ProPrint August 2020

People Technology Business

www.sprinter.com.au August 2020 $8.00

Ricoh delivers a perfect fit A post-COVID comeback

Print is in the Blood

Woman on a Mission

Wide format work could be the perfect post-pandemic print pick-me-up

Quick thinking helps NSW’s Clarke Murphy Print beat the COVID-19 blues

Centrum Printing CEO Sandra Duarte reflects on her leadership journey

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AUSTRALIA’S BEST TRADE PRINTER

EDITOR’S LETTER SHEREE YOUNG

Tough year battles on as virus takes its toll August? Really? It is hard to believe we are this far into 2020 – the year that will go down as one of the toughest. I know tough puts it mildly but using anything stronger would be inappropriate. So, I’ll stick with tough, and yes tough it has been and tough it will be.

As I write this Victoria is experiencing increasing numbers of daily COVID-19 cases and deaths. It is a stark reminder to us all about how virulent this virus is. Queensland has closed itself off to Greater Sydney.

The borders to Western Australia, South Australia and Tasmania remain closed, while the Northern Territory is slowly opening up.

All of this has sent a devastating shockwave through the economy with the deficit set to hit $86 billion in the October budget and rising.

Unemployment is expected to hit nine per cent by Christmas.

The federal government has rolled out plans to save the economy with the JobKeeper scheme extended and a JobMaker plan setting a forward plan. But like with many future projections, many unanswered questions remain.

Printers bear the brunt of a downturn first and foremost. You could say they have a front row seat on the economy.

It is the printer that notices when things drop off like what happened in April when the tap was just turned off virtually overnight.

Likewise, when business picks up again, printers feel this straight away.

Printers are adept at managing change, and it is heartening to see this reflected across the industry in so many ways.

The 37th National Print Awards were held with great success on a Facebook livestream this year.

Suppliers are in full swing launching new technology virtually.

Konica Minolta even went so far as entertaining the crowd with a comedian when the C14000 was unveiled.

4 ProPrint August 2020

Editor Sheree Young (02) 8586 6131 SYoung@intermedia.com.au National Sales Manager Carmen Ciappara 0410 582 450 carmen@proprint.com.au Design and Production Manager Carrie Tong carrie@i-grafix.com Managing Director James Wells james@intermedia.com.au Subscriptions (02) 9660 2113 subscriptions@intermedia.com.au Subscription rate (6 issues) Australia $69.95

Printed by Hero Print Alexandria, NSW, 2015 Mailed by D&D Mailing Services Wetherill Park, NSW, 2164

The Fan in The Stand concept for the NRL proved successful for NSW's Clarke Murphy Print.

The popular campaign also resulted in a $6,634 donation to mental health charity Gotcha4Life.

Family-owned Clarke Murphy Print, featured on page 38, almost overnight started producing desks and NRL footy fan cut-outs to keep the presses running.

I know it is not rosy for everyone out there but there are signs of improvement in some sectors.

For this issue, I had the pleasure to chat with Sandra Duarte, the CEO of Centrum Printing, about her inspiring leadership journey and her determination to give back and help guide young women.

Technology writer, Peter Kohn, has also written a feature on how wide format printing could be the perfect post-pandemic pick-me-up as demand for in-home décor and decorative wallpapers booms, especially as working-from-homers seek a new backdrop for their Zoom profile.

We hope you enjoy the read and look forward to seeing you all again soon. Go well and stay safe.

ProPrint 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.

www.sprinter.com.au

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CONTENTS

9

28

38

14

40

18

Contents August 8-20 Update

28 Q&A with Sandra Duarte

STAR BUSINESS

Keep updated on major printing news including the latest on the fallout of the COVID-19

Centrum Printing CEO on why inspiring and encouraging women to aim high is crucial

38-39 Print is in the blood

22-23 Debrief Recap of all the major developments published on sprinter.com.au

24-25 Comment: Northwood The Real Media Collective CEO Kellie Northwood sits down with the Women in Print Patrons to talk about the future

26 Comment: Cryer Industry recruitment specialist James Cryer's vision for a more flexible approach to future employment

VIRTUAL TRADE SHOW 30 Visual Connections Visual Connections' 24-hour a day, fourmonth long Virtual Trade Show is still in full swing

WIDE FORMAT FOCUS

PRINT DIARY

Peter Kohn investigates if wide format printing and its variety of applications could be just the ticket for beating the pandemic blues

31 What is ahead in print 2020 has been a year of change, don't miss the diary to stay informed

COVER STORY

27 Comment: Romano

34-36 Ricoh's perfect fit

Printing industry legend Frank Romano discusses the continued strength of the printed book

Ricoh has unveiled its latest piece of kit with the new Pro 5300s range a perfect match for commercial printers and franchisees alike

6 ProPrint August 2020

Clarke Murphy Print is built on generations of industry experience with a father and son team leading it into the next chapter

40-43 A wide format post-COVID comeback

Feeling social?

Follow us on: @SprinterNews @SprinterNewsAust @news_sprinter www.sprinter.com.au

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UPDATE

Media Super to support Emerging 50 again

by Sheree Young

Printing industry superannuation fund, Media Super, is again throwing its support behind the ProPrint Emerging 50 as Foundation Partner of the initiative which recognises the industry’s rising stars.

The Emerging 50 is for members of the industry who have made a significant impact in their five years or less in the industry.

Emerging 50 recipients work in all areas of print including production, sales, graphic design, administration, finance, marketing, research and IT. ProPrint launched the Emerging 50 in 2019 as a running mate for the long-running Power 50, which recognises the industry’s leaders, advocates and innovators, and is now in its 10th year of operation.

This year, The Real Media Collective is also partnering with the Emerging 50 to deliver a 12-month mentorship program to one lucky recipient.

Self-nominations for the Emerging 50 are welcome and employers are encouraged to nominate an employee whom they believe has made a significant impact.

All nominees are invited to attend the annual Power 50 and Emerging 50 combined event scheduled for mid-November in Sydney.

Media Super Acting CEO Tony Griffin says, “We are delighted to continue our support of the ProPrint Emerging 50 as the Foundation Partner of the awards.

“Media Super is the industry super fund for

The rising stars of Australia’s dynamic print industry were recognised at the 2019 Emerging 50 in Sydney

print, media, entertainment and the arts, and is whole-heartedly committed to the recognition of professional excellence for our emerging industry leaders.

“We applaud the ProPrint team’s continuous improvement of the awards, this year incorporating a mentorship program with the objective of driving personal growth, building skills, knowledge and understanding.

“Given the challenges the industry faces today, it is more important than ever to invest in the leaders of tomorrow.”

Cactus Imaging and Visual Connections are also supporting the event.

The Emerging 50 mentorship is designed to develop, guide and support one member of the 2020 ProPrint Emerging 50.

It will offer the recipient the opportunity to learn more about the industry and parts of it they may be seeking a career within.

The program includes engagement with industry leaders, site tours and client introductions with each interaction tailored to suit the recipient’s interests and career objectives.

Industry welcomes JobKeeper extension

by Hafizah Osman

Printers have welcomed the federal government’s extension of the JobKeeper wage subsidy but have expressed concern for struggling operators that may be using it to mark time.

With the coronavirus pandemic continuing to hit businesses, particularly in Victoria, the federal government extended the JobKeeper scheme until March 2021, but at a reduced rate and with tighter eligibility rules.

Cactus Imaging general manager of operations, Keith Ferrel, said while some print companies are thriving, the majority are either marking time or struggling so any government support is welcome.

But Ferrel also had a word of warning for operators that may be propping up their businesses with the subsidy.

“It is vitally important that print companies who keep staff on the payroll when not necessary realise the extra costs they will incur as they will still be liable for holiday pay, long service leave and redundancy pay,” Ferrel said.

“The extension of JobKeeper will prove a godsend to many print businesses and may well mean the difference between either closing or downsizing. The weaning off of the subsidy over the next eight months also gives business the opportunity to gauge where they are 8 ProPrint August 2020

Beware ongoing costs of retaining staff despite JobKeeper: Cactus Imaging’s Keith Ferrel has warned

heading and buy a little time as any certainty in the market is a long way away.”

Imagination Graphics director Emmanuel Buhagiar said the subsidy is necessary.

“What the government is doing is nothing less than extraordinary. It has helped businesses stay afloat and keep going. We need the support to keep our heads above water,” Buhagiar said.

“It’s important to look after your loyal employees in these hard times but you need to keep a constant eye on how your business is going because if you go broke, nobody wins, and nobody has a job.”

Kuhn Corp director and president of the

Print & Visual Communication Association (PVCA) Walter Kuhn said regardless of the restrictive terms of the subsidy, the industry will benefit from the support.

“I am relieved and happy that government has heard the voice of our industry and extended JobKeeper,” Kuhn said.

“Even with JobKeeper on more restrictive terms, the assistance complements the newly announced JobMaker programme which will give long-term training incentives, and the clear evidence that state and federal governments are pivoting to ‘buy Australian’, which will act as a stimulus to the industry on an ongoing basis.”

The Real Media Collective’s general manager of IR, policy and governance Charles Watson said leading into the federal government review of the scheme in June, the Collective advocated strongly for a JobKeeper extension.

“We made the negative economic effects of COVID-19 on our industry, and particularly on smaller businesses, very clear to the Treasury review,” Watson said.

“We were able to establish that the industry, as a whole, would not get a lot of clean air until the conditions for those industries that form the client base of our industry showed appropriate improvement.” www.sprinter.com.au

UPDATE PRINT BY NUMBERS

Taylor’d Press dominates 31 National Print Awards

by Sheree Young

An impressive bespoke print campaign for community bank, Up, was a major contributor to Melbourne print house Taylor’d Press winning five gold medals, being named Offset Printer of the Year and also winning the Judges’ Award at the 37th annual National Print Awards last month.

Taylor’d Press owner Kirsten Taylor was also named the inaugural Exceptional Women in Print winner during the awards wh ich were livest rea med through the Print and Visual Communication Association’s Facebook page.

Digitalpress, founded by PVCA honorary secretary Theo Pettaras 15 years ago, won Printer of the Year Digital and took out two gold, two silver and one bronze meda l for the Spearwood campaign.

Tasmanian industry veteran, AIW founder and former PVCA board member Peter Clark won the Media Super Lifetime Achievement Award for his decades of contribution to the industry, which has included considerable efforts around sustainability in heatset printing.

Media Super Acting CEO Tony Griffin presented Clark with his award in the livestream and reflected on Clark’s career including his start as a lithographic plate making and lithographic printing apprentice at Tasmania’s Cox Kay in Hobart.

Clark appeared via videolink from his home in Tasmania through the presentation and said he was surprised and honoured to win the award.

“I would like to thank Media Super and the PVCA for holding this event. I’ve had a long career in printing and started in 1963 and it has been a great industry

to work in and is still a great industry,” Clark said.

“It has created a lot of opportunity for myself and certainly thousands and thousands of other employees.”

Impact International won gold in the Print Sustainability award for the second year running for its recyclable and printed plastic tubes, with IBS Design Resources taking silver and Eckersley Print Group winning the bronze.

The Media Super Young Executive of the Year went to Scott Mason of Payne Print in Brisbane. Mason started with the business as a prepress apprentice and has upskilled to be a digital print operator.

He was also a runner up for apprentice of the year in the 2016 LIA awards.

Speaking to ProPrint about her wins, Taylor said she was immensely proud of the work Taylor’d Press produces for its valued clients. Four of the five golds were for the Up mailer campaign, with the fifth gold in the stationary category for a campaign for Fuel Design Agency.

“We have a huge sense of pride for the work that was produced,” Taylor told ProPrint.

“We put a lot of work and heart into everything we do here, so it is nice to be recognised nationally for that.”

Other gold medal winning pr i nt e r s i nc lu d e D e t p a k Cartons; Foot & Playstead, By Ninja, Who Printing; Ellikon Fine Printers; Spicers; Adams Print; Note Printing Australia; Peacock Bros; St yleprint; Pandoras Boxes and Openbook Howden.

All gold medal winning work will now be shown at Print 2 Parliament on October 21.

The number of years Clarke Murphy Print has now been operating p38

15 The number of years Alon Bar-Shany ran the HP Indigo division p20

Exceptional Women in Print award winner for 2020: Taylor’d Press owner Kirsten Taylor

Maximum years of industry experience for Emerging 50 recipients p33

27 The number of exhibitors at the Visual Connections Virtual Trade Show p14 This bespoke print campaign has given Taylor’d Press scope to show its many talents

5 The number of gold medals won by Taylor’d Press at the NPAs p9

5 Media Super Lifetime Achievement Award winner: Peter Clark

Business Awards: • Media Super Young Executive of the Year: Scott Mason, Payne Print • Creative Sustainability Award: Impact International (gold); IBS Design Resources (silver); Eckersley Print Group (bronze) • Media Super Lifetime Achievement: Peter Clark • Women in Print: Kirsten Taylor • Printer of the Year Offset: Taylor’d Press • Printer of the Year Digital: Digitalpress • Judges Award: Taylor’d Press for Up Banking campaign www.sprinter.com.au

5

The number of Women in Print Patrons dedicated to the industry p24

2 The years Media Super has supported the ProPrint Emerging 50 p8

August 2o2o ProPrint 9

UPDATE

Spotpress, ACM print new regional newspapers

by Sheree Young

News Corp’s decision to stop printing over 100 regional and community newspapers has created fertile soil for the launch of new newspapers with two new publications in print in northern NSW and more on the horizon.

The Northern Rivers Times and Richmond River Independent appear to be the early runners in a growing trend.

Spotpress and Australian Community Media at North Richmond have so far gained the work that emerged when News Corp went digital.

Spotpress ma nag ing director, John Georgantzakos, said several other local papers are now preparing to launch, mainly in northern NSW and Queensland.

Georgantzakos admits it is a tough game but says with a commitment to hyper-local news stories and a 50 per cent advertising ratio success is possible.

“These are very challenging times and we often find ourselves questioning what the future of the printed community newspaper is going to be in five and 10 years from now,” Georgantzakos told ProPrint.

“We always arrive at the same conclusion that print community newspapers have a great future and can be highly profitable for the skilled publisher that is prepared to put in the hard work.”

Spotpress previously owned a number of suburban and regional titles including the Western Weekender and the Newcastle Post but now prints dozens of regional newspapers as a contract printer, mostly weeklies, on its dedicated newspaper presses and ships them across the eastern seaboard.

“We were successful in significantly growing the revenue of our own mastheads in a

Heartland Media directors Jeff Gibbs and Sharon Bateman at the Northern Rivers Times launch

Richmond River Independent editor Susanna Freymark is enjoying working with ACM on the new publication

relatively short period of time. Today, we enjoy the role of print manufacturer, business advisor and digital strategist,” Georgantzakos said.

On the positive side, Georgantzakos said Spotpress is seeing a steady growth trend of around 10 per cent per month in the newspaper print volumes of its clients since April.

The Northern Rivers Times is a 64-page weekly with a circulation of 15,000 covering the areas between Grafton and Tweed Heads.

The Richmond River Independent is more tightly focused on the Kyogle and Richmond Valley areas with a circulation of 10,000. It was borne when News Corp axed the 150-year-old Richmond River Express Examiner.

Disgruntled locals set up a not-for-profit organisation to start a new newspaper and hired former Richmond River Express Examiner editor Susanna Freymark.

“ACM at North Richmond are doing a fabulous job. I tried desperately to get a local printer to do it because I wanted to keep the money local, but no one was printing in the A3 size,” Freymark told ProPrint.

“I love being a country newspaper editor, but I am doing lots of things I wouldn’t normally do like talk to printers.”

Adding a newspaper was not such a big stretch for the publishers of The Northern Rivers Times as the company, Heartland Media, has been publishing monthly magazine, Heartland, for four years.

Heartland Media director Jeff Gibbs told ProPrint his pre-existing relationship with Spotpress meant this was the natural place to go for printing requirements.

“We decided six weeks prior to launch that paper quality was something we really needed to get right,” Gibbs told ProPrint.

“We decided on a white stock which gives a much better feel. I wanted the advertisers’ photos to be nice and glossy.”

Having a physical printed newspaper in regional areas is absolutely crucial, Gibbs said, adding the internet can be very patchy or virtually non-existent in some locations.

The formula is working with advertisers showing strong interest in the publication.

Bauer Media Australia axes eight magazine titles

by Hafizah Osman

Bauer Media has axed eight of its titles – Harper’s Bazaar, Elle, InStyle, Men’s Health, Women’s Health, Good Health, NW and OK! – as the COVID-19 crisis continues to bite.

The decision comes after the company acquired rival publishing house, Pacific Magazines, in May and was itself bought out by private equity firm Mercury Capital last month.

It also follows the temporary halt in printing of these titles as coronavirus travel restrictions hampered airport sales.

One of Australia’s largest heatset printers, Ovato, currently does all of Bauer’s work having signed a three-year print and distribution deal in June last year.

Bauer Media A/NZ CEO Brendon Hill said, “It has been a challenging time for Bauer and our team with exciting highs and devastating lows in recent months. We were delighted to acquire Pacific Magazines in May and were thrilled to recently announce a new future under Mercury Capital.

“However, these positive changes have taken 10 ProPrint August 2020

Ongoing COVID impact: Bauer Media ANZ CEO Brendon Hill

place amidst an unexpected, uncertain and unrelenting economic downturn. No one could have anticipated the swift, widespread and ongoing impact of the pandemic on our business and industry.

“We, like many other media companies, have deeply felt the impact of COVID-19. The reinstatement of these titles and teams was always dependent on the advertising market bouncing back and the return of domestic and international travel. Despite promising signs from advertisers in recent weeks, this has not

outweighed the medium-term outlook for these titles.

“Additionally, with a second lockdown in Victoria and minimal travel, it is not feasible to sufficiently distribute NW and OK! without transit channels. The financial impact of these factors and the ongoing economic uncertainty makes the return and sustainability of these titles no longer viable. We have been forced to reset and future-proof the business like all of the media industry has.”

A number of staff across these titles were stood down due to a stoppage of work while others will have the option to find alternative employment across the business.

Bauer Media also recently announced the return of its New Zealand operations after COVID-related restrictions eased.

The enforced restrictions meant the company was not unable to operate during the lockdown period with the office ceasing in April.

“The return of a New Zealand operation is a green shoot for our staff, brands and readers,” Hill said. www.sprinter.com.au

UPDATE

Hannan says ‘ear of government’ needed for print

by Sheree Young

The chairman of one of Australia’s largest print companies, Ovato, says if something is not done right now to make operating conditions easier for printers then many businesses that have weathered major storms will unfortunately fall by the wayside.

Michael Hannan is one of Australia’s most pioneering and respected print identities and has made some grim forecasts about what lies ahead when the JobKeeper scheme comes to its planned halt now at the extended date of March 2021.

“Nothing like the COVID fallout has ever been on anyone’s risk analysis of what could go wrong,” Hannan told ProPrint.

“It is unprecedented and unless we get the ear of government then this ‘fools’ paradise’ of JobKeeper is going to end with the destruction of many proud printing houses who have weathered everything else that has been thrown at them over many years.”

The Hannan family were the owners of the successful print and digital services provider IPMG which in 2016 merged with another printing giant, PMP. This entity was later rebranded to the ASX-listed Ovato with Hannan now serving as that company’s chairman.

Hannan is passionate about print and frustrated that more is not being done to promote it and push for it to be supported by government.

He was so incensed by the situation he published an article about the issue on LinkedIn imploring the state of manufacturing, and thereby print, in Australia.

Ovato chairman Michael Hannan

In the article he said the industry desperately needs a voice and more importantly ‘the ear of government’ to halt the carnage that will follow when JobKeeper finishes.

“We need a voice. We need people to speak up for us, as many livelihoods are at stake,” Hannan wrote in the piece on LinkedIn. “JobKeeper is to be applauded as it has kept many in the country employed, but there is a huge cliff in front of us all which will be near impossible to climb.

“The impact of COVID-19 will not end anywhere near as surgically as JobKeeper is slated to end.

“Some assistance from government, even some recognition that what we do matters,

would be helpful. Some industries have received substantial Government support to keep them operating and viable. Consider the automotive industry, which found itself rewarded with billions of dollars of incentives to stay operational in Australia over many years.”

Hannan reflects on manufacturing in Australia and how it once was a strong sector, employing many thousands of people.

“Everyone is suffering at the moment, but some are doing it more silently than others.

This isn’t out of choice but because they have no voice,” Hannan wrote.

“News reports discuss football and other sporting codes, tourism, travel, the airlines or universities as though they are the only ones doing it tough.

“Manufacturing used to be strong in Australia. But is anyone championing the cause or yelling from the rooftops about the state that many sectors of the manufacturing industry find themselves in because of COVID-19? Look at the difference in media attention being paid between manufacturing and the arts industry.

Powerful people have powerful voices, and we need to work together to make our industry’s voice heard.

“I’m choosing to champion the printing industry. Believe it or not, it’s the largest sector in Australian manufacturing and our company alone employs 1,300 people. Manufacturing continues to be a big employer nationally, but from blanket coverage of COVID-19 there is hardly a mention in the news.”

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August 2o2o ProPrint 11

UPDATE

Print Station future-proofed with new purchases

by Sheree Young

NSW printer Print Station has future-proofed itself with the installation of yet another piece of Horizon finishing equipment, a new Horizon BQ-280 PUR perfect binder, and a HP R2000 wide format press.

The latest acquisitions have put Print Station exactly where it needs to be to best tackle the challenges presented by the COVID-19 pandemic as it is now geared up to offer the trade a fast and reliable service with high quality vibrant print.

Print Station owner Lewis Liang says the timing of the arrival of the new pieces of equipment could not have been worse with the HP R2000 installed in the same week as the COVID-19 shutdowns were enforced.

But the business, which has operated now for 20 years and employs just under 20 staff, has managed to ride the downturn and is now coming through to the other side with business activity almost back to pre-COVID-19 levels.

Print Station definitely has some creditable print power at its factory in Sydney’s Carlton.

The offset side of the business is taken care of with a Ryobi RGMT LED UV press, while a HP Indigo 7800 Digital Press handles the digital print needs.

The all-important area of finishing is also well covered in terms of quality and capacity with the new BQ-280PUR perfect binder joining an existing Horizon StitchLiner 5500 scoring/folding/stitching and three-knife trimmer on site.

“Horizon equipment is the backbone of our post press,” Liang told ProPrint.

“We now have almost everything there is to offer from Horizon. We are very loyal customers of Currie Group. Their equipment is always

Print Station owner Lewis Liang with his new Horizon BQ-280 PUR perfect binder

of very high quality and is extremely reliable.

“The service we receive from Currie Group is the best. They respond very quickly, and their staff are also very professional and well trained.

“Currie Group has been helping me to grow my business over the past 20 years. When I deal with Currie Group, I have peace of mind.”

The new HP wide format replaces two older wide format presses, a HP 2800 and an Océ Arizona.

“The latest HP R2000 can print on just about everything. Besides the normal vinyl, rigid

media and fabric, it is also prints amazing quality on normal offset stocks. We are able to offer clients short run A1, A0 posters at a competitive price. The biggest advantage is it can offer more vibrant colour than the previous technology,” Liang said.

Currie Group NSW Account Manager Will Currie said: “Lewis has created a remarkable business, built from the ground up to establish a strong and repeatable brand. As a company, we are proud to be a supplier and supporter of his ever-growing business.”

Graph-Pak inks deal with robotics manufacturer

by Hafizah Osman

Australian supplier of post-press equipment, Graph-Pak, has inked a four-year deal with SCM Handling to distribute the UK-based manufacturer’s industrial material handling solutions, including robotics, in Oceania.

The deal makes Graph-Pak the company’s first Australian distributor for the region and closely follows another distributorship GraphPak has signed with Lombardi Consulting.

Graph-Pak managing director Tom Ralph said Graph-Pak has a long-standing relationship with SCM Handling with the deal solidifying that partnership.

“SCM Handling is a business I’ve known for a long time and with automation becoming more critical to many businesses, the timing was ideal for us to seal the deal,” Ralph said.

“The company is busy and it’s doing well especially with the growth in automation, so we see it as a good business to bring to our region.

“If you needed to automate a factory and reduce or redistribute labour, you can integrate 12 ProPrint August 2020

Deal done: Graph-Pak MD Tom Ralph

SCM Handling’s conveyors and robotic palletising to aid in a repetitive and stationery manufacturing process or in packaging and handling.”

Graph-Pak has been installing and commissioning robotics over the past 12 years.

“It is a growing industry and we’re looking forward to using that experience to move forward with SCM Handling,” Ralph said.

“We inked the deal as we’re trying to meet the demands and requests from our customers.

We are now able to offer then a broader range of

materials handling equipment and automation, and this has accelerated since COVID-19.

“One of the main conversations I’m having on a daily basis now has to do with automation; so, it’s backed by industry demands and needs.”

Ralph said there is huge demand for these solutions within Oceania with this opening up the business to verticals beyond just printing and packaging.

“It opens us up to other industries that we didn’t have much to offer before, like aerosol can manufacturers for example. It’ll allow us to engage in projects we previously wouldn’t have dreamt to be a part of,” he said.

“SCM Handling’s range fits the other products we distribute like a shoe. It brings together what we have been doing all of these years and with SCM Handling on board, we’re going to take it to a whole new level.”

In the coming months, post-COVID-19, Ralph said SCM Handling will be spending some time in Australia and working out of Graph-Pak’s office to help Graph-Pak establish and commission some large installations. www.sprinter.com.au

UPDATE

Paper, cardboard wins export ban reprieve

by Sheree Young

Paper and cardboard waste, including printed offcuts, will be excluded from Australia’s waste export ban until July 2024 giving industry and the federal government time to work on a more sustainable solution for paper sorting and conversion onshore.

In response to mounting pressure about what to do with Australia’s ballooning waste problem, the Council of Australian Governments (COAG) in 2019 invited industry to outline how a waste export ban would impact business in all sectors.

The Real Media Collective (TRMC) and the Australasian Paper Industry Association (APIA) wrote a submission which said outlined the cost impost a waste export ban on paper and cardboard would have on the printing industry. This included modelling on potential job losses and other impacts.

The issue had been exacerbated by the dwindling number of onshore paper mills in Australia, meaning there was reduced options for the sale of printed offcuts which in turn meant printers had to pay for paper waste to go into landfill locally.

The Australian Department of Agriculture, Water and the Environment responded and ruled that paper and cardboard will receive an extension on its export ban until July 2024, with plastic, tyres and glass facing more imminent bans.

In its advice, the department said, “This is because of the larger investments and complex infrastructure development required to ensure Australia has the right processing capacity to manage paper domestically.”

TRMC CEO Kellie Northwood said the ruling is a huge positive for the industry.

Reprieve: paper waste will continue to be exported until 2024 while appropriate recycling infrastructure is built

“This process truly did engage with industry and there was a genuine interest in getting the policy right which was welcomed,” Northwood said.

“With local mills closing the local fixed capacity to sell printed paper waste has reduced and printers were looking to overseas supply of printed offcuts.

“The originally proposed legislation would have seen printers not able to sell printed waste papers offshore and instead have to fund the printed waste to be sent to landfill.

“A cost that printers could ill afford prior to the COVID-19 pandemic and most definitely

unable to fund in the current climate. A negative outcome for the industry and for the environment.

“Between now and 2024 TRMC in partnership with APIA will work with industry for solutions on paper sorting and conversion solutions which will be presented to government for consideration of inclusion beyond 2024.”

Northwood said a taskforce is being established to participate in development discussions with government.

Anyone who like to be involved is urged to get in touch at hello@thermc.com.au or visit www. therrealmediacollective.com.au.

Virtual trade show nears 10,000 visitors

By Hafizah Osman

Visual Connections’ Print, Sign, Display & Graphics Virtual Trade Show is being heralded a huge success with close to 10,000 visitors having now visited with all exhibitors reporting strong interest and enquiries.

The show was created to fill the void left by the postponed Visual Impact show and drupa mega show due to the ongoing fallout of the coronavirus pandemic.

Visual Connections CEO Peter Harper said the decision to run the 24-hour show over fourmonths has proved worthwhile.

“Together with our exhibitors, who have their finger closely on the pulse of the industry, we took the view that any resource we created had to be available in the longer-term so businesses could come back, time and again as their circumstances dictated, to find solutions to help them recover, rebuild, and create new opportunities into the future,” Harper said.

“Time will tell, but every indication so far says it was the right call. Industry businesses remain keen for information, ideas and 14 ProPrint August 2020

The virtual trade show is proving itself during COVID-19

inspiration and the Virtual Trade Show is providing a valuable resource.”

The show will run until the end of September but is constantly changing with exhibitors refreshing their offering and updating their specials to keep interest up. There are also a range of seminars and workshops on offer for virtual guests to enjoy.

Screen GP Australia is using the virtual show to launch some of its latest technologies, including the Screen FL830 digital flexible packaging machine, which was originally scheduled to be debuted at drupa.

Peter Scott, managing director of Screen, said: “The timing of the launch at the virtual

trade show was just right as Screen as a company has just announced the development of that particular product.

“It’s something new and exciting for the local market, even though the commercial availability of the product is expected to happen sometime in the first half of next year.”

Scott says the new FL830 marks a vital direction for Screen.

“It continues our direction in consumer packaging and digital print, and we see a real need in that area, particularly at the width that this machine is targeting. It’s very much similar to conventional flexible print machines,” Scott said.

EcoLease director Marian Taggart-Holland said the phone had been running hot as businesses took advantage of the extended and increased asset write-off scheme.

“There are definitely a lot of businesses buying equipment,” Taggart-Holland said.

Hexis, Eurotech, Mimaki, Starleaton, Fujifilm and other exhibitors have all reported strong enquiries from the show. www.sprinter.com.au

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UPDATE

Kodak doubles down on digital inkjet

by Sheree Young

Kodak has unveiled a raft of new technology including its latest inkjet offering, the Prosper Ultra 520, which builds on its predecessor, the Prosper 6000.

The company says it is doubling down on its commitment to digital printing with the Prosper Ultra 520 inkjet range designed for the mid-level printer producing direct mail, marketing collateral, catalogues and books.

The press comes in two models the C250 for high-ink applications and the P520 for mediumto-low ink applications and will be available at the end of 2020.

Kodak says the Ultra 520 delivers offset-quality print at up to 150 metres per minute in high quality mode and offers increased productivity, high image quality and the lowest running costs on the market.

What sets this new press apart from its predecessor, the high-volume Prosper 6000 which was launched at drupa in 2016, is the inclusion of Kodak’s proprietary continuous drop Ultrastream writing technology.

Ultrastream is now in its fourth generation and was previously deployed in the Uteco flexible packaging press. The updated system uses electrostatic charging to deflect perfectly round droplets which have been reduced in size with resolution increasing to 600 x 1800 dpi.

The technology enables the press to print on an even broader range of substrates, including labels and flexible packaging, and creates quality print usually reserved for sheetfed offset or

Kodak’s new Prosper Ultra 520 comes with its proprietary writing technology which substanially increases resolution

other analogue devices.

Kodak Australia and New Zealand sales director Rob Mollee said the new press marks a significant turn for Kodak.

“The Prosper previously had a much larger drop size but the Ultra utilises a much smaller drop size to give that higher resolution. It is all around the design of the stream itself and the droplet size that we are using,” Mollee told ProPrint.

“We can actually come up with offset quality now on a digital press and we personally believe, that at this point in time, this is the highest resolution digital inkjet press on the market.”

Kodak has also refined its Sonora Process Free Plates with the Sonora Xtra Process Free Plate available at the end of the year.

Mollee said the Sonora X plates have so far had huge take up in Australia and New Zealand.

Heavy machinery suppliers exit drupa

by Hafizah Osman

German printing press builder Manroland Sheetfed and Japanese manufacturer Komori Corporation have both pulled out of drupa due to the uncertainty of the COVID-19 pandemic.

The companies have joined Heidelberg and Bobst in deciding to quit the industry’s leading exhibition which is normally held in Düsseldorf, Germany every four years.

The announcements also follow drupa’s postponement from June 2020 to April 2021 due to the pandemic.

Manroland Sheetfed group managing director Rafael Peñuela-Torres said, “Exhibiting at drupa, or any other trade fair for that matter, makes absolutely no sense during the current COVID-19 pandemic.

“It is regrettable, as we would have been exhibiting with live demonstrations of both our recently launched Roland 900 Evolution press and the new Roland 700 Evolution Elite, but unfortunately it is just not practicable in the current circumstances. Instead, we will be holding a series of live webinars in the autumn.”

Komori said the decision to suspend attendance was in response to the coronavirus and its serious impact to all economies.

“While an extremely unusual circumstance prevents Komori from participating in drupa 16 ProPrint August 2020

Drupa has now been rescheduled to April 20-28 in Düsseldorf, Germany

2021, our plan is to launch an array of new products and services in the days to come, through open house events and active participations to regional exhibitions. New information will also be released utilising various media such as corporate websites, information and video distribution service using emails or SMS, online exhibitions and webinars,” the company said.

“The pace of social and industrial structure change has accelerated rapidly in 2020, transforming the operating climate of the printing industry. We will always listen to our customers, develop and deliver innovate technologies

and services that are essential for printing companies worldwide to adapt to such climate changes.”

Print & Pack is the distributor of both Bobst and Komori technology in Australia and New Zealand.

Print & Pack managing director Carsten Wendler said given the current trend of exhibitors pulling out, attendance at drupa is likely to be weak.

“I expect that there will be more to come.

Other manufacturers probably have made their decision not to attend, but just haven’t announced it yet,” Wendler said.

“We ourselves made the decision not to attend drupa because our customers told us they’re not attending as well.”

Koenig & Bauer, which has exhibited at drupa since it was founded in 1951, remain committed to the show.

“We continue to see drupa, the world’s leading trade fair, as an important building block in the graphic arts industry and we see it as our responsibility to support this industry,” Koenig & Bauer CEO and drupa president Claus BolzaSchünemann said.

“We have confidence in Messe Düsseldorf’s hygiene concept and in the sense of responsibility of all visitors.” www.sprinter.com.au

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UPDATE

Konica Minolta launches high-speed AccurioPress

by Sheree Young

Konica Minolta Australia has taken the wraps of its latest AccurioPress, the high-speed C14000 which has already had two domestic installations this year.

The high-speed toner production press includes a bunch of new features with 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, among them.

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.

The team at Konica Minolta presented this new printer – which already has two installations in Australia, including Sydney’s Imagination Graphics – during a livestream which also included a show by comedian Joel Ozborn.

Konica Minolta Australia general manager production and industrial print, Sue Threlfo, said the C14000 builds on the reliability, flexibility and productivity of the previous AccurioPress models, but has taken the capabilities further.

Threlfo reiterated that Konica Minolta’s global motto is ‘Rethink’ and said this has never been more important than it is now as businesses navigate the uncertain terrain brought on by the coronavirus pandemic.

“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,” Threlfo said.

“Today we are officially launching the high speed C12000 and C14000 AccurioPress which fortunately delivers on this efficiency refinement.”

Konica Minolta solutions analyst Luke Mortlock 18 ProPrint August 2020

Konica Minolta general manager industrial and production print Sue Threlfo

The new high-speed AccurioPress C14000 includes a range of new features

Konica Minolta product marketing manager Grant Thomas demonstrated the features of the new AccurioPress and said it delivers new levels of high-speed colour printing with a reduced need for operator handling.

“It offers productivity on an extensive range of media and can handle media types and weights from 52 to 450 gsm with ease. Fast print speeds of up to 140 pages per minute A4 that’s just under 8,000 sheets per hour and 80 pages per minute on A3 sheets. That’s a superfast 4,500 sheets per hour,” Thomas said.

“The air suction feeding units incorporate automated air controls based on media set up while providing high quality capacity media of up to 14,140 sheets allowing longer print runs without operator intervention.”

Konica Minolta solutions analyst Luke Mortlock also pointed out other new features including some clever enhancements to the IQ-501 optimiser.

The IQ-501 image optimiser has been running in previous AccurioPress ranges but now includes two scanners and a spectrophotometer that work together to ensure colours are spot on and calibrated correctly.

The new capability of the IQ-501, which is included with the C14000 model, is the ability to print diagnostic sheets which make it easier for the machine to pinpoint any issues within the toner and drum as well as run a clean automatically to clear up the problem.

This reduces the need for a service technician to physically visit.

But should a technician be required, Mortlock said the IQ-501 system automatically sends the diagnostic report to Konica Minolta headquarters and that information is then assessed in a faster and more efficient way.

Inline trimmer

The C12000 and C14000 can also be fitted with Konica Minolta’s new TU 510 inline trimmer as an add-on. This addition makes it possible to slit the outside edges of a sheet, complete up to five creases as well as do internal slitting and cross directional trimming.

“We are also launching our next generation inline finishing, the TU 510,” Thomas said.

“This advanced four-side trimmer will be another first for the digital print market with an array of slitting, cutting and creasing to provide a finished output including printed and finished business cards, postcards and full bleed finished prints are all made possible with quick turnarounds, reduced labour and offline finishing.

“The new AccurioPress C14000 series will add value to any high-volume colour print requirement by offering a competitive print cost structure to assist print margins.

For further information regarding the A c c u r i o P r e s s C 14 0 0 0 p l e a s e v i s it : www.konicaminolta.com.au. www.sprinter.com.au

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UPDATE

David Currie reflects on ‘great friend’ Alon Bar-Shany

by Sheree Young

David Currie, executive chairman of Currie Group, has shared his thoughts on his ‘great friend’ Alon Bar-Shany and attributed the commercial success of the HP Indigo digital printing technologies largely to him.

The world’s print community was shocked in June to learn that Bar-Shany would be leaving HP Indigo, where he had served as general manager for 15 years.

Fellow HP veteran Haim Levit was named as his successor and has now started in his new role.

David Currie’s professional relationship and friendship with Bar-Shany dates back to when Indigo first came into the spotlight under the ownership of Benny Landa.

When HP finalised its full acquisition of Indigo in 2001, Bar-Shany, who has a background in chemistry, is handy with the guitar and has that hard to quantify ability to relate to all sorts of different people followed and became the ‘go to’ person for HP Indigo.

Currie Group distributes and services the HP Indigo digital press technology in Australia and New Zealand and has strong ties with both HP an HP Indigo.

For David Currie, Bar-Shany is largely responsible for turning the brand into the reported $1.7b operation it is today.

“I am proud to say Alon Bar-Shany is a great

20 ProPrint August 2020

David Currie (L) with Alon Bar-Shany (R) at Currie Group’s 70th birthday party in 2019 in Sydney

friend and will be in the future,” David Currie told ProPrint.

“His ability to have an impact on so many people around the world is part of his success. I know so many of our customers have enjoyed his ability to communicate on so many levels about many subjects as if close friends.

“Alon’s ability to never change in a changing world has been remarkable.”

Currie says Bar-Shany would always bring

people together, no matter where he was in the world.

“We were in Japan at the IGAS show and I was travelling with my wife and daughter. As it turned out Alon and his family were there as well, and it was their son’s 21st birthday.

“Alon booked out a small restaurant and the next thing we were at a 21st party with guitars and singing.

“He always made you feel important.”

www.sprinter.com.au

UPDATE JUNE - JULY TIMELINE

Debrief Recapping the major developments since your last issue. Stories are breaking every day at www.sprinter.com.au

June issue

17 june

9 june TIMSON STEPS UP AT HEIDELBERG Richard Timson, the long-time managing director of Heidelberg Australia and New Zealand, has been promoted to a newly created role of business development regional project manager for Heidelberg Asia Pacific. Savas Mystakidis, who has worked in Heidelberg’s northern region for 26 years, will replace Timson who has led the ANZ operations of Heidelberg for the last eight years. Heidelberg Asia Pacific head Thomas Frank says Timson’s 32-year career at the company and vast industry knowledge will strengthen Heidelberg’s regional capability. “I am excited about using my experience in the broader international market and working with some of my counterparts in the Asia Pacific Region,” Timson said.

ESKO UNVEILS VIRTUAL HUB Esko, a developer of integrated software and hardware solutions for the global print and packaging industry, has unveiled an Innovation Hub which aims to provide an ‘always-on’ virtual experience for customers. The hub enables users to navigate around the latest hardware and software innovations from Esko learning ways to boost business productivity, efficiency and profitability. Esko director of Marketing, Industry Relations and Strategy, Jan De Roeck, said the pandemic should not stop customers from being able to understand Esko’s solutions.

“The huge challenges we’ve all faced as a sector this year motivates and drives Esko to continue developing and releasing new and improved solutions to ensure our customers remain at the forefront of innovation gains,” De Roeck said.

11 june

News happens every day at

sprinter.com.au

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22 ProPrint August 2020

25 june

BRENDON COOK TO STAY AS CEO WITH OOH!MEDIA UNTIL END OF 2020 Brendon Cook will stay on as CEO of oOh!media, the ASX-listed company that owns wide format specialist Cactus Imaging, until the end of 2020 due to the uncertainty caused by COVID-19.

Cook announced he would step down from the role in January but would stay on at the company he founded 30 years ago while a global executive search was conducted to find a suitable replacement.

But with the unprecedented challenges presented by the coronavirus pandemic, Cook has elected to say on until the end of the year to maintain stability. “We are grateful that Brendon has agreed to this, and he continues to be as energised and passionate about the business as he has consistently over the past 30 years,” oOh!media chair Tony Faure said.

“Thankfully, Brendon has also agreed to remain in a non-executive consulting role once a new CEO appointment has been made, which means oOh! will continue to benefit from his unparalleled knowledge and insights of the industry.” Cook said the business had achieved steady first quarter revenue in 2020 but as COVID-19 restrictions were implemented, this declined significantly.

SCHINLEVER RETURNS After two years away from EFI, Scott Schinlever (pictured) has returned to fulfill the newly created role of chief operating officer of the company’s global inkjet business. EFI says Schinlever, who most recently was president and COO of Automation Solutions for Gerber Technology, is charged with expanding EFI’s industrial inkjet position and facilitating the analogueto-digital transformation.

Schinlever will be responsible for all equipment, ink and service solutions for EFI’s portfolio in display graphics, textiles, packaging and building materials. In 2001, Schinlever joined superwideformat printer manufacturer VUTEk, which was acquired

by EFI in 2005.

23 june PYRTEC JOINS VIRTUAL TRADESHOW Pyrtec Solutions has signed on to Visual Connections’ Print, Sign, Display & Graphics Virtual Trade Show which runs until September 30. Prytec’s stand features its PLS-51515 1kW Advanced Fibre Laser System — a fully enclosed, fibre laser system which it says offers superior sheet metal cutting accuracy and greater precision, power and speed than its predecessors.

The system has applications in metal processing, including mild steel, stainless steel and aluminium alloy. Pyrtec says the technology employs a high-accuracy fibre laser source with 1000W power to deliver superior edge quality at consistent high cutting speeds. It also has a fully-enclosed protective cover with lifting door and safety interlocks, a drawer-type working table and automatic exhaust extraction system. Interest in the virtual trade show has been strong with over 8,000 virtual guests so far. The show was introduced as the coronavirus pandemic forced the postponement of multiple tradeshows globally, including drupa. “We expected the novelty value to attract a few people when we first launched, but the numbers on day one surprised and delighted us, particularly as reports of increased website traffic, engagement and genuine sales leads from exhibitors proved that the interest was genuine,” Harper said. www.sprinter.com.au

UPDATE 8 july EPSON ENHANCES PARTNER PROGRAM Epson Australia is stepping up its offer for customers with an enhanced Premium Partner Program to support all customers win new business and flourish. The tiered program offers different rewards and benefits at various levels. Epson Australia managing director Craig Heckenberg (pictured) said the program recognises the difficult conditions the industry has faced this year. “Australia, along with the rest of the world, has recently experienced challenges and tragedies the likes of which have rarely been seen before,” Heckenberg said. “For us, locally, it was first the bushfires and now COVID-19. “Despite these challenges Epson remains as committed as ever to its customers and the communities in which it operates. Right now, our focus is getting business back on track and our new Premium Partner Program is very much part of that.” For more information, please visit: https://www.epson.com.au/ partner-program/

7 july OOH Q2 REVENUE PLUMMETS The Out of Home sector recorded a 65 per cent drop in net revenue for the second quarter of 2020 with the Outdoor Media Association (OMA) saying this was in line with expectations due to COVID-19. The sector brought in $82.1m in the quarter, down from $234.6m in the corresponding period. Digital signage revenue for Q2 was at 55.7 per cent of total net media revenue year-to-date, up from 54 per cent last year. Total year-to-date revenue dropped 35.4 per cent to $289.1m, down from the $447.3m in 2019. OMA CEO Charmaine Moldrich said the Q2 revenue slide corresponds to the Standard Media Index (SMI) which shows advertising revenue has decreased by 40 per cent. “We anticipated that in quarter two, outdoor would be hit hard, as people rightfully changed behaviours and reduced their movement,” Moldrich said. “What we also saw during the quarter, as restrictions were lifted, was a correlating rise in revenue of 23 per cent from May to June, and an increase in enquiries and bookings for the latter half of the year.” Moldrich added that despite physical isolation, OOH continued to be used effectively during the COVID-19 pandemic, particularly for localised and contextually relevant campaigns, as well as messages around health, hope, and unity. www.sprinter.com.au

21 july 14 july PRINTING MUSEUM RE-OPENS The Penrith Museum of Printing has re-opened after a three-month closure due to COVID-19. Committee member James Cryer says he and the team (pictured) were thrilled when the museum was given the all-clear to reopen by NSW’s state tourism body. “The museum has been disinfected and cleaned, and Museums and Galleries checked the vicinity before approvals.

We have put the usual safety measures in place and will continue to practice these safety standards during this time as we continue our operations,” Cryer said.

The museum is Australia’s only working printing museum and relies on volunteers, including Cryer and former Fairfax group director of print and distribution Bob Lockley, to operate. In 2018 the museum, which was borne out of the closure of the local Nepean Times newspaper 20 years ago, reopened after a $120,000 renovation was completed thanks to large donations from the Single Width Users Group (SWUG).

9 july ANDY BERRY DEPARTS RICOH Ricoh Australia’s managing director Andy Berry (pictured) has resigned with Ricoh New Zealand’s managing director Michael Pollok appointed to the role. Berry, who was appointed to lead the company in February 2017 following John Hall’s retirement, finished up with Ricoh in July to pursue a role outside of the industry.

Berry, who previously worked at Fuji Xerox and Xerox Europe, was responsible for driving Ricoh’s transformational strategy and ensuring Ricoh’s Australian operations aligned with the global strategy. Ricoh Company Ltd corporate senior vicepresident and regional managing director Toyohito Tanaka thanked Berry for his contribution to the company. “Ricoh Australia has extended well beyond print to become a recognised smart workplace technology provider. Ricoh Australia has achieved many milestones, a testament to the organisation’s technical skills, knowledge and experience in supporting companies achieve their full digital potential and future-fit workplaces,” Tanaka said. “We are fortunate to have an experienced executive of the calibre of Michael to take charge of our Australian business for the foreseeable future and to lead the business through its next phase of growth.”

PRINTED SOLAR PANELS DEBUT The University of Newcastle is preparing to commercially release its printed solar panels. The creator of the ultra-lightweight, ultra-flexible, recyclable solar panels which are printed on conventional printing equipment, Professor Paul Dastoor, says global interest in the panels is now at an all-time high.

“We have a world-class manufacturing facility at the University’s Newcastle Institute for Energy and Resources (NIER), which has been generously supported by the Australian National Fabrication Facility (ANFF). This print facility can manufacture hundreds of metres of material a day, however we’re now reaching the point where we need to significantly scale this level of production,” Prof Dastoor said. The panels recently made their public debut at the Lane Cove Council in Sydney which represented a significant step towards commercial availability. “Globally, there has been so few of these installations, we know very little about how they perform in a public setting,” Prof Dastoor said.

16 july

SPICERS REORGANISES Spicers has reorganised its local operations and has grouped print and packaging together in one division, with sign and display in another. The Japanese owned paper supplier has appointed new heads for each division with David Rowland (pictured, left) the general manager of the sign and display business, while Dale O’Neill (pictured, right) is now the general manager of print and packaging. Rowland was formerly group regional manager of NSW, ACT and Queensland at Spicers before taking on the new role while O’Neill was one of the owners of Direct Paper, which was acquired by Spicers earlier this year.

Spicers CEO David Martin says the company has restructured its approach to the market. “We’ve organised our business to be able to cater to changing trends.

With the acquisition of Direct Paper, it not only gave us the chance to see what these trends are in the market and meet demands but also make changes internally to be able to cater to them,” he said.

O’Neill and Rowland are both looking forward to supporting Spicers’ new and existing clients.

August 2o2o ProPrint 23

WOMEN IN PRINT

Women in Print — 2020 sees new focus Women in Print – a refresh and refocus as we work together to build Knowledge, Support, Community and Networks through COVID-19 recovery and beyond. Kellie Northwood, CEO, The Real Media Collective, sits with the Patrons to explore the new partnerships and changes ahead.

KELLIE NORTHWOOD

W

omen in Print is fifteen years young and continues to provide a strong platform for women across our industry, whether that be those working directly within print organisations or those working indirectly through print production positions in agencies or print traffic roles with brands, we all have a strong affinity with print, print media and print marketing. This platform is one to leverage from as the 2020 year sees a real evolution of the Women in Print brand and activities.

Behind these changes are six intelligent, creative and passionate Women in Print Patrons, who in partnership with Visual Connections and now The Real Media Collective, have determined to leverage the community further, use our collective

strengths, become more unified, more supportive and deliver more programs to assist women with their professional development.

I welcome the opportunity to work with the Women in Print Patrons and Community, having worked (yes, as a woman) in print for twenty years now, the support and guidance of women throughout this time has been inspiring to me. I have so many great female friends from this industry, some have heard my frustrations when I’ve stumbled, but more importantly, cheered when I’ve had a success. We are part of a great industry and now have the opportunity to use our Women in Print network for more.

As Women in Print becomes an independent entity the Patrons and Board Officers — Sarah Moore, Visual Connections and myself — drive the strategic focus forward. The Patrons, with an average of

KEY NEW INITIATIVES TO EXPAND ON THE WiP BREAKFASTS •

Mentor program – mentors and mentees to register and connect through the Women in Print network,

•

‘Print & Prosecco’ nights – across each State, to hear from women in leadership as well as network and enjoy your local Women in Print community,

•

Patron events and conversations – starting with webinar panels, the Patrons will explore what’s on their horizon, what events are local and develop State by State initiatives to support women,

•

Blogs to open discussion – to build knowledge and support across the industry the new website will include the ‘It’s a Blog!’ section with women from across the industry submitting blogs about topics far and wide – from ‘How to develop an elevator pitch’ to ‘Community Wellness’ and more. Everyone is invited to submit blogs for inclusion.

•

Resources – partnership with sponsors, including Media Super, the Resource section will have resources and fact sheets exploring all areas – financially fit females, superannuation strength for women, mental wellness and more regularly updated and shared.

24 ProPrint August 2020

twenty plus years working within the print media landscape, from prepress to publishing, reception to sales, design to recruitment, apprentice to managing directors, are not shying away from the challenge as their experience has journeyed them through all roles across the entire offering of the industry and they welcome the opportunity to build from the foundations established.

Let’s discuss the future, as Women in Print charges ahead with a defined purpose, brand refresh and fervour. First up there have been several strategy sessions to develop a new brand positioning across four key pillars — Knowledge, Community, Network and Support. All the Patrons agreed these are fundamental drivers of Women in Print. From its heritage to today.

Natalie Taylor, IVE Group and New South Wales Patron sees Women in Print as having “such an important place in our industry for our women, as a forum where we are able to support, encourage, empower and educate colleagues in our sector. I have met the most incredible women at our events and through the WIP network which are now close friends but most importantly an amazing support network to bounce ideas and opportunities off and I think this is invaluable to have such a forum to connect with.”

Susan Heaney, Heaney’s Performers in Print and Queensland Patron and newly appointed Chair of Women in Print, applies her passion to the organisation and its future for this program. “Women of the industry need mentors, we need to make our presence felt and this is best achieved through a forum that provides an information platform and gives the ladies of the industry a voice. This has not changed since the original conception of WIP Australia way back in 2006.”

Mentors and Mentees are called upon to register interest as a ‘community and network’ focus is applied to all that we do.

For those women reading this and keen to either offer mentor services or seeking a mentor please reach out and engage, the Women in Print team will connect you with the best person.

Being a Patron does take commitment, however none of these ladies are reluctant, www.sprinter.com.au

SA

SA

BOARD

BOARD

Sandy Aspinall Managing Director, Creative Juice

Marisa Smyrneos Sales Executive Graphic Print Group

Kellie Northwood Chief Executive Officer The Real Media Collective

Sarah Moore Business Development Manager Visual Connections

QLD

NSW

VIC

WA

Susan Heaney Managing Director Heaney’s Performers in Print

Natalie Taylor National Sales Director Print Web Offset & Distribution

Kirsten Taylor Creative Print Director Taylor’d Press

Lisa Blachut Account & Design Manager Advance Press

The Women in Print Patrons believe Knowledge, Support, Community and Networks are what women in the printing industry want and need

they all ‘jumped at the chance’ and remain focused and committed. Susan Heaney is the longest serving Patron and remains just as passionate as she was fifteen years ago.

“As a founding member I have a strong belief in the program and am proud of the number of women it has reached since the first event in 2007. Equally, I have been honoured to be able to involve women in leadership from the industry who have given their time and shared their learnings and expertise with all who have attended the events.”

Sandy Aspinall, Creative Juice and South Australian Patron, newly appointed Deputy Chair, exudes enthusiasm when she speaks about Women in Print. “I wanted the opportunity to be involved in something that gave back to the industry and opened the doors to all women who work in not just traditional printing but the total expanse of the industry incorporating also the educators, graphic designers, including all forms of printing, digital, label, wide format, signage, ooh, print finishing, packaging, the specialty areas such as die-cutting and the wide array of embellishments available, there is so much more to ‘Print’ than just ‘Printing’ and I love that!”

Marisa Smyrneos, Sandy’s South Australian Patron counterpart, agrees and adds a local sentiment, “I believe it comes down to passion — I am passionate about our industry especially in South Australia. It has been the growth of our South Australian events, when we hosted our first event, we had barely anyone attend and in two years have almost tripled our attendance which is great to have something local for our industry”.

It does take work, yet it seems to be rewarding as each Patron has a clear purpose for their involvement. From the tragedy of losing a friend, (Olivia Grida www.sprinter.com.au

passed away and Lisa Blachut, Western Australian Patron, stepped up to the role), to a lifelong passion of supporting each other be all we can be (Natalie Taylor started building communities in her 20s with her wakeboarding — ‘chicksessions’ — program to later join Women in Print), or the opportunity to grow with other likeminded people (Kirsten Taylor sees Women in Print as a learning environment to share and gain knowledge).

There is a new future plan and the Patrons are here to lead the way. From mentor programs and networking to blogs, resources and knowledge, there is an air of enthusiasm and activity this year as the Patrons roll up their sleeves to push the community further than ever before. Lisa Blachut, gives the TRMC team a wrap in her vision for the chapter ahead (I’ll pay her later!), “I see the next chapter of Women in Print as exciting times ahead! I look forward to expanding our WA network, providing real support, more social events and developing mentorship opportunities for women in our industry. With the backing and support of TRMC, I believe Women in Print will be able to achieve more relevance and broaden our reach across the design, communications and print industries.”

Natalie Taylor is embracing the new focus when queried whether this is a new chapter.

“100% it is. I am a believer of change is good as it creates new growth and new opportunities and that is what we need right now for our sector especially coming off some really challenging times for businesses. The patrons really want to see these events evolve and become more frequent and hearing from all our women in our industry with sharing the microphone — we are better together and to have more involvement from everyone is going to be key.”

And Sandy Aspinall is calling on the community to embrace the initiatives. “We are growing and expanding our invitation to all women who are a part of the wider industry to get involved too. Seeking communication about what they want from Women in Print but also introducing some more relaxed and fun events to allow more networking in a less formal setting.”

While Kirsten Taylor, Victorian Patron, sees the philosophy as the driver. “This is an opportunity for growth for Women in Print, to expand on the values it has always had and launch it to another level to expand into new ideas, social involvement and opportunities. To embrace the changing society and the need for something more for women. Our industry can only be greater for knowledge and acceptance.”

So, it is a new era, one that respects the founding purpose, one also filled with great opportunity, one we are all thrilled to be part of and one you can also help us with.

Please get on board, register for news, contribute to blogs, forums, webinars, mentorship and local events as well as the annual breakfast which will be scheduled for March 2021. To our 2019 sponsors thank you and we hope you’ll continue your support as we all need this journey to continue stronger than ever before. I, along with our Patrons and Partners, and I’m sure our Women in Print community, look very much forward to the journey.

Kellie Northwood is the Chief Executive Officer, The Real Media Collective. An industry association representing paper, print, mail, publishing and packaging sectors across Australia and New Zealand.

Northwood is also the Executive Director of the Australasian Paper Industry Association.

Contact: hello@thermc.com.au August 2020 ProPrint 25

COMMENT

Employee or contractor?

It’s your choice in this new approach JDA Recruitment’s James Cryer provides some insight into what he thinks could make workplaces better for everyone.

JAMES CRYER

I

magine you’re still driving a car built in 1908. It still starts but the engine, chassis, wheels and transmission are in dire need of repair having received very little maintenance over the intervening 100-odd years.

Welcome to Australia’s industrial relations regime which is anchored in 1908 when then ‘radical’ High Court judge, HB Higgins, in the famous ‘Harvester Case’ introduced the idea of a ‘fair and reasonable wage’.

This morphed into the ‘minimum wage’ we have today which set in train a series of laws designed to reward overtime and working on weekends. Interestingly, back then the motive was not to compensate someone for working on a Sunday — it was to discourage businesses from trading on the Sabbath.

Whatever the motive — misguided Christianity or a genuine sense of fairness — Australia, at that time, led the world in introducing reforms which other countries looked upon with shock or envy.

But Australia is like an athlete who peaked too early.

After our initial burst of ground-breaking reform, we settled into 80 years of complacency, and even indifference. And now a more aggressive and unregulated global market has brought our lack of competitiveness into sharp relief.

The government’s recent threat to curtail childminding assistance reminds us just how

clunky governments can be — especially when they fail to see that childminding costs feed directly into the high cost of local manufacturing, including the printing industry.

But one of the most vexatious issues impacting our workforce is the arbitrary distinction between an employee and a contractor. It’s become a national guessing game where lawyers or IR experts refer to various tests, including the 80/20 rule.

Do you use your own tools? Does the employer control your hours or place of work? There are a host of other tests, some of which conflict with each other.

Assume two brothers each have a landscaping business. One has numerous small clients. The other relies on one large client. The latter could, possibly, be defined as an ‘employee’.

It gets worse.

The ATO may deem him to be an employee but a Court may decide the opposite.

Recently Uber Eats’ drivers were of the view they were ‘employees’ only to have that ruling overturned by the Fair Work Commission. The Commonwealth government ‘employs’ thousands of IT geeks in Canberra, who by any definition would be classed as ‘contractors’ by you or me.

What to do?

Brilliant idea #1: a radical rethink is needed of the current system — which tends to classify you as an employee or contractor according to the kind of work. In other words, all Uber drivers are contractors. Or all

Testra technicians are employees. But there’s no reason why you can’t have people working in a factory or an office where, due to individual personal circumstances, you may have a mix of employees and contractors all working side by side. I know this is radical stuff but stay tuned.

In this brave new world of ‘workplace flexibility’ two sisters may be working in accounts. One sister may be older, her kids have left home and she craves stability: she prefers the idea of being an ‘employee’ with regular hours and the entitlements it brings.

Meanwhile, her younger sister is saving for a house and will work crazy hours, doesn’t mind the uncertainty and has negotiated a slightly higher hourly rate because she needs the money now, not later.

It is crazy that all people working in an office or factory must be on the same footing. This is a hangover from 1908 when the ‘one size fits all’ attitude reigned supreme.

With this new approach, either mode is tax-effect neutral. There is no underlying or measurable advantage in one method over the other. It’s about your personal circumstances — not dodging tax. So, when applying for a role, the applicant is given a choice (with a brief description of the terms and entitlements applying to either mode) and ticks whichever box they prefer.

The ‘employment’ option would probably be the same as now, however the ‘contractor’ option would offer more flexibility around working hours, with not quite the same long-term entitlements and a slightly higher hourly rate.

That way, each Uber driver — or bindery operator or signage installer — could nominate their preferred option from day one and not have a court, the ATO or a badhair day overturn the arrangement.

The uncertainty around the ‘employee/ contractor’ dichotomy is a blight on our industrial landscape. It is also a cause of frustration and resentment among staff — from employees who would like extra flexibility and contractors who often feel like outcasts.

It would also reduce turnover by allowing staff to select their preferred mode of employment and it would reduce expensive and time-wasting visits to the FWC. What’s not to like!

Which brings me to: Brilliant idea #2: tune in next edition for the continuing saga of ways to make manufacturing in general, and our industry in particular, more efficient.

A one size fits all approach doesn’t work in most modern workplaces 26 ProPrint August 2020

www.sprinter.com.au

COMMENT

The New Book Man Digital printing of books has completely altered the publishing process with the removal of inventory costs a key advantage.

FRANK ROMANO

E

-book volumes are static, yet demand is surging for printed books.

Readers have discovered that you can give books as gifts, lend them to friends, sell them and read them years later without a device or software.

And books look great on a shelf, which is useful in this time of Zoom meetings.

The growth of printed books is based on two trends.

The first is self-publishing. I went to an authors’ event and the aisles were filled with tables of self-published books of many genres. Self-publishing has been engendered by the second trend: on-demand printing (ODP).

There are the very visible online book printers. They offer tools and advice to get a book into print and help with marketing.

The concept of ODP has been around since the 1980s when Kodak and Xerox had tonerbased printers that could print and bind in the same machine.

When I wrote my first book in 1971, I asked the offset printer for 500 copies. The printer said the minimum run was 5,000. “You can throw away 4,500 of them,” he said.

In 1988, I did the first research about on-demand printing. I was hired by R.R. Donnelley and other large book printers to talk to their executives. They all said they could not make money with short runs.

I once consulted for the University of Vermont to set up an on-demand book facility. They linked to the Copyright Clearance Center so that content could be used in course materials sold on campus.

Some will remember the Kodak Ektaprint that they used. It re-circulated the originals to create one copy set in paginated order. In 1990, the Xerox Docutech scanned the pages to a file and then printed them out. It added more binding options.

By 1992, the concept was catching on and by 1993, Indigo and Xeikon printed in full colour.

It took a while for ODP to gain traction.

Quality and workflow issues needed to evolve. Once they did evolve, ODP became a euphemism for digital printing which is growing in use by publishers worldwide.

I contend that of the 700 million books produced in the US last year, more than half were printed on demand using digital technology. No one really tracks this area very well. There are still very long print runs of ‘best sellers’ that require big web offset

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presses, but the changes in the book world are being wrought by digital technologies for shorter and even medium runs. Some of the long-run book printing companies have suffered.

In 1994 many printers moved into CTP to feed their offset presses by installing Creo and other platesetters that imaged plates directly. Offset and CTP are still best for long runs. And it is the run that determines the printing approach.

Actually, ODP succeeded because of the longer short run. We went from runs of one to 10 to runs of 100 or more at a time.

The Screen Truepress Jet in 1990 was one of the first roll-fed colour inkjet printing systems. An inline Hunkeler or other finishing system was linked into the press via a turner system. The workload on this press rapidly built up with both monochrome and colour work. Today, the output of many plants is mostly colour and overwhelmingly digital with several different digital systems that are all linked in a cohesive workflow.

The move to inkjet was important.

Printers have been able to establish a niche as cost-effective book producers.

Many on-demand production plants look like a mini trade exhibition, with many different printing systems and loads of specialty binding equipment. This mix of systems allows them to produce almost any book in any format. But the key is automation. It is said that ‘Printing Industry 4.0’ is all about automation. For all printers, automation should be a mantra.

Some workflows go beyond Job Definition Format (JDF). Many printers have their own proprietary approaches. It is for this reason that a crew of just over 50 can produce millions of books a year.

When Howie Fenton and I wrote the first book on on-demand publishing in 1992, it was printed on a Xerox Docutech. At one point, customers were told that the book was out of stock. This was weird because the book was produced on-demand. GATF, the publisher, had run out of the Channel Bind covers, which were produced by an outside supplier. If you are going to make a book, the finishing is as important as the book block.

That is what many printers get right.

They can give you any kind of binding you specify: hard and softcover, saddle stitch, spiral wire and plastic binding. And every one of these methods is growing. In addition, many produce beautifully-printed book jackets.

But printers have not just made printing and binding more efficient. They have changed the way publishers operate. At one time, it was all about inventory. Print and bind the books and ship them to a warehouse; then ship them to a booksellers’ warehouse to sit in silence or even multiple warehouses.

Today, it is all about Virtual Inventory Management. We live in a ‘Just In Time’ world and it has changed the way publishers operate. Books are shipped to booksellers directly. Inventory costs have gone away.

Publishers now print what they need when they need it and this has expanded a printer’s market. It has also cut shipping costs.

I love to visit innovative printers who not only think out of the box, they invent the box. They have succeeded by integrating industry available technology with unique workflows. They have built great service businesses that have gone on to change the publishing industry — one book at a time.

A printed book can be re-read and passed on to a friend. It also looks great in a Zoom background.

August 2020 ProPrint 27

Q&A

Woman on a mission Sandra Duarte’s passion for print is unquestioned but inspiring young women to aim high is also a key driver.

How did you get into printing?

I discovered printing through my first job with tourism publisher, Total Tourism Group, back in 1991. I was 18 and was what they called a ‘Girl Friday’, aka an office assistant. I didn’t know much at all but had a strong passion to learn and grow.

When I went for the interview I was asked if I could type and use a computer. I answered “no” to both questions but backed that up with: “I don’t know how to do that right now but if you give me the opportunity to work for a month for no pay, I will show you I can”.

I got the job and at night kept busy learning how to type and completed a marketing course.

A few years later, I was managing the production studio with a team of eight people before becoming general manager of the business.

During my 17 years with the company I did countless press checks and visits to printers. I also studied print technology, sales and business management.

In May 2008 Percy Vij, the owner of Centrum Printing, approached me about coming to work with him to bring to life his vision of creating large format offset printing.

I took him up on the offer and together we have moved Centrum into point of sale and packaging which has held us in good stead.

What do you love about the printed form?

Being quite ‘old school’ I really enjoy that print is ‘tangible’. I love to be able to hold and feel the printed form. Having been in the industry for a while now, I can’t help but pick up a printed product and check for quality and accuracy. I’m sure I’m not the only one who does that.

With so much online information around, I still love reading a magazine or the Sunday paper over breakfast. I love the colour and creativity that goes into each printed form be it a magazine, poster, display or packaging product.

I have a sense of pride in print. My kids get quite sick of me saying: “Look we printed that” when we are out and about.

What do you love most about being the CEO of Centrum Printing? What are the biggest challenges and stresses?

Being a CEO means I can lead by example and inspire other women in this male dominated industry to pursue their dreams and know that they too can be successful.

Women can often be overlooked or undervalued in comparison to men, especially in leadership roles, but I feel this is slowly beginning to change as more women empower women.

I also love that I can make positive changes not only to the business, but with the great team of people I work with. Motivating and inspiring them to be the best they can be is important to me. If my team feel amazing and are inspired, they will do great work beyond their means. This also means the business can

Sandra Duarte is passionate about inspiring the next generation of women

thrive. It really is that simple — when you feel good, you do good.

As CEO, I wear many hats and am involved in many aspects of the business. I am also very hands on and will do whatever it takes to get the job done. I am highly approachable and available to my team on a professional and personal level as it is important to ensure the staff are also maintaining a good work life.

Creating a positive, productive and happy workplace is vital.

What have been your career highlights?

One of my biggest career highlights and challenges was in 2014 when Centrum purchased a new KBA Rapida 162a. Moving an entire print factory to a new purpose built 3000 sqm site without interrupting one day of production was an achievement.

It was at this time Centrum moved beyond commercial print and into point of sale and packaging. It was a risky decision and many in the industry thought it would fail, but ultimately it was the right move.

In 2016, I found myself in Düsseldorf, Germany attending drupa to purchase a new KBA Rapida 145.

It was wonderful to see the vision transform into reality. It was a game changer for Centrum and for me as I was completely involved and responsible from the purchase stage right through to installation and setup of the new premises. This included dealing with everything from engineer and factory plans, electricity, concrete slabs and lighting right through to selecting the paint colour for the production floors and walls.

It was a massive project, but it all ran smoothly thanks to a great team of experts and professionals.

Who or what has shaped you?

My parents have played a huge role in helping me become who I am today. They instilled in me a very strong work ethic where perseverance was key. I was brought up to believe in working hard, showing up and never giving up and this was how my parents, who migrated from Portugal in 1969, have lived their lives. My parents worked hard to give me a good education. There were no tutors or Google in those days to get me through, it was just good old perseverance. As an only child, we were and still are close as a family unit.

It is for these reasons I feel it’s important to ‘pay it forward’ and help the next generation find their way.

What are you most passionate about?

I am a very passionate person and believe in helping guide and inspire the next generation, especially young women. My voluntary work with ‘Inspiring the Future Australia’ has allowed me to share my knowledge, 28 ProPrint August 2020

www.sprinter.com.au

experience and advice with students.

I want to encourage the next generation to consider Print Manufacturing as a career and am always looking for young people to take on an apprenticeship.

At Centrum we provide site tours for graphic design and school students regularly so they can understand the world of print and packaging. I’m also looking to launch a ‘CEO for the Day’ programme for young business minded women.

As we have seen with the recent world pandemic, manufacturing is an important and essential part of our economy. So, being able to provide opportunity and growth for the next generation in Australian manufacturing is something I feel strongly about.

I enjoy attending schools to mentor young people and am involved in school career days. I also visit design students at TAFE to build collaboration between the design and print process.

We recently held a ‘Superheros of Centrum’ day in support of HeartKids Super Boss Day to raise money and awareness for Congenital Heart Disease (CHD). This is a charity that is close to my heart as my god daughter was born with CHD. We can all do our bit to help make a difference in the lives of others.

Any advice for the next generation?

Don’t be afraid to make mistakes. It is a necessary part of learning, growing and succeeding. It creates experience and builds resilience which is what you need moving forward. Enjoy the journey of life and don’t rush your years away as you will get to where you need to be when the time is right.

Advice for young women entering a male-dominated profession?

Back yourself and go beyond your borders to take chances. Believe you can even if you don’t succeed the first time. Never let a setback hold you back. Know you are capable and that your thoughts and opinions matter and are needed.

Stay true to who you are and remember, behind every successful woman is herself.

Centrum Printing CEO Sandra Duarte

you look up Brené Brown: The power of vulnerability TED Talk.

Tina Arena: I’ve been a fan since her Young Talent Time days. She has a powerful voice and sings with passion. Her music always tells a story and she writes from personal experiences.

different. I would see myself teaching, mentoring and inspiring young people and helping them succeed in their career and life path.

Basically, something where I get to pass on knowledge and information to others and help make difference.

How do you cope with pressure and unwind after a busy week?

All-time favourite holiday destination?

I’m a social butterfly and enjoy catching up with friends and family and share a good laugh. I also meditate and practice gratitude daily. I find this really helps clear a busy mind and create some new perspective about what’s important. I exercise regularly and enjoy boxing and getting a massage to de-stress. I also love to unwind after a busy week watching Netflix in my PJs (Bridget Jones style) rugged up on the couch with my blanket and some ice cream.

If you didn’t work in print, what would you be doing?

My younger self would’ve said Law or Real Estate as I have strong negotiation skills and love dealing with people and finding solutions.

Yet, now in my late 40s it would be very

Bula Fiji! I just love the people and the slow pace of life in Fiji. It’s always a great place for me to relax and unwind. Some would call it boring but I call it absolute bliss! I enjoy visiting the local villages and immersing myself in the culture.

First band you saw live?

I was a big fan of Bros. They were an English band made up of twin brothers Matt and Luke Gross and their friend Craig Logan. I saw them play in the Push tour of 1988 at the Sydney Entertainment Centre.

Favourite movie?

I love movies so choosing one is extremely difficult, so I’ve named three: The Sound of Music, Grease and Dirty Dancing.

Sandra Duarte seals the deal with Koenig & Bauer Australia MD Dave Lewis at drupa 2016

Three people you would like to have dinner with and why?

Oprah Winfrey: Oprah needs no introduction and I’m sure most of us would want her at our dinner table. I’m sure if I had the opportunity, we’d be BFFs for life. She is a woman who has defied adversity in many ways and has worked hard to be where she is today. She inspires millions of people around the world and gives to those in need. I love what she stands for and represents.

Brené Brown: Researcher and Storyteller who introduced me to the power of vulnerability and courage which helped me look at all aspects of my work life differently. If you don’t know who she is, I strongly suggest www.sprinter.com.au

August 2020 ProPrint 29

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COVER STORY

T

he latest entrant to Ricoh’s cut-sheet production print offering, the Ricoh Pro C5300s series, brings together the capabilities of Ricoh’s larger production engines but with a smaller footprint and a more affordable price tag.

There are many aspects of the Ricoh Pro C5300s series that those familiar with Ricoh’s larger production engines, the Pro C9200 and Pro C7200, will recognise — namely high productivity, broad substrate versatility, robustness, high uptime and expansive workflow and automated feeding and finishing solutions.

By tapping into the features of its larger siblings, the new series, which was to be launched globally at drupa in June 2020, takes its predecessor — the Ricoh Pro C5200s — into new territories.

The enhanced model is a great option for a commercial printer or a franchisee that wants comprehensive printing and professional finishing capabilities, but may have concerns about expenditure, floor space and the level of operator expertise that is required to maximise its capability.

“The Pro C5300s series is our entry level colour printer — it takes the best of our higher end machines and brings that capability into a smaller footprint and at a more affordable price point for printers,” Ricoh Australia’s senior product manager — commercial and industrial print Henryk Kraszewski told ProPrint.

“Technological innovation has pushed the cut-sheet market forward, first with incredible improvements in accuracy, media versatility and image quality, and second by making those advancements accessible to more printers. The affordability and size of the Pro C5300s series brings some of the most eye-catching, productivity-enhancing features to an even broader customer base, especially those that cannot accommodate a large machine.”

The series comprises two models — the Pro C5310s, which can print at up to 80 pages per minute in full colour, and the Pro C5300s

Accessible: The Ricoh Pro C5300s is a high calibre machine with an affordable price tag

34 ProPrint August 2020

Perfect fit The highly sought-after features of Ricoh’s larger production engines have been built into the new Pro C5300s making it an attractive option for commercial printers and franchise operators.

The Ricoh Pro C5300s series includes features from Ricoh’s larger models but with a smaller footprint

model delivering up to 65 pages full colour pages per minute.

Exceptional image quality is also guaranteed thanks to PxP-EQ chemical toner — which provides accurate colour reproduction, a broad gamut and energy savings by virtue of a low melt point. It also features a Vertical Cavity Surface Emitting Laser (VCSEL) which delivers resolutions of 2400 x 4800 dpi on a broad variety of

substrates. These technologies are common across all Ricoh production colour cut-sheet printers.

A new feature for the Pro C5300s series is the ability for operators to adjust the glossiness of printed output by being able to select between matte or glossier output. This allows printers to tailor the look of output to meet customer preferences.

Another key capability common across all Ricoh production printers is the broad range of media that can be run through the presses — in type, size and weight. Coated and uncoated stocks, offset stocks, recycled papers, labels, pre-punched papers, tabs, envelopes, translucent paper, textured stock, transparencies and other special and synthetic materials are all supported with paper profiles included in an intuitive Paper Library. Printers can run sheets from A6 to 1,260 mm banners, with stock weights from 52.3 to 360 gsm.

This wide stock capability makes it the perfect press to produce booklets, flyers, postcards, business cards and inserts on a range of media.

In addition, the Pro C5300s series adds the ability to run NCR carbonless paper, enabling printers to produce order books, receipts, quote books or contract books.

The addition of mechanical registration www.sprinter.com.au

COVER STORY machine slows down. Even then, the Pro C5300s only slows down from 65 to 50 ppm.

“What matters to printers is not pages per minute, but how many sheets they can produce in an hour, and the Pro C5310s can deliver 2,240 high-quality, double-sided A4 256 gsm sheets per hour. And the higher duty cycles with the new models will suit those printers with higher print volume requirements.”

Saddle stitch capability takes press into new terrain

ensures accurate image-to-page and front-toback registration, an asset critical to the reliable reproduction of saddle-stitched booklets and business cards.

For franchise operators, the new Ricoh Pro C5300s series opens doors for attracting premium pricing with vibrant colour, precise registration and high-quality image reproduction. It is also possible to offer customers high-value applications on demand with banner sheet options available.

The device is simple to use and includes high-level intuitive controls with a 10.1” Smart Operation Panel with tablet like features making it easy for operators of all levels to run the system in such a way to guarantee perfect results.

Kraszewski puts it simply.

“Printers invest in equipment to generate revenue — it’s a foundation of their business,” Kraszewski said.

“What the Pro C5300s does is provide printers with the ability to offer their customers more — more stock choices, more size options and more premium applications.

“The previous model, the Pro C5200s, has a reputation for great print quality and so does this.

“Print quality is a given these days but we’ve focused on improving colour consistency and repeatability, making it www.sprinter.com.au

almost impossible to spot the differences between the same job that may be run in different time periods.

“The other improvements we’ve made in terms of meeting demands of printers is print speed.”

Speed is of the essence The print speed of the Pro C5300s series engine has been substantially increased, particularly when it comes to printing on middle or heavy weighted substrates.

Kraszewski says the new series can print in high-quality mode at full-rated speeds on stocks up to 256 gsm, covering the most common substrate weight range used in commercial print.

This speed slowly winds down as the stock thickens, but for most jobs it will deliver fast prints at high quality without missing a beat.

“Our higher-end machines, the Pro C7200 and the Pro C9200, will run at full-rated speeds on all stocks, irrespective of what stock you are using,” Kraszewski said.

“Smaller machines can’t keep up that sort of performance, but where we’ve made that improvement is that this machine only slows when the stock weight gets beyond 256 gsm.

“This means the bulk of stocks that typical printers run will run at full-rated speed and it’s only on the really heavy weights where the

The new Pro C5300s series has been updated to include the same array of feeding and finishing solutions that are currently used in the Pro C7200 and Pro C9200 ranges.

This upgrade gives the unit many additional value points for commercial printers and franchise operators.

A key addition for the Pro C5300s series has been the inclusion of vacuum feeding technology which has boosted the reliability of paper feeding through the provision of two multi-tray feeders for longer runs.

The series also offers traditional end-to-end finishing options including stapling and holepunching but extends this to also include GBC punching, inline multi-folding and cover interposers that permit pre-printed inserts to be incorporated into the workflow.

But what has really raised the bar with this iteration is the addition of an inline Booklet Finisher SR5120 for saddle-stitch booklets of up to 120 pages with heavy-weight covers of up to 350 gsm.

This saddle-stitch addition is what Kraszewski believes will really add value for print operators.

“The Pro C5300s series has the ability to do full bleed saddle stitch booklets automatically as well as stapling, hole punching and folding,” Kraszewski said.

“It has all the finishing capabilities that we’ve had in place for the Pro C7200 and the Pro C9200 models. This is the other big change we have made to the Pro C5300s series.”

Another noteworthy addition is a Plockmatic Square Back Trimmer module which can be added on for further finishing enhancements. This module was also recently introduced to the Pro C7200 series.

“The Plockmatic Trimmer gives that neat square spine on a saddle-stitch booklet, it gives look of a perfect bound book and it does a face trim as well,” Kraszewski said.

“It includes a Manual Assist Mode that trims the top and bottom of the booklet for a full-bleed booklet which suits if you are only doing a short run of booklets.

“This means printers can get this specialised finish without having to invest in a larger Plockmatic Booklet Maker System.”

Automation is key for success in the print room in these modern times.

This level of production automation inline combined with print speeds, quality and versatility of substrates will stand a printer in good stead to supply quality products.

Continued on page 36 August 2o2o ProPrint 35

Room to move: The Ricoh Pro C5300s can be placed close to the wall making it suitable for franchisees and print shops with limited floor space

Continued from page 35

A perfect fit

The new Pro C5300s is compact in size at only 799mm wide and 880mm deep and is easily accommodated in most commercial print operations or franchise outlets.

Unlike its larger siblings, the Pro C5300s series can be positioned close to a wall as no access space is needed at the rear of the unit for servicing.

“For franchisees, in particular, footprint is a really big issue,” Kraszewski said.

“Franchise operations want to be able to offer customers the same full complement of services that is available with a bigger engine, but they don’t necessarily have the space or the skillset to be able to both accommodate and operate the larger model.”

Workflow improvements Both models come standard with Ricoh’s versatile GW controller and offer two unique EFI Fiery Print Controller options. The embedded-style Fiery E-27B provides robust job and colour management, while the server based Fiery E-47B provides even more power for a higher-level of performance and control over job processing — from make-ready to delivery.

Both Fiery Print Controllers utilise the very latest Fiery FS400 Pro architecture, featuring Fiery Edge next-generation colour profiling technology with superior out-of-the box results, Adobe PDF Print Engine (APPE) version 5.3 (ready for PDF 2.0) and improved overall performance.

To automate make-ready and speed up prepress, Ricoh offers TotalFlow Prep to complement the Ricoh GW controller.

Developed by Ricoh software experts, TotalFlow Prep includes advanced imposition tools to create print-ready PDFs quickly and easily. It also automates redundant print tasks for more accurate production printing.

To ease production of personalised 36 ProPrint August 2020

customer communications, Ricoh offers its FusionPro personalised document creation tool. Available for graphic designers and print shops, it features dynamic design capabilities, fluid data integration and automated VDP workflows.

Supporting customers Supporting customers is paramount to the Ricoh production business.

With one of the largest dedicated production print organisations in the business, the customer support personnel, service technicians and production solutions consultants are professionals committed to production print.

All operators receive advanced operational training to ensure they have the skills and knowledge to maximise print quality and productivity from the new printers and finishing equipment.

A TCRU (Trained Customer Replaceable Unit) program enables trained operators to perform routine maintenance to reduce downtime.

To help printers with their business, Ricoh created the Ricoh Business Booster program, an online business development program with tools and resources developed specifically for print businesses.

It provides access to industry and businessrelated articles and white papers, productionready files and educational events and videos.

Ricoh’s new showroom Ricoh has used the recent pandemic shutdowns to freshly renovate its large showroom in Sydney.

The showroom overhaul in Sydney follows the recent refurbishment of Ricoh’s showroom in Melbourne.

These showroom updates have allowed Ricoh to be able to further demonstrate the capabilities of all of its printing and finishing equipment under one roof.

Included in these showroom displays is the

range of finishing equipment that has been developed by industry partners to enhance the offering of Ricoh’s printing technologies.

This includes Plockmatic’s new PBM5035 Production Booklet Maker System.

This device is available in stitch or staple versions and enables the automated production of professional, full-bleed A4 landscape saddle-stitched booklets.

Coupled with a Plockmatic Long Sheet LCT3500, the new system provides the ability to produce a broad variety of saddle-stitched booklets, including A5, A4 portrait, A4 landscape and 300 x 300mm square booklets, with up to three different stocks plus a preprinted cover.

All booklets can be fully trimmed with a square spine, ready for packing or distribution.

These new feeding and finishing add-ons can be attached to Ricoh’s larger Pro C9200 and Pro C7200 production engines giving commercial printers the opportunity to grow through the production of high-value oversized landscape and square booklets which are growing in popularity.

Ricoh’s latest production print offering aims to deliver a complete end-to-end solution with robust finishing options and software to match each individual printer’s workflow needs.

All of these enhancements are designed to increase productivity and ultimately profit for printers in Australia.

“It’s only a few months ago that we updated the Pro C7200 and Pro C9200 series with new and enhanced feeding, finishing and workflow options,” Kraszewski said.

“With the introduction of the Pro C5300s series, Ricoh is the only vendor with a completely new and refreshed range of production colour printing solutions, all ready for customers to test drive in our refurbished showrooms.”

For more information, please contact Ricoh at www.ricoh.com.au. PP www.sprinter.com.au

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Fourth and fifth generation printers Ken and Benn Murphy

Print is in the blood Being given a guillotine and a one colour GTO may not be every eight-year-old’s dream birthday present, but for Benn Murphy it set the course of his life.

By Sheree Young

T

he steady hand of a father, the enthusiasm of a son and a team of long-term employees is the magic combination that keeps Sydney’s Clarke Murphy Print ahead of the game.

The other contributors to the success of this fifth-generation Australian family-owned business are outsourcing very little and having rock solid relationships with strong and committed supplier partners.

Ken Murphy started what is now Clarke Murphy Print 31 years ago as Murphy Print in the garage of the family home in St Ives – a not unfamiliar story in this industry.

But this particular story began way back in

the early 1900s when Ken’s grandfather, William (Bill) Murphy, opened Bookman Press in Surry Hills with Ken’s father, Ken Murphy (senior), later coming on board.

Next came Watkins and Murphy which Ken’s father started with Ken himself joining as a young apprentice.

“Print was just what we talked about at the kitchen table all the time,” Ken told ProPrint.

“I started at 15. I did one year of overtime in three years, so I was a tradesman by the time I was 18.”

When Watkins and Murphy was sold, Ken went out on his own and Murphy Print was born and was largely fed with a substantial Video Ezy contract.

As with any business there were ups and downs.

The Video Ezy contract went to another printer but on the upside a successful partnership was formed with Bob Clarke, thus creating the name that still exists despite Bob’s retirement.

Fast forward to 2004 when a then 23-yearold Benn would “borrow all I could from Mr Westpac” to buy a 20 per cent share in the business from his parents.

“I wanted Mum and Dad to know I was serious and in it for the long haul,” Benn said.

Ideas Time

factfile Age: 31 years Staff: 60 Owner: Ken Murphy, Benn Murphy, Bruno Kuhar Strategy: Never say no and a ‘can do’ attitude combined with a commitment to delivering quality products with super-fast turnarounds 38 ProPrint August 2020

When Benn joined the business, it was starkly different to what it is today.

Back then it was a prepress and offset-only operation with eight staff. It now covers every print vertical, including a dabble in packaging, and has nearly 60 dedicated staff.

It has a full finishing operation offering PUR, die cutting and cello glazing within its six adjoined factories at Chatswood.

The push into new terrain wasn’t always an

easy swallow for the self-declared highly conservative Ken. “I am very conservative by nature in terms of what we do,” Ken said.

“I’m also a believer in the saying ‘you are not going to get there in five minutes, you’ve just got to chip away’. So, we’ve chipped away, and I have enjoyed the growth and I am enjoying the different areas – I am proud of it.

“That said I probably wouldn’t necessarily have done it had Benn not been involved. I probably would have withered on the vine like a whole lot of other printers.

“But I would probably be playing more golf though, which wouldn’t be such a bad thing.”

Capturing the campaign

Benn Murphy’s enthusiasm for print is palpable.

He is all about using offset and digital to capture a whole campaign and believes this is only achievable through agile service delivery and keeping up with technology.

“We have been investing really hard in automation. It used to take my grandfather 16 weeks to do a job and now it takes us 16 hours,” Benn said.

“Everything we do complements the other and it smooths out our income stream by having lots of different divisions.”

At the heart of this is delivering a ‘just in time’ product which often uses offset and digital print for personalisation.

“Everything we produce is static, it’s just in time. But we are now finding that our runs are sometimes going up because they are getting personalised and because we are producing it so much faster it can stay current for longer.

“If someone is going to spend $100,000, we want the offset business, the digital, the design, the distribution, the data, everything.” www.sprinter.com.au

STAR BUSINESS PROFILE Never Say No

A ‘Can Do’ attitude is enshrined in Clarke Murphy Print, along with a philosophy of never saying no.

Thousands of jobs pass through Clarke Murphy Print on any given day without a hitch despite a lean headcount and no modern production workflow management system.

As Benn says, the system “just works”, and everyone pitches in to get the job done.

This agility proved its worth during COVID19 when the company was faced with challenges, like everyone in the industry.

First came the Build-A-Desk initiative, which uses the Australian-made and fully recyclable Envirocore board to create sturdy desks.

The idea was driven in part by a need for the business but also so Benn, a father of four daughters, could reclaim the family dinner table.

The next was the popular Fan In The Stand NRL initiative which allowed footy fans to send in their own photo and have it printed on a hardy corflute which was then cut to shape and installed at the relevant stadium along the eastern seaboard.

The bulk of the work for the Fan In The Stand project was taken up with the IT system which had to be built so fans could order their corflute directly through NRL.com.au.

“The NRL gave us the go-ahead two days before and the boys literally built the website in 48 hours,” Benn said.

“We did the stadiums in North Queensland, Brisbane, BankWest in Parramatta, Campbelltown and Melbourne and Mum and I drove to Brisbane to get them installed right.

“The printing is the really easy part in it. It is the by-product of all the other smarts that go in and around it.”

The ties that bind

Clarke Murphy Print is a truly family owned business and this culture is deeply entrenched.

For 31 years tea and toast with peanut butter or Vegemite has been served at 10am for staff, suppliers and whoever happens to be knocking around at that time. There is also an annual trip away for all staff. So far destinations have included Fiji, Sanctuary Cove on the Gold Coast, Scone to go to the races and many more.

“We still have a tea lady and that’s just one of the traditions that mum and dad started in the garage and it has gone the whole way through,” Benn said.

“When we put a job ad in the paper, we generally get a lot of people apply.”

The traditions go way beyond tea and toast.

Heidelberg is among Clarke Murphy Print’s most enduring suppliers and Benn is emphatic about offset’s strength and power when

My grandfather bought Heidelberg’s, so it is always going to be Heidelberg’s for us Benn Murphy www.sprinter.com.au

combined with digital printing.

“My grandfather bought Heidelberg’s, so it is always going to be Heidelberg’s for us. Offset is so not dead,” Benn says.

Clarke Murphy Print is supported by strong relationships with a wide variety of suppliers covering all facets of print.

Very little work is outsourced, with the exception of foiling and embossing which goes to Goldcraft – the same company used by Benn’s grandfather.

The business diversified into wide format printing in 2010 after Benn managed to convince his slightly sceptical father that it made good business sense.

“In 2010, Dad went to Broome and I ambushed him with a plan to dive into wide format, so we did,” Benn said.

Ken is proud of both the business and the strong, positive relationships it has with suppliers.

“We’ve got a great business and we are immensely proud of it. I think we are a good client to our suppliers,” Ken said.

“It is a really secure business so if this business goes, the country’s gone as far as I am concerned.”

Another area of diversification is fulfilment for overseas companies.

Clarke Murphy Print has partnered with UK-based premium stationer, Papier, to produce its high quality, highly personalised one-of-a-kind books for the Australian and New Zealand markets.

“It all goes out wrapped nicely and it is really high-end. It is personalised the whole way through. No one touches it and it is all automated,” Benn said.

Diversifying in ways like this and growing through acquisition is how Clarke Murphy Print is forecast to grow into the future.

“Pre-COVID we were still growing, and we will be here once normality comes back,” Benn said.

Digital covered: Grant Thompson operates the HP Indigo digital presses

Keeping it in-house

Clarke Murphy Print senior account manager Stephanie James says keeping the majority of production in-house and having a tight team is why the company is able to turnaround seemingly impossible jobs.

“We can do anything from wobblers to posters to floor decals. The beauty of our business is we can do it and send it off from one location so there is always consistency of colour,” Stephanie said.

“When it is all being done here under one roof that makes it much faster. Speed is a massive thing for us in our offering.”

James McGrath spent many years at Ball & Doggett and is now CMP’s general manager.

He says the in-house model ensures customers receive high levels of satisfaction from concept to the delivery of jobs.

“We rely on the in-house model to be able to deal with any job that we have got. We don’t rely on people outside of these walls.

“This means that when the more technical jobs come through, the internal knowledge of the business can get the job from concept to delivery with a high level of satisfaction from our customers,” James said.

Hugely successful: Fan In The Stand

“I think that is what keeps people returning because they can rely on what we are doing.”

As for the future of print, Benn is excited, in fact you could say he is totally pumped.

“People say it is not like the ‘good old days’ but these ARE my good old days. I’ve never seen it any better if you park COVID to the side,” Benn said.

“When I first started in this business there were seven or eight printers within a kilometre of here but that has changed now.

“The main factor with this is people have not invested.

“We are bringing young people in here.

We’ve got Arthur King who is 70 and then we’ve got a young apprentice here who is 16.

“So, we’ve got a good spread.” PP August 2o2o ProPrint 39

FOCUS WIDE FORMAT

A post-COVID comeback Printing big – on displays, furniture and décor – could be the perfect ‘pick-me-up’ for your business as it emerges from the coronavirus era.

By Peter Kohn

W

ith the COVID-19 pandemic rendering large segments of Australia’s printing and graphics industries into lockdown, forwardlooking visionaries are already war-gaming the future. This involves putting in place the stepping stones their company will take in a post-coronavirus world to restore dynamism, and dare we think it, take them to new heights of productivity and prosperity.

In this new reality, one of the keys to a company surviving – and, beyond that, excelling – is redoubling its strategies to transition to profitable growth sectors, taking the foot slightly off the accelerator in traditional areas such as documents, forms and flyers, and moving into industry segments that have shown themselves to be more adaptable to the generational change in information data we see all around us.

Pundits often speak about package printing, pointing to food and pharmaceuticals and mail-order consumer durables as a hedge against obsolescence.

But another bright new horizon for printers is the sunrise sector of decorative printing, with wide format technologies becoming more exacting and sophisticated each year.

Once the technology that generated shortterm signage or wall art, wide format is now graduating to semi-permanent and permanent decorative applications, such as personalised wallpaper and promotional furniture.

We only need to look around to see an array of posters, pullups and point-of-sale material competing for our attention in the out-of-home (OOH) space. The wide format game is nowadays so much more about visuals, often outsized ones. Beyond signage is the lucrative new realm of printing on the fixed infrastructure – from bus shelters and building wraps to semi-permanent wall menus and wallpaper at restaurants.

It may be an overused phrase, but the potential to reap the rewards are limited only by the imagination. To prove that point, ProPrint spoke with Australia’s top vendors of wide format technology.

40 ProPrint August 2020

Canon Production Printing

“To stand out from the crowd, print service providers (PSPs) need to be able to offer a point of difference,” asserts Steven Badger, senior business development manager, Asia Pacific, at Canon Production Printing.

Badger sees printed décor as a creative, high-growth, high-value market with low but growing conversion from analogue printing.

“The capability of digital inkjet technology to print to almost any surface, with longevity, along with an explosion in the development of new digital media and the trend for personalisation, is driving volume growth in this sector,” He said.

“Trends in décor are constantly changing.

Whether for commercial interiors such as offices, retail spaces and hospitality suites, or for individual consumers, movements in interior design call for interiors to be more adaptable, personable and dynamic than ever before.

“In today’s personalised, customised world, digitally printed interior décor is transforming the spaces we live, work and play in and no one stands to benefit more from this than PSPs. To succeed in digital printed décor, PSPs must be willing to invest in and grow their offering with the right technologies, and the right consultancy.

Without the appropriate tools, it’s hard to keep pace with demand or offer the freedom and flexibility that today’s design specifiers increasingly expect.”

Badger says PSPs looking for new opportunities could look at moving into textured wallcoverings, which offer great growth potential. Also, printed raised signage that includes braille offers exciting opportunities, he notes.

“With the growing competition on mainstream display graphics and printed applications, the need for PSPs to generate higher-value products becomes critical. The growth in digital printed interior décor is expanding the scope of high-value opportunities for PSPs.” To help printers maximise their opportunities in this space, Canon has partnered its Canon Touchstone software with its Canon Arizona flatbed printer.

Wallpaper applications like this beautiful design printed on Canon technology are booming

“Together they enable the production of stunning textured interior décor elements and designs with minimum efforts. It opens up opportunities to easily generate high-value and unique products elevating the business potential of PSPs.” Badger says the Canon Arizona 1200, 1300 and 2200 series offer the ability to print textured interior décor and the Canon Colorado 1650 with FLX finish offers robust, vibrant, dimensionally stable printing to flexible material such as wall graphics.

Durst Oceania

So, where should printers be looking for opportunities in wide format printing in a sector that, let’s face it, is becoming crowded with new players keen to embrace a lucrative new revenue stream?

Matt Ashman, managing director of Durst Oceania, reflects, “In a crowded room, you need to do something that makes you stand out in the crowd, that’s the key. PSPs need to listen to what their customers need and deliver — not only great print, but awesome service and support for their customers. It’s about getting an edge, that can be appealing to the masses, or finding a niche.”

Ashman says there are huge opportunities in decorating substrates.

“I have always been an advocate of the word ‘decorating’ rather than ‘printing’; the word ‘printing’ can have a low-rent, massproduced connotation, whereas decorating, is adding value to something already useful.”

On Durst’s up-to-date range, Ashman says it is “fast efficient and reliable, but just as importantly the software to drive the equipment and workflow reduces touch points”. www.sprinter.com.au

WIDE FORMAT FOCUS

The Durst P5 Range of true hybrid flatbed and roll-to-roll UV DTM printers offers amazing quality, speed and versatility, he states. Meanwhile, the Durst Delta WT, a breakthrough water-based flatbed DTM printer, creates “stunning quality and good speed, with food-safe ink, and a very low environmental impact when using eco paperbased media,” he explains.

EFI

“Our highly opaque, high quality white ink gives users much more capability in premium products, such as high-end awards and plaques printed on acrylic, signage displays printed on glass, aluminium composite material and more,” he said.

“There are many emerging and growing opportunities where our digital technology has helped our customers do things that were difficult or impossible to achieve in the past.

“There are dozens of EFI printers operating worldwide producing thermoformed displays using EFI printers and our award winning SuperDraw inks.

“They create a huge competitive advantage for our customers compared with analogue.

An analogue thermoformed sign may take ten hours or more to produce, while a digitally thermoformed sign can be printed in less than an hour.”

Harrison says EFI customers are taking advantage of the ‘Divisional Graphics’ opportunity. He says nearly every retail location, office or other place where groups of people congregate needs barriers – and digital printing graphics or messages for those barriers is a new market for many.

With the onset of the COVID pandemic, EFI customers are also creating ‘Distancing Graphics’, for example, floor decals showing consumers where to stand in a queue to maintain social distance, he explains.

“Many of our textile customers are also producing masks and face coverings.

“While these markets do not replace the overall print volume from traditional display graphics, these types of applications may be mainstays for printing companies well into

the future. There are other areas, such as packaging and textiles, where electronic signage is not a suitable replacement. Again, the advantage in packaging with EFI’s UV LED platform is its ability to efficiently print on brown kraft board using a cool-cure system that does not affect the board, plus using a white ink under colour inks on the printer gives corrugated applications significant visual appeal.”

Harrison says that in the very high-volume industrial corrugated packaging applications, EFI has the top-draw single-pass inkjet corrugated printer, the EFI Nozomi C18000.

A Nozomi printer is operating at Opal, in the former Orora plant in Melbourne’s Oakleigh South, and at many other leading corrugated packaging companies worldwide.

“Beyond printers, EFI has the unique advantage of a complete ecosystem of products around the printer which help ensure overall productivity, efficiency and quality,” Harrison said.

“In the display graphics space, there is a fully featured Midmarket Print Suite MIS/ ERP with capabilities that address display graphics producers’ specific needs for scheduling, planning, fulfilment, accounting and much more, including streamlined webto-print design and order submission for signage products.

“Our Fiery digital front end (DFE) technology is the world-class RIP and digital print management solution that drives superior results with fast processing to handle even highly complex jobs.”

Continued on page 42

Versatile UV flatbed printer — the Durst Rho 1312

Printing companies should be looking for versatility, says Rodd Harrison, vice president, APAC sales, at EFI. They need solutions that help them diversify and address a broader range of markets. “That is a primary reason EFI’s UV LED printers have been so useful for growth-minded display graphics companies. The ability to print on nearly any substrate opens the door to new opportunities.

“EFI VUTEk users that do a lot of out-ofhome signage on our roll-to-roll printers, for example, can create new business in interior décor, producing wallcoverings with our Greenguard certified inks. Similarly, our hybrid roll/flatbed and dedicated flatbed printers have helped users enter any number of new market applications.”

EFI VUTEk UV LED printing – which operates with a ‘cool cure’ that enables printing on a wider range of substrates – opening the door to speciality applications, explains Harrison.

For example, says Harrison, the multilayered printing capability on the VUTEk h5 hybrid LED printer is able to produce interior and exterior building materials through textured printing and application of EFI Armor Coatings. www.sprinter.com.au

August 2o2o ProPrint 41

FOCUS WIDE FORMAT Continued from page 41

EFI VUTEK range offers both hybrid roll-to-roll and flatbed capabilities

EFI’s VUTEk D3r and D5r UV LED roll-toroll inkjet printers are its newest releases.

These leverage many of the advanced capabilities from EFI’s VUTEk 3r+ and 5r+ printers, offering a mid-range solution that uses a combination of white and clear inks, and features ‘museum quality’ print mode.

EFI’s newest hybrid printer, the EFI VUTEk 32h, is a versatile, 3.2m wide UV LED inkjet device ideal for superwide-format production.

Another relatively recent release, the EFI Pro 30f dedicated flatbed printer, has a large 3.05 x 2.05m bed and is the first EFI printer that can print on media up to 10cm thick.

Epson Australia

New formats and mediums, soft and hard signage, film and fabric – these are the frontiers for PSPs identified by Gordon Kerr, business marketing manager, professional print solutions, at Epson Australia. He says opportunities exist in applications including décor, awnings, sunshades, wall finishes and cabinetry, merchandise, phone covers and photo imaging, as well as POS, displays, wall and floor decals and automotive vehicle decals and skins.

“What producers need to do is ensure their product remains relevant; they need to use images that excite – and print using inks that are bright and punchy,” Kerr said.

“They need to ensure their product remains cost effective, and they need to look at their equipment and workflow to ensure production costs are minimised.

“They also need to look at new mediums to 42 ProPrint August 2020

ensure their product is attractive and different, to transition from board to reflective film, from paper to backlit film, from SAV to canvas and fabric.”

Kerr says one of the fastest transitions is away from print proofing.

“It is becoming increasingly important that producers adopt a colour-managed workflow, so that the electronic proof that their customer is referencing can be accurately reproduced,” he said.

“Each print needs to look exactly as it was intended; everywhere from the small in-store poster or piece of POP, to a large window decal, to an outdoor bus or billboard display.

“Producers should also be looking for ways to extend and value-add their customers’ messaging. If a customer comes knocking, asking to produce some posters, ask whether they want a matching window decal or a banner, a decal for the floor near the cash register, or some T-shirts for the sales staff.”

Kerr says Epson is finding large format to be “surprisingly buoyant”.

“Fabric is showing strong growth. We are seeing growth in the POS, poster and business segments; A4 and A3 colour laser prints just don’t cut it anymore,” Kerr said.

“While the overall number of machines going into the signage segment seems to have been trending flat recently, the machine sizes are growing as are their print volumes.”

He says Epson has one of the widest ranges in the large format market.

“We provide equipment to enable production of everything from boutique photo and fine art to precision colour

graphics, from indoor POS and posters to durable outdoor signage, from merchandise and T-shirts to high-volume roll-to-roll fabric,” he said.

In the DTG space, Epson offers the F2160 press for low-to-medium volumes on light and dark shirts, with the F3060 model for the high-volume producer.

In dye sublimation, Epson has the F560 for merchandise and hard surface imaging; the compact F6360 for 44 inch roll-based media – for medium-volume garment and hard surface imaging; the F7200 for mediumvolume fabric and soft signage producers, with roll-based media up to 64 inches; the F9460 / F9460H for high-volume fabric and soft signage production up to 64 inches, and a soon to be launched very high speed production model with roll support up to 76 inches.

Fujifilm

Fujifilm believes there are growing opportunities for wide format printing in niche markets such as glass and plastic printing. These opportunities will only increase as ink chemistry advances allowing a wide range of traditional substrates to be printed on, the company said.

Globally, Fujifilm is examining new and emerging markets where print can be used to improve processes and increase profitability.

In the US, Fujifilm has installed an Inca Onset industrial UV flatbed printer in the middle of a chipboard wood mill. This installation has enabled the client to take a relatively low-value product and apply a highwww.sprinter.com.au

value print or finish directly onto it. At a site in Europe, UV printing is being used to produce bespoke shoes.

Fujifilm’s offerings provide cost effective solutions for wide format printers, the company says.

Its product range includes Inca Onset X Series; the Acuity Ultra, a superwide-format UV roll-to-roll printer; the Acuity B1, a speciality B1 sheetfed UV press for industrial and niche applications; the Vybrant UF10 and Acuity Select series low-end flatbed printers; and the Acuity F, a mid-range flatbed printer.

HP

The HP Scitex 17000 has advanced the widely acclaimed 15000, with greater levels of productivity and a rated speed up to 1,000 square metres per hour. It uses HP’s HDR technology and prints on coated media using HDR Scitex inks for cost effective corrugated packaging printing. Hands-free operation, automated feed and zero setup add even more to the productivity. HP says the press operates smoothly on industrial-grade corrugated board with the addition of a HP Scitex Corrugated Grip solving the issue of warped media. Hands-free and stack-to-stack operation plus automatic loading are other features which add to the appeal of the 17000.

Mimaki Australia

Mimaki has three wide format core markets – signage graphics, industrial products and textiles/apparel – and all are seeing positive growth in Australia, says national marketing manager Brad Creighton.

“When it comes to new applications and diversity of print, industrial printing and textile solutions are opening lots of new opportunities for the print industry. But in general, we see opportunities across the board in the sign, graphics and visual communications market: soft signage

(fabrics), digital labels, interior décor and home furnishings, architectural applications, and so on,” Creighton says.

“In our industrial printing market, we are seeing a wide range of applications. To cover this market, you need equipment solutions that cover a wide gamut of the digitisation area. For example, control panels, keypads for electronics market (whitegoods etc) high accuracy and ink durability are a must to achieve longevity and reliability.

“To cover these various applications, ink chemistry and development is key to market success. At Mimaki, we have the most comprehensive LED UV ink choice to suit application needs.”

Creighton says Mimaki’s LED UV inkjet equipment – in roll-to-roll solutions or flatbed technologies – is perfect for new applications.

“In recent years, the business area for original and customised items using LED UV inkjet printing has been expanding for lowvolume, high-mix, on-demand production,” he said.

Creighton says the LED UV inkjet range does not require a print plate, saving time and money.

“The new feature of LED UV inkjet printing enables printing only what is needed and when, creating an economic advantage,” he said.

Creighton says Mimaki has a range of inks including: the scratch-resistant Rigid LH-100 ink; Flexible LUS-120 ink, which can print on soft materials; versatile Flexible LUS-150 ink and the LUS-200 ink for automotive applications; LUS-350 for beautiful prints on hollow products wrap; and PR-200, a primer that increases ink adhesion.

“With the innovation of new print technologies comes the diversity of new printing applications,” he states.

“We are seeing a huge growth in window finishing. Not just signage on glass windows but investment from professional tinting companies wanting to produce brilliant

pattern designs on frosted translucent films.”

Creighton says Mimaki’s roll-to-roll UCJV300 Series can print flexible opaque white inks which suits this application.

“Our UCJV300 Series printer/cutter LED UV with flexible ink has been our most dynamic technology of the last two years,” Creighton said.

The UCJV300 series has been installed at Melbourne’s Tint Design where digital print manager Tyler Golding said it was “half the investment” for twice the output. Display Systems Australia in Banksmeadow, NSW, owner John Privitera says the Mimaki machine replaced two eco-solvent printers.

In Queensland, Bear Signs & Designs owner Garry Miller says recent trials of multi-layer printing has resulted in increases in trade printing from other sign shops. PP

are looking quite good. The challenge is to modify production techniques, increase production speed and facilitate traditional rollouts at a lower cost, while maintaining the margin.”

EFI’s Rodd Harrison says that with printers looking to replace OOH contracts lost to digitised electronic signage, printed décor has become a vibrant growth area.

“Many EFI customers work closely within the architectural, construction and interior design markets to deliver high-impact, high-quality design solutions that speak to print’s effectiveness. You may see some places, such as quick service/fast food restaurants where the menu boards have gone digital, but there’s also more digitally printed décor in the restaurant to make the actual restaurant much more attractive and inviting. We’re actually seeing an uplift in volume of OOH billboard production as the frequency of iteration is changing, actually

increasing, to compete with digital alternatives. A number of our customers are increasing capacity to keep up with that as digital electronic signage is actually driving an increase in printed media.”

Epson Australia’s Gordon Kerr reflects, “If anything, the big declines in print are largely associated with small format (news, books, magazines, etc). Indoor and outdoor large format print remains relatively strong.

While video screens are definitely becoming more prevalent, they have lots of limitations,” he assesses. “The images on a screen are temporary, while a poster can remain for weeks, a billboard for months, and a wall decal for years. Moderate-sized video screens remain expensive to install and maintain.

“The larger screens are particularly expensive and in a world where people are used to high-definition TV, they have significant limitations.”

Textured and risen prints are possible on the Canon Arizona flatbed

The electronic challenge How can wide format PSPs respond to the challenge of digital electronic signage which is raising its profile across Australia’s roadways and retail spaces?

Durst Oceania’s Matt Ashman says the competitive assault of digital electronic signage “is here and it’s here to stay”, but he points out that there are areas in which it can never be installed, and these will remain what he terms “traditional” locations open to opportunities for nonelectronic printing and decorating technologies. “However, when you speak to the out-of-home (OOH) media companies in Australia, they have certainly seen a reduction in traditional sites, but an increase in the turnover of those remaining sites. For example, a digital sign can change every minute, so the traditional sites are needing to be changed once a week sometimes, rather than the standard sixweek cycle. All of a sudden, the numbers www.sprinter.com.au

August 2o2o ProPrint 43

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WE ARE OPEN FOR BUSINESS We just want to reach out and reassure all our valued customers, partners and colleagues that Dataflow Business Systems are fully operational and here to continue uninterupted production throughout this difficult time.

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