Archive for October, 2005

  • Clancy . . . overflow . . . the best bits . . . funnies

    As vice-president to outgoing supremo, Meredith Darke, a dedicated worker for the association and as a popular industry identity, there was never going to be a serious challenge.
    And so it has proved. But what was unknown was who would succeed him in the vice-president’s role of the influential graphic merchant’s association.

    Enter Mitchell ‘Mitch’ Mulligan, managing director of Boettcher Australia, who has accepted the nomination and steps up to the mark. No better man.

    In the course of events Alastair Hadley made a gracious acceptance speech, to wit; “GAMAA is fortunate to have an extremely committed and active membership. In the time I have been a member, the Association has gone from strength to strength. I am enthusiastic about contributing not only to GAMAA’s future as its president, but to the industry as a whole through the work GAMAA does,” he said.

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    And again, we reported the news here weeks ago but the official announcements tend to trail behind. This one confirms Scot Telfer as the new chairman of the National Print Awards. Scot is the national sales and marketing manager of Promentum and was vice-president to outgoing chairman, Alf Carrigan. Ron Patterson, as deputy chairman, will ably assist him. Ron you will recall did a great job as immediate past chairman of Pacprint ’05.

    On accepting the position Scot Telfer said,” The ongoing support by our three major sponsors and the record participation of our patrons, entrants and award night attendees, has demonstrated a continuation in the level of awareness and profile of the Awards.”
    Entries for this year’s awards close January 31, 2006, for work produced in calendar year 2005. Keep your eye on www.nationalprintawards.com.au, which is under construction, to download entry forms.

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    Avery Dennison, the label stock maker, reports that it has been asked by the ACCC for information in connection with an investigation of its label stock business. The company says it is cooperating with the investigation. Avery Dennison, a Fortune 500 company with 2004 global sales of US$5.3 billion, took out competitor Jac a couple of years ago and since then has dominated the local label stock market as the only serious manufacturer in the country. No wonder it has attracted the attention of Graeme Samuel’s boys.

    Stay tuned.

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    Mind, it’s getting tough to make money out of paper as the crunch hits with a worldwide oversupply of pulp, static demand and soaring costs. PaperlinX is not alone in being battered. International Paper, largest manufacturer in the world, is also under the gun with lower earnings of US $162 million in the third quarter compared with $200 million in the third quarter of 2004.
    Projected fourth-quarter earnings will also be lower predominantly because of skyrocketing raw material costs, particularly energy, and higher transportation costs.

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    It would be unfair to attribute the latest round of redundancies at Fairfax to the recent appointment of David Kirk to the role of CEO. While the former chief of PMP is never shy about taking the knife to cut numbers to make the bottom line look better, Clancy is informed that the fate of the 55 journalists, or 7.5 per cent of the editorial team, who are destined for the chop, was decided before the new man took over. It is certainly going to keep the rest of them quiet for a while.

    And one can’t help but wonder what would happen if it ever came to a choice between scribblers and ‘inkies’. After all good printers are hard to find and Kirk, although a bit of a journo himself, has a noted affinity with the heavy metal guys.

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    And finally, some George W Bush sideswipes are just too good to let pass.

    Donald Rumsfeld is giving the president his daily briefing. He concludes by saying: “Yesterday, three Brazilian soldiers were killed in an accident’

    “OH NO!” the President exclaims. “That’s terrible!”

    His staff are stunned at this display of emotion, and stand around watching nervously as he sits there, head in hands.

    Finally, the President looks up and asks…”Exactly how many is a brazillion?’

  • Candidate of the Week: Offset Printing Machinist

    Curriculum Vitae

    PERSONAL INFORMATION:

    Klein Bert

    Bevershoekstraat 87

    3295 AE

    Residency: ‘s-Gravendeel

    Phone: +31 78 6836056

    Mobile: +31 6 48424042

    E-mai: baklein@zonnet.nl

    Date of Birth: 18-02-1966

    Place of Birth: Dordrecht

    Civil status: Divorced

    Nationality: Dutch

    Languages: Dutch, English and a little bit German

    EDUCATION:
    1978-1982
    L.T.S., Oud-Beijerland
    Secondary School
    Diploma Construction technics

    1982-1983
    Graphic Lyceum , Rotterdam
    Middle School Level
    R.T.O. (Reproduction and design technics)

    1989
    Scheidegger institute
    Diploma Programming on Computer

    1992-1994
    Graphic Lyceum, Rotterdam
    Middle School Level
    Diploma Graphic Specialist Sheet-Offset Printing (G.O.C.)

    1994-1995
    Graphic Lyceum, Rotterdam
    Middle School Level
    Diploma Graphic Specialist-pro Sheet-Offset Printing (G.O.C.)

    1995-1996
    Graphic Lyceum, Rotterdam
    Stivako (management education)

    1999
    Management training , Ampect consultants

    EMPLOYMENT HISTORY:

    1983-1991
    E.N.R. B.V., ‘s-Gravendeel
    Position Held: Production Operator

    Duties: Production an Roll up cardboard to tubes on roll up machines

    1991-1996
    DR LPF Folding Cartons B.V. , Capelle a/d IJssel
    Position Held: Offsetprinting Machinist
    Experience with: Roland 800-5 colour with R.C.I.
    Planeta Varimat 6 colour with Varicontrol.
    Both printing size: 100×140 cm. With lack.

    Duties: Printing sheets for packaging industry. 250- 800 grs.

    1996-1997
    N.P.N. Grafische bedrijven B.V. , Tholen
    Position Held: Offsetprinting Machinist
    Experience with: Heidelberg Speedmaster 74- 5 colour with C.P.C 1,3 en 4 and CP-Tronic.
    Sorm Z 2 Colours
    Both printing size: 72×52 cm.

    Duties: Printing sheets for business, advertisement and family printwork etc. 80- 300 grs.

    1997-1998
    DR LPF Folding Cartons B.V. , Capelle a/d IJssel
    (See description above)

    1998-now
    Drukkerij Bremer, Oud-Beijerland
    Position Held: Foreman Co-Operator Printing Machinist (psychological test in Dutch )

    Experience with:
    Heidelberg Speedmaster 74-2 colour
    Heidelberg Speedmaster 52 2 and 4 colour with CP Tronic
    KBA Rapida 74- 5 Colour

    Duties: Foreman of 10 printing machinist
    Printing Planning
    Progress of production process
    Verify on quality
    Stock administration
    Contacts with relations
    Teach and accompany student printing machinist

     

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  • Job of the Week: Pre-Production Leader


    A fantastic opportunity exists for a well organised professional to develop outstanding printed solutions for our FMCG clients. With your strong leadership, interpersonal and influencing skills, you will work closely with our customers, suppliers, sales and production teams to co-ordinate and develop our pre press and technical specification processes.

    Your passion for continuous improvement will ensure you make a real difference to our growth business.

    Printing industry experience is essential; pre-press, colour management or flexographic experience is an advantage.

    An attractive remuneration package will be offered to the right person.

    If you like the idea of working in a rapidly expanding medium sized company, playing an intimate part in its ongoing success…THEN ACT NOW!

    To apply please go to www.onetest.com.au/flexpackjobs/ and complete our online application form.

    For Technical support, contact Onetest on 1300 137 937.

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    To view more printing and graphic arts career positions click here for Print21 Online employment section.

  • Book Club –

    Printers have not had a resource to share with designers or other industry professionals that would explain the folding process and all of the different folding styles they can offer to their customers.

    In the publication industry, there has never been a guide for folding. Designers have never understood all of the folding options available to them, and have not had access to the math behind proper digital document set-up. Until now.
    Finishing Experts Group, an industry-specific publishing company, has just released Fold, a first-of-its-kind, two-volume set that creates an essential system for the printing and design industry by establishing naming conventions and standardizing the folding process.

    Fold is an 850-page reference manual with over 1,000 illustrations that systematically documents and classifies more than 180 brochure folding styles, breaking them down into eight folding families (accordions, basics, exotics, gates, maps, parallels, posters and rolls). Each folding style is named, numbered and illustrated. Then, each style is diagrammed with proper folding compensations for accurate digital document setup. There are also tips and considerations for each.

    The reference manual, written by Trish Witkowski, a creative director with a Baltimore marketing firm, is the product of five years of industry research.

    Geared toward print and design professionals, industry organizations, binderies, folding machinery manufacturers, and the graphic arts education market, Fold provides a common language for designers and printers/binderies, giving everyone the same frame of reference and saving valuable time and resources.

    “As a professional designer, I would often become frustrated with the lack of a comprehensive resource for folding,” said Witkowski. “This guide fills a vacuum in the industry. My hope is that the book not only will be the go-to guide in the industry for folding, but that it also can serve as a springboard for creativity.”

    Trish Witkowski is currently the creative director for a marketing and communications firm in Baltimore. She earned her master of science in graphic arts publishing from Rochester Institute of Technology’s world-renowned School of Printing Management and Sciences and a bachelor of fine arts degree in graphic design. She has taught design and desktop publishing at the college level, and is the co-author of The Adobe InDesign Guide.
    Fold is available exclusively in Australia and New Zealand from Print21Online

    Table of Contents Volume ONE

    • Visual Index…………………………………….. 1
    • Folding List……………………………………. 33
    • Getting Started
    • How to Use This Guide………………….. 43
    • How This Guide is Organized………… 47
    • Understanding the Lingo……………….. 49
    • Format Options………………………………. 52
    • Folding Preparation
    • Planning for Folded Matter………………. 55
    • Setting-Up the Digital Document…….. 56
    • Placing Fold Marks………………………….. 60
    • Making Sequenced Folding Dummies.61
    • Modifying the Folds in this Guide………. 63
    • Folding 101
    • Folding Basics…………………………………. 67
    • How Paper Effects Folding………………. 69
    • Die-cutting, Scoring and Perforating… 71
    • Wafer-seals and Glue………………………. 72
    • Reference Materials
    • Conversion Chart……………………………… 75
    • Press Sheet Sizes……………………………. 76
    • Standard Envelope Sizes………………….. 77
    • Finishing terms…………………………………. 81
    • Folding Families
    • Accordions………………………………………… 85
    • Basics……………………………………………… 279
    • Exotics……………………………………………… 373
    • Table of Contents Volume Two
    • Gates……………………………………………….. 435
    • Maps………………………………………………… 509
    • Parallels…………………………………………… 551
    • Posters…………………………………………….. 681
    • Rolls…………………………………………………. 779
    • Index…………………………………………………. 845

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    To buy FOLD: The Professional Guide to Folding and to browse the Print21Online Graphic Arts Library click here:www.bluelinemedia.com.au/index.cfm?pageid=shop&productType=1

  • Targeting the print market of one – Magazine feature

    The age of mass media is coming to an end. Slowly but surely, like a drifting iceberg, it is melting in the warming seas of personal expectations. Adrift in a world where many new forms of communication are under the control and discretion of individuals, mass mediaÕs grab for the attention of anonymous consumers is losing its force. People prefer the private to the public, the personal to the standard.

    If marketers want to communicate with individuals who are increasingly protective of their personal preferences, they have to address them directly.

    Consider the trends* Ð network television audiences peaked in 1985 and have steadily fallen ever since; newspaper circulation peaked in 1987 and its decline is accelerating; radio listener-ship is at a 27-year low. On the other hand** Ð direct marketing is growing at a rate of 17 per cent per year; the telemarketing industry is also growing at 17 per cent per year; in the 1990s 15 per cent of Australian homes were connected to the internet, today itÕs 60 per cent and 1.5 million of these have broadband. The underlying trend is one of individuation, of personal ownership of information and communication.

    For the printing industry, the message is loud and clear Ð develop the ability to communicate with the new personalised market paradigm or risk being marginalised to the point of extinction. A century ago almost all advertising and marketing was print based. Today print accounts for less than half the total spend and its share is decreasing.

    In the single year between 1999 and 2000, there were 722,000 new business sites established on the internet. When you consider that marketing, especially large corporate marketing, is responsible for generating over 70 per cent of all print and that marketers are constantly evaluating where to allocate their spend, it is plain that printing needs to reinvent itself as some thing other than old mass media.

    Direct marketing is more than a paper tiger
    Direct marketing now represents over 50 per cent of all media spending. Businesses are targeting customers in the full knowledge that only a value message that addresses a real and positive requirement in their life will get through the filter and be acted upon. Creating this message is the role of the new business of printing.

    Digital printing is a product of the new age, and its potential is still almost entirely untapped. Of all its differentiators Ð short run, on-demand, push-button Ð none has the promise and the potential of personalisation. Receiving a well-directed personalised invitation to act on your preferences and abilities is almost irresistible. Sell a golfer a pair of golf shoes, a new car owner a GPS, a skier some travel insurance Ð itÕs a walk up start if you know who the customer is and can address them by their name.

    It is not rocket-science and the tools are in place, but it takes knowledge and commitment. The advent of the Fuji Xerox iGen3 and similar powerful digital print engines has opened up the possibilities of personalised direct marketing.

    Phil Chambers, managing director of Fuji Xerox Australia, has seized the opportunity and within the corporationÕs Global Services division is seeding the next revolution in printing. He has anointed Steve Pryce to head up the Technology and Innovation Group with the brief to develop new, effective direct marketing campaigns using personalised printing for major corporations.

    Already it has achieved some benchmark successes with landmark corporations. Much of its work remains confidential but the growing evidence of outstanding results is making an impression. The queue of customers wanting to participate in the initiative is stretching around the block and lengthening. Revelling in the stunning responses some of the initial campaigns with major telcos and financial institutions, the sunrise business seems assured of fulfilling ChamberÕs expectations of becoming a major revenue source for the company.

    Experiment, create, innovate
    One of the most dynamic developers of personalised communication is Craig Stokoe, of LPN, a Sydney-based visual communications company. According to him the company works with its customers to harness the potential that personalisation can bring to marketing campaigns. ÒWe are creating new ways for customers to maximise their brand awareness and make striking impressions on their target audiences, and in the process achieving even better results than those utilising conventional marketing communication and printing methods.Ó

    For one client, LPN runs a loyalty program with a niche target market. Variable date printing allows LPN to issue monthly ‘statements’ with graphic depictions of member points-achieved, points-redeemed, prizes available and reminders of prizes already redeemed.

    ÒThere is no limit to the size of the target market that can be reached with seemingly individually-tailored messaging when relying on the impact of fully-personalised direct mail,Ó he said.

    Variable data printing allows LPN to provide the marketing department of another client with ‘ready to go’ mail pieces for distribution to its sales force. Each printed piece is personalised towards the prospect with content altered according to industry type.

    Following printing, each letter is fully addressed, sealed and supplied to sales teams ready to lodge at their own discretion.

    ÒIn this scenario, sales personnel are given control of the timing of the direct mailers and necessary follow-up contact with targets in accordance with their own schedules to support and fulfil subsequent orders,Ó explains Stokoe. ÒIt is an ideal marketing solution as it maximises opportunities created by the personalised communication by incorporating the sales support into the equation. This is the essence of personalisation: recognising that the importance of customer communication lies more in who receives it and what eventuates rather than who sends it.Ó

    Mail – internet invitation
    For certain customer events, LPN creates printed invitations that feature personal URLs for RSVPs. ÒBy leveraging the convenience of the internet and providing each recipient with their own personalised RSVP page, we have found that it is easier for potential attendees confirm their availability. It also provides the event coordinators with immediate and accurate attendee data that helps with planning the event. Most of all, this unique way of responding to an invitation gives us an opportunity to customise the customerÕs experience and as a result, receive response rates that are well above the norm.Ó

    Stokoe concludes, ÒIn addition to expanding our own business offerings, we are using pioneering digital printing technology to produce personalised, one-to-one documents in full colour to add value to our customers. This not only heightens brand awareness and loyalty, but the value is visible in bottom line success such as increased customer response and repeat business.”

  • NSW takes home the Heidelberg Shield

    Hayden Rorke and Val Loumbos took out the Shield for the 2005 event, in a game held at Kooyonga Golf Club in South Australia. Last time NSW won the prestigious trophy was in 1998

    According to a report from the game, Rorke and Loumbos pulled together extremely well on the testing course. The abundance of natural timber and narrow undulating fairways on the Kooyonga course culminated in well-protected greens, which the event’s organisers claim demanded both skill and respect.

    (From Left: 2005 Heidelberg Shield Winners, Hayden Rorke and Val Loumbos, aka “The Twins”)

    Five Australian Opens and three Australian Amateur Championships have been conducted at Kooyonga.

    The representing Teams were as follows:

  • NSW: Hayden Rorke and Val Loumbos – 45 Points
  • VIC: John Wanless and Ken Pooley – 37 Points
  • QLD: Bruce Manderson & Barry Irvine – 36 Points
  • SA: Roger Baynes & Steve Straker – 34 Points
  • WA: Morgan Pickworth and Michael Laws – 33 Points

    The Heidelberg Shield will next be contested in Western Australia during 2006. If you would like more information on the Heidelberg Shield or to be a part of the Printing Industries NSW Golfing Society please email Yvonne Little at little@printnet.com.au.

    (Right: Heidelberg Shield Players for 2005 – Back row (L-R) John Wanless, Ken Pooley (VIC), Bruce Manderson, Barry Irvine (QLD), Morgan Pickworth and Michael Wales (WA). Front row (L-R) Hayden Rorke, Val Loumbos (NSW), Roger Baynes and Steve Straker (SA).)

  • Passing judgement on the NZ print judges

    Seminars were held at various centres from Christchurch to Auckland, at which the Pride In Print committee listened to rank-and-file printers, learned what questions the industry wants answered and explained how the Awards are judged.

    Questioning from the floor at the Auckland evening at Heidelberg’s Mt Wellington headquarters, was indicative of the high level of interest in the Awards. Over 90 people turned out for the event, from all sectors of the printing industry.

    Awards Manager, Sue Archibald, gave a brief background to what the Pride In Print Awards are all about – celebrating and promoting the excellence of print in New Zealand – including a video of the successful Rotorua gathering this year, which attracted an audience of over 800.

    “That is why we need to put the very best of our work in front of the judges, and promote ourselves in the market place. We need to get more print buyers to stop taking work offshore, and instead place their orders within New Zealand. The best way that we can demonstrate to them the quality of which New Zealand is capable is to have our most excellent work on show,” she said.

    The new convener of judges for 2006, Grant Letfus, emphasised how the judges required more information to be sent with entries.
    “Every year, we get entries that do not give us sufficient information to assess the processes undertaken, or to judge the degree of difficulty. This year we had one entry in the ‘Innovation in Print’ category which listed the print process as ‘secret’. That gave us no opportunity to judge the technical difficulty of the work.”
    He outlined how the technical expertise in the Awards had expanded, with the original judging panel of 12 expanded to 54.

    Danny Redhill, general manager of Bryce Francis Graphics in Wellington, was able to speak from the perspective of an unsuccessful entrant for a number of years, who finally broke through for Award success.
    Now a judge, he went into detail in explaining how in the first assessment, entries are culled 30 to 40 pr cent by judges in the specific area of expertise for that category. In subsequent culls, examinations become more intense, and judges from other areas are brought to give advice on things such as finishing and binding.

    In an era of computer-to-plate technology, judges pay special attention to areas of craftsmanship. Errors such as hickies and cracking down the spine during folding bring bad marks. Another issue is consistency of corporate colours.

    “I would suggest trying to do corporate colours in spot colour,” he advised. “If you’re trying to do them in CMYK you will have extra difficulty in maintaining consistency over multi pages. Even in a spot colour, this is an area you must look at carefully.”
    Redhill also advised the audience to pay particular heed to the matching up of photographs over folds; folds not being absolutely square; over-inking leading to screens filling in; creep during jobs and the quality of the perfect binding of books.

    “One job that we had this year was heading for a Gold Medal but in the final analysis, we found one staple that was crooked. That was enough to downgrade to highly-commended,” he said.
    He advised printers to handpick their samples for possible Pride In Print entries during the course of the year, and to make a final review at the end of the year to decide which were best.

    Finally, he urged smaller printers to make their mark in the Awards. “Pride In Print is not just about the big boys, with all the bells and whistles. Every year, there are Gold Medals which go to small printers with ordinary two-colour equipment. There is a place for the smaller printer to gain just as much recognition.”

    Sue Archibald reinforced this by pointing out the marketing benefits which flow from achieving an Award.
    “It is great promotion. One of the releases from our PR team about a Gold Award winner, has recently been picked up in America and achieved publicity there. Your $57 entry fee will be the cheapest marketing investment that you will ever make, if you get a Gold Medal.”

    Questions from the floor revealed a lot of interest in how judging is conducted for the Supreme Award. Grant Letfus described how all the Gold Medal winners, which had been chosen as top of their categories, were then presented to the Supreme Award panel of judges.

    The senior judge from that category then spoke on behalf of the entry and explained its technical and craft merit. From there on, secret ballots of the panel successively reduce the contestants down to two, resulting in the final secret vote for the Supreme Award winner.

    Responding to further questioning, screenprinting senior judge Ross Clarke took the floor to explain in more detail the technical merits of this year’s Supreme Award winner, as an example of the judging process in action.
    Another questioner suggested that some entrants would like to know more as to why their entries had succeeded or failed, and was told by Sue Archibald that people are entitled to ask for the judging papers to be returned, complete with judges’ comments.

    To the question of whether the judges know who has entered a particular job, Grant Letfus said that all entries are incognito. When it is apparent that a judge recognises a particular piece of work, or knows the work is submitted by his or her company, the judge stands down from judging that entry.
    Audience participants spoken to after the formal part of the evening, were appreciative of the seminar.
    Colin McGinley, director of The Print Shop in Albany, said the explanation about the judging criteria was of particular benefit.
    “Pride In Print gives us something tangible with which to relate to our customers. It shows that we have been judged by our peers as having some advantage over our competitors. We need to keep abreast of what the judges are looking for in order to keep ahead of the competition, and that was why we attended the seminar.”

    Wayne Romminger, general manager of McCollams in Mairangi Bay, who asked a number of questions from the floor, also agreed the seminar had great merit.
    “Absolutely, it was very worthwhile to hear directly from some of the members of the panel. It makes my understanding of the process a lot more clearer now, although I still see it as being very difficult for them in the Supreme Award to choose between the merits of jobs from very different fields.”
    The audience was also given details by Sue Archibald of the changes to the 2006 Pride In Print Awards evening at Auckland’s Sky City Casino.
    It is to be a bigger, better balance of prize-giving, entertainment, partying and networking, while reinforcing the formal Awards presentations. This follows a detailed independent survey of industry members by the Awards Committee.
    Sue Archibald warned people to be in early for their tickets for the big night on Friday June 9. Attendance will be strictly limited to 1000, to ensure all attendees fully enjoy the evening.

    For further information on the Pride In Print Awards please contact:
    Sue Archibald — Awards Manager (021) 663-881

  • Kodak pins winning hopes on final straight

    The losses are attributed to the $1.9 billion cost of the company’s transformation into a digital products and printing services provider. Kodak is feeling the heat with shares falling by as much as nine percent to a two-year low, but has emphasized the results represent the first time the company has generated more sales from digital imaging than film-based photography.

    The company’s overall revenue rose by five per cent during the quarter, with its 20 per cent drop in traditional revenues offset by a 47 per cent increase in the sale of digital products and services. Kodak insists that a major chunk of its total digital revenue will be acquired in the final quarter of the year, reflecting both the seasonal market and acquisitions made earlier in 2005.

    “Our performance in the last four months of this year will be critical to our full-year results. Due to the seasonality of digital markets, the company anticipates that 40 per cent of our total digital revenue and most of our earnings and cash for the year will come in the last four months of the year,” a company statement claimed.

    “We are already at the mid-point of our transformation, and we are on track in our journey. Our goal is to create a strong, self-sufficient digital company by 2008.

    Antonio Perez, CEO of Kodak, labels the third-quarter results as a milestone in the company’s digital transformation, in spite of the $1.36 billion loss. Perez emphasizes the fact that digital earnings were three and a half times greater than those from 12 months ago, claiming the result boosts the company’s confidence in a strong fourth-quarter showing.

    “Within the business units, we continue to see widespread evidence of the success of our digital transformation. Our Graphic Communications Group continues to demonstrate strong growth, coming off a very successful Print 05 [Chicago] trade show in September,” claims Perez.

    The third-quarter loss was the third in a row for Kodak, which has spent the past two years scaling back manufacturing and cutting jobs, as well as a number of high-profile acquisitions in the areas of digital and commercial print. Among these purchases were Creo, Encad, KPG and NexPress, with all of the company’s graphic arts components brought together earlier in 2005 under its new-look Graphics Communication Group banner.

  • Industry battered by second tough quarter – Trend Report

    Following the difficult trading conditions experienced during the June 2005 quarter, industry outcomes again fell significantly below expectations. Key indicators such as orders, production, sales, net profits, selling prices and overtime are all reported to have deteriorated over the period.

    “The industry has now had two consecutive trading quarters that can best be described as difficult,” says Hagop Tchamkertenian, manager of industry and commercial policy at Printing Industries. The solid start made to the calendar year following a relatively robust March quarter is now a distant memory for many operators struggling with weak industry activity.”

    In spite of the difficult trading conditions, operators are expressing more confidence about future business prospects than they were 12 months ago. The general business expectations indicator, as well as general expectations across a number of other key areas, has remained positive in the latest report.

    “Industry respondents remain very optimistic that the December 2005 quarter will be characterised by strong trading conditions,” says Tchamkertenian.

    Participant companies collectively employing a workforce of approximately 10,000 people from 15 printing and associated sectors. Other important developments during the September 2005 quarter include:

  • Increased employment levels
  • Increased investment in plant and machinery
  • Finance reported more easier to obtain
  • Labour availability was reported to have deteriorated once again;
  • Increases reported across all cost categories
  • Reduced levels of raw material stocks
  • Increased numbers of outstanding debtors

    On the critical issue of capacity utilisation rates, results show that 63 per cent of respondents were operating at capacity levels of 70 per cent or over, up from the 56.8 per cent reported last quarter but down on the 70.8 per cent reported this time last year.

    The quarter saw 87.4 per cent of survey respondents ranking a lack of orders as the primary barrier to increasing production, an outcome lower than the 90.4 per cent reported during the June 2005 quarter, and significantly higher than the 75.2 per cent proportion reported during September quarter 2004.

    Respondents expect the December 2005 quarter to yield the following results:

  • Net balance increases in orders, production, sales and net profits
  • Further falls in selling prices;
  • Increased availability of finance
  • Reduced availability of labour
  • Increased employment and overtime levels
  • Further increases in all production cost categories: average wages, other labour costs, and average material costs
  • Unchanged stock levels
  • Increased number of outstanding debtors

    Over the next six months, respondents are forecasting:

  • Increased investment activity in plant and machinery
  • Increased investment activity in buildings

    The outlook for general business expectations over the next six months remains favourable as all states, with the exceptions of Western Australia and South Australia, which are expected to deteriorate and remain static respectively. The most optimistic state is Queensland.

    Queensland and New South Wales reported highest capacity utilisation rates, while idle capacity was a serious issue for South Australia.

    High capacity utilisation rates were reported by the following product sectors: cheques and securities, labels, general promotional and commercial, and greeting cards, calendars and diaries.

    Considerable levels of excess capacity exist in the book binding, graphic reproduction, other packaging and paper converting, screen printing, business forms and continuous stationery, and books, magazines, periodicals and newspapers sectors.

    With the exception of a deterioration in the folding cartons sector, the product sectors are expecting business conditions to either improve or remain static over the next six months.

    Intentions for capital expenditure remain positive, with most sectors either forecasting increased investment or no change in plant and machinery over the next six months.

    Labour availability continues to remain a problem for companies operating in the printing industry, with expectations suggesting the problem will continue. Selling prices are forecast to deteriorate once again, and given the expected rise in the number of outstanding debtors during the next quarter, both cash flow and margins are expected to come under pressure.

    Any one interested in obtaining a copy of the full report can contact Printing Industries on (02) 8789 7300. Hard copies of the report cost $15 for members and $30 for non-members. Electronic copies are also available.

  • Sappi names nine world printing champions in Shanghai

    Following last year’s decision to separate entries into categories for the world’s most famous and prestigious competition, nine companies from around the world can lay claim to being the best printers in their field. Changing from the almost impossible task of trying to compare very different styles of printing, one with the other, Sappi’s organisers adopted a like with like approach that sees producers of annual reports competing against similar products and not against, say, calendars or labels.

    Also for the first time there were no entrants from Australia and New Zealand in the finals, the local industry only picking up silver and bronze awards in the regional Sappi Trading run-offs back in June. At the regional level local printers were matched against similar entries from Asia and Central and South America, the ‘trading’ regions.

    In fact no entrants from the ‘trading’ regions proved a winner in the final cut, with the judges, including our own Greg Grace from the LIA, awarding four of the famous African Elephant trophies to European companies, three to African firms and two to North American printing enterprises. While there is no gainsaying the quality of the winners, the competition was tight, with Grace maintaining they were some of the most difficult decisions in his experience of the awards.

    Sappi Trading managing director, Hugh Martin, (pictured) expressed his disappointment that no one from the ‘regions’ won, although he is firm in his conviction that the general standard of printing in Australasia, China, India and Mexico is every bit as good as anywhere in the world. He urged printers to put in an extra effort next year.

    Certainly on the night, the expert audience that packed the glittering hall of Shanghais Grand Theatre had widely differing opinions on who would prove to be the winner in each category. There were few clear favourites and at this level the quality and presentation of the printing on display set benchmarks of which the entire industry can be proud.

    Sappi takes the lead for craft

    In making the presentations on the night, Jonathan Leslie, CEO Sappi, (pictured) spoke of the company’s motivation in hosting the awards. “Paper is a fundamental aspect of the human experience, and remains as essential component of the advertising and marketing mix. We at Sappi, as custodians of this rich heritage, wish to acknowledge and reward the role played by the printer in making print such a powerful communication medium, he said.

    The concept of a world championship in printing is now firmly established under the Sappi banner. With increasing numbers of entrants every year, the competition will only get tougher and the prizes more highly valued. With the use of Sappi paper as the sole entry requirement, the potential is available to everyone.

    Hungary for success next year
    Tim Schafer, managing director of Sappi Trading Australia, is confident next year’s awards will again see local printers travel to the finals. He reports many printers who entered this year are more determined than ever that Australia and New Zealand will be represented in the world titles. “They have told me they are keen to see Australia among the best of the best printers in the world again. We have a lot more entries coming in even at this early stage and I’m confident we’ll put on a good display in next year’s competition.”

    Lured not only by the prospect of being declared the best printer in the world in their speciality, but also by the prospect of an all expenses trip to Budapest, where next year’s finals will be held, the Sappi Printers of the Year competition is drawing entrants from across the board, from label and magazine printers to book and general printers. For an industry that considers itself on a par with the best in the world, the opportunity is too good to be missed.

    And the winners are, This year’s winners can claim to be the best printer in the world in one of nine different categories.

  • Annual Reports – Kirkwood Printing Company, Massachusetts, USA
  • Books – Leen Offsetdruk, Belgium
  • Brochures – Ultra Litho, South Africa
  • Calendars – Masterpack, South Africa
  • Catalogues – Geers Offset, Belgium
  • General Print – Hemlock Printers, Canada
  • Magazines – Medialis Offsetdruk, Germany
  • Packaging & Labels – Durrant & Viljoen, South Africa
  • Printer’s Own Promotion – Bruno Viappiani, Italy.

  • Get Connected disconnects – international conference postponed

    In a statement issued by the organisers, the re-scheduling happened after requests from a number of participating countries unable to complete delegate arrangements in time for the 16-19 November conference. Visa processing delays were the major reason. The delegates were coming as part of the Felowship of Asian Graphic Arts and Technology annual event.

    Negotiations are continuing between the nine participating Asian countries to finalise a new date, most likely for May 2006.

    Joe Kowalewski Printing Industries national director, marketing and media services, said that while the change presented some short term challenges, the re-scheduled event would provide even greater value for delegates and sponsors.

    “Planning is already underway to amend parts of the program. The LIA will again assist with its technical input. With the additional timing now available the overall program will benefit,” he said.

    “Our marketing campaign will continue in Australia and Asia and, supported by all participating nations, will ensure even stronger branding and awareness of Get Connected Sydney.”

    The show must go on

    While much of the existing Get Connected program will transfer to 2006, Printing Industries including the various award presentations.

    Printing IndustriesNSW Region PRINTNSW Business Achievement Awards, Member Awards and the GAMAA / LIA National Graduate Scholarship Prize will be presented, as scheduled, on Friday 18 November 2005 at the Shangri-La Hotel Sydney.

    The LIAÕs technical presentations have been relocated to the Turner Hall at the Ultimo Campus of Sydney TAFE on Friday 18 November. The day-long session begins at 8.30am.

  • Robert Rosen, noted USA based industry guru, will leading the day session examining what it is that sets the industries leading CEOs apart from the rest.
  • Phil Lawrence, well-known industry expert, will speak on why looking after the environment is good for business.
  • a general debate on whether a paper proof will still be needed in 2010.
  • Malcolm Auld M.D. of the award-winning agency Mad Marketing, will wrap up the day.

    Registration forms for this session will be available on www.printnet.com.au or by contacting Printing Industries on (02) 8789 7300, or alternatively Bob Lamont at the LIA on 0407 914 156 or via email at lamont57@ozemail.com.au

    Full details will be available as they are finalised on
    www.getconnected2005.com.au

  • Sydney Harbour site for high-tech graphics centre

    The Sydney Harbour Federation Trust is seeking expressions of interest on leasing buildings and facilities on the island, as well as input from businesses on how the island can be developed.

    The Trust is aiming to regain the energy and vitality of the island’s past, and is looking specifically towards the creative end of the IT industry as a means to transform the former penal site into Australia’s ‘silicon island’. While information on the specific companies that have expressed interest in the site is not yet available, the Federation Trust expects a diverse range of graphic arts companies to take up lodgement on the island.

    “I believe business sectors as creative and adaptive as animation, design and multimedia have a key role to play in the development of this unique commercial and cultural community,” says Geoff Bailey, executive director of Sydney Harbour Federation Trust.

    Bailey points out the island is a highly developed industrial site with over 150 unused buildings, and emphasises the desire of the Trust to find business and cultural activity that fit with the existing infrastructure. “Our vision for Cockatoo Island is to revive maritime activity and create a dynamic mix of business, cultural, and recreational activities that will allow the history and future of this unique site to sympathetically blend,” he says.

    The existing ferry services will be enhanced for transport to and from the island, and an extensive upgrade of the site’s infrastructure will take place. A majority of the decontamination work on the industrial sites has already been performed, the power and telephone communications are in the process of being upgraded. Underwater cables will be installed to facilitate digital communication.

    The Trust is currently taking expressions of interest from businesses looking to take advantage of the space on Cockatoo Island. Visit www.harbourtrust.gov.au for full information on the process, the deadline for proposals is 5pm, Friday 18 November 2005.

    Cockatoo Island covers an area of 17.9 hectares, and can be reached by ferry from Circular Quay and the inner western suburbs of Balmain and Woolwich. The island was a convict prison from the 1840s up until 1908, developing into a maritime precinct and eventually transforming into a major shipbuilding yard.

    Shipbuilding activities peaked in 1919 when more than 4,000 people were employed constructing warships for the Royal Australian Navy. The dockyard was decommissioned in 1991, and a variety of structures remain in place. The Sydney Harbour Federation Trust was established in 1999 to plan and manage the future uses of the island.

  • Australian Paper hurts PaperlinX profits

    The poor performance of Australian Paper, the local paper manufacturing division PaperlinX, was blamed for the dent in the companyÕs performance. Crippled by a strong Australian dollar, the local manufacturer struggled against cheaper imports. While merchant earnings were up 26 per cent to from $148 to $186 million, Australian Paper operating earnings plummeted by 66 per cent from $66 million to $22 million.

    “The decline in overall earnings is attributable essentially to a further reduction in the profit of our domestic paper manufacturing business, Australian Paper,” said David Meiklejohn, chairman at PaperlinX, at the company’s AGM in Sydney this week.

    Overall profit after tax (excluding an ATO tax break) was $91.5 million compared with $108.5 million last year, a reduction of 16 per cent. However, earnings before interest and tax of $184.9 million was only three per cent behind the prior year.

    Shareholders were advised that no improvement is expected for the rest of the year. The poor performance of Australian Paper was attributed not only to the impact of the strong Australian dollar on domestic paper prices, but to the cyclical nature of demand, pricing and profitability of paper products worldwide.

    Meiklejohn insists the cyclical nature of the pulp and paper industry has been demonstrated over many decades, with the pattern proving to be particularly negative in Australia over the past two years. “Selling prices have fallen, supply offerings from overseas manufacturers have increased dramatically, demand in Australia has remained steady,” says Meiklejohn.

    While the company concedes that little can be done to influence cyclical trends worldwide, the board and management insist they will be directing their focus on matters within their influence and control.

    “For Australian Paper we have committed capital to improve our product quality, to reduce costs and to build on our existing competitive advantages,” says Meiklejohn. ÒWe have upgraded our Maryvale No.1 machine to improve the quality of our sack kraft product and are confident that this project will improve our profitability and returns in the short term.”

    He said the impending upgrade to the Maryvale Pulp Mill will offer substantial improvements in costs and quality, as well as boosting environmental performance.

    “We are also focussed on narrowing our product portfolio to ensure that we direct our manufacturing capacity towards products that can provide an adequate return to our business through the total paper cycle,” said Meiklejohn, a statement that may mean tough decisions are about to be taken concerning production facilities such as Shoalhaven mill that produces specialty papers.

    He maintained that the profit downturn in Australian Paper could have had a more dire impact but for management initiatives in recent years.

    “In 2000 the Board recognised the vulnerability of PaperlinX to the negative impacts of the paper cycle and implemented a strategy to expand and grow our global paper merchanting operations. The success of this strategy has been demonstrated in 2005 when the merchanting businesses underpinned our total Group result and our dividend by contributing the majority of our operating earnings.

    “If the Board had not followed this merchanting strategy and simply maintained the portfolio of businesses at the demerger in 2000, PaperlinX today would have made virtually no profit, would have paid no dividend and the share price would most likely have been substantially below.”

  • Clancy . . . overflow . . . the best bits . . . funnies

    For the first time since the Australian and New Zealand industry became participants in the world title, there are no local printers vying for the Elephant Throphy

    The level of international competition proved so tough that although we gathered a number of silver and bronze prizes in the regional heats, the required gold eluded us. Better luck next year. And even before this year’s winners are announced a bunch of local printers is gearing up, determined the industry will be represented on the top level next time around.

    For details how you can take bolster our regional efforts give Tim Schafer general manager of Sappi Trading an email. tim.schafer@as.sappi.com

    ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ

    There will be a couple of locals at the Sappi Printer of the Year event in Shanghai. Greg Grace, LIA Fellow and industry quality guru from Heidelberg will be officiating as a judge for the third year while Clancy’s mate and editor of Print21Online, Patrick Howard, also got a Guernsey to report on the results.

    It’s a tough job, but someone has to do it.

    ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ

    With a continuing fall in the circulation figures of newspapers, word comes that a posse of publishers is being formed to develop a new marketing agency to promote the industry, especially to the young. News Limited and Fairfax are leading the charge as even the reliable Sunday editions falter.

    ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ

    Nice to see industry PR duchess, Philippa Lowe, founder of Just Go Write, is back in action. After taking off for a year to nurture her first born, Sebastian, she’s back at the helm, determined to develop the family-friendly remote workplace style the agency known for. Philippa reckons there are many professional parents who wish to utilize their extensive business acumen without compromising on family life. Our remote work ethic continues to attract experienced PR professionals who want to change from ‘big name’ agencies and achieve a better work-life balance.

    Now there’s a good idea.

    ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ

    One of Philippa Lowe’s first projects back at the front is doing the local marketing and publicity for the Creative Suite User Conference, November 1-4 in Sydney. Director Barry Anderson, USA born and bred, says it’s great to have a local team to assist with planning. “Having PR contacts ‘on the ground’ who know the market, is a huge benefit when it comes to planning this level of conference.”

    The 2005 Creative Suite Conference is for Adobe Creative Suite experts, users & newcomers – in fact, anyone who needs to know how these products really work together. November 1 is a full Day Pre-Conference “Essentials” Training Course – so anyone can get up to speed fast in Photoshop, InDesign, Acrobat, or Illustrator.
    It’s also Melbourne Cup day so there’s a big screen, sweepstake and drinks for everyone at the Conference. Check it out at:

    ÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐÐ

    And finally . . . here’s a little yarn to prove that travel not only broadens the mind, but almost empties it entirely.

    Well-known industry identity, Andy McCourt, has recently returned from traipsing around the wilds of the West Country UK. One day in a remote valley in Cornwall he came across a three-legged sheep.

    “Oh, that sheep?” responded the grizzled sheperd leaning over a five-bar gate. “Great sheep ‘er is. Why once my daughter fell into weir, that sheep jump in and haul ‘er out by scruff of neck.
    ” ‘N’other time barn caught fire, that sheep banged ‘er head against door, woke us up and saved our lives.”

    “So what happed with the three legs?” asked Andy.

    “Well, you see, when you get a sheep that good, you don’t want to eat it all at once.”

  • Candidate of the Week: Prepress Manager

    David Lewis

    88 Sartors Ave

    Browns Bay

    North Shore, Auckland

    T: 09 479 6994 M: 021 634 121

    SUMMARY

    I have 25 years’ experience in the print and publishing industries, mainly working in magazines and newspapers, although I also have experience in design and commercial jobbing houses.

    Since arriving in Auckland from London in 2001, with my Kiwi wife, Seonaid, and twin daughters, I have been working for Fairfax Magazines (formerly INL Magazines), as a key person in the team, implementing and establishing an in-house Pre-Press department providing colour management, scanning, retouching and full CTP services using the Agfa Apogee Pilot system.

    As well as general workflow and file management, as a colour specialist, I have mainly been responsible for scanning, creative retouching and manipulation of images for their titles: Cuisine, House & Garden, OnHoliday, Style, NZ Gardener and other quality glossy magazines in their stable, ensuring that the colour management and image manipulation is of the highest standard.

    This experience coupled with 13 years at The Times newspapers and magazine titles in London, means that I am able to turn very high quality work around in a very short time. I have demonstrated that I am both an effective team leader and team player with a friendly and easygoing nature.

    I work well under pressure, I’m highly motivated, well organised, hard working, multi-skilled and still very eager to learn and further my career.

    EMPLOYMENT HISTORY IN BRIEF

    2002 – 2004 Fairfax Magazines, Auckland Prepress

    Supervisor and creative retoucher. Workflow organising and supervision, scanning, creative retouching and manipulation, colour correction, using an Apogee CTP system.

    1988 – 2001 Times Newspapers, News International, Wapping, London

    Imaging/Scanner Operative, Imaging Deputy Supervisor, Ad Production Planner, Ad Production Typesetter, Ad Production

    1987 – 1988 Superchrome Studios, London

    Production Controller

    1986 – 1987 Fotofast, London

    Shop Manager

    1986 – 1986 Gilder Grove Studios, London

    Studio Manager, London Office

    1979 – 1985 Haymarket Publishing, London

    Group Production Manager, Production Manager, Technical skills Apple Macintosh G5, G4, G3, Photoshop v7 (expert) & CS, Quark & Illustrator (intermediate), Colourgetter, ColourRight drum scanner, Kodak ColourRight 5, Screen Cezanne, Agfa, Eskofot, Sharp and Kodak + drum scanners Linotype AM Varitype, Atex Newspaper Publishing System Xenotron, Sun Micro – ClassPage (Unix), Apogee CTP/PDF pre-flight system.

    VOCATIONAL TRAINING

    Printing and Estimating London College of Print Production Management for Print London College of Print Digital Repro and Pre-Press Media Training, London, Web project management Media Training, London PhotoShop courses News International training department,Typography and typesetting News International training department Production and quality control training Haymarket Publishing

    INTERESTS

    Scuba diving, swimming, walking, photography, travel and family.

    REFERENCES

    Richard Hook Paul Stubbington Alan Butcher
    IS Co-ordinator Supervisor Ad Production Manager
    Fairfax Magazines News International plc News International plc; 131 New North Road 1 Virginia St 1 Virginia St
    Eden Terrace London E1 9DD London E1 9DD

    EMPLOYMENT HISTORY DETAIL

    2002 – present FAIRFAX MAGAZINES, AUCKLAND, NZ (formerly INL Magazines) PREPRESS SUPERVISOR

    Duties and responsibilities: I was the first employee in the new department, designed to bring the prepress for INL/Fairfax’s magazine titles and contract publishing work inhouse. As a key person I was consulted and also assisted in, the setup of the new department, doing test runs, then providing scanning, retouching and full CTP services using the Agfa Apogee Pilot system. Although initially the department was established and manned solely by myself, it has now grown to a staff of five as we’ve brought titles in-house, and now includes a Hell 3400 drum scanner.

    I assist in workflow planning and supervision, and am ofte, the first point of contact for the designers and editorial staff for advice and taking briefs to delegate to the other employees. Titles include monthlies such as NZ House and Garden, NZ Gardener, NZ Boating, Growing Today, bimonthly Cuisine and Life Pharmacy, quarterlies AA Directions, AutoFocus, OnHoliday and the weekly Sunday magazine for the Sunday Star-Times, as well as various other contract publishing jobs as required.

    Workflow planning, supervision and delegation; Liaison with designers, editors and print suppliers; Liaison with external technical suppliers; Scanning, using a flat bed (Screen Cezanne) and drum scanner (Hell 3400); Retouching, improving quality of photos; Cutouts and montages to designers’ visuals; ‘Cosmetic’ retouching and manipulation, to improve or change the subject; Colour management of four colour, duotones and single colour work; Distortions and knock-backs; Intermediate Quark and Illustrator; Follow design briefs, liaise with designers, picture editors and production staff; Checking blue line and colour proofs, and correcting when necessary; PDFing and sending the print ready files to print

    1988 – 2001 TIMES NEWSPAPERS, NEWS INTERNATIONAL, LONDON

    1994 – 2001 IMAGING OPERATIVE (Times Imaging)

    Duties and responsibilities: In my 13 years at News International, I have held a variety of positions. In 1994 I moved into the Imaging Department as I wanted to broaden my horizons by learning how to use a Mac and felt that scanning and retouching in the Imaging Group complemented my photographic skills and colour repro knowledge that I had acquired in previous positions. I worked on both newspaper and magazine titles.

    Scanning, using flat beds and drum scanners; Retouching, improving quality of photos; Cutouts and montages to designers visuals; Four-colour, duotones and single colour work; Distortions and knock-backs; ‘Cosmetic’ retouching, to improve subject; Basic Quark and Illustrator; Follow design briefs, liaise with designers, picture editors and production staff; Filled in as supervisor, when none was available and holiday cover (booking in, assigned work, progress chased,resolved problems); Assisted with testing the new Intellitune and BinuScan systems.

    1988 – 2001 TIMES NEWSPAPERS, NEWS INTERNATIONAL, LONDON

    1992 – 1994 DEPUTY SUPERVISOR (Times Ad Production)

    Duties and responsibilities: During my first six years with News International, I worked in Ad Production. I was promoted to deputy supervisor and was very involved in managing production within the department. My major achievement in this position was to organise and manage the writing of software called ‘ClassPage’, written for the classified pages of the Times. I liaised with technicians and software writers, testing and making suggestions as necessary and implemented its first use.

    Supervised team of seven; Scheduled work; Progress chased; Typeset and displayed adverts; Liaised with other departments; Ensured that the system was running properly, fixed problems as necessary, and obtained outside help where appropriate.

    1991 – 1992 PLANNER (Times Ad Production)

    Duties and responsibilities: I was promoted from typesetter to planner, which consisted mainly of production controlling. Planned and pasted up pages; Liaised with sales and editorial teams; Drew up flat plans, distributing them to all departments.

    1988 – 1991 TYPESETTER (Times Ad Production)

    Duties and responsibilities: I was employed to shift work within the ad production department of the Times Group of newspapers at News International. During my years in ad production I used the Atex Newspaper Publishing Systems, Xenotron and in later years, ClassPage a software program written in Unix for the Times Newspapers using a Sun Micro station (see above). Typesetting adverts, using both artists’ visuals and my own flair and expertise; Paste-up of adverts and advertising pages .

    1987 – 1988 SUPERCHROME STUDIOS PRODUCTION CONTROLLER

    Duties and responsibilities: Superchrome was a professional photographic lab that Fotofast used for producing Cibachrome prints and posters and very high quality photographic work. I worked with this company for just over a year. I moved on as I wanted to get back into the print business and was offered the opportunity to work for the Times at News International.

    Front reception work, client liaison; Supervision of six in house couriers; Follow-ups with clients, working with the sales team; Used the P22 cameras to develop and print; Liaison with five departments, controlling work between them .

    1986 – 1987 FOTOFAST SHOP MANAGER

    Duties and responsibilities: I worked with this company for 18 months as a ‘floating’ shop manager, providing cover, managing different shops in the group during vacancies. Management of up to three staff, client liaison; Banking and bookwork, stock control; Processing of films, sending films to labs and studios.

    1986 – 1986 GILDER GROVE STUDIOS STUDIO MANAGER (LONDON OFFICE)

    Duties and responsibilities: Gilder Grove was a Liverpool design agency that wished to expand and approached me to set up their London branch. I worked for the company for six months. As I discovered later, the company hadn’t been doing too well in Liverpool and decided that London was where all the work was. They had overstretched themselves, shut the London office after six months, and their Liverpool studio folded shortly afterwards.

    Found premises and liaised with landlord; Researched and bought studio equipment; Employed and supervised staff; Liaised with Liverpool studio and directors; Managed scheduling, internal budgets and invoicing; Liaised with suppliers; Progress chasing

    1985 – 1986 PRINT THINGS PRODUCTION MANAGER

    Duties and responsibilities: The company was a contract publishers / design studio. I was made redundant due to a downturn in business.

    Client liaison; Scheduling and allocation of work; Supervision of staff and progress chasing; Liaising with editorial, production teams, publishing houses and suppliers

    1979 – 1985 HAYMARKET PUBLISHING

    1984 – 1985 GROUP PRODUCTION MANAGER

    Duties and responsibilities: I joined Haymarket Publishing straight from school as a filing clerk, but within four months was promoted to Production Assistant., having proved myself a keen and capable worker. In six years at Haymarket, I was fortunate enough to learn a great deal about the publishing world and was eventually promoted to Group Production Manager. I wanted a new challenge and was delighted when I was offered the opportunity to work for a design studio.

    Responsible for nine titles: two weeklies, six monthlies and one bi-monthly; Scheduling and allocation of work; Supervision of eight staff; Print buying and supplier liaison; Liaison with editors, sales team and typesetters; Quality control: checking film, cromalins, wetproofs and doing press passes

    1983 – 1984 PRODUCTION MANAGER

    Duties and responsibilities: I was promoted to this position after four years’ in-house training as a production assistant. My duties were the same as above, but I was responsible for less titles: i.e.– four: one weekly and three monthlies.

    1979 – 1983 PRODUCTION ASSISTANT

    Duties and responsibilities: Originally hired as an office junior, I was promoted after three months’ employment, because the company felt I showed promise. I was trained up in all aspects of production, and later promoted to production manager.

    Liaison with typesetters, editors and sales teams; Supplier liaison; Copy chasing; Drawing up flat plans and impositions, neg opaquing; Pasting-up pages and adverts; Layout and copyfitting pages

    _____________________________

    email: seonaid.lewis@xtra.co.nz

  • Job of the Week: Account Manager

    The successful application will be required to work in a busy team environment and will be responsible for managing a designated territory and generating new business.

    The Account Manager will be responsible for the management of all sales and customer service activities with a strong emphasis on consolidating customer relationships with the existing client base and providing the focus on a level of quality service that will provide maximum opportunity for profitability and growth.

    The Account Manager will also be responsible for developing new business from selected markets.

    It is envisaged the successful applicant will possess a solid sales background, preferably in the Print industry with an understanding of Digital Printing processes.

    As this position is dynamic, the successful applicant will possess a ‘can do’ attitude and thrive on optimum customer service and be positively self-driven.

    Suitably qualified applicants are encouraged to apply in writing by close of business Friday 14 October 2005 to:

    POD Account Manager Vacancy
    PO Box 91
    MARLESTON SA 5033