a fast pace, especially as businesses deal with the effects of COVID-19, Mesaros added that it is now the time for every company to be introspective and re-evaluate business models from the ground up. “Currie Group not only wants to survive this challenge, but thrive. I want to ensure that it continues to be the choice for the printing industry and for anyone who’s thinking about designing and manufacturing differently in Australia and New Zealand. This may require a rethink on what needs transforming. I’m confident that by keeping the customer at the centre of everything we do, we’ll come out of this stronger,” he said.



Being ahead of the game: Jenny Berry

Ai Group senior membership executive Jenny Berry has learnt many lessons having been in the industry over a number of years


enny Berry’s love of printing started way back when she worked at The Age. Both the written word and the printing process has always intrigued her, and this passion has taken her down many paths within the print industry – from writing to production to management and sales and customer service. However, with the demise of GEON almost 10 years ago, Berry’s direction in the industry was changed, yet again. “I moved from customer-focussed printing activities to industry association involvement. Three years at what was known as the Printing Industry Association of Australia (PIAA) gave me a taste of just how an industry association can successfully advocate and assist businesses of all sizes,” she said. “Then, three years ago, I was approached by the Ai Group – this was an opportunity I couldn’t pass up, as it provided me with exposure to other industry sectors and varied businesses while retaining my love of the printing industry. “It’s a privilege to work with the peak national employer association in Australia, especially in serving our members in these difficult and challenging times.” Having been associated with printing over a number of years, Berry said her experience within print has developed substantially. “Many years in this industry has taught me that one needs to be ahead of the game and anticipate market needs with workable solutions,” she said. “The early days were quite simple – take the order, print and deliver. The same cannot be said for today’s expectations of the industry as one needs to be extremely competitive, customer focussed more than ever, and innovative. “I’ve seen the very best and the very worst times for the printing industry. I’m constantly amazed at how the sector can adapt and change to suit the customer’s requirements.” Berry said, “The earliest key highlight of my career was helping to get The Age on trucks during strike action. This meant some of us performed tasks that tested our abilities, like manual handling


of paper stocks, plates and ink. Some other highlights of my career include successfully managing two of the ‘big four’ banks’ security printing requirements.” Berry said lately, the opportunity to serve members during the pandemic is both humbling and gratifying when the work results in a member retaining their business. “I have a keen interest in getting to know the people behind the businesses. The adage rings true – listen more than you talk. Sometimes very real gems of information are uncovered, and I can help people find new and innovative ways of progressing their business,” Berry said. As a woman in print, she finds inspiration in observing people who work hard to achieve results and push through adversity with grace and integrity. “I am very drawn to people who display complete authenticity. Print is still very much a male dominated industry. I do believe though, that as the sector is changing, more women will become involved as the traditional male operated printing presses become obsolete,” she said. “There are several notable women in Australia who are trail blazing and providing an example to others that they can succeed and thrive in this industry. It’s also heartening to see young women entering the industry via the apprentice pathway. “Women who print are already valuable contributors to this industry. A quick flick through a trade journal will tell anyone that. My time as an active and influential member of the industry has largely gone. However, I believe my role is to champion and support all women who are working passionately and very successfully in this industry.” Moving forward, Berry aims to continue serving members, to help them navigate the next few years while providing them with Ai Group expert advice and guidance. “I am pretty passionate about keeping up-to-date with print trends and activities and more importantly, by keeping connected to my many printing friends I’ve gathered over the decades and making new friends into the future,” she added.


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Expanding beyond traditional print applications using HP technology GENR8 Printing has used HP technology to overcome adversities presented during COVID-19 and has found ways to diversify its business By Hafizah Osman and Sheree Young


n times of great change, local print business GENR8 Printing, which operates in Wallsend NSW near Newcastle, has harnessed the latest technology from HP to offer a whole new range of creative printing solutions to its new and existing customers. GENR8 Printing was established by Yianni Moratidis in 2018 to complement

his marketing, events and entertainment agency, GENR8. As digital print specialists, Moratidis and his business partner Bernie Ayrton offer a range of customised print services that produce signage, posters, menus, and business stationery on a range of substrates. Between two staff, Moratidis and Ayrton, the young digital print house

The newly installed HP Latex R1000 that offered easy, automatic printing for high-value rigid jobs

had a vision to reduce its reliance on a single industry as well as cater to a broad base of small businesses. “The entertainment side of the business operates largely in the pubs and clubs space but also does parties, weddings engagements and other special events. When I started GENR8 Printing, my intent was for it to complement our entertainment agency. I quickly realised the demand for customised print services beyond the entertainment sector and decided to support the printing side of our business independently,” Moratidis said. To support this growth, Moratidis began exploring the printing needs of small businesses around town and visited printing trade shows to hear from industry experts on the latest print capabilities and technologies in the market. It was here that GENR8 Printing discovered HP. “Our work with HP began back when I was setting up the GENR8 Printing business. At the time, I had deployed a printer from another supplier, but I needed a technology partner who could help us look beyond the path of wide format with mesh and vinyl banners,” Moratidis said. A partnership that began with one HP Latex 365 roll-to roll printer has since expanded to include a newly installed HP Latex R1000 that offered easy, automatic printing for high-value rigid jobs, meaning GENR8 could quickly expand its offerings. The HP Latex R1000 proved a reliable

Looking for digital opportunities?

(l-r) GENR8 Printing’s Bernie Ayrton and Yianni Moratidis transformed their business using HP technology

and efficient addition that helped GENR8 Printing rise above the recent downturn while still offering high-quality product. At the onset of the COVID-19 lockdown, GENR8 Printing printed over 50 metres of complementary floor stickers to assist small businesses. Like many in the industry, GENR8 Printing experienced slowing demand for many of its traditional printing jobs in entertainment, including menus, signs, and banners. Noticing that many pubs and clubs were taking advantage of this time to renovate its premises, the HP Latex R1000 allowed GENR8 Printing to deliver a direct-to-substrate product and introduce new and creative ways to reach customers when they needed quick, reliable and high-quality printing most. The HP Latex R1000 made it possible to print on gloss and matte substrates, foiling and cello glazing, vinyl banners and stickers, corflute and foam boards, PhotoTex, even gym mats. GENR8 Printing is now able to offer anything from small to wide format. “Thanks in large part to our work with HP, GENR8 Printing has started branching out into interior décor in addition to the traditional offerings of posters, business cards, flyers and menus. In the acrylic market, we are now opening ourselves up to a new service with wedding invitations,” Moratidis said.

Printing in a pandemic

The heartland of Newcastle’s GENR8 Printing has traditionally been in the entertainment sector. So, when COVID-19 hit, quick and creative thinking was needed. GENR8 Printing was first established to produce the printed materials needed to support its sister company, GENR8 Entertainment, which provides marketing, venue and talent management services for the Newcastle region of NSW. When COVID-19 hit and venues across the state were required to close in March, Moratidis and Ayrton, like many printers, suffered a sudden and dramatic drop in work. While the small and large format digital printing specialist had a vision to diversify its business since launching in late-2018, this plan now had to quickly become reality. Fortunately, the pandemic coincided with GENR8 Printing’s installation of the new HP R1000 wide format printer, which was chosen to complement the business’ existing roll-to-roll HP Latex 365. With demand for many of GENR8 Printing’s traditional jobs, including menus, posters, and business cards, slowing, the business turned to a range of substrates to boost orders. According to Moratidis, the HP R1000 has delivered a direct-to-substrate product that not only meets his customers’ needs but has also buoyed GENR8 Printing by

We have the solutions.

CUSTOMER SUCCESS enabling the business to offer a higher volume and quality of products across a wide range of rigid substrates, such as corflute, foam board, MDF, plywood, acrylic and vinyl. In one instance, GENR8 Printing ran a plywood signage campaign for a local restaurant. When this work was shared on Instagram, the GENR8 Printing team received an influx of calls from other businesses interested in doing the same. In addition to plywood signage, the team has witnessed growing interest in wallpaper printing as people spend more time at home and use this period to personalise their home office spaces. “People have decided to customise the look-and-feel of their personal spaces and come to realise that wallpaper is much easier and much less messy than paint,” Moratidis mentioned. The vibrant colours and white ink capabilities of the HP R1000 have impressed customers. The machine’s speed and efficiency has also allowed the business to offer quicker turnaround without compromising on quality. “Customers come to us with new ideas and often want products printed yesterday. To stay competitive, it is critical that we have the best equipment to guarantee a high volume of quality output for our clients. To top everything off, we are one of the only local printing establishments to print with white ink, and everything is printed and finished in-house,” he added.

Yianni Moratidis finds that GENR8 Printing’s speed and efficiencies have improved



Current Kurz chairman and CEO Walter Kurz, his brother and Kurz director Peter Kurz, and their father Dr. Herbert Kurz

Kurz Australia celebrates its 50-year milestone Having been in operation for 50 years this year, Kurz Australia has been a leader in delivering embellishment solutions and expertise


urz Australia marks 50 years of operations, having grown from a rather unusual start. For Kurz Australia managing director Stephen Pratt, who has been with the business since 2014, celebrating 50 years in existence means driving innovation and delivering on quality for its Australian customers. The idea of Kurz Australia developed when Geoff Johnstone, who was working for a shoe manufacturing business, Blandford, back in the day, was using Kurz foils for decorating leather products that the business was manufacturing. Johnstone saw a wider opportunity for the usage of Kurz foils in Australia and wrote up a business plan, which he sent across to Germany to the Kurz family – to Dr. Herbert Kurz, who was then the CEO. Kurz was so impressed with the plan that he travelled to Australia with his son, Walter, to meet Johnstone. About 12 months later, in 1970, they opened up Kurz Australia with Johnstone as its initial managing director. Kurz Australia was the first English speaking subsidiary as at the time of Kurz Australia’s set up, the other subsidiaries were based in Europe. “The business model used in Australia, of bringing in a local managing director

and setting up direct operations and direct sales distribution, became the business model for the 23 subsidiaries that Kurz now has,” Pratt mentioned. Ideas and innovation were also being contributed by the Australian subsidiary. “One of those innovative, big ideas that came out of Australia was the use of decorative foils onto wine labels. This wasn’t being done anywhere else in the world at that time,” Pratt said. The Kurz family was made known of the idea when Dr. Kurz, Walter Kurz and Geoff Johnstone visited a Kurz Australia customer, the Ever-Redi Press Label business in Griffith, that showed them some applications done with Kurz foils. “The Ever-Redi Press Label business was hot stamping gold and silver foil onto wine labels and this intrigued Dr. Kurz and Walter Kurz,” Pratt said. “They took that idea overseas and promoted it to other wine districts in Europe. Today, almost all wine labels have foil on them. The idea was so unique that Count Cinzano, who was the head of the Cinzano wine and spirits company, visited Ever-Redi Press and saw what was being done and took the idea back to his company. All Cinzano products had foil on them moving forward.”


In the early days of Kurz, Johnstone also pioneered the use of woodgrain foils to decorate furniture. “Kurz was a supplier of an imitation wood grain product, Touch Wood, that was used for decoration in the caravan industry in Australia through the ‘70s and ‘80s. The application was duplicated in other key markets overseas, creating a huge business for Kurz,” Pratt said. Since then, Kurz Australia has become the major player for embellishment in the labels and packaging space. “Decorative metalised foil has become such an integral part of labels and packaging. It’s not only being used on labels for wine bottles but also perfume bottles, pharmaceuticals, make-up and personal care products, as well as food and other FMCG goods,” Pratt said. “Kurz Australia was and still is driven by the market. The market asked for foils to go on to labels and in those days, it was wet gum labels that needed to be hot foil stamped onto the product before the label was applied to it. But, in the packaging industry, they needed transfer products that could go on to cardboard, cartons and coated products and as packaging technologies progressed, then onto various plastic substrates like polypropylene,


ANNIVERSARIES polyethylene, and other forms of plastics that we now routinely see decorated.”

Unusual applications

Little is known about some of the other work Kurz Australia does out of the printing industry. The company works within the automotive field amongst others, for example, with Mercedes Benz. “Mercedes approached Kurz, wanting to remove chromium out of its manufacturing process because it was dangerous to handle,” Pratt said. “Their designers also had a vision for a front grille with a diamond pattern in chrome. Working with Kurz, we created a robotic stamping machine capable of stamping onto the highly complex design of the grille of its current C-series. “We also created a new metallic chrome-like transfer coating that is able to meet and withstand all of the rigors of the automotive industry, like oxidisation, the harshest of weathers, and chemicals used. “We were able to fulfil Mercedes Benz’s vision of a ‘diamond’ chrome grille, and solve the health and safety issue it faced through the continued use of chromium.” In addition, the company also designed an interior lighting system for BMW’s Mini Clubman range, which enables the user to change the colour and effects of the interior lights of the cabin. This was done using a touch control sensor moulded into the central steering wheel during the injection moulding process, using Kurz’s unique PolyIC technology. “We also take advantage of trends in the industry – we have an active design department that (when travel was allowed) attends fashion shows in London and Paris to see the latest products, colours, fabrics and designs, which then flow into our trend colours in the general market in the following years,” he said.

Moving towards the future Surviving a pandemic-stricken world is no easy feat and Kurz Australia has plans

(l-r) The first three generations of Kurz ownership: Dr. Herbert Kurz, his father Konrad Kurz and his grandfather Leonhard Kurz

Kurz A/NZ managing director Stephen Pratt (l-r) The original Kurz Australia managing director Geoff Johnston and Karin Heinz, export manager of Kurz Germany

in place to ensure business continuity. “We realised pretty early on that we couldn’t transact with our customers in the usual ways. e-Commerce is one of the biggest areas of opportunity postCOVID-19. We’re also utilising more electronic communication tools to work with our customers and troubleshoot for them remotely. We introduced the Kurz Web Shop about nine months ago and since COVID-19, its uptake has been growing steadily,” Pratt said. “When COVID-19 first came out, we also had a massive run on some products which were used for fast, inexpensive packaging in high demand products. As this pandemic has extended out, we’ve started to see a shift back towards our traditional markets.” According to Pratt, the future of Kurz lies with the future of packaging. “We will continue to innovate and follow the trends that are happening

Kurz as a global conglomerate The global conglomerate of Kurz was started in the 1890s, beating (hammering) ingots of 24ct gold down into sheets of gold leaf about 0.1 micron thick so that it could be gilded or pressed onto the covers and bindings of books. When Kurz invented a vacuum metalisation process, which used pure aluminium that could then be coloured during a subsequent printing process instead of pure gold, this revolutionised the world of stamping foils and created markets in previously unthought-of applications, for Kurz globally.


Leonhard Kurz, the founder of Kurz

within the packaging industry. Whatever we produce in the future, it will be done in a far more environmentally-friendly way than what was done previously,” he said. With packaging becoming ‘smarter’ by integrating data smarts and technology, Pratt said Kurz Australia will have a bigger role to play in that area. “We see this in our Trustconcept solutions which we market for anticounterfeiting and brand protection. “That space has become interactive, where it used to be just stamping of highly complex images which couldn’t be counterfeited. These days it’s also about being able to scan that image and provide information for the user, whether that be track and trace, serial number recognition or customer and consumer information about the product itself, or other goods and services. “There are a lot of companies that don’t make it past their first few years, so delivering consistently for our customers for 50 years whilst innovating with the latest of technologies and meeting customer needs is what drives us ahead.”

“Instead of using real gold, Kurz was able to use aluminium, which was melted at a very high temperature and then applied onto a polyester coating in that vacuum metalisation process,” Pratt said. “Once applied, you could print the aluminium with colours other than the standard gold and silver. “Kurz transfer foils have some 300 different shades, and you still get the shine and the bling of the metal, but those shades are created through a printing process. “That process fast-tracked Kurz from a bespoke backyard industry into a highly industrialised industry.”


LUMAFIN® – Pure Magic Transparent transfer products with an iridescent sheen

Our new LUMAFIN® transfer products open up new creative spheres for fascinating visual effects. The colored varnish layers exhibit a high level of gloss and create a special illusion of depth over the printed image beneath. The iridescent color effects also offer a brilliance that conventional spot coatings cannot match. Embossing or structure effects can be perfectly achieved with LUMAFIN® transfer products, resulting in exceptional tactile moments. What’s more, it is also possible to create entrancing matt-gloss effects, particularly in combination with coarse substrates. LUMAFIN® is available in numerous colors and as hot stamping, cold transfer or DIGITAL METAL® products. Get inspired and let LUMAFIN® work its magic.

© KURZ 2020

KURZ – making every product unique

LEONHARD KURZ (AUST.) PTY. LTD. Unit 4, 81 Frenchs Forest Road Frenchs Forest, N.S.W. 2086 Sydney Australia Phone +61 1300 00 5879

KURZ Transfer Technology

360° TRANSFER FINISHING Sustainability from start to finish

Printed products with a high quality finish catch eyes at the point of sale with their special haptics and visual effects. Premium packaging makes contents appealing, triggers buying impulses, and creates differentiation. That’s why upscale finishing is ever more important. KURZ transfer products let you apply a wide spectrum of fascinating effects to emotionalize your products. What’s more, we consider it our duty to provide sustainable solutions for outstanding print finishing.

© KURZ 2020

We achieve this with consistently sustainable actions along the entire value chain. No finishing technology should conceal the beginning and end, nor the manufacture, of products.

The finished end product does not contain foil, only an extremely thin decorative layer that has been transferred with an absolute minimum of material. Printed products that have been finished with KURZ transfer products can be deinked and recycled.

The PET substrate, which remains with the processor as a residual material, is correctly sorted by process and stays in the industrial cycle for further use. Residual material can be thermally recycled and used as a high quality replacement for gas and oil.

The transfer process itself is emission-free and does not use wet coatings.

Our new KURZ Transfer Recycling Program is the most sustainable way to recycle PET substrates. Over several years we have developed a process, suited to industry, which recycles residual materials and transforms them into a new injection-molding material for production. This makes us the only manufacturer in the industry to take you a crucial step closer to closed-loop thinking.

No volatile ozone-depleting halocarboons, no cadmium, no lead, no chromium trioxides, and no carcinogenic raw materials are used in the production process. The transfer product itself is not a hazardous material. The obligation to provide information on hazardous substances in products, stipulated by the latest REACH VO regulations, is not required for our transfer products. Our production standards throughout the world keep us up to 85% below the legally mandated limits.

LEONHARD KURZ (AUST.) PTY. LTD. Unit 4, 81 Frenchs Forest Road Frenchs Forest, N.S.W. 2086 Sydney Australia Phone +61 1300 00 5879

Learn more here:


The Lamson Paragon Group celebrates 30 years in operation Company grows from its humble beginnings to become a tradeonly printing industry leader


he Lamson Paragon Group is celebrating turning 30 this year, having been inaugurated on the 1 August 1990. The business comes from humble beginnings, and has grown to become a trade-only industry leader in business form printing. The business name of Lamson Paragon itself has been part of the Australian business landscape since 1897. It was originally established to manufacture sales docket books that deployed the then new technology of carbon paper. Invented by a Canadian, Samuel Moore, of Moore Business Forms, the technology was licensed to the English company Lamson Paragon to promote the product in Europe and the British Commonwealth. Factories were progressively opened in France, Italy, South Africa, Australia and New Zealand, as well as two in Great Britain. Its group managing director Arthur Frost joined the original company in

Arthur Frost (r) acknowledged for his illustrious print career with the 2016 National Print Awards Industry Legend Award

1966 and was with the business for 16 years. The Lamson Paragon Group of Companies CEO and Arthur’s son, Rodney Frost, said his father put many years of dedication and work behind the business to grow it to what it is today. “Dad was homeless as a young man and first got an opportunity to sell pads and pencils. Success in that opportunity progressed to him selling print, which was his first foray into the industry,” he said. “He moved his way up the ranks in print at the original Lamson Paragon and then joined EFTECH as managing director, bringing the original EFTPOS network to Australia. The major shareholders of that business decided that EFTPOS would never work in Australia during the ‘87 stock market crash, so dad was forced to sell that business and go back to the drawing board. “The sales team of the then Moore Paragon company wanted to start their own print broking companies but they had no printers that they considered trustworthy to buy off. Dad then resurrected the Lamson Paragon brand to service printers, print brokers, mailing houses, and copy shops.” The reborn Lamson Paragon business was registered in 1983 and started trading on 1 August 1990. Starting with one team member, one press and one collator, it gradually created a niche in the marketplace as a trade-only supplier. “When I was a kid, I didn’t see too much of dad as he was busy with the business. My mum was holding down three jobs and trying to raise my brother,


Matthew, and myself. I grew up seeing the work that dad put in within the business,” Rodney said. “Back when the business started, we only had a processor which turned big rolls of paper into continuous paper. That was the first machine we had; we didn’t even have a printing press. We had to build up enough money to get a press, and our first printing press was a two-colour Ryobi pack-to-pack press. “We also used to share a factory in our old Sefton facility as we couldn’t afford a full factory. We took around a third of this factory and shared it with Precision Printers, who are still less than a kilometre away from us today.” Rodney officially joined the business in 1997 after following his dad around in the early ‘90s, learning the ropes on a broom and making boxes during the holidays. “As a child, it was all I knew and loved what the business was doing. I knew from the start that this was what I was meant to be doing,” he said. “My brother was also with the business – he left about nine years ago – and with dad’s semi-retirement, I became CEO.”

Building the business

As the business grew, it added on three other business entities through the years – Paper Rolls Australia, Cheque-Mates, and Integrated Office Solutions. The growth of the combined group was fuelled by the needs of its partners, typified by the birth of Cheque-Mates – a trade-only mailing and communication business. Within a few years, some customers were requesting a need for a reliable trustworthy supplier of thermal paper rolls, which in turn led to the acquisition of Paper Rolls Australia. The business then expanded its footprint to the Philippines via Integrated Office Solutions, giving its partners the chance to setup teams in Manila. “Over the years, we’ve built the business to diversify across non-core products primarily with our four main entities,” Rodney said. “Lamson Paragon is focused on continuous forms, NCR books and pads, and security print applications. Paper Rolls Australia provides conventional and specialised paper roll products in Australia; Cheque-Mates now focuses on trade-only direct mail, integrated digital print, wide format, as well as physical and non-physical message delivery. As for Integrated Office Solutions, it helps SMEs optimise their own businesses.” In 2019, the company brought the trade business of the Gippsland Trade Printers



Inside The Lamson Paragon Group’s facility in Sefton, NSW, which employs about 60 people

(l-r) Arthur Frost and his son Rodney Frost have built the Lamson Paragon Group brand

brand into its fold, providing customers with access to more products and services. According to Rodney, before the acquisition of Gippsland Trade Printers, Lamson Paragon had traditionally been suited to larger run work. As Gippsland Trade Printers had a bigger play in lower and medium end of the market, this opened up business for Lamson Paragon. “We also invested in some digital technology to cater to that lower end as well. So now, we have the full gamut of product volume that we’re able to handle

and our investment [of Gippsland Trade Printers] has helped the partners that we’re dealing with,” he said. The group now employs about 160 people in Australia and the Philippines and owns over 50 pieces of equipment, which includes 11 web presses, across its seven facilities.

Moving forward

According to Rodney, integrity, trust and partnership is what fuels the business, which has more than 800 partners under

Giving back to the community In addition to other charitable initiatives, Rodney Frost participates in the Vinnies CEO Sleepout, to further drive awareness for homelessness. He supported his 12th Vinnies CEO Sleepout in May by roughing it out in the cold on 18 June in his backyard and raising over $19,000 at this year’s sleepout. Homelessness is an issue close to the Lamson Paragon Group as Arthur spent time on the streets as a young man. Rodney said as a business, the Lamson Paragon Group will continue to support those less fortunate even through trialing times.


its belt, backed by digital technology as well as automation. “At the end of the day, if we don’t look after our partners, someone else will look after them so having integrity and trust in our partnerships is the reason we’re still here,” he said. “We have listened to our partners and will continue to do so in where they see weaknesses, where they see opportunities, and where they need investments. We will continue to respond to our partners’ needs above all else; they are our partners, not our competition.” Rodney said as a huge part of the company’s product portfolio revolves around technology and automation, its digital portal offering will play a huge role in its growth in future. “Automation, taking out touch points, taking out costs wherever we possibly can, and utilising technology as best we can, is our aim. With our digital portals, we connect someone that has a need for a printed item and a piece of capital which we have with no touch points in between,” Rodney said. “We have been developing it for the past three years and will be a huge part of our offering under the Cheque-Mates brand. This is a result of shorter run lengths and people wanting things quicker. “And adapting to the needs of people and the behaviours of people has been what has kept us ahead of the pack, and will still keep us ahead of the pack.”

“It’s just the right thing to do. It means something to me having dad go through homelessness in the past; I also have a 10 yearold daughter and knowing that there are 17,000 kids under the age of 12 that are homeless in Australia hits too close to home,” Rodney said. “Our purpose is to give back – here in Australia and in the Philippines. In the Philippines, we fund the rent in partnership with our partners of that business for a school that has 500 children going through it. “Community service is my passion and it’s something I try to drive within the group.”


The Lamson Paragon Group turns !


In August 2020 The Lamson Group celebrate our 30th Birthday. We wanted to thank everyone who played their part in allowing us to achieve this terrific milestone. “We want to thank our team here for their dedication and commitment. We also want to thank our Channel Partners for their ongoing loyalty and support... and we want to thank our strong supply chain for their part in our first 30 years. A business is nothing without its team, its partners and its suppliers”. - Rodney Frost, Group CEO


We thank our Founder, Arthur Frost

“Rule No. 1 – if we don’t take care of our Partners, somebody else will.”

“Our Partners keep coming back because we have, over the years, responded to their needs. They require a trusted trade supplier, and we’ve always responded to those requests; our investments have been to satisfy the needs of our Partners.” To learn more about Arthur’s incredible journey from living on the streets of Redfern to bringing EFTPOS to Australia, and beyond, please visit or scan the QR Code:


Your Trusted Trade Only Supplier

Supporting Printers, Print Management Companies, Mail Houses and Copy Shops

Our Services

As a Trade Supplier, The Group has withstood enormous pressure as the Trade has evolved over the last 30 years. Our whole philosophy has been to provide a broad range of products and services that apply to the operation of any business. Our Partners recognise the integrity that we have built our business on and are happy to work with us, they trust us. We work with strategic partners to satisfy the market in many segments. As technology has evolved we have adapted and began to offer Customised Web To Print platforms, white labelled so we are not known. One thing we refuse to do is to fall in to the trap that any perceived competitor has. We are a Trade Only Partner, and not a Trade Printer that also has retail clients. We have maintained our values throughout unquestioned.

• Laser Forms and Cheques • Continuous Forms and Cheques • Security Printing • Printed or Plain Bond and Thermal Rolls • Integrated Cards • Variable Bar-Coded Documents • All NCR Pads and Books • Integrated Digital Printing • Paper Rolls • Intelligent Mailing • Fulfilment Warehousing Logistics • Laser and Inkjet Personalisation • Plastic Wrapping • Multi-Channel Automation (PRINT POST, EMAIL, SMS, VOICE, FAX, ETC.)

• Scanning and Data Entry • Wide Format • Automation of Print/Digital • Web-To-Print (BRANDED AS YOUR




Vivad embraces evolution on its 20th birthday Vivad has met its challenges head-on and has evolved itself to meet market demands


esilience is one of the virtues that Vivad truly encompasses, as the company celebrates its 20th anniversary in a pandemic-stricken year. Vivad Australia managing director Ewen Donaldson has pushed the business to achieve success in new areas from the first day of its inception, and is still doing the same to keep the company going. Vivad was started when Donaldson, having worked for his parents’ business, Polyweld, making truck side curtains, saw a demand for printing on truck side curtains and set up a separate business. “We started with close to nothing – we only had one customer. Printing truck sides was the primary motivation but there were other markets that we were interested in pursuing,” Donaldson said. He invested in the company’s first printer, a VUTEk 5300, then. It wasn’t long before Vivad bought a second printer in 2000, a Roland eight colour HiFi jet 7600 Pro, to handle smaller format work. It was about this time that Vivad put in its first laminator so that it could apply film laminate to its digitally printed products. “Printing on the sides of trucks was a natural progression given that the technology had come of age. It soon

became apparent that there were more opportunities in large format digital printing than just fleet graphics. We started printing banners for exhibitions and events, and point-of-sale material,” Donaldson said. “We slowly started building relationships with companies. In the first week itself, having heard of our new printers, we were approached by the supply side – material vendors and those selling adhesive vinyls. This gave rise to learning more about different applications for large format digital printing.” But to further build the business, Donaldson knew he had to invest in stateof-the-art printing equipment. “In 2004, we bought our first flatbed printer, the VUTEk PV200SC, which allowed us to print up to two metres wide on rigid materials, as well as roll-to-roll. It was also then that UV cured inks started to take the place of solvent based inks. This allowed printing on a wider range of substrates including rigid materials like corflute, forex and acrylic,” he said. In 2005, Vivad installed a 2.5 metre Seiko Colorpainter 100S and a VUTEk 3360EC and in 2008, welcomed the addition of a HP Designjet 500.


“From there, we ended up getting into fabrics in 2010 with the procurement of the VUTEk Fabrivu. Soft signage was a term coined for digital print sublimated onto polyester. It was around this time that stretch frame signage started to become popular, so Vivad started to develop its own unique stretch frame extrusion designs. A whole range of new soft signage products came into being such as Feathers and Teardrops,” Donaldson said. Since then, the company has also invested in the HP L25500, Durst 500R, Zund XL3200, VUTEk GS3250LX, ATP Colour, Teleios Black, HP 360, Durst Rhotex 325, Bullmer five metre cutter and the Durst 512R LED. “We’re always hungry to print on new materials and finding different applications within the large format digital space,” Donaldson said, adding that he decided to run the business with a focus on large format printing as being able to print five metres wide at 300 dpi was in high demand from 20 years ago, which opened Vivad up to a world of opportunities including large format printing for the Sydney Olympics. In the past five years, the company has doubled in size and seen a YoY growth of 20 per cent. It has developed its vertical play to include exhibitions and events, media, retail, architecture, and other general signage. In 2015, Vivad moved from a 1200 square metre factory to a 3500 square metre factory in Campbellfield, Victoria. With more room for growth, the move heralded a new era for Vivad, which now employs 32 staff.



Vivad Australia managing director Ewen Donaldson (third from left) with Vivad staff at PrintEx19

The business has also started a stronger focus on software, its internal MIS System as well as its web-to-print portal, Vivtrack, which it built from the ground up.

Surviving a pandemic

In response to the Victorian Government’s mandate that people are to wear face masks outside the home as a result of the ongoing COVID-19 pandemic, Vivad readjusted its go-to-market strategy with the inclusion of offering face masks. It partnered with printer manufacturer Durst, to start manufacturing printed reusable ‘Community-Masks’, which has a (type N95) filter membrane with hydrophobic properties and a microporous structure but are not sold as medical grade. The initiative was introduced in April when Durst announced that it will be producing three-layer face masks which include a high-filtration efficiency filter membrane at its production HQ in Italy. As per the partnership, Durst provides the N95 filter material to Vivad while the latter prints on the shell and manufactures the combined face masks. The face masks are printed on the Durst Rhotex 325. “The printer is extremely reliable and is of high production technology using water-based dye sublimation inks with no VOCs. We print onto paper and then transfer it onto the polyester fabric,” Donaldson said. Customers are able to apply their own branding, or choose an existing design and the masks are available for purchase through Vivad’s web-to-print portal.


“Vivad’s click and print web-to-print portal is used for large format print jobs. We developed it over the last five years or so and it presents people with the opportunity to fill their order online and upload the artwork desired for customised masks or they can choose to purchase preprinted masks,” Donaldson added. “We’re doing what we can, when we can during the pandemic and for Vivad, we are doing anything that can assist people in terms of stopping the spread. Offering a higher-quality reusable mask means there’s less littering of disposable masks and a cost saving from purchasing these disposable masks. It also gives us some revenue as we have been predominantly doing work for the events and exhibitions industry, which has been severely impacted by the pandemic.” Vivad also had plans to expand by putting in a 500 square metre mezzanine, but COVID-19 put a hold on it. “Hopefully, we’ll take that off hold so that we can expand our print finishing area,” Donaldson said.

A young Ewen Donaldson with a new press

Machines in Vivad’s cutting area in its facility

Progression is key

Even with uncertain times ahead, Donaldson has a plan for Vivad as he keeps an eye on the latest trends in the industry. “We don’t know how long the pandemic is going to last or what the economic environment is going to look like post-pandemic. We are looking forward to exhibitions and events coming, but we will continue to focus on market trends that we have noticed,” he said. “Over 20 years, you learn about what works and what doesn’t and now we’ve got a diverse product range that targets different markets. There has been a massive pivot towards soft signage in the last 10 years and that’s where our focus has been.” A focus on developing its online channel is also one that Donaldson intends to take Vivad down the path of. “The ability to buy things online and have them delivered quickly and competitively means there is a lot of opportunity in this space. And given that we’ve also invested a lot in the development of our web-to-print portal, that will be an increasing focus for us,” Donaldson mentioned. Vivad’s web-to-print portal is unique in that it differentiates between resellers and retail. Vivad recognises that resellers benefit from adding a margin to the print. Once a user has demonstrated that they are a reseller, they are awarded trade pricing through the portal.

Vivad’s in-house sewing department

Vivad’s first five-metre long solvent machine

Ultimately, delivering on customer needs is what Vivad wants to enforce within the business as it navigates its way into the future. “We want to refine our processes, develop our markets, and follow the trajectory that we have been on. We want to keep doing what we’re doing but do it better and keep evolving. A lot of that involves the ability to be agile and responding to high demand,” he added. “We have a lot of loyal customers who keep coming back because of the level of engagement that we have. We produce a diverse range of quality products, competitively and on demand.”



Heiko Riecken named LIA NSW Heidelberg Graduate of the Year Heiko Riecken from Industrial Print in Lithgow sets an example for other apprentices as the 58 year-old proves that age is no matter in education


eiko Riecken has been named as the recipient of the LIA NSW Heidelberg Graduate of the Year Award at a ceremony held at Industrial Print in Lithgow. An apprentice at the mature age of 58, Riecken started his career at Industrial Print in 1991 after marrying into the family and joining the business. He has since worked for the company for 25 years, including a four-year break. Riecken was entered for the award by his TAFE NSW teacher, Terry Nolan, in December 2019. “Heiko is a highly skilled operator, and everything he does is very precise. It is hard to match the accuracy and quality of what he does,” Industrial Print general manager Steve Scott said. “We have one other apprentice who is in the second year of TAFE, and we value

tradesmen, so like to put apprentices on and train them up ourselves.” According to Riecken, he hopes he can set an example for other apprentices. “It is an amazing privilege, it is unplanned and unexpected to have this recognition. I hope other older and mature workers in the industry go for their trade certificate,” he said. “I enrolled in TAFE for Certificate Three run printing as I wanted to have a Trade Certificate because I have never had any formal qualifications. It was wonderful to go to TAFE and fill in the gaps that I still had in the theory, chemical conductivity, PH levels and also colour management and digital printing, which I did not have a good grasp of. “To me, it was challenging and also very helpful for my practical execution

Heidelberg’s Savas Mistakidis presenting the award to Peter and Steve Scott from Industrial Printing


All practicing social distancing: (l-r) Visual Connections’ Peter Harper, Heidelberg’s Savas Mistakidis, TAFE NSW’s Terry Nolan, Industrial Print’s Heiko Riecken, Industrial Print’s Steve Scott, LIA’s Angus Scott, Visual Connections’ Mitch Mulligan

of my printing tasks and gave me a broader spectrum of different types of printing I had not been involved in. “Printing is a wonderful field of technology and skill and experience and we have seen it change over the last 25 years, but it is still a very important part of the industry in Australia. “There will always be colour put on some sort of substrate, and even though it seems like the printing industry is decreasing, there will always be printing, packaging, signage and books. “It is worthwhile to learn it and worthwhile to participate.” Riecken’s first job was on a Ryobi 522PF press. Heidelberg A/NZ managing director Savas Mystakidis congratulated Riecken on winning the award, adding that it is a

(l-r) Heidelberg’s Savas Mistakidis with LIA NSW Heidelberg Graduate of the Year winner and Industrial Print’s Heiko Riecken



Angus Scott from LIA NSW

Visual Connections’ Mitch Mulligan

pleasure for the business to be associated with the industry accolade. “It is one of those awards that is truly important to the industry. I have always said we will keep supporting it as much as we can because this is the future and we have to embrace the apprentices coming through and printing businesses – whether they are a $50 million business or a $100,000 business – whoever is there contributing to the industry, employing people and keeping our industry vibrant and alive is the most important thing,” Mystakidis said. “Heiko is one of the oldest apprentices I have met and it shows it is never too late to learn and to keep learning in life and pick up new skills and to keep adapting.” Visual Connections president Mitch Mulligan said Industrial Print’s

sponsorship of an older apprentice to come through its business is a positive move for the industry skillsets get retained in print. “He can then go on and teach and mentor people coming into the industry. From a Visual Connections point of view, we are always keen to support the LIA and every two years we have the scholarship prize of $10,000,” Mulligan said. “It is the recognition of excellence and the promotion of that is what we are about. That way, we can give back to the industry. Previously as GAMMA, and now Visual Connections, we have supported this award for as long as Heidelberg have. “Apprentices are the lifeblood and the future of our industry. They are the energy behind it and we need to keep attracting new people into our industry because it is vibrant and not going away any time soon.”

Father and Son: Peter and Steve Scott from Industrial Print in Lithgow


LIA NSW President Angus Scott recognised Heidelberg’s commitment to the Graduate of the Year Award. “The relationship with Heidelberg dates back to 1972, when the first LIA/ Heidelberg Graduate of the Year Award began. This will be the 48th year of continuous support. Heidelberg has also sponsored accommodation and air fares for two apprentices from each state to the LIA Biennial Apprenticeship Awards, which will take place in 2021,” Scott said. “LIA also recognises Visual Connections as an integral partner and through sponsorship, donates $10,000 on a biennial basis towards the Biennial Apprenticeship Awards, where the national winner will receive the Visual Connections/LIA National Graduate Scholarship Prize.”

Industrial Print’s Steve Scott and Heiko Riecken



A place for offset


There has been much debate over offset versus digital, but there is a place for both print forms within the industry By IVE print NSW general manager Simon Bailey


he average run lengths for sheet-fed offset have reduced in recent years. At IVE, our business is increasing in digital volume and reducing in offset. The introduction of B2 digital was a big step and one we have recently invested in. That said, offset is a case of ‘and’ not ‘or’ for us. In other words, we see offset as a key part of the mix, where a longer run is required and is complemented with the option of faster production via digital for smaller runs. With one of the largest sheet-fed press fleets in Australia, IVE has solutions that deliver a range of options for customers. At one end of the scale, we have a range for the more traditional commercial print market. We have also expanded our offering to produce colour books such as cooking and lifestyle books that previously were produced offshore. At the other end of the scale, we utilise offset for Point of Sale and specific packaging printing. These solutions enable IVE with speed to market matched with fit for purpose colour options. There are many positives to offset printing. The first is efficiencies with longer runs. Of course, quality is another. In recent years, offset technology has been relatively stable and advancements in colour management and pre-press automation have greatly assisted its overall production times and quality. There are many purists who will argue that digital quality by definition will never equal offset. Whilst we would have agreed a few years ago, the gap has narrowed significantly in recent times and one has to only look at the output quality of the Indigo 12,000 to see how far that technology has come in colour quality. The

conversation of offset versus digital will always spark furious debate, however we’d suggest certain digital quality is at, at least, 95 per cent compared to offset. We believe there will be a place for offset in our industry. With the profile of digital we have within our group and taking our Silverwater site as an example, with two SRA3 and a B2 device, we are still running long perfecting presses 24 hours, five days a week. The cost of digital is prohibitive and its speed is too slow for many jobs we produce. The finishing of SRA3/B2 sheets compared to IPS/A1 sheets also significantly adds to the overall price. Sometimes, this is what goes into the consideration of an offset or digital job. There are two factors to consider when choosing between offset and digital print, which are: • Paper stocks plays a huge part of the selection process. We produce short run work on offset, that from a volume perspective may suit a B2 Indigo but the stock specified may not be suitable for Indigo – it will be the same for toner based digital. The SRA3 space is very mature in its range for digital, but the B2 space is young and will develop in broadness over the next few years. • Varnish or aqueous inline can be a factor as well. We still produce work with spot matt and gloss varnish effects on them, and this can be done inline or on an offset press. Aqueous coating is also something still required by clients, as is inline offset. For us, the biggest value for offset over digital, even in the short run, is the fact that the offset process can match any colour through PMS, metallics and


fluro. A colour sample can be provided and without too much cost or intervention, we can match it. Ink manufacturers can provide a custom ink mix for a reasonable price. This ink can be used across a range of different offset presses and on solids has the ability to be matched job by job very easily. However, printing four colour process solids repeatedly is difficult, even with good colour profiling in a digital environment. When deliberating for a client if offset is the right way to go, businesses need to consider the argument regarding colour quality, and the required run length as well as an open discussion regarding price points and the real cut-over to digital. Some customers have been operating under the belief that a longer run, whereby they may need to store much of it, can provide a cheaper unit price. Whilst this can be true, a key and open discussion regarding the real usage and requirements can often produce better customer outcomes. If it is for a real and genuine long run requirement, then offset is the better option. However, if it can be more effective for both the printer and customer to print to demand and print often, then that solution is digital. Until the digital press speeds are close to offset, there will be a place for offset printing; 15,000 IPS sheets per hour compared to 1500 SRA3 or B2 sheets per hour remains stark. The cost of digital climbs substantially once over a few thousand sheets and rules itself out at the ‘cut-over’ point. It will be, for many years, a case of offset and digital as opposed to offset or digital, noting that the balance is moving more to digital as run sizes reduce.



Finding value in


Offset may be threatened by digital but unless a hybrid pricing model is introduced, there will be a place for offset in the industry By IBS Cards managing director Scott Siganto


un lengths are getting smaller and digital quality is always improving. This has caused the digital market to put pressure on offset. With less volume on the offset presses than ever before, it has made it harder for businesses to reinvest, expand or maintain a healthy ROI. But offset technology is still in demand. The offset technology of today allows for far more automation, the machines are extremely fast, the make-ready times are quicker, there is less maintenance required on the machines, and there is a significant improvement in waste output. The technology has stayed stable, but it has also come a long way. As a trade printer servicing Australia and New Zealand, the bulk of IBS Cards’ print and stationery work is produced on two KBA Waterless Genius offset presses. We produce everything from typical office stationery such as business cards, flyers and letterheads, to promotional products such as coasters, tags and presentation folders, all on our offset presses. As one of the first trade printers in Australia, IBS Cards realised we could combine the buying power of our client database to gang work and pass on the savings to our customers. Although we’ve expanded dramatically over the past 24 years, ganging work and printing solutions offset has allowed us to keep expanding our range at competitive prices. This is because offset has enabled the business with a number of positives, which include the following: • Offset printing allows us to gang our runs more cost effectively and pass those savings onto our customers.


• Our waterless presses mean we can produce more efficiently with no harsh chemicals whilst producing brighter, sharper and more consistent colours. • Offset is also a very stable technology that has proven itself over years. It’s because of this stability that offset presses hold higher trade in values than digital. With digital becoming a huge part of the industry, there certainly is a threat to offset, but there are a few different pricing models at the moment. Manufacturing options are currently split to include: • PAYG: Offset, where you pay for the consumables that you use (500+ sheets per run) • PAYG: Inkjet, with no plate costs but the cost of ink is so high that it makes it impossible to quote correctly without getting an ink report from the artwork • PPC: Inclusive rates for toner and Indigos and the new Heidelberg rental model (less than 500 sheets per run) With the industry average now under 1500 sheets per run, the gap is so close for someone in the PPC option to disrupt the market by introducing a tiered approach to their costings. With user interface and reports available on each of these machines these days, it would be reasonable to think it is doable. The goal would be to get the per sheet rate to around the (plate + time + consumable) of offset up to 1500 sheets. A tiered structure may help in achieving this, with the software delivering businesses a per job costing. When choosing between offset and digital, some of the main factors to consider are your average run lengths,

the volume of work you produce (in order to gang efficiently), and if your jobs are produced on similar stocks so you can minimise blanket changes. When determining between offset or digital, the most important factor to consider is the type of clientele you have. Ask yourself, “Do your customers frequently order short runs, variable data, or specialty stocks?” If so, then offset is probably not for you. Knowing your average run length is another major factor, as you can’t beat offset on price for long runs. And finally, gauge for yourselves if you see future opportunities for your business in the capabilities that offset can offer you. The packaging market seems to be where printers can find the biggest value for offset at the moment. From all accounts, commercial printing is well down, whilst packaging continues to climb. Within packaging, offset allows businesses to produce long runs, on thicker boards quickly, and most importantly, cost effectively. Going into the future, I envision the offset space to include: • More deals that include consumables in fixed monthly rentals of machinery to make it easier for the manufacturers to get printers to buy, and for printers to fix and spread their ongoing costs. • More pressure from digital, especially if the digital options become more cost effective for longer run lengths. • Consolidation of the offset market as it will become less attractive for printers to reinvest and those that do in a large way, will need to gather as much work as possible, therefore continuing to drive down prices.



Offset delivers on

QUALITY AND QUANTITY The value for offset comes in the larger runs where digital cannot and probably never will compete


rint is becoming increasingly crucial in today’s frantic ‘working from home’ world. Print is an unmatchable experience, a physical product with impact to engage the heart and mind. Having printed pieces that an audience can touch, pick up, and engage with can get businesses noticed amongst the predominantly digital marketing strategies of today. Combining digital marketing and print shows an ability to cover all customers’ needs. Print can also complement a digital strategy to sell products or services to a specific audience. And, offset printing remains as the most powerful communication and marketing medium we have right now. We have seen our niche magazine titles grow with more subscriptions and catalogues that drive consumers to the Internet. The basic principal of offset lithography has remained unchanged since its conception. However, what has changed is the dot structure, frequency modulated dots and elliptical dots that have substantially improved the quality of offset. Also with plate setters, we now have the ability to fingerprint the presses, for a better control of colour. It’s a fascinating process where the fundamentals are the same, but the technology around would now be unrecognisable to the pioneers of the 15th and 16th Centuries. Having worked with both digital and offset, I believe that there is a line between the two.

By Printgraphics Printgreen director Nigel Quirk

While it is true that the line has moved over the last ten years with digital becoming a vital, cost-effective solution for smaller runs, I struggle to see this becoming a viable option for higher quantities (perhaps with the exception of a nanographic printing press). On top of the cost-effectiveness issues, there are maintenance and quality concerns as well. When choosing between offset and digital print, the main driver is the makeready costs versus speed. If you have a low quantity or variable information, the only viable option is going to be digital. However, if you are able to get the quantity higher, it does not take long for the running speed of an offset machine to make sense. The reality is, nothing beats offset print for quality; we can conclude that as we have done a few experiments using one-point font size and printing it using both digital and offset presses. The offset press can capture this information under the eyeglass, where the digital simply cannot render the detail. Our advice to printers is that you don’t want to invest in offset equipment that competes in the digital space; the value comes in the larger runs where digital cannot and probably never will compete. Most digital machines that the average client utilises is the dry toner variety which provides a very different look and feel compared to offset as it’s more prone to cracking when folded and you can lose the elegance of an uncoated sheet. At Printgraphics Printgreen, we go to some lengths to show quality to our clients before we start a project.


While some clients will accept the deficiencies in digital technology because of lower pricing, others will decide to focus on the cost per unit and utilise the larger run to obtain the quality their product is trying to convey. Printgraphics Printgreen has recently invested in a new Komori eight-colour press, complementing our Komori 10-colour (both A1) press and when paired with our in-house pre-press and full bindery services including burst binding, we offer a unique offset printing solution. Our investments are supported by skilled staff that give our clients the best service possible. Our best projects are when we are trying something new. For example, we recently completed a project with one of Australia’s leading publishing designer, Stuart Geddes, where we printed an adapted screen utilising only two PMS colours to create an effect of almost four-colour process with a metallic appearance. This was a great experimental result for us. The current COVID-19 landscape has shaken our clients’ purchasing habits as their cost structures have been fractured; we have found all projects have moved on either timelines or quantities. But, companies with strong resolve continue with their marketing communication and are the ones that will be in a stronger position at the other side of the pandemic. I believe we will have new opportunities post-COVID-19 as companies look for points of difference and authority by turning to what we know consumers trust; print. And offset printing will play an important ongoing role in this new future.


Specialise and OFFER VALUE


It’s not easy navigating through business in offset but companies that specialise and offer value will thrive By CBS Printing general manager Nathan Wilson


he current landscape for offset printing in Australia is very much a two-speed economy – a lot of companies seem to be trying to operate as they always have and are finding it tough, while others have gone down the path of pivoting and specialising, and finding niches. Also, what is often referred to as industry press power – the amount of machine capacity to produce – is in over capacity, which often leads to printers undercutting on pricing regardless of whatever work comes in, whether it is the right work for the business, the machinery and profitability. The offset environment, as we know it, is also consolidating and reducing in run lengths, and needs to be more efficient. Unless you are specialising and offering value in offset, it is becoming a very competitive landscape. However, the positives of offset printing will be (and what it has been for many years) its reliability, consistency, and quality. Offset print, if run and managed correctly, will and can still be a major competitor for digital workflows. Day-on-day offset technology is much more reliable and with the right systems and staff, can be pretty much all managed in-house rather than having to deal with the unknown issues and inconsistencies of digital print. While digital is becoming a bigger player in the industry, offset is still very much relevant today. How far away is a change to that in the future and what that will look like is really only anyone’s best guess.


The choice between offset to digital changes as jobs move in size, quality, and inline finishing. Work is coming to offset from the web and offshore, and for the needs of the market today, offset has the quality, reliability and competitiveness to make it very relevant. This is especially the case for industries such as packaging, POS and commercial. Offset has made significant leaps forward in terms of prepress plates, inks, machine hardware and workflows, and while it may all look similar in shape or process as it did years ago, there has been technological advancements in these areas. With CBS, developments in processless plates, UV press, and colour management and workflows have allowed us to be more efficient, and offer new substrates and product offerings. As a company, we have a range of equipment in offset printing equipment that includes the Ryobi 924 (A1) four Colour LED UV Press, Ryobi 750 (A2) four Colour + Aqueous Coater Press, and Ryobi 525 (A3) five Colour Press. These presses are complemented with late model prepress and thermal plating as well as post press equipment to give a complete offset press solution. These solutions support the company’s offset business by providing us with the unique opportunity to have all formats and sizes covered – from A3 through to A1 sheet sizes. It also allows us to ensure each job is planned for using the most applicable press, resulting in economical projects for clients, as well as workflow optimisation for print and post press finishing. The solutions also ensure that a job can be

optimised for quality results by being printed on the right size press across CMYK or PMS methods. In addition, it ensures that there is no wasted resource or material by running a job on a press that is too big or small. Having the presses from one manufacturer has allowed us to provide consistency across many areas of our business itself – from operations, to plates and process. I expect the offset space to only get tighter and leaner, and technology and development within offset to continue to get the small advances that can be achieved with time. We still very much need offset and its workflows, but like any competitive and changing market, survival of the fittest – businesses in offset that are specialised and focussed – will survive as they continue to change and adapt to market conditions.




Keeping up with the

NEW IN OFFSET New developments in offset have made it a viable option and conventional printers need to change their thinking and adopt the technology By Cyber Australia managing director Bernard Cheong


he offset printing landscape is ever evolving. The early adopters of the technology and lean manufacturing have been reaping the rewards and are continuing to grow. Those that were left behind have found it more difficult, and at times, impossible to keep up. This is because digital printing is limited by click charges, also known as counter charges, which results in high costs. The key is to become competitive by using an offset press to do the on-demand jobs that other companies are printing on digital presses. Generally, offset printing is more cost effective for runs of 200 or more. Offset presents more value than digital as with digital, the rate of obsolescence is high, the cost of operation is high, it’s not as reliable as offset and its residual value is low. In fact, at Cyber, we believe that digital printing plays in a different space to offset as it is there as a service and not as a print production solution. For example, the RMGT 10 TP has the most advanced functions and a short make-ready time. Its many automated features also make it easy to operate even for a less experienced operator. Labour costs account for a large percentage of total printing costs, so the RMGT 10 TP provides a huge competitive advantage. In addition to its efficiency, the RMGT 10 TP is highly productive as it is capable of one-pass colour perfecting, enabling a very low-cost system. In my personal opinion, considering that the price of a light-duty A2 digital machine (7,000 A4 (4/4) per hour) and a heavy-duty A2 highly automated LED offset press (60,000 A4 (4/4) costs the

same, it is a no brainer in choosing offset technology over digital. Apart from the fast make-ready and low make-ready waste which is a given today, the introduction of dry-to-dry LED printing system had seen massive productivity and workflow enhancement especially for short and ultra-short run (digital type) production. At Cyber, we have a range of offset presses from Ryobi MHI, which has the widest range of sheet-fed offset printing solutions in the industry. Its format sizes include the 340, 520, 680, 790, 920, a new 970, 1050, and 1130. These solutions feature labour saving automation, quality control automation, and IoT capabilities which are increasingly becoming important features of offset in a digitised world. The machines are designed to bring out the best in their operator, in turn, making the company profitable. If our users are profitable and growing, they will have the budget to invest and update their equipment, keeping themselves ahead of their competitors and keeping our factory busy.



However, the COVID-19 pandemic has changed the current landscape for offset printing in Australia. In this crisis, the rate of change and transformation has and will continue to increase. The strong businesses will become stronger, while the weak get left behind. Some of our offset users are very bullish and with less competition, coupled with their high productivity and quality, they are gearing up to grow their business. As an example, one of our users recently commented that with the installation of their latest press, what took nine hours to complete previously, they were able to get done in three hours. Another great example is CMYKhub in Australia. In 2016, the company installed three RMGT presses, with the goal of supplying print resellers with ganged offset printed products. Ganging up printed products make shorter run lengths competitive against digital print, with the added bonus of offset quality. Since then, the company has expanded print capacities with minimal additional costs or required floor space. The company has also emphasised better printing quality, along with focused marketing on next-day dispatch on products including business cards and flyers. Conventional printers need to change their mindsets to start including modernday offset machines into their line-ups. Old-school remedies based on wrong thinking do not work in the current day and age and to be ahead of the game, printers have to start running modern sheet-fed offset machines if they haven’t already. This applies to the foreseeable future as all trends point towards offset having a place in our future.


A solution for PACKAGING


Offset will continue to be used, especially in packaging, as it delivers on a number of benefits that are unmatched by other print forms By Koenig & Bauer Australia managing director Dave Lewis


ffset printing in Australia, and around the world for that matter, is still very much alive and will be for many years to come. Of course, COVID-19 has presented the world with real challenges, which has badly affected commercial printing – amongst many other industries – but many packaging printers are doing very well. This is because consumer trends during this period have shifted towards e-Commerce and online purchasing, which involves more packaging than instore purchasing. Packaging presses is the main market for Koenig & Bauer both locally and around the world, although we sell commercial configurations as well. In fact, our new Rapida 106X is one of the fastest perfecting press in the world with a top speed of 20,000 sheets per hour in perfecting mode. We also offer automated plate logistic systems and this, coupled with our ErgoTronic AutoRun feature for automated make-readies, allows for profitable short-run work, which is particularly attractive for Web2Print and section printers. ErgoTronic AutoRun is a standard on all our Rapida sheetfed offset presses. Koenig & Bauer also has a wide range of offset presses ranging from our half size Rapida 76 through to our medium format Rapida 105 and Rapida 106, and including our Rapida 145 and Rapida 164 large format presses. Offset printing is not a dying trend as its quality is still very high and offset presses can come equipped with coating units for single or double coating applications, cold foil, screen printing, die-


cutting and corona treatment units. Offset is good for volume printing, and some of what was once seen as challenges within offset is now a benefit. One of the biggest changes to offset presses in recent years has been the much quicker make-ready times and lower waste levels, putting it on the same level as digital and allowing offset to compete with digital to some degree. With that said, we still see digital as a complementary technology and not replacing offset at this time. Digital printing has made major inroads in commercial print but when it comes to packaging, the vast majority of folding cartons are still printed by sheetfed offset. Sheetfed offset presses can also utilise several ink and coating technologies on the same press such as conventional, UV and LED UV inks and coatings. Another major change is that large format presses can now be make-ready in as much as the same time as half-size and medium format presses with very high running speeds as compared to large format presses from, say, 20 years ago. At Koenig & Bauer, we believe that a hybrid offset and digital technology will drive the future. Leaning towards that trend, we recently unveiled our VariJet 106 press, which is a hybrid digital packaging press based on our Rapida 106 offset press platform. This means that you have the best of all worlds with a digital printing system but also the ability to include any units you can get on the Rapida 106 offset press such as offset units, anilox coating units and cold foil. The VariJET 106 combines the strengths of digital inkjet with those of classic offset printing and inline finishing.

Coating, cold foil transfer and printing before the inkjet unit, and for coating, printing and die-cutting thereafter – all processes can be integrated flexibly to match the individual job structure. It is this unique flexibility which defines the VariJET 106 as one of the most productive and most cost-efficient hybrid printing system in the emerging market for digital packaging printing. Only a tiny percentage of all packaging products retain their design for more than a year; there is no halting the trend to an increasing number of different folding cartons for identical products. Selling thrives on targeted, sometimes fast-moving campaigns, and packaging is the only medium for communication between the product and the customer. Whatever needs to be added to the packaging design – for example details of a competition, a photo of the local football champions or branding for a supermarket around the corner – even short runs, can be highly economical with the VariJET 106. Add in the personalisation and individualisation options, and customers can be offered print products with unique levels of finishing. But there are some factors to consider when choosing between offset or digital – businesses need to think about their run lengths and if they require variable data. Offset presses are much faster running than digital machines and make-ready times have reduced dramatically in recent years, so choices have become much harder to make. So, depending on what businesses’ requirements are, our view is that digital will be complementing offset for some time to come.



Having a foot in

BOTH DOORS Offset and digital should be complementary offerings, each providing their own set of benefits to printers

By Print & Pack Australia and New Zealand managing director Carsten Wendler


he current landscape for offset remains challenging in the commercial print industry but steady in the packaging sector. COVID-19 has heavily impacted the offset industry not just in Australia but globally, especially during the lockdown stages and with restrictions in place. The digitalisation of the world too, has been very challenging for the offset market – this has only accelerated and proliferated since COVID-19. Information that was traditionally printed, are sourced online through the digital media and that has a huge impact for the offset printers and in turn for the offset press manufacturers. However, in saying that, offset will be staying with us for a long time in the packaging sector. The maturity of the technology makes it very reliable. The cost of ownership is much lower and more predictable as companies can use the technology to print products in large volumes cost effective. Unless you print low quantities or a high degree of versioning, offset is the way to go. Print quality today is generally a given – even latest generation digital presses produce high-quality prints, so it is about costs and speed to market. A printer’s end customers do not care if the product is produced digitally or conventionally. It is a question of determining acceptable print quality, turnaround times, and cost; and the printer needs to judge with their clients and find the right balance between either print method.

The main factor to consider when choosing between offset and digital print is the run length. Generally, digital has its advantages for up to 250 sheets, but between 250 to 5000 sheets H-UV/LED-UV has its cost benefits, and above 5000 sheets, conventional presses gain momentum. At Print & Pack Australia and New Zealand, we offer a complete range of Komori offset presses, targeted at the packaging and commercial print market, in the range of 29-inch to 41-inch in width, starting from a basic configuration to a fully automated press with integrated full quality control systems. The drying technologies range from conventional presses to H-UV and LED-




UV technology. With H-UV and LEDUV, we are approaching digital territory, offering alternative solutions for the printer to choose from. H-UV and LED-UV technology have made inroads into the digital sector, which has provided offset with a better footing. Integrated closed loop colour control and quality control management with fully automatic logistics systems are also some of offset’s new-age capabilities that improve productivity as compared to previous generation machines. Not only do they reduce make-ready times, they also improve speed to market, reduce waste, which lowers costs and reduces the impact on the environment. Offset technology is here to stay, especially within the packaging industry, for a long time to come. There are some challenges within the offset industry itself – like having five major offset press manufacturers compete in a diminishing sector – making it very difficult to make this set up sustainable. Consolidation is needed more than ever as none of these manufacturers generate sufficient income from their activities on a long-term basis. At every crisis, we see one or two of them approaching their governments, requesting financial aid or state-backed loans, which is distorting the sector. Those with a good business case and strong balance sheets are the ones that are suffering from this. At the end of the day, to survive today’s world, printers need to be in both digital and offset technologies. The industry should view offset and digital as complementing printing technologies, not as opposing ones.



When should you fire a

salesperson? You should fire a salesperson as soon as it becomes apparent that it is a losing battle


n four separate recent phone calls, I dealt with an all-too-common question in our industry – “When should I fire a salesperson?” The short answer is that you should do it as soon as they demonstrate the inability to make money for you. The hard part, of course is knowing exactly when that is, and I think it is a fair observation that most printers fire salespeople at the wrong time, either before they have had a reasonable chance to produce, or well past the point of throwing good money after bad. Starting with the first half of this equation, it simply takes time to build relationships; to bring people to the point where they are even remotely interested in buying from any salesperson – or any printing company. I recently spoke to a printer who fired a salesperson (pre-COVID-19) after only three weeks. The reason, she told me, was that the salesperson had not brought in even one quote in all that time. Now, finding things to quote on and building relationships are two completely different selling strategies, and the real winners in printing sales focus much more on building relationships than they do on ‘chasing quotes’. Beyond that, three weeks at a sales job is just not enough time to provide any real indication of the likelihood of success – with one important caveat, which I will get to in a moment. I tell all of my clients that you have to be willing to invest in a new salesperson for six months, because even in a best-case scenario, it is going to take that long before you start seeing any real payback. Remember, you are asking your new salesperson to go out and try to change people’s habits.


You have to give your salesperson enough time to succeed before you choose to fire them

Every prospect has at least some sort of relationship with at least one other printing company. The challenge is to get those people to say “no” to the other printer, and start saying “yes” to you. Think about how long it took some of the salespeople you buy from now to win you over, back when they were in the same situation. You have to give your salesperson enough time to succeed!

Effort and cooperation

You do have a right, though, to expect a certain amount of effort – and cooperation – from your salesperson. That is the caveat I mentioned earlier. The reality is that it takes time to build relationships when your salesperson is doing all of the right things, but those relationships will never develop if your salesperson is not doing the right things, or enough of them. The best way to manage a printing salesperson is to set up ‘action standards’ – how many prospecting calls each week, how many follow-ups, how many appointments – and manage compliance with those defined activity levels. When a salesperson lives up to those ‘action standards’, I am willing to be patient. If they do not, it is an entirely different story. The first time a salesperson missed his/ her action standards, we would sit down for a short conversation.

“You may have misunderstood the situation,” I would say. “These action standards are not goals that I hope you will attain, they are absolute requirements for keeping your job. You will have to maintain this level of activity if you want to be successful.” If it happened a second time, the conversation would be even shorter: “Your job is officially in jeopardy!” If it happened a third time, the conversation would be even shorter still, three words: “You are fired”. The bottom line here is that you have to be patient with salespeople as they develop, but only as long as they are putting in the necessary effort. If you have a salesperson who is not willing to work hard enough – or smart enough – to succeed, you should fire that person as soon as it becomes apparent that it is a losing battle.


Dave Fellman is the president of David Fellman & Associates, Raleigh, NC, US, a sales and marketing consulting firm serving numerous segments of the graphic arts industry. Contact Dave at Visit his website at



We are stronger together An industry that binds together in times of need is one that can bring about the most support, as highlighted by TRMC


hen COVID-19 hit earlier this year, the effects made it clear that the industry needed specialist advice and support across a range of issues, and quickly. The Real Media Collective has always delivered various resources for our members; however, our main focus over the past few years has been on working directly with our members. The COVID-19 pandemic created a bigger need for not only our members, but the broader industry and we recognised with immediacy that print buying customers and government needed to understand the relevance and standards of our industry. Customers wanted to use the opportunity to push online and government was not aware of our size, standards or essential nature. It was determined that a collective industry approach was more important now than at any other time. We took the view to open our doors to the entire industry and deliver. I want to use this opportunity to thank the entire RMC team for the commitment they have delivered, and continue to deliver, to the industry. With doors wide open, we committed to building tools, fact sheets, education and knowledge in partnership with like-minded industry associations.

Product Surface Stability

The very first piece we developed was the Product Surface Stability fact sheet. The Australasian Paper Industry Association and RMC worked collaboratively to review research and commentary with regard to the COVID-19 virus life-span on paper and other surfaces. With Australia leading the way, the RMC Surface Stability fact sheet has since been picked up by our global partners and our fact sheet content has been published globally. It was important to get the surface stability message out, and correct any erroneous views that reflected paper as a transmitter of COVID-19.

Re-Build Together

The Re-Build Together webinar series brought the industry together and shared knowledge across the issues that were affecting all businesses during this pandemic. From May through to July, the industry was given weekly access to a host of experts covering critical issues such as workplace issues, mental wellness, finance, reinvention, and understanding what recovery and future success would look like. The interactive webinars evidenced the depth of skill in the industry and the supporters who helped make Re-Build Together such a success. We received over 20,000 attendees, engagements, shares, downloads, likes and views across the eight-week series and have now launched our Re-Build Together class notes to all attendees. These are now being run through a partnership with Visual Connections’ Virtual Trade Show as well as on our website.

Workplace Relations

Workplace and industrial relations became an immediate need this year. The RMC had recognised, over the past 12 months, that knowledge of our industry with regards to specialised industrial relations expertise was desperately needed. The COVID outbreak amplified this more than ever. As such, we moved swiftly and brought on board print industry IR specialist Charles Watson, who hit the ground sprinting in April this year, helping the industry understand and navigate the JobKeeper scheme and related amendments to the Fair Work Act. We also created a range of COVID-19 specific resources for the industry to implement in their workplaces to keep employees safe. When it became obvious that the detrimental effects of COVID-19 would last longer, we lobbied for the Federal Government to extend the JobKeeper scheme for the industry. We were the only industry body to directly inform the Fair Work Commission and government


on their proposed amendments to the industry Awards, the Fair Work Act, and other issues. Smaller businesses in the industry would be given some breathing space with minimum Award wage increases being held off until November this year, instead of July. We had previously considered and invested in using other associations to lobby on our behalf; however, this year proved that we needed our industry expertise, not another hotline, and that our members needed our support.

A low risk industry

From industry engagement, we developed the Printing and Distribution Protocols which all our members and those from several other industry bodies fully complied with. Visual Connections, Australasian Paper Industry Association, Fundraising Institute, Australia Post and the Distribution Standards Board supported them and remain signatories to these protocols – marking a great industry association coalition to achieve a united approach, which was applauded by government. The industry resource, aligned with government requirements, has been instrumental to ensure employees remain safe, and that we are not considered a high-risk industry. The recent Victorian lockdown issued updates to the state’s restrictions again, providing a baseline for members to align with.

Product Stewardship

We have supported a much-needed review and revision of product stewardship arrangements and waste management strategies for the benefit of industry and the Australian community. We have called upon government to ensure incoming product stewardship arrangements that will affect our industry, are managed by the industry and are now drafting the procurement protocols to ensure Australian government and related departments are buying from Australian printers instead of sub-contracting


REAL MEDIA COLLECTIVE affiliated regulated performance standards to assist Australia Post in overcoming those difficulties. We encouraged the Senate Committee Inquiry to support the Australia Post initiatives and in turn we committed, as an industry, to continue working with Australia Post with an open dialogue to address industry needs and opportunities to stabilise and if not, grow the mail sector for all Australians. We think now is the time to look closer at future-focused solutions to stabilise the postal service across the country and its related costs to our industry.

Women in Print

COVID-19 identified that a collective industry approach was more important now than ever

procurement out that is then produced overseas. Historically, our industry has suffered from regulatory requirements and imposed covenants that were created with no participation or involvement sought from within our industry. It is the industry itself that is best placed to understand the complexities and create the best solutions.

Go Local First

Based on the findings of our June 2020 Industry Insights report, 74.55 per cent of respondent companies believe Australian government spending should be prioritised as spending in Australia. We have called upon the government to beneficially utilise the opportunities these product stewardship arrangements present to increase economic momentum by linking product stewardship and the governments ‘Go Local First’ funded campaign directly to government procurement policy. We have called on government to also buy local at the ‘point of manufacture’, not merely through an Australian entity subcontracting procurement from unknown overseas origins.

Federal Government SME Loan Guarantee Scheme

The Federal Government’s SME Loan Guarantee Scheme was implemented as part of its economic stimulus response to the effects of COVID-19. Those loans are assessed through a lender’s usual credit assessment processes, backed by a 50 per cent government guarantee scheme, and the Reserve Bank


of Australia has provided a line of funding to ADIs for such purposes via its Term Funding Facility at a rate of 0.25 per cent. While providing another form of possible assistance, and aimed to assist SMEs, the scheme raised some concerns about the related lending conditions. Some financial institutions were proposing to charge rates of 10 to 12 per cent, given the loan is unsecured. Some were advertising rates of five to seven per cent, albeit those rates were listed as ‘base rates’ which lead to further ambiguity. We sought clarification from the Australian Banking Association on whether its members were actually aligned with the ‘spirit of the scheme’.

Australia Post Inquiry

COVID-19 resulted in Australia Post parcel delivery numbers going up and mail levels going down. Additionally, with the grounding of most commercial passenger planes, usual delivery standards were going to be difficult to meet. The Federal Government implemented changes to

The refreshed and rebranded Women in Print has been an honour to partner with. There are many industry initiatives the RMC supports and we are proud to do this for the enrichment of our industry and provide resources and opportunity for many projects. Outlier associations entering our industry should be held to account and our industry should demand investment in our industry programs and activities. We must seek more for every dollar we invest, and should there be associations gaining investment for specific services, they should offer our industry support in return. Women in Print is a tremendous example of an important need for our industry and the RMC is proud to support it in the way we are. There are more of such initiatives and we need all the support possible to continue delivering them.

Weathering the storm

Although the pandemic has been an Australian issue, the management of it has become a state by state by territory issue, with each having varied experiences. It has been heartening to see some areas open up and saddening to see others move back to lockdown conditions. The RMC has been able to inform government at all levels on the essential nature of our industry, particularly given the critical products and services our industry provides to the community.

Kellie Northwood is the CEO of The Real Media Collective, an industry Association representing the paper, print, mail, publishing and distribution companies across Australia and New Zealand. Northwood also holds the executive director position for the Australasian Paper Industry Association (APIA). For more information contact: 03 9421 2296 or



Establishing trust for the future of

your business

Taking a step back to reassess and re-evaluate your business needs and processes may prove to be a necessity in today’s COVID-19 world


s we move along in this much-hyped ‘unprecedented’ time of COVID-19 and navigating our businesses through its effects, going back to basics to establish trust could be the key to standing out. But this would mean having to reassess your business plan from the start. Here are a few things to consider:

Who are you?

You will need to determine if your business has changed over the last six months as a result of COVID-19. Ask yourself, “Have you been clearly communicating those changes with customers?” Your customers can’t effectively do business with you if they don’t know how.

How do you do it?

You will also need to assess if your processes have changed over the last six months, and if you have been clearly communicating those changes with customers. Again, your customers can’t effectively do business with you if they don’t know how.

What do you do?

COVID-19 has turned touching things into a medical decision. Okay, I admit that was extreme; but I know people who keep their mail in their garage for three days before they bring it inside, so it’s not out of the question. With an equation of touch is equal to bad currently topical and the print industry promoting our marketing advantage as being tangible versus electronic all of these years, we have an unprecedented branding problem as touch becomes a negative impression. Have you looked at your website and marketing materials to tone all of that down? Touch is a touchy subject right

Going back to basics to establish trust could be the key to standing out

now, so don’t let a few words be an obstacle to a sale or show that you aren’t sensitive of the situation – or sensitive to the physical and mental state of customers.

What do you stand for?

COVID-19 and social unrest, especially in the US, has created an opportunity for brands and corporations to take a look at themselves and what they support. It’s no different for print businesses. Your customers may want to know where you stand on social issues before they work with you. They may also be watching your social media and messaging to assess for themselves. Silence isn’t a strategy, it’s a position. Have a long think about this and remember that no matter what you do, there will be some people that won’t like it. Be willing to accept that and create the customer base you want to work with, and attract.

Are you sticking around?

It’s becoming more frequent to read about print businesses closing and/or declaring bankruptcy not only in the US, but around the world. If you are financially sound, and if you know you are going to be around for at least a year, let your customers (and prospects know). They are nervous about this, and they don’t want to start something – a project or a relationship – that you can’t finish.



The bold subheads tell a story about your business that you need to deliver on, with no exceptions. COVID-19 has disrupted so many aspects of your customers’ lives as is, so don’t make it difficult for them to work with you. You need to understand how to work your business and who you are. More importantly, you need to deliver on your brand promise, at every single time. This has never been more important with so many things in flux and unreliable around us. Make establishing trust with customers your mission over the next few months. Trust me, they need it.

Deborah Corn has more than 25 years of experience working in advertising as a print producer. She 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. SPRINTER.COM.AU

Is COVID your opportunity to win


customers for life? Even though times are tough at the moment for all businesses, the best we can do is to look for the opportunities and make the most of them


one of us alive today have lived through a more uncertain time than the one we’re living through right now. It feels like almost everything has changed and as though there’s nothing we can be sure of anymore. In our businesses, most of us are up against real day-to-day challenges in just keeping the business going and in our personal lives, many of us are grappling with a whole new way of life. With all this going on in the background, it’s easy to slip into survival mode, do what we’ve always done and focus on what’s right in front of us at any given moment and consider just getting through the day a success. But the issues we’re dealing with are things like an email from a customer, a phone-call you need to make to a supplier, or an overdue bill that needs to be paid right now. These things do need to be attended to, but they will always be there and no amount of working hard will change that – you can’t get off the hamster wheel by running on it faster. What you want is to get more loyal customers so you don't have to constantly be chasing the next sale, looking for new leads, or twisting yourself into a pretzel to get business from a customer who is demanding terms that are so unrealistic, it will cost you money to help them but you need the revenue so you say yes anyway. Nobody wins in this scenario. Right now, everyone is feeling the impact of the COVID-related uncertainty in some way, whether subtle or serious. This means that everyone you deal with now is in a state of anxiety and possibly even fear. These are not great emotions to have to cope with in a business environment because people are “on the


Now is the opportunity to provide customers with a sense of certainty and being in control, and help them feel understood and valued

edge” when we call them, email them, or they come in looking for our help. Stress makes people come across as more closed, sceptical and demanding than they would ordinarily be; they might even seem like they are ‘hard work’ or ‘unreasonable’. If you don’t understand why this is happening and how you can help them, you’ll be frustrated and treat them in a way that could cost you the opportunity to create a customer for life. As humans, we crave certainty; the unknown is the greatest psychological stressor. So much so that the navy seals use the unknown as their primary ‘test’ by keeping all details for every exercise secret – and not giving the recruits any idea what to expect. This creates maximum stress and allows them to weed out anyone who isn’t iron willed. The world as we know it is now something like a navy seal boot camp and everyone you come across is looking for some kind of certainty to cling on to, some sense of being in control. Psychologists would call this “psychological safety”. Most other businesses will be treating customers the way that they always have and will feel like people are just more demanding and difficult to please than ever. In the process, this treatment will be making customers feel like they are getting really bad service and they’ll be looking for help elsewhere. This is your opportunity to do everything you can to give your

customers a sense of certainty and being in control and help them feel like they are getting great service, that they are understood and valued. Here are some things you can do: 1. Mention the ‘elephant in the room’ – don’t just pretend things are normal, acknowledge the strange situation we’re experiencing and that it is understandably creating some uncertainty for people. 2. Be a bit more patient with people – give them a bit more time in explaining things, or even just a bit more time on small talk. 3. Make sure the process of dealing with you from start to finish is very clear for your customers – create documents or videos helping them at every step of the way, from website to service delivery. 4. Give your customers choices whenever you can, for example in service levels, product choices, payment options – put these in writing or create images so they can see them. 5. Acknowledge your customers – thank them for their business with a card, text message, video message or email. These little things will make a huge difference to the experience a customer has with you and the way they feel about doing business with you. Even though times are tough at the moment for all businesses, the best we can do is to look for the opportunities and make the most of them.

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



Printed solar offers new


Printed solar technology, pioneered by Professor Dastoor and his team at the University of Newcastle, has the potential to revolutionise the printing industry


magine printing kilometres of solar panels on commercial printing machines at high speed and low cost. That’s exactly what we can do with printed solar technology. Pioneered by myself and the team at the University of Newcastle, this technology is approaching commercial readiness and has the potential to revolutionise the printing industry. Traditionally, printing has been viewed as just patterning surfaces, such as paper, card and plastic, with pictures and words. However, the discovery and development of semiconducting inks means that we can now create electronic devices, such as solar panels, using commercial-scale printing. The Centre for Organic Electronics (COE) at the University of Newcastle has been working on the design, fabrication and characterisation of large scale printed solar panels for many years; translating the technology from the benchtop to the rooftop. Extensive economic modelling by the COE has shown that the low cost of manufacture means that large scale printed solar technology only needs modest device efficiencies and lifetimes to compete with coal generated power. For example, three to five per cent of efficient devices with a three- to fiveyear lifetime provide electricity at a cost competitive with current generation and that means printed solar panels can be fabricated and installed at a cost of $10 per m 2. No other renewal energy technology can be manufactured as quickly or can deliver as much electrical power per gram of manufactured solar panel. Whereas a standard solar panel can weigh as much as 20kg per m 2, our printed solar panels only weigh 300g. The low cost and weight of this technology combined with speed at which it can be deployed is exciting; opening up applications in disaster relief and power for developing communities worldwide.

The printed solar technology at Lane Cove Council's new urban space, ‘The Canopy’, in Sydney

The manufactured solar panels consist of multiple layers fabricated using a range of printing techniques, from gravure to slot-die coating, that are commonly used by the printing industry. Additionally, the COE has established extensive facilities for upscaling the production of the required organic electronic materials by adapting existing chemical synthesis to enable production at large scale, thus dramatically lowering costs. For example, by tuning reaction conditions to reduce synthetic complexity and avoiding expensive purification, reaction yields are maximised while solvent use and waste are minimised. I expect printed solar technology to both disrupt and revitalise the printing industry. Printed solar is manufactured on conventional printers – our lab-scale system previously manufactured wine labels. However, the challenge lies in developing the science and technology to allow the printing of functional inks to produce controlled electronic layers that are only 100 nanometres thick. Moreover, with over 99 per cent of the panels consisting of PET, the material can be readily recycled – a distinct advantage over traditional silicon panels. We’re currently investigating recycling processes for this material. Our hope is that we can separate the outer PET layers and reuse them to make new panels with minimal processing.


The current global focus is on the need for immediate action to combat climate change and to transition the world’s energy profile to renewable sources; a market that was worth $52.5 billion in 2018 and is projected to reach $223.3 billion by 2026. Indeed, most OECD countries have already committed to expansive renewable energy growth and are rapidly transitioning energy production away from fossil fuels. For example, the UK has brought forward a full ban on selling new petrol, diesel or hybrid cars to 2035. In this environment, the prospect that the printing industry could simply print vast areas of solar panels is extremely attractive. Printing companies could become energy companies; manufacturing solar panels to deliver electricity at scale. Establishing a printed solar industry from the ground up also requires creating a workforce with the required skills and knowledge. The COE has developed a unique teaching program at the University of Newcastle that delivers advanced knowledge in organic electronic technologies via practical experiences. Students can study full-time or part-time for a series of qualifications, ranging from a six-month graduate certificate all the way to a two-years masters degree. Our focus is on equipping printers with the skills and knowledge needed to join new companies, transition existing companies or establish new start-ups.

Professor Paul Dastoor is a professor of physics at the University of Newcastle in Australia. He is also the director of the Centre for Organic Electronics (COE), which he established in 2007. His research interests encompass the growth and properties of materials that offer the tantalising prospect of paints that generate electricity directly from sunlight and sensors that can be printed as flexible arrays. SPRINTER.COM.AU

NEW PRESSES September 2020

Canon launches its latest ProStream 1800 inkjet printer

Screen showcases its new Truepress Jet 520HD mono

Cyber brings to market the new 970 series by RMGT

Kyocera diversifies into inkjet by unveiling new press


Canon launches its ProStream 1800 By Hafizah Osman

Canon Production Printing Australia has launched its new ProStream 1800 continuous feed inkjet printer, the newest model in its ProStream 1000 series. With increased speeds of up to 133m/min, the company said the new printer boasts the highest resolution and print quality of any digital printing press at that speed, making it suitable for commercial printers who

want to achieve ultimate performance. Combining new inkjet innovations with offset printing techniques, the press strikes a balance between high productivity, superior print quality, flexibility and media versatility. The company said it now allows commercial printers to expand their offering by migrating higher volume jobs from offset to digital inkjet, in addition to boosting production levels, slashing turnaround

The ProStream 1800 continuous feed inkjet printer is the newest model in Canon’s ProStream 1000 series

times and increasing profit margins across a wide range of applications. With the higher web speed of 133m/ min (66 per cent faster than the ProStream 1000), the ProStream 1800 produces up to 107,500 A4 images or 11,300 B2 sheets 4/4 per hour while maintaining print quality. The ProStream 1800 can also achieve high levels of print quality across a huge range of media, including standard offset coated, uncoated and inkjet optimised papers from 40gsm to 300gsm, as well as print calendars, posters and point of sale applications with the ability to print up to 556mm wide and 1,524mm long. The press also eliminates the need to stop production to switch between different format lengths for a seamless changeover. Its air floatation drying system dries all jobs evenly. Artificial intelligence

linked to a sensor continuously makes adjustments to the drying system during the print run to ensure quality. It also maintains the optimal web temperature, reducing energy consumption. The ProStream 1800 uses native 1,200dpi piezo drop-on-demand print heads and proprietary polymer pigment inks with Canon ColorGrip to ensure colour consistency. Canon’s Inline Quality Control, a highperformance camera system, is also included. Canon Production Printing Oceania managing director Craig Nethercott said, “With the launch of the new ProStream 1800, we can support customers who are looking to grow their production volumes without compromising quality or speed. The new press marks an extension of the successful ProStream technology that was launched in 2017.”

Screen unveils its Truepress Jet 520HD mono By Hafizah Osman Screen GP Australia has released its new highdefinition mono web digital printer, the Truepress Jet520HD mono, the latest addition to its Truepress Jet520HD series of high-speed roll-fed inkjet presses. The system is a specialised model for monochrome printing. “Monochrome digital output still accounts for a significant portion of printed output,” Screen GP Australia managing director Peter Scott said. “Book printing, trade paperbacks, pharmaceutical multi-lingual pamphlets, lottery tickets and transactional print continue to be consistent and on-

demand production of required numbers has become standard. “On-demand production has been advancing rapidly, particularly for higherresolutions, and the ability to print digitally to coated and uncoated stocks is driving demand.” The 520HD mono joins the rest of the HD colour lineup but is the first allmono version. Resolution is up to 1,200 x 1,200 dpi with Screen’s SC inks, which also feature rapid drying technology and high levels of substrate adherence. The company said the solution is able to achieve speeds of up to 150 linear metres per minute and that Screen’s Truepress ink SC


range has already established an impressive track record with other Truepress Jet520HD colour models. “These inks give the press the ability to print directly onto offset coated papers, without primers,” Scott said. He added that the compact configuration of the Truepress Jet 520HD mono provides greater flexibility when choosing the installation

site. It is also designed for enhanced usability. Output instructions, confirmations and other processes can easily be managed from a tablet device, noticeably improving operational efficiency. Screen has designed the Truepress Jet 520HD mono to be added to a production line as a dedicated monochrome press or used to replace tonerbased production printers.

The Truepress Jet 520HD mono joins the rest of the HD colour lineup



Cyber brings to market the new RMGT 970 series By Hafizah Osman Ryobi MHI Graphic Technology (RMGT) has launched a new 970 series based on the technology of its popular 920 series and flagship 10 series press. With the combined technology, the series aims to offer versatility, durability, and innovation. The range will be offered in Oceania through RMGT’s distributor, Cyber. “Ryobi MHI Graphic Technology has further expanded its product range with this launch. In line with its lean manufacturing strategy, the company has studied the needs of our users and to maximise profits by

KM launches new C14000 By Sheree Young Konica Minolta’s new high speed toner production press, the C14000 AccurioPress, includes a bunch of new features including upgrades to its IQ 501 image optimiser, an increased capacity 6,000 sheet stacker and the option to add a new TU 510 trimmer unit which can slit, cut and crease all inline. The C14000 can print at speeds of up to 140 A4 pages and 80 A3 pages per minute on 52 to 450 gsm stocks at a 2400 x 3600 dpi resolution. An air suction feeding system prevents multiple sheets from going through simultaneously. The press, which has been developed over the past four years, also has long sheet capabilities up to 900mm duplex and 1.3m simplex.


Cyber’s new RMGT 970 series is based on the technology of the brand’s popular 920 series as well as its flagship 10 series press

reducing production cost and increasing efficiencies, the new RMGT 970 was introduced,” Cyber managing director Bernard Cheong said. The RMGT 970 is an A1plus size offset press range that can handle a maximum sheet size of 650mm by 965mm.

This new printer already has two installations in Australia, including Sydney’s Imagination Graphics. Konica Minolta Australia general manager production and industrial print Sue Threlfo said, “In Australia, we have a community of passionate business minded individuals who are now needing to rethink so many elements of their business to ensure they are sustainable beyond 2020. “Today we are officially launching the high speed C12000 and C14000 AccurioPress which fortunately delivers on this efficiency refinement.” Other features of the press include enhancements to the IQ 501 optimiser and the ability to be fitted with Konica Minolta’s new TU 510 inline trimmer as an add-on, which gives the ability to slit the outside edges of a sheet, complete up to five creases as well as internal slitting and cross directional trimming.

The range is said to perform a wide range of printing work, including printing of multipage materials, posters, as well as packaging. “The 970 series can provide maximum versatility for printing companies. Firstly, the maximum paper size of

970 series is 650 x 965 mm which is suitable for several countries,” RMGT said. Some of its other features also include a benderless plate clamp, feeder and delivery operation touch panel, and other automated functionalities. The world premiere of two sets of the 970 series was scheduled to be launched at drupa 2020 but as the show is now postponed, RMGT is encouraging its distributors and customers to see the range at its Fuchu factory in the coming months. “Once we have fixed our schedule, we will inform everyone accordingly. We look forward to seeing you in near future,” RMGT said.

Koenig & Bauer Durst VariJET 106 heads to beta

By Sheree Young

A new packaging press created through the joint venture of two of the world’s leading press manufacturers, Koenig & Bauer and Durst, is set for its first installation at the beginning of next year prior to a formal unveiling at drupa 2021 in Germany in April. The VariJET 106 B1 single-pass press is neatly targeted at the folding carton industry and integrates Durst’s inkjet strength with Koenig & Bauer’s Rapida 106 offset press. The 6,000 sheets per hour hybrid press also comes with inline finishing, bringing unique flexibility to digital package printing. It can produce personalised and individualised print products and can easily alternate between short and medium runs. Robert Stabler, managing director, Koenig & Bauer

The press is targeted at the folding carton industry

Durst, said, “We’re really excited by the opportunities and progress with our muchanticipated VariJET 106. We have a number of existing customers that would like to be beta sites, and we plan to show them the press after the summer. The customer we choose will have a vision for mass customisation and be a good partner for a beta site. Feedback from our customers is that shorter run lengths, mass customisation and the need to be more agile are the compelling reasons for moving to digital production.”



Roland DG showcases new UV-LED flatbed printer By Hafizah Osman Roland DG Australia has taken to the Print, Sign, Display & Graphics Virtual Trade Show to showcase its latest technology, the IU-1000F UV-LED highproductivity flatbed printer. The printer was intended to have its first public showing in Australia on the Roland DG stand at Visual Impact, but as

The IU-1000F UV-LED highproductivity flatbed printer’s advanced features optimise ease of use and performance

the trade show was replaced by the virtual trade show as a result of the effects of COVID-19, its launch was on the virtual platform. The printer prints high quality graphics at fast speeds directly onto 1220mm x 2440mm media boards with a 110mm height clearance. A wide range of substrates can be used for print, such as PETG, PVC board, foam board, wood, corrugated board, aluminum plate as well as others. It features wide-pass printing with 12 printheads in a staggered three-row arrangement, which print at approximately 116 sqm per hour in a four-colour draft mode. In addition, highdensity, high-adhesion UV inks can be used for full-colour

printing onto metal, glass and acrylic (it includes a primer ink for added adhesion). Roland DG Australia marketing team leader Jacob Higgins said the flatbed printer’s advanced features optimise ease of use and performance, including automated media height detection, automated pin alignment system, multizone vacuum system, and an ioniser function. “It also has an ink degassing system and circulation system built for high-volume use, in addition to SAi RIP software,” he said. “The IU-1000F is suitable for medium and large scale sign and display businesses and print service providers who currently run Roland DG or other inkjet roll to roll printers

and are looking to increase their offering and production capabilities and/or who already have other flatbed printers and are looking to upgrade, or increase their production with an additional printer. “The IU-1000F is a powerful solution for sign and display or print production business that seek more efficient and faster-turnaround production capability. By offering increased productivity, material compatibility, image quality, ease of use, and all the other aspects of this product, the IU-1000F provides increased profitability for printing businesses.” The company will also be looking to add the newlyunveiled VersaUV LEF2300D benchtop UV flatbed printer to the tradeshow.

Kyocera diversifies into inkjet with new press By Sheree Young Kyocera has entered the inkjet production market with the launch of a new press, the TASKalfa Pro 15000C, which takes advantage of the Japanese company’s heritage in inkjet production printhead technology. It has drawn on its decades of expertise in the multi-function printer space to produce its first production inkjet press aimed squarely at the commercial print market. The modular press can print at speeds of up to 150 A4 pages per minute and can store up to 14,310 sheets. It is designed for various print needs with the ability to print up to one million A4 pages per month. Kyocera Document Solutions Australia senior marketing manager Jacob Palathingal said benefits of the press include low maintenance,

high efficiency and low energy consumption, making it economical. “The impressively productive machine provides companies of all sizes with an unrivalled return on investment thanks to its 150 pages per minute and marketleading reliability,” he said. The new press marks a diversification for the company

beyond the office printer segment. But in doing so Kyocera has held on to the key features that have long been popular with Kyocera products, namely ease of maintenance. The press has a warm-up time of less than 120 seconds and a time to first print of 5.5 seconds or less. Palathingal also said the device operates at 6.3 KwH/

week for Typical Electricity Consumption (TEC), which according to him, represents one of the most energy efficient products in this category on the market. “Our intrinsic values are what has helped Kyocera position ourselves at the forefront of innovation within the printing industry,” Palathingal said.

The TASKalfa Pro 15000C takes advantage of Kyocera’s heritage in inkjet production printhead technology



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