Archive for May, 2013

  • 10,000 Raingardens wins Postcard of the Year Award

    Australia’s leading postcard innovators were recognize for their breakthrough work on Thursday 30 May, with Melbourne Water taking out the annual Postcard of the Year Awards in Sydney.

    Australia’s leading freecard media company, Avant Card, announced the winner of its prestigious Postcard of the Year (POTY) Awards with a gala dinner at Sydney’s Madame Tussauds.

    Melbourne Water took out the $20,000 top prize for its innovative 10,000 Raingardens campaign, featuring a ‘seeded card’ postcard designed for planting. Runners up were Nudie in second place, and Perth Festival in third.

    Now in its sixth year, the POTY Awards were created by Avant Card Managing Director Pat Mackle to promote and inspire creativity and innovation in postcard advertising and the world of print technology.

    Kate Kearns, marketing manager at Melbourne Water says, “We are thrilled to be the recipients of Postcard of the Year 2013 for our ‘Build a Raingarden’ postcard. Using seeded infused paper for the ‘Build a Raingarden’ card worked extremely well with our subject matter and the fact that we could use seeds of a suitable native plant was an added bonus.

    “We wanted to offer ‘pick up’ appeal with not only great design; but functionality as well. This combination allowed us greater opportunity to engage with the audience. It also aligned very well with Melbourne Water’s commitment to sustainable practices and environmental stewardship,” he says.

    Liz Hardy from GEM Marketing (and Melbourne Water consultant) says, “As per usual with any campaign, it’s great to be able to speak with Marah at Avant Card to discuss possible opportunities. This particular outcome was a real winner! It’s great to work with a company that continues to push the envelope, offering ever greater innovation and integration for campaign initiatives.”

    For the past five years, Avant Card has worked with SOS Print + Media Group – an approved printer for government agencies and Avant Card’s proud print partner.

    “This year Melbourne Water’s brilliant planting card sent the competition green, quite literally, and we applaud them on their inventiveness and slick execution,” says Mackle, of the winning entry. “Produced by Paper-Go-Round, the seeded print cards have been a popular choice by clients who realize the important environmental messages they communicate.

    “This year’s competition was our most competitive yet, with some stunning creative campaigns from around the country,” he says.

    Finalists in this year’s awards were selected monthly by a panel of Australia’s leading creative directors and advertising directors who awarded points for creativity, insight and strategy.

    Keysha Milenkovic, Project Leader 10,000 Raingardens, Melbourne Water said, “Not only were my team and I exceptionally pleased with the outcome of the postcard campaign, this award brings with it the bonus of creating further awareness of raingardens, and how they help to manage stormwater run-off and help protect our rivers and creeks.”

  • Spicers add zest to EFI’s show – Print21 PacPrint HotPick

    Hard to tell who was having the best time at the Spicers’ stand down at the sign and display end of the show, the paper company’s equipment division or wide format manufacturer EFI.

    The ebullient team led by Rohan Dean and Jason Hay could barely keep up with the demand for the EFI Vutek machines. With at least five definite sales and a host of others ‘nearly over the line,’ the stand had a high-energy that was infectious.

    Jason Hay of Spicers (left) was on hand when Patrick Howard, publisher, presented the Print21 HotPick to Frank Mallozzi and Ken Hanulec, EFI

    Early on in the show the first Vutek GS23250LX Pro went to Visual Solutions, a local printer who bought the engine that was exhibited on the stand. According to Jason Hay, national sales manager – sign and display hardware at Spicers, the sale went to an already convinced EFI customer. “They had an EFI previously, but they wanted more speed, and they loved the speed and quality of the VUTEk, as well as the LED curing.”

    Later in the week Ewan Donaldson of Victorian trade signage printer, Vivad, dug deep to buy another Vutek GS23250LX Pro to add to the three EFI machines he already possesses.

    All of which went to mightily impress Frank Mallozzi, EFI’s senior vice president, world wide sales and marketing, who had a great time in Melbourne.

    At least one if not more Vutek’s were also sold from the DES stand to complete EFI’s stellar show.

    The EFI Vutek GS3250LX is a production-level LED UV-curing printer, which EFI promotes as designed to lower total cost of ownership over the machine’s lifetime. It proved a very worthy Print21 HotPick.

  • Next-gen Kodak plates give printers sustainable edge

    Kodak and Heidelberg are giving local printers the ability to keep up their platemaking capacity without sacrificing their sustainability, following the release of the new generation Sonora XP process-free plates.

    The new Kodak plates, which are being distributed locally through Heidelberg ANZ, represent the next generation in Kodak’s platemaking technology, which removes the necessity of chemical processing, speeding up the platemaking process, while maintaining high-quality contrast.

    While the new generation plates were first introduced commercially in April, Heidelberg announced on 30 May its launch of the product in the local market.

    According to John Hatzimanolis, marketing manager of Kodak Australia, the new plates allow printers to have their cake and eat it too – doing away with the chemical process while providing faster and sharper images than many other plates in the market.

    “The main benefit from the improved process-free plate is that it maintains the same good points of thermal direct plates, but it’s got faster imaging and stronger plate image contrast, among other things,” says Hatzimanolis. “Our hope is that the end user benefits from a combination f all the new features, reaping excellent print quality and running a sustainable organisation where they no longer have to make the choice between profitability or their sustainability.”

    Kevin Birch, Heidelberg product Manager – Consumables, says the new generation of process free Sonora XP plates has been popular with customers around the world.

    “We’ve been getting tremendous feedback on the high productivity rates, improved sharpness of the print and the cost savings that customers can realise with the new generation Sonora XP process free plates,” he says.

    For Greg Howse, Victoria’s Signs Publishing pre-press manager, the fewer processes allow a much faster throughput of work.

    “We’ve been able to halve our exposure time with the new generation Sonora XP plates and that’s made a dramatic difference to the workflow,” says Howse. “We’ve literally doubled our output. In addition to the productivity benefits, using the process free Sonora XP plates also means we don’t have to worry about having to clean up chemicals or the related maintenance issues of a wet processing environment. As a result we are very happy with the Sonora XP Process Free Plates”.

    Birch backs up Hatzimanolis’ claim, saying that the new generation Sonora XP plates are based on technology that gives customers the ability move to a process free platform and benefit from the productivity and environmental gains.

    “Everyone is looking to produce work more profitably and the Sonora XP Process Free Plates enable print service providers to ensure quality, and at the same time remove a whole lot of processes and costs from the production chain,” he says. “Removing the need to purchase and dispose of chemicals, reducing water usage and also energy consumption, can deliver immediate savings and reduce your environmental footprint.

    “From a quality perspective the Sonora XP process free plate removes the variables associated with chemical processing and delivers great resolution and sharper print. All round the new generation Sonora XP Process Free Plates is a great, versatile solution that is compatible with all press types,” he says.

  • The ACA 22nd Annual Catalogue Awards

    The Australian Catalogue Association 22nd Annual Catalogue Awards will be held on Friday 9 August at Peninsula in Melbourne’s Docklands.

    For Kellie Northwood (pictured), executive director of the Australia Catalogue Association, this year’s awards event showcases the continued popularity and relevance of printed catalogues in the local marketplace. According to the latest research by Roy Morgan, over 70 per cent of Australians aged 14 and over read printed catalogues.

    “Catalogues bring the shop front to the kitchen table,” says Northwood. “They encourage people to go to a store, and with the growth of digital consumers, they are driving people online either to make a purchase or do some research.”

    Australian Catalogue Awards entrants are judged across seven key areas including cover design, internal design, photography, merchandising, branding, copywriting and effectiveness (selling power).

    This year’s judging panel includes senior representatives from: M&C Saatchi, Our Agency, Ideaworks (Y&R), Howards Storage World, Badjar Ogilvy, Cumming Agency & Studios, Harvey Norman, Coles, Xavier Advertising, Rhubarb & Custard, BMF, Sinnott Bros and JWT among other major Australian agencies and retailers.

    “We’re expecting hundreds of entries across 11 categories, including the coveted ‘Catalogue of the Year’ award,” says Northwood. “There is such a variety of skills and professions that make up the catalogue industry, and the awards are an opportunity to collectively acknowledge the intelligence and creativity involved in producing what remains one of the most popular and effective marketing mediums.”

    The awards will be held at Peninsula, in Melbourne’s Docklands on Friday, 9 August.

    For more information, contact William Thomson on (03) 9866 4722 or

  • The LIA unveils Graduate of the Year

    The Lithographic Institute of Australia (LIA) is set to reveal the LIA/Heidelberg Graduate of the Year from its list of finalists at a gala dinner in Sydney on Tuesday 4 June. 

    The dinner, to be held at North Ryde RSL, will not only feature some of the most outstanding graduates of 2012, but will feature Wayne Pearce (pictured), former rugby league great, FOX Sports commentator and inaugural Australian Rugby League commission member.

    According to David Wells, president of the LIA NSW branch, this year’s event was made possible with the help of Heidelberg Australia.

    “Once again it is a privilege to have a sponsor of the calibre of Heidelberg associated with our premier evening,” says Wells. “The long term support of the future leaders of our industry by Heidelberg is greatly appreciated by both our committee and the graduates.

    “This awards ceremony is an ideal opportunity for you to bring along your valued customers and showcase the future leaders of our industry while hearing a truly entertaining and inspirational speaker. Corporate tables of eight and 10 are available. I look forward to seeing you there,” he says.

    Luke Wooldridge, co-chairman of the judging panel, says: “the quality of the graduates was extremely high once again with little separating this year’s contenders.”

    The NSW LIA committee invites you to honour and support our outstanding graduates during this year’s awards ceremony. This year’s winning graduate will be selected from the following seven finalists:

    –       Patricia Teo – Jet Swimwear

    –       Samuel Moss – Sinnott Brothers

    –       Romeo Abellana – ANZPAC Services

    –       Lauren Peatman – Intergrated Marketing Solutions

    –       Nicole Clark – News Limited

    –       Shanmugan Vadiveloo – Ligare Book Printers

    The complete details for the event are:

    Date: Tuesday 4th of June 2013

    Time: Pre-dinner drinks from 6:30PM

    Cost: $99.00 – three-course meal and beverages

    Location: The Grand Pittwater Function Centre, North Ryde RSL, 88 Magdala Road, North Ryde NSW

    Contact: Bookings can only be made by email or Fax to Mike Williams at or by Fax to 02 9648 1258.

  • How to grow with workflow – David L. Zwang

    North American print expert, David Zwang, investigates workflow systems, what they encompass, and what you need to pay attention to as you review them – all of this done with an eye toward building a flexible platform upon which to grow.

    In the last article, we looked at how many of the equipment manufacturers have designed their DFE offerings, and some of the included components. But if DFEs are designed to control a specific device, how do we manage and control the overall workflow that can include many DFEs and the associated devices from disparate manufacturers? And more importantly, how do you do this in a way that allows you to optimize your plant manufacturing capabilities, while ensuring that you have the flexibility to continue to change as future requirements change?

    I guess the first question is; what is a workflow? Back in the mid 1990s when CTP started to proliferate, vendors started to market ‘workflow systems.’ Unfortunately, each one of them had a different view on what a workflow system really was. At that time, out of frustration and curiosity, I decided to create a base model of all of the potential tasks that a CTP workflow could include.

    Subsequently, in the late 1990’s and early 2000’s we reviewed and compared most of the workflow systems available at that time against the base model and published the results in the Seybold Report. It was an important step since it provided each of the solution developers a way to begin to focus and measure their products. This model, in many respects the predecessor to the PRIMIR Transformational Workflow model highlighted earlier in the series, is broken into three sections.


    • Production Tasks, which include the granular production operations;
    • Production Management Tasks, which comprises the necessary operations to manage and control the Production Tasks; and
    • Business Management Tasks, which include the operations that are needed to bridge the business requirements with the production requirements.


    Trying to include many if not most of these tasks in a solution became the goal of many of the manufacturers, and you can see some of this in the DFE and workflow offerings available today.  In many respects, they mimic the earlier CTP workflow systems. However, while this may have made sense when CTP was the core of a prepress plant workflow, today with the addition of many disparate digital print, cross-media, and other output production requirements, there is a need for a new look at how this model or a new model should be applied to product offerings and plant implementations. Ultimately the workflow needs to be the hub, not the device.

    As I alluded to in the last article on DFEs, perhaps it has to start with a reevaluation of what a DFE needs to support in the context of the broader workflow with today’s new requirements. If we were to extract the relevant operational tasks from the above model, the DFE could be something simple like this basic RIP.

    But this really isn’t completely adequate to address all of the needs of a DFE. What about inter-process communication, and device-dependent operations like color management, preflight, trapping, imposition, VDP, etc. So perhaps it should look more like this?

    Of course, since a DFE is by its nature a device dependent solution, some of these operations may be unnecessary, and it’s ultimate construction can and should vary based on the specific device requirements. The key here is not to include more than is necessary. Once the operations in the DFE start to expand beyond the device requirement workflow and move into the territory of the plant workflow, you could wind up with operational feature redundancy which can add cost, confusion, create production silos and inconsistencies in output from different devices, etc.

    The specific designation of operations and roles between the DFE and the plant workflow are increasingly the key to successful process automation and greater plant flexibility. It’s not that you can’t create an efficient automated plant workflow with bulked up DFE systems or even some of the tightly controlled device vendor based workflow systems; it just adds an unnecessary level of waste or complexity to the final solution.

    Since a workflow is really about building touch points for a series of operations, we need to look at the primary clients of those operations. There are two separate parallel, but sometimes interconnected, data streams in a production workflow: production data, and production files. There can also be a third if there is variable data involved. To achieve maximum success in building a forward- facing automated workflow, you need to have a solution that will support each of these data streams and provide for the interaction of the results with the other data streams as needed. This requires an open workflow with good inter-application communication capabilities and good, open, applications to process the data streams.

    These ideal workflow and application candidates can come bundled in a comprehensive solution, or can come as separate components that you can select and build to meet your individual plant and process requirements. In the next article we will look at some representative samples of the currently available comprehensive workflow systems and some of their features.

    Remember, if you have any topics you think are important and would like us to cover during the balance of this series, please let us know!

    David Zwang, travels around the globe helping companies increase their productivity, margins and market reach. With over 40 years of industry experience, David specializes in process analysis and strategic development for firms in the fields of publishing, design, premedia, and printing.

    You can contact David via email at

  • LIA/Heidelberg Graduate of the Year gala dinner

    The Lithographic Institute of Australia (LIA) is set to reveal the LIA/Heidelberg Graduate of the Year from its list of finalists at a gala dinner in Sydney on Tuesday 4 June. 

    The dinner, to be held at North Ryde RSL, will not only feature some of the most outstanding graduates of 2012, but will feature Wayne Pearce (pictured), former rugby league great, FOX Sports commentator and inaugural Australian Rugby League commission member.

    According to David Wells, president of the LIA NSW branch, this year’s event was made possible with the help of Heidelberg Australia.

    “Once again it is a privilege to have a sponsor of the calibre of Heidelberg associated with our premier evening,” says Wells. “The long term support of the future leaders of our industry by Heidelberg is greatly appreciated by both our committee and the graduates.

    “This awards ceremony is an ideal opportunity for you to bring along your valued customers and showcase the future leaders of our industry while hearing a truly entertaining and inspirational speaker. Corporate tables of eight and 10 are available. I look forward to seeing you there,” he says.

    Luke Wooldridge, co-chairman of the judging panel, says: “the quality of the graduates was extremely high once again with little separating this year’s contenders.”

    The NSW LIA committee invites you to honour and support our outstanding graduates during this year’s awards ceremony. This year’s winning graduate will be selected from the following seven finalists:

    –       Patricia Teo – Jet Swimwear

    –       Samuel Moss – Sinnott Brothers

    –       Romeo Abellana – ANZPAC Services

    –       Lauren Peatman – Intergrated Marketing Solutions

    –       Nicole Clark – News Limited

    –       Shanmugan Vadiveloo – Ligare Book Printers

    LIA Graduates is the longest running continuous award of the Institute, dating back to 1972, when it was known as the LIA Apprentice of the Year – Sponsored by Seligson and Clare, then the Heidelberg agents in Australia. This award is presented annually in each mainland state at special award presentation dinners. Heidelberg provides handsome award plaques to the winners and certificates to the employer.

    The winning graduate in each state is chosen by a highly qualified judging panel of LIA members. The candidates are put forward by TAFE teaching staff as the ‘pick of the bunch’ in their particular stream. There are usually four to eight such candidates in each state, generally covering the spectrum of the printing trades.

    Every two years Heidelberg funds the air fares and accommodation of the winning state graduates to the LIA’s Biennial conference. There, apart from active participation in the conference program, they are individually interviewed by a national judging panel of eminent industry leaders and a winner is selected to receive the GAMAA – LIA National Graduate Scholarship Prize.

    The complete details for the event are:

    Date: Tuesday 4th of June 2013

    Time: Pre-dinner drinks from 6:30PM

    Cost: $99.00 – three-course meal and beverages

    Location: The Grand Pittwater Function Centre, North Ryde RSL, 88 Magdala Road, North Ryde NSW

    Contact: Bookings can only be made by email or Fax to Mike Williams at or by Fax to 02 9648 1258.

    Event Details

    Event Contact Name: Mike Williams

    Event Email:

    Event Phone: 02 9648 1258.

    Event Cost: $99.00

  • FESPA 2013

    FESPA 2013 is the largest focused event for the wide format print industry; encompassing the very latest equipment and consumables in digital printing, screen printing, industrial and garment decoration at the award winning ExCel London Exhibition Centre.

    The show will allow print professionals, brands and designers to engage with the print markets leading manufacturers and suppliers whilst exchanging ideas, updating on industry information and business solutions with the more than 650 exhibitors and 10 FREE show features.

    Founded in 1962, FESPA is a global federation of 37 member associations for the screen printing, digital printing and textile printing community. FESPA’s dual aim is to promote screen printing and digital imaging and to share knowledge about screen and digital printing with its members across the world, helping them to grow their businesses and learn about the latest developments in their fast growing industries.

  • Asian Digital Print Congress 2013

    Asia’s Largest Digital Forum

    In conjunction with Pack Print International,  the 2nd Asian Digital Print Forum, an event that is the only one of its kind in Asia, is bringing together renowned industry speakers, existing users speaking of the benefits created and leading suppliers, to provide a networking and information exchange forum. This presents a unique opportunity for those considering investment in digital technologies to understand current trends, future direction of technology, the “fit” in your business and opportunities created…. ahead of that critical decision.

    Digital Print is an evolution that cannot be ignored, and critically should be embraced as a means to expand operational capabilities and leverage changing technologies to enable leaner time to market, introduce flexibility in portfolio and services offered, and work alongside existing business lines to meet an ever changing end-user demands.



  • Issue 578 – 29 May 2013

    PacPrint 2013 delivered an invigorating shot in the arm for the local printing industry, with dozens of exhibitors selling millions of dollars worth of print equipment straight from their stands at the show. Another event that pulled in hefty sales was the GEON auction series that kicked off in Melbourne during PacPrint, with the failed print group’s biggest print equipment already being dismantled for shipping to international buyers.


    You’re one of almost 9,000 industry professionals in Australia and New Zealand who rely on Print21 to stay up to date. News is updated on the site every day. Follow us on Twitter  to get the news first. If you like this bulletin and you’re an industry professional in ANZ but don’t receive our bi-monthly magazine, here’s your chance to get a free subscription here.


    Remember, keep those news tips and stories coming in to us here at NEWS. If you like this bulletin but don’t receive our bi-monthly magazine, here’s your chance to get a free subscription here.

  • Colour accuracy from Konica Minolta – Print21 PacPrint HotPick

    Konica Minolta launched its brand new FD-5BT Spectro-densitometer in Melbourne  at PacPrint13, heralding the company’s new focus on easy to achieve and maintain colour consistency. The FD-5BT Spectro is a completely new, high quality, colour-measurement device, designed for colour critical printing businesses .

    “PacPrint is the perfect opportunity for Konica Minolta to introduce the new device to customers and print industry experts, providing them with a first look in person,” says David Procter, general Mmnager at Production Printing.

    Gordon Fogarty, National Colour Management Specialist, says: “By combining Color Care software with the FD5-BT, customers will be able to seamlessly adapt to the constantly evolving digital production printing standards, ensuring a solution not only for today but also for tomorrow.”

    New colour direction for Konica Minolta; David Procter and David Cooke at the show with the FD-5BT

    The FD-5BT is able to measure in three modes of colour – the CIE illuminant A, CIE illuminant D50 and illumination with UV cut. This enables users to enhance the measurement of printed colours, going beyond what is possible with Konica Minolta’s EFI ES-2000. Another unique feature of the FD-5BT is its flexibility – its ability to spot measure without being connected to a PC (i.e. without a cable).

    The Spectro was on show all this week at Konica Minolta’s PacPrint stand #2218, along with the company’s range of new KIP equipment.

    Konica Minolta is showcasing the KIP C7800 and KIP 700m for the first time at PacPrint  to demonstrate their leading capabilities to the print industry. KIP High Definition Print Technology is a new approach that offers a speedy alternative to inkjet printing, delivering outstanding quality with high definition and detail at a more affordable cost.

    Both the KIP C7800 High Speed Colour Printer and the KIP 700M monotone printer provide high quality, high speed, efficient, wide-format printing using dry toner. Konica Minolta says they are able to produce high volumes at great quality, faster and at a lower cost than other ink-jet wide format systems on the market.

    “We’re pleased to be able to demonstrate these top products at PacPrint so customers understand not only their performance features but also the benefits they offer for the environment. We expect both products will open up new markets among customers who print wide-format documents and turnaround large volume print jobs,” says Procter.

    The toner-based devices are said to be more environmentally friendly than ink products because the toner can be fully recycled, making them 100 per cent efficient; their other components are 97 per cent recyclable.

    Dr David Cooke (pictured o left with David Procter) sttended the show in his capacity as Konica Minolta new local MD – a role he took on at the beginning of May. Cooke was executive general manager for seven years before he ascended to his new role.

    “PacPrint is an exciting and unique opportunity and one that Konica Minolta greatly values. It allows us to showcase our technology, and the way we tailor solutions,” says Cooke. “We understand that listening to our customers and being able to tailor a solution that meets their needs is what makes a real difference and this is what we’re committed to at Konica Minolta.

    “Not only do we have technology that offers excellence in quality and reliability, we have a vast range of software solutions and services to address the ever changing needs of our customers – and their customers,” he says.

    On the future direction of the company, Cooke says: “This year we are presenting our complete colour package to the market, showcasing our full range of production presses and business solutions at stand 2218. Our continual innovations help us meet the high demands of the commercial print industry, where we are already renowned for image quality and colour reliability.

    “Konica Minolta is moving towards a horizontal organisational structure. We are driven by a desire to do business in an ethical manner and to become an ever more ethical, and responsible organization – responsible to the environment and to the communities in which we work,” he says.

  • Versatile Canon UV flatbed – Print21 PacPrint HotPick

    The space-age futuristic lines of the Canon stand at PacPrint drew almost as many comments as the wide range of technology on show. The ‘Star Trek’ style infrastructure was a fitting setting for the company’s new focus on its customers.

    Star of the Canon show was the Océ Arizona 480 GT UV flatbed printer, promoted as being one of the most versatile imaging engines around. According to Adrian Morris, manager, northern region canon professional print, the workhorse product is proving its worth in many different environments.

    Adrian Morris and Damian Schaller of Canon with Patrick Howard, publisher Print21.

    “Our customers are using the Arizona to produce a wide array of products. In fact, in fact if a job can be printed digitally, it most likely can be produced on the 480,” he said.

    The Océ Arizona 480 GT UV flatbed printer has the ability to print on a wide variety of media and objects in full colour, with white ink, or with decorative varnish. It is being used to produce applications such as standard sign and display, like POP/POS, retail signage and backlit signs.

    Other printers have reported using the machine to print speciality and industrial flatbed applications where the decorated substrate is not meant primarily for display purposes, such as membrane switch overlays, relief printing, object decoration.

    Damian Schaller, marketing manager, Canon professional print, makes the point that with an Océ Arizona 480 GT UV flatbed printers can produce full mixed-media campaigns including rigid displays, banners, window clings and backlits to service a range of customer needs for maximum revenue. “It is a very versatile machine and it has proved very popular at PacPrint,” he said.

  • Screen’s high-speed label press – Print21 PacPrint HotPick

    PacPrint hosed the world premier of the revamped commercial version of Screen’s label press, the Truepress Jet L350UV, with the Japanese press manufacturer’s top brass flying into Melbourne for the occasion.

    The new version of the UV press, markedly different to the drupa technology preview version, attracted a lot of interest and according to Peter Scott, Screen managing director, there is a sale in the offing. “People are very impressed when they see how fast the press can print and the quality that comes off it,” he said.

    Katsuhiko Aoki, president of Screen was presented with the Hot Pick by Nick Pond, Print21 deputy publisher.

    Katsuhiko Aoki, president of Screen’s Media & Precision Technology Company, was at PacPrint for two days to be present for the new look press’s unveiling.

    “We are honoured to have such senior Screen people here for PacPrint,” said Scott. “It is also an opportunity to acquire excellent technical knowledge on the label press for our local service team prior to its full release.”

    The company claims the Truepress Jet L350UV is the fastest digital label press available in the market, rated at over 16 square metres of label stock per minute on a 350mm web.

    The new production version of the press has been engineered as either a roll-to-roll press for near-line finishing, or with the ability to feature in-line finishing such as die-cutting, foiling, coating and embossing.

    The press  is also  been sold through Screen reseller Jet Technologies on stand number #1238.

  • The week that changed our industry forever – Andy McCourt’s ReVerb

    Everyone has to change eventually and the unequivocal digital focus at last week’s PacPrint13 trade show in Melbourne provided a lucid reminder that the future of the print industry in Australia is already here. Andy McCourt investigates the nature of the changing landscape.

    This has been the pivotal PacPrint; we’ve spun on a zac. We’re digital – wholly or partially – from now on. I take nothing away from the non-digital processes; in fact quite the opposite: huge accolades to companies such as Cyber for having the only two offset presses at the show (both sold) and to Aldus Engineering for its masterful presentation of the Mark Andy P7 narrow web flexo system. But even these two types of press that happen to still ‘press’ ink onto substrates using plates benefit from digital technologies.

    Offset and Flexo automation are all-digital in their heritage. CtP is a digital process born from Raster Image Processing. The Mark Andy Performance P7 is replete with digital controls for web tension, multiple servos and registration. Who cares if the ink goes down from a plate and not an OPC or inkjet head? I don’t.

    With bindery and finishing, digital controls and touch-screens are now mandatory. The folding, creasing, binding and even laminating may be executed in a mechanical or analogue way but the modernisation is thanks to digital. Whatever legacy technologies are in our industry – fewer after the Geon auction took place while PacPrint was on – and whatever modern replacements are installed for high volume and speciality offset, flexo, gravure and screen processes; PacPrint 2013 was pivotal in redefining our industry as digital in varying degrees at all levels.

    Together with Visual Impact, PacPrint2013, as noted by publisher Patrick Howard, was probably the best and most comprehensive showcase of digital printing, finishing and online technologies anywhere in the world. ChinaPrint closed its doors just a few days before PacPrint started but, although massive and successful, it still reflected the analogue nature of Asian printing, which should be no surprise when you look at their volumes.

    It was not just about toner and inkjet digital printing. PacPrint’s underlying secret message was to be found on stands like Pent Net, Accura/Ideal Solutions and EFI where online digital buying models can be a ‘business in a box’. Web-to-Print is not just about advertising for business on the internet; if you move your customers to customised online ordering and archive their templates and digital assets; your profitability from those customers increases.

    Pent Net can even set up a W2P system where jobs are ordered 24/7, sent directly to the appropriate output device (mono, colour, wide format etc), printed and finished if inline finishing is attached and ready for dispatch without human intervention. You can turn up for work at 7am and find a pile of jobs already for checking and sending, complete with job ticket and costed invoice or confirmation of pre-payment. CMYKhub can even set you up in a W2P online storefront at no cost.

    The next stage is complete mobile print ordering. Already iPads and other tablet devices can be used in the same way as the office PC or laptop. This way, print embeds itself with the online and mobile world and does not appear quite so archaic and uncool.

    That all of the ‘big iron’ presses were sold at PacPrint – Cyber’s eight colour Ryobi A1 and also the A3 plus Aldus Engineering’s Mark Andy P7 label press (pictured); should be no surprise because such vendors coming into a digital show with higher volume solutions that use digital benefits for analogue output are sure to attract custom. Those who were not there missed out on a huge opportunity to declare their relevance to over 13,000 visitors.

    The sheer weight of digital on Ricoh, Lanier, Screen, Fuji Xerox and Fujifilm, Konica Minolta, Xeikon, Canon, Kodak, Agfa, Currie Group, HP and all of VIEE is testimony to our ‘future history’. The offset print megafactories of the world are mostly in China today; we can not change that. But we can adapt to the shift in geo-commerce by thinking and being digital at every level.

    A respected sizeable offset printer greeted me in an aisle of PacPrint and asked: “We are looking at digital cut-sheet but is that market now saturated?” It was a great question and I burbled out some kind of answer. Deeper thought tells me no; saturation occurred when the industry kept loading up factory floors with ultra high-speed and highly automated major press systems that caused pricing wars just to keep them running. It was a foolish race to the bottom. While we will always have the need for efficient and productive offset and flexo sites; Australia and New Zealand by nature are predisposed markets for digital – shorter runs, fast delivery.

    Digital facilitates fragmentation and history shows that most industries past their growth peak tend to fragment. Smaller, healthy, local digital print businesses thinking short runs and fast turn-arounds are Drake’s nifty corvettes against the lumbering Armada. Manoeuvrable and swift, they can adapt to market conditions and develop new tactics as they think on their feet.

    Finishing devices are increasingly designed and manufactured with digital in mind, from both cost and productivity angles. FAB Equipment featured several binders, booklet makers, punchers – all geared to digital volumes but capable of finishing offset work too. The same company has signed up the Delphax elan 500 agency and will begin sales early in 2014 of this 500 ppm SRA2 digital press, powered by Memjet technology.

    Rapid Packaging Systems added the D2 digital finisher and R2 rewinder (R2D2 – was Luke Skywalker involved?), to its X2 Memjet label press and sold the whole line to Aldine Printers of Cairns, with more sure to follow.

    At the faster end of digital labels; SCREEN with its dealer partner Jet Technologies held serious talks with several label printers about the Truepress Jet L350UV – receiving its commercial-version world premiere at PacPrint and awarded one of Print21’s ‘Hot Picks.’ And yet Jet Technologies took an order for a SCREEN PlateRite FX870II Flexo CTP setter – that will mostly be used to make Letterpress plates at Signature Labels. Such is the beautiful scope of our industry.

    We’ll never be the same as an industry after this PacPrint. If we are by the time PrintEx comes around in 2015, we will be in trouble. Everyone has to change – print businesses, associations, training establishments and individuals. The incontrovertible evidence was there for all to see at the Melbourne Exhibition Centre.

  • When worlds collide – A voice in the wilderness: James Cryer

    With PacPrint13 and its dizzying array of new high-tech digital and digital-assisted machinery giving visitors a bright visual cue as to where the future of Australian print is heading, industry gadfly James Cryer suggests it’s about time for the National Print Awards to reflect this future for print.

    Astronomers are hard people to whip into a frenzy. But occasionally – just occasionally – something happens to excite their passions and make them sit up and take notice, or even duck for cover.

    It’s not often that you get two planets hurtling past each other – both going in completely opposite directions (although, I suppose that’s what “going past each other” means).

    But last Friday night [24 May] we had a near-miss of the most cataclysmic proportions, as ‘planet PacPrint’ soared at warp speed into the outer-limits of our imaginations, at once exciting and tantalising with glimpses of what ‘the future of print’ looks like.

    Meanwhile, we had ‘planet NPA’ [National Print Awards] drifting slowly along in the opposite direction, desperately trying to suck us back into the vortex of yesteryear.

    Never was the disconnect more dramatically illustrated, than by the difference in composition of these two bodies – PacPrint proudly presenting the exciting new face of print – 90 per cent digital and 10 per cent offset – while the awards continue to flog those two processes almost in exactly the opposite proportions. What’s wrong with this picture?

    Why didn’t someone frog-march whoever it is that persists with these categories down the aisles at PacPrint to give them a taste of the sunlit uplands where digital is king because it generates so many new and exciting opportunities.

    So let me cut to the chase. The real test for a category should be: Does it have the wow factor? If not, chuck it out.

    Out would go ‘One, Two or Three Colour Printing’.

    Out would go ‘Leaflets’ (Really, leaflets? This is like being rewarded for getting up in the morning.)

    Out would go four out of the five ‘Magazines’ categories (we don’t need five categories, plus, they’ve got their own awards).

    Out would go ‘Labels-roll’ and ‘Flexographic’ (these are specialist sectors that have their own, much better, awards).

    Out would go the ‘Small business’ category.

    Now – before anyone dies of apoplexy – there is a remedy. Let’s discard (yes – let’s be radical) the old model of gold, silver, bronze as we’re kidding ourselves that we can really split the atom between them – and divide EVERY category into ‘Large’, ‘Medium’ and ‘Small’ sized printers.

    By doing this you’d then encourage a greater number of smaller entrants (believe me, I’ve done the survey). Gold, silver and bronze is a hangover from the horse-racing industry – and look at the mess that’s in.

    Eliminating these categories alone would save half the audience from nodding-off into their soup.

    In would come new and exciting categories like ‘Multi-piece productions and campaigns’, which really does showcase what print is capable of – i.e. the ‘wow factor’!

    Somehow, we have to wean ourselves off this obsession with dishing-out rewards just for piling-up dots like pancakes, one upon the other, like a short-order pastry-cook.

    We’ve come a long way – we can all do that now. The test of wining an award in a print industry awards event is NOT to impress one’s fellow printers – so much as to impress the external print-buyers and even the public at large. That should be the acid test! No wow – no prize.

    But now, this raises a thorny issue: until now, the judges have been instructed to look only at the “pancake-stacking” qualities – not if the ‘pancakes’ are juicy, mouth-watering or even edible. There is a strong case that there should be at least ONE category where the total concept and execution is taken into account and recognized, where everyone gets recognition – from the designer, the photographer, the pre-press – not just the printer!

    They do it in the US ‘Benny’ awards, so why not here? It’s called ‘bringing the creative-process and the printing-process back together again’, which is where they belong. It’s something our “Justus” magazine is seeking to do, here.

    And finally, still on this theme of catering to a wider audience – the Kiwis, in promoting their “Pride in Print” recently co-opted a daily newspaper to include a supplement promoting their awards, which landed squarely on the breakfast tables of half of New Zealand.  How’s that for a novel approach – getting a ‘printer’ to promote ‘print’!

    The NPAs could potentially be a showcase event, proudly displaying our wares to print buyers and the wider community. But nobody is going to get their rocks off while we persist with categories like ‘Leaflets’ or ‘One, Two or Three Colour Printing.

    Seriously, we must have a national debate on what we want from our showcase industry awards event.  The current awards regime may be a good excuse for a get-together – of course it is! But, it is not a platform which reflects the industry’s current abilities and (more importantly) nor does it hint at its future capabilities.

    A walk down the aisles at PacPrint was exciting and inspirational, revealing a world of limitless possibilities. That should be the theme for the national print awards

  • State-of-the-art Roland – Print21 PacPrint HotPick

    At a show that was filled with high-performance wide format inkjet the new PRO4 XF-640 was no slouch in claiming its share of the limelight. The fastest most powerful large-format colour printer ever presented by the iconic brand, the 102 square metre-per-hour production machine turned heads whenever it was put through its paces.

    Marc Margetts, Roland DG managing director (left) and John Wall, sales director were pleased to accept the Hot Pick from Nick Pond, deputy publisher.

    According to Marc Margetts, managing director, the PRO4 XF-640 was the hit of the stand. “I’ve only been here a short while but already I can see it has got most of the attention,” he said.

    The science under the hood of the PRO4 XF-640 is unparalleled. State-of-the-art print head technology, ink delivered through 16 channels, with high-speed media handling and drying.

    Staggered head configuration accelerates production. The PRO4 XF-640 features dual print heads that are based on the industry’s most advanced inkjet technology and positioned in a staggered formation to maximise productivity.

    In keeping with the industry’s focus on the environment the PRO4 XF-640 uses new, high-definition ECO-SOL MAX 2 inks specially designed to optimise image quality and colour on a wide range of coated and uncoated media. The inks are nickel-free and are water, scratch and UV resistant up to three years outdoors without lamination.

    All in all a very worthy Print21 Hot Pick.

    And by the way… Margetts made the point that Roland DG  is giving away a Ford XR6 Ute or Sedan to one lucky Soljet XR-640 customer who buys a Roland XR-640 printer/cutter before Friday 7 June, 2013

  • National Print Awards winners – the complete list


    Award:  Currie Group Award

    Title of Entry:  Expressions of our Centenary Children

    Picpress’s Michael Warshall (L) and Currie Group’s Phillip Rennell.

    Won by:  Picpress VIC

    Printed by:  Picpress

    Client:  James Chetarti Photography

    Designer:  James Chetarti Photography

    Pre-press:  Picpress

    Paper Merchant:  Holmberg

    Stock:  Flexbind 230gsm

    Award:  Heidelberg Australia Award

    Title of Entry:  Oracle Residential

    Won by:  McKellar Renown Press VIC

    Printed by:  McKellar Renown Press

    Client:  Oracle Residential

    Designer:  Caramel Creative

    Pre-press:  McKellar Renown Press

    The fresh face of print: (L-R) Richard Timson of Heidelberg, Kerrie Norgate,  Chris Norgate and Adam Norgate of McKellar Renown Press.

    Paper Merchant:  Spicers & KW Doggett Fine Paper

    Stock:  Cover: Expression Super Smooth Radiance, Text: Neenah Classic Smooth Solar White

    Embellishment by:  Avon Graphics

    Print Finishing by:  EH Stationery & The Bindery

    Award:  Fuji Xerox Effectiveness Award

    Title of Entry:  Central Park Agent Book

    Won by:  McKellar Renown Press VIC

    Printed by:  McKellar Renown Press

    Client:  Central Park Cheltenham

    Designer:  Studio Worldwide

    Pre-press:  McKellar Renown Press

    Paper Merchant:  BJ Ball Paper & Spicers

    Stock:  Advocate & Splendorgel

    Print Finishing by:  EH Stationers & McKellar Renown

    Jasmine Weinmann of Griffin Press, SA.

    Award:  Media Super Future Leader Award

    Won by:  Jasmine Weinmann

    Employer:  Griffin Press SA

    Award:  Judges Award

    Title of Entry:  Napoleon – Revolution to Empire

    Won by:  Bambra Press VIC

    Printed by:  Bambra Press

    Client:  National Gallery of Victoria

    Designer:  National Gallery of Victoria

    Pre-press:  Bambra Press

    Paper Merchant:  KW Doggett Fine Paper

    Stock:  Hanno Gloss

    Embellishment by:  Avon Graphics

    Print Finishing by:  The Bindery


    Adams Print VIC 2 1
    AFI Branding VIC 1
    Avon Graphics NSW 1
    Avon Graphics QLD 1
    Bambra Press VIC 1 1
    Blue Star Print VIC 1
    Bright Print Group NSW 1
    Carbon8 (Digital Print) 1
    Collotype Labels Griffith 1
    Collotype Labels SA 1
    Cornerstone Press QLD 1
    Custom Cartons SA 1
    Cutler Innovative Print Solutions SA 1 1
    Detmold Consumer Goods Packaging VIC 1
    Digiwedoo SA 1
    Eastern Press VIC 1
    Elite Printing Studio SA 1
    Evolve Printing NSW 1
    Express Colour Printing SA 1
    Finsbury Green SA 1 2
    Flock Finishers Vic 1
    Flying Colours Printing TAS 1
    GEON Group Perth 3 2 3
    GEON print and communication solutions VIC 1 2
    Graphic Print Group SA 1
    Green and Gold Printing NSW 1
    Impact International NSW 1
    Impresstik NSW 1
    Kuhn Corp Press QLD 1
    Labelworld WA 1
    Lindsay Yates Group NSW 1
    McKellar Renown Press VIC 2
    Mercury Creative Print and Design NSW 1
    Momento Pro NSW 1 2
    Offset Alpine Printing NSW 3 2 1
    Pandoras Boxes VIC 1
    Picpress VIC 1 1
    Platypus Graphics QLD 3 3
    PMP Print QLD 1
    PMP Print VIC 1 1
    Prints Alive SA 1
    Pure Colours Digital Printing NSW 1
    QLM Label Makers QLD 1
    Quality Press WA 1
    R A Printing Vic 2
    Rural Press Mandurah WA 1
    Rural Press Printing, Murray Bridge SA 1
    Scott Print WA 1 1
    Sony DADC NSW 1
    Southern Colour NSW 2
    STS Creative Printing VIC 1
    Studio Labels SA 1
    Superior Foil Print VIC 1
    The Bowden Group SA 1
    Vega Press Vic 1
    Watermarx Graphics NSW 1
    Whites Law Bindery VIC 1