Archive for June, 2018

  • P21 Issue 1023 – June 29, 2018

    Individuals can make a difference. Robert Black’s long engagement with the printing industry is a fine example of how one person can solve what seem intractable problems. The fall off of apprenticeship training was a slow train wreak that appalled the printing industry even as it struggled to find a solution. Stepping out of the ivory towers of academia, Black took on the role of seeking sponsorship and support for the Holmesglen TAFE facility.

    This week’s successful launch would not have been possible without the sponsorship of companies such as Konica Minolta, but equally not without the enthusiasm of Robert Black who retired yesterday.

    Welcome to your latest issue of Print21, the premier news and information service to the printing industry across Australia and New Zealand.

    Patrick Howard
    Publishing Editor

  • Robert Black farewelled at launch event

    The launch of the Holmesglen printing program in Melbourne. (l-r) Robert Black, Holmesglen program manager – printing; PIAA CEO Andrew Macaulay; and David Latina, deputy secretary Victorian Dept of Education.

    Long term industry veteran Robert Black has retired after 50 years working in the printing industry. The accomplished educator and industry identity is leaving on a high, celebrating the revival of TAFE print training at Holmesglen, Victoria.

    Black was the driving force behind Holmesglen’s new printing program that was officially launched on Tuesday with an initial intake of more than 85 apprentices.

    “I’m over the moon,” says Black. “It’s been an exciting journey and we’ve accomplished a great deal here over the past 18 months which I’m very proud of.

    Black thanked the printing industry for its generous support. “I’ve been overwhelmed by the support we’ve received from the printing industry, from David Cooke and Konica Minolta, who supplied $1 million in equipment, from Karen Goldsmith and the whole Visual Connections board and several VisCon members, as well as from DIC, Ball & Doggett, EFI and the PIAA.”

    The industry veteran’s last day on the job on Thursday was a hectic one. “I’m trying to do a lot of things in a short time today but it’s great. 

    “It was just time for me,” he says. “I feel like I’ve done all I needed to do, the set-up here is going very well and it’s time for the next stage. We’re in a good spot but now it needs someone else who will be around for a few more years to take over. Paul Ross, an experienced industry advisor and an ex-printer himself will be taking my role as printing program manager.”

    Black has a knee operation scheduled which will keep him out of operation for a couple of months but says he will continue to serve on industry advisory groups. “I’m retiring and will have the procedure on my knee in a week or two but I won’t be going away just yet.”

    The Konica Minolta Digital Print Centre at the Holmesglen’s Chadstone campus includes an Accurio Label C71cf digital label press – the first in Victoria – as well as the latest bizhub in-line booklet maker, two Accurio digital presses and wide-format colour inkjet printers.

    Course information here.

    Our courses will give you the skills to work in this highly competitive industry, and beome a highly skilled print machinist and operator. From conventional forms to ink-jet technologies, large format printing, digital packaging applications and 3-D printing, the printed form remains highly relevant in a digital world.

    Printing Open Day, 6pm-7pm, Thursday 09 August. 
    Bookings essential.

    Register here.

  • Print is ‘classic’ outdoor media

    In a world divided between digital and printed outdoor signage, oOH!Media, one of the ‘big two’ operators in the out of home space keeps a focus on print by terming its static billboards as ‘classic’ media.

    Despite the attention paid to digital and video screens, the number of printed billboards still heavily outweighs digital across the country. However the revenue generated by digital is now almost half of the total $837 million in out of home spend, according to the Outdoor Media Association.

    You’d never guess print or ‘classic’ billboard media still provides the lion’s share of money at the glittering, wham-bam! presentation ‘A world of the unmissable’ by oOH!Media this morning in Sydney’s Hilton Hotel. The focus was clearly on new media campaigns driven by measurable data and ‘six second’ creative

    According to Brendon Cook, CEO, the restructuring of the company he began in 2011, is still on track, even ahead of schedule. Promoting out of home as the “oldest advertising medium” he emphasized the social responsibility as well as the delivered effectiveness of the medium. He said how for oOH!Media “standing still was not an option.

    Working on the theme that in a fractured media landscape brands have ‘six seconds’ to get the message across, Cook curated a series of presentations from clients such as QANTAS, Lion, Contiki and Junkee Media, that not surprisingly, demonstrated the effectiveness of  the medium. The fast-paced show emphasized the importance of using data in location-based campaigns.

    Presenters talked of the problems of banner blindness and ad blocking across internet and mobile channels in contrast to the ‘unmissable’ presence of out of home. “Know the consumer and know the data,” was the message.

    For instance did you know there are nine million ‘cheese occasions’ across supermarkets with most coming from regional areas and, singularly, Queensland? Accurately targeting these locations with engaging creative produced a significant increase in sales for beverage and grocery conglomerate Lion.

    This morning’s timely event came as the out of home media scene is in the news with the arrival of French-based JC Decaux buying APN Outdoor for $1.2billion and oOH!Media taking up Adshel for $570 million. According to Cook, if the acquisitions go ahead, the two big group will emerge as roughly of equal size.

    “And it’s good to have an Aussie company in there, isn’t it,” he said, gleefully.

     

  • Memjet powers new Gallus label press

    The Gallus Smartfire is unveiled at the company’s Innovation Day in St Gallen, Switzerland.

    Gallus has unveiled a new low-cost digital label press using Memjet ink head technology. The Gallus Smartfire will complement the Heidelberg subsidiary’s existing Labelfire press.

    The Smartfire, launched at the Gallus Innovation Day held at the company’s HQ in St Gallen, is an entry-level inkjet label press which allows converters to get into the digital space without needing to invest in the high-end Labelfire. According to Michael Ring, head of digital solutions at Gallus, the Smartfire is easy to use and an ideal ‘starter model’ for digital labels. “With the Gallus Smartfire, we are focusing on new target groups who are looking for a smart entry into digital label printing. The Memjet technology allows us to offer an inkjet printing press that produces labels with a quality of 1600×1600 dpi while still keeping the investment costs at a low level,” he said.

    The press prints in CMYK with food-safe water-based ink, and, like Gallus’ other presses, also includes an in-line finishing unit with lamination, integrated cutting plotter, and semi-rotary die cutter. It has a compact footprint and a low power requirement, needing only a standard outlet, and its water-based ink means no volatile organic compounds (VOCs) are emitted during operation, removing the need for an exhaust system.

    The Innovation Day event also featured existing Gallus kit. As well as the Labelfire, Gallus’ conventional presses were on show: the high-powered Labelmaster Advanced, the benchmark RCS 430, and the popular ECS 340.

  • Trans-Tasman talent to appear at LIVE

    New Zealand label and packaging printer Fred Soar is the latest entry in a star-studded lineup of speakers at Print21 + PKN LIVE, where he will discuss how labels have boosted his business at Soar Printing.

    Fred Soar.

    One of Auckland’s oldest family businesses, Soar Printing has moved into digital labels with the purchase of a HP Indigo press. Soar, managing director, is looking forward to sharing his experience at LIVE. “I’ll be speaking about some of the work we’re doing on our HP Indigo 6800,” he said. “As a commercial printer we diversified into labels about five years ago, and now we’re getting some traction and selling more folding cartons as a result of that as well, which is interesting.”

    Soar encourages printers and converters to attend, as LIVE will provide valuable learning and networking opportunities. “These events are very valuable for printers. It’s always good to keep abreast of trends in the industry and to meet other people, form different markets so you’re not competitors, and share ideas openly,” he said.

    Print21 + PKN LIVE will be held at Monkey Baa Theatre, Darling Harbour, Sydney, on Friday August 3. Sessions will cover:

    • Digital disruption and what it means for print
    • Consumer engagement via packaging and POS
    • Packaging design trends   what brands and printers need to know 
    • Game-changing printing technology and the advantages for printers and FMCG brands
    • Automation, IoT, and AI… future directions for packaging and printing.

    Early bird tickets for the event close tonight, and are available at https://www.book-this.com/packaging-news-live-sydney-2018/event/ticket.

  • Digital labels are on a roll – Print21 Magazine

    Digital labels are booming as demand increases for shorter runs and variable data printing.

    With plenty of inkjet, dry toner and Indigo liquid toner presses going into label and print shops across Australia, it’s clear that digital labelling is undergoing a surge in popularity.

    In the latest issue of Print21 magazine, Jake Nelson delves into the growth of the digital sector and finds out why more and more converters are choosing to invest.

  • Xerox ‘moving forward’ into Australia/NZ

    Xerox Corp has slammed a $1 billion lawsuit filed by Fujifilm over their failed merger bid as “desperate” and announced plans to sell Xerox products directly into the growing Asia Pacific market.

    In a letter to Fujifilm chairman Shigetaka Komori, new Xerox CEO John Visentin said litigation filed in New York last week by Fujifilm against Xerox was “nothing more than a desperate, misguided negotiating ploy” to save the takeover proposal.

    “Enormous opportunity”: John Visentin, CEO Xerox Corp.

    Visentin pointed to a $450 million accounting scandal at Fuji Xerox subsidiaries in New Zealand and Australia as evidence of the Japanese company’s mismanagement.

    “No matter what you tell the Japanese media, it is abundantly clear that the bad actor here is Fujifilm, not Xerox. Fujifilm, as 75% owner and controlling partner of Fuji Xerox, has concealed from Xerox the true extent of a massive and ongoing accounting fraud at Fuji Xerox caused by Fujifilm’s own gross mismanagement.” 

    Visentin says Fujifilm’s expectation that Xerox will come to Fujifilm with a new proposal for a combination transaction “is simply delusional. It will not happen.”

    The Xerox CEO says the iconic US company is now focused on moving forward alone on several fronts in the Asia-Pacific region to protect its supply chain.

    “First, we will start, in a material way, to source products from new vendors. Second, we will build partnerships with companies that are aligned with the Xerox mission to provide world-class technology and solutions. Third, we currently believe Xerox will be much better served by not renewing our Technology Agreement with Fuji Xerox when it expires. We will detail for our shareholders the enormous opportunity for Xerox to sell products directly into the growing Asia-Pacific market with sole and exclusive use of the valuable Xerox name, and a more efficient, better managed supply chain than exists with Fuji Xerox today.”

    Xerox says it is moving to begin sourcing product from suppliers other than Fuji Xerox and dismissed suggestions by Fujifilm executives that Xerox was unlikely to survive on its own in a shrinking global office equipment market.

    “Nothing could be further from the truth,” Visentin said. “In fact, it is actually Fuji Xerox, which is responsible for nearly half of Fujifilm’s total revenue, that could potentially suffer ruinous consequences from the loss of over $1 billion of revenue from Xerox, its single largest customer. And legally, there is nothing Fujifilm can do to stop that from happening. The New York State Supreme Court has already enjoined Fujifilm from taking any action toward consummating the ill-advised takeover, and it follows that no court would allow Fuji Xerox to take adverse, punitive actions toward Xerox’s supply chain as we begin sourcing away from Fuji Xerox, which we are clearly permitted to do.”

    In response, Fujifilm issued a statement dismissing Xerox’s plan. “It is again no surprise to hear Xerox’s pretense to sell its products directly into the growing Asia-Pacific market. However, realistically speaking, we believe that it would be extremely difficult for Xerox – which does not currently possess any marketing channel in Asia – to build its own channel from scratch.”

  • PIAA slams ‘measly’ unfair dismissal fee

    Printing Industries condemned a Fair Work Commission decision to increase by just $1.30 the amount that an employee must pay to file an unfair dismissal claim.

    ‘An indictment of the Australian industrial relations system’: Paul Mitchell, PIAA.

    “This is nothing more than a round of drinks for a pro-employee lawyer or union to fund whereas employers have to expend considerably more money to defend themselves at the Commission,” says the PIAA’s national workplace relations manager, Paul Mitchell. “This is not justice; this is a tragedy. It is an indictment of the Australian industrial relations system. The Fair Work Commission on Unfair Dismissal Applications is unfair to employers.”

    The FWC has announced that from 1 July 2018, the revised rate to file an unfair dismissal, general protections and anti-bullying application with the commission will rise from $70.60 to $71.90.

    The PIAA, which describes the increase as “measly,” has long advocated for an increase of the filing fee of at least $1,000 to give employees, pro-employee lawyers and the unions “skin in the game.”

    “The moment an unfair dismissal application is lodged you can immediately write off two days of work as a minimum defending an unfair dismissal claim until conciliation,” says Mitchell. “Not only is this two days where a director or senior employee is on company time getting paid for nothing, they are also not making any money either. It is a double whammy.

    “Regrettably, this is why over 80% of unfair dismissals settle. Employers weigh up the cost of fighting a matter and it is often a commercial decision to settle. I have seen many cases where the merits of a dispute have been skewed so far in favour of an employer, yet they make a commercial decision to settle due to the time and effort it will take to fight the matter. This includes the preparation of evidence, statements, attendances at hearings, telephone calls, emails, the list goes on and on.”

    The Printing Industries solution is let the unions and pro-employee lawyers pay. “If the claim is genuine, they will find the money,” Mitchell says. “If it is vexatious, they will not pay. Having employees or their representatives cough up some money from the outset is a sure way to sort the chaff from the wheat, the genuine claims from the non-genuine ones.”

    Mitchell encourages PIAA members to get in touch should they have any concerns about terminating employees.

  • HVG Graphics moves into hardware

    Graphics media supplier HVG Graphics Media is expanding into hardware after signing an exclusive partnership agreement with award-winning American finishing solutions company MCT Digital.

    Sydney-based HVG has developed a national network and customer base over 40 years in the industry and GM Richard Lucas says the company will now be able to provide a whole new range of products and capabilities.

    “We are excited to announce our first move into supplying hardware to the Australian graphics market,” Lucas says. “This move will enable a holistic approach to meet market demand for a single supply model.”

    HVG business manager Adrian Morris is looking forward to introducing customers to MCT’s next generation cutting solution, the VersaTech2.

    “In a world in which printing capabilities and market needs are changing rapidly, the high quality VersaTech2 tables are a complete 3-in-1 digital die-cutting solution for every industry segment,” says Morris. “This cutting solution perfectly complements our wide range of substrates and our ever-expanding printable fabric range.”

    The team at HVG Graphics Media.

    MCT founder and chairman Steen B. Mikkelsen said: “We are pleased to announce the appointment of HVG Graphics Media as the Sales and Service/Support Dealer for MCT’s VersaTech2 product line in Australia. Thanks to our patent-pending dual conveyor belt technology, the VersaTech2 is the only automated “all-in-one” laser-router-knife digital die-cutter in the world. It is fitting, therefore, to have HVG Graphics Media as our partner is Australia as they stock the widest array of printable materials and already have strong relationships with the vast majority of prospects across the continent.”

    A division of Halifax Vogel Group (HVG), HVG Graphics Media is backed by a national distribution network with warehouses in Sydney, Melbourne, Brisbane, Adelaide and Perth.

    HVG is a privately owned Australian company that imports and distributes a diverse product range including graphics media, industrial and decorative fabrics, decorative building products, engineered stone and exhibition systems.

  • Pantone adds 203 colours for polyester

    Pantone has introduced 203 new colors curated for polyester materials used in athleisure, footwear, swimwear, sleepwear and the home and fashion accessories markets.

    “In today’s culture where color plays an important part in our visual identity, we see an increasing desire for more saturated colors that help us stand out; colors beyond those formulated for natural fibers; colors whose appearance displays greater hue intensity,” according to Laurie Pressman, vice-president, Pantone Color Institute.

    “Our new polyester offering addresses this demand for a deeper level of coloration, resulting in a comprehensive mix of colors relevant across design industries including all fashion- and lifestyle-driven markets, as well as home furnishings.”

    Dyed on 100% warp knit polyester, these products can be used for color management in polyester, poly-blends and other synthetic materials.

    The new Pantone Polyester Swatch Set is composed of 203 new colors, ranging from neutrals to eye-popping neons that are not available in the existing cotton library and cannot be reproduced in cotton with the same degree of clarity or intensity.

    Intended to complement the existing Fashion, Home + Interiors system, the polyester standards are available in three formats that will be familiar to fashion and home designers as their essential tools for inspiration and color management, while affording the assurance in consistency that Pantone provides:

    Polyester Swatch Set: a convenient storage case for all 203 colors in new 2x2” removable swatches for color selection and palette development.

    Polyester Swatch Cards: individual colors in 4”x4” swatches that unfold to 4”x8” for optimal color visualization, specification and instrumental evaluation.

    Polyester Spectral Data: exact dye recipes for each color to help expedite achieving color intent in production.

    The Polyester Swatch Set is now available worldwide, with Swatch Cards and Spectral Data to follow this year. To learn more, visit https://www.pantone.com/polyester

     

     

  • P21 Issue 1022 – June 27, 2018

    Little in this printing industry can be taken for granted with change the only constant. The painful restructure of the PIAA reflects the hard truths of a consolidating industry. Only by accepting the reality of our new normal will we be able to move forward and sustain.

    The temporary and transitory nature of even the largest brands is nowhere better seen than in today’s announcement of the end of IPEX. Once the preeminent English-speaking printing trade exhibition, the UK show never recovered from an ill-advised move from Birmingham to London in 2014.

    Take nothing for granted.

    Welcome to your latest issue of Print21, the premier news and information service for the printing industry across Australia and New Zealand.

    Patrick Howard
    Publishing Editor

  • IPEX is gone – iconic UK trade show pulls the plug

    IPEX London 2014.

    Bowing to the inevitable the organisers of IPEX have called it quits following two disastrous trade shows, one in London where it broke tradition by moving to the capital, the second a vain attempt to return to its spiritual home in Birmingham.

    According to Rob Fisher, the exhibition’s event director, the organisers blamed changing market conditions rather than accept any blame. “The changing market conditions and appetite for a large-scale event which focuses on Print in Action continues to be challenging. Having engaged with a range of exhibitors and partners to evaluate the options for IPEX, we have concluded that the requirements of the industry no longer match our own in terms of the cycle, scale and what is required to help us further support and fully invest in the brand.

    “Through IPEX, we’re proud to have played a role in an important and diverse industry, and to have supported a brand that has such a long history. We enjoyed organising and delivering IPEX 2017 and received positive feedback from exhibitors, many of whom recorded excellent levels of interest and sales at the event. We’d like to wish our partners, exhibitors, and everyone we’ve worked with on IPEX every success as the industry continues to evolve.”

    According to Andy McCourt, associate editor of Print21 and a long-term supporter of the show, the fault lay not in the stars but with some fundamental flaws in management.

    “It’s an understandable move by Informa Exhibitions. The lesson should have been learned long ago – never move away from your market; nurture and cherish your customers and most of all – don’t piss the trade media off!”

    IPEX long held a special place in the heart of the Australian and New Zealand Printing industries. With many print company owners proudly wearing a London School of Printing credential, the opportunity to add on a few weeks tax-free holiday in the ‘old country’ made the show a much loved pilgrimage.

    With the easy familiarity of language and custom, locals flocked in their hundreds to the National Convention Centre in Birmingham. The Print21 IPEX barbeque was a highlight of the industry’s social calendar.

    “Sad to see it go really, but it’s what Andy McCourt says, stay close to your market,” lamented Patrick Howard, former Print21 publisher, who along with McCourt, organised the famed barbeques. “But we still have drupa.”

     

     

     

  • Back from the brink: PIAA turnaround

    ‘We’ve had to absorb huge restructuring costs’: PIAA CEO Andrew Macaulay.

    Printing Industries CEO Andrew Macaulay says a ‘dramatic improvement in performance’ in 2017 has seen the peak national body post an operating loss that’s $400,000 less than the previous year. This is the second year in a row that the peak body has taken a hit as a result of fundamental restructuring.

    “We’ve pulled it back from the brink. The actual operating loss was about $800,000, which is down $400,000 on the 2016 figure of $1.2m,” says Macaulay. “We’re now in the situation where we can look towards a much-improved performance this year,” Macaulay says.

    The Association reported an operating loss of $1.4 million in 2017, $571,000 of which was the result of revaluation losses on land and building assets.  

    “The fact of the matter is that over the past two years, we’ve had to absorb huge restructuring costs that should have been incrementally absorbed over the past decade. Whilst we’re not as advanced as we’d like to be, the reality is that we can’t just wave a magic wand. We have, however, turned it around and moved the association onto a sustainable footing,” he said.

    Following the crisis year of 2015 where the Association’s future was under threat, Macaulay was appointed with the brief to get the PIAA onto a sustainable footing. He’s driven a sometimes-unpopular agenda that has seen staff numbers drop from 25 to six and state offices closed down.

    Macaulay insists core industrial relations services to members have improved out of sight while he’s stepped up lobbying efforts with federal and state MPs. “Members don’t need offices all over the place but they do need access to services and we’re offering a broader service now than we did with 25 staff members.”

    He shafts home the fall in membership over the past year to massive consolidation in the industry. “This directly reflects the state of the printing industry. But against that, some members who left the organization during the trouble in 2015 have now started returning.

    “Our 130-year old association is back, alive and kicking goals. And it’s all due to the foresight of a new generation board that is driving transparency and is aware of what the industry needs.” He believes, a new look board of directors is set for generational change and effective succession planning.

  • JCDecaux to pay $1.2b for APN Outdoor

    JCDecaux street screen at Pitt St Mall, Sydney.

    In the outdoor advertising industry’s second major consolidation deal in 24 hours, French giant JCDecaux has agreed to pay $1.2 billion to buy APN Outdoor, one of the two biggest players in the local market.

    On Monday, rival oOh!media signed a $570 million deal to acquire HT&E’s outdoor business Adshel.

    In a flurry of activity over the past week, APN had lobbed its own bid for Adshel before JCDecaux stepped in with an offer to buy APN – on condition it did not continue its bid for Adshel.

    ‘A significant milestone’: JCDecaux co-CEO Jean-Francois Decaux.

    JCDecaux co-chief executive offer Jean-Francois Decaux said on Tuesday the agreement was a significant milestone for the global company.

    “APN Outdoor is very complementary to our existing street furniture assets and through this acquisition, JCDecaux will be attractively positioned to provide a compelling proposition to compete more effectively in the Australian media market where Out-of-Home accounts for 6 per cent of advertising spend, of which almost 50 per cent is digital.”  Decaux said he was also “delighted” to be entering the “fast-growing” New Zealand market.

    APN chief executive and MD James Warburton told the ASX that the agreement was an “excellent outcome” for shareholders, partners and the company’s 13,000 employees. “JCDecaux is a leading global out-of-home company with more than one million advertising panels in more than 80 countries, more than 13,000 employees and 2017 revenue of 3,493 million.”

    oOh!media CEO Brendon Cook told Print21 the Adshel deal would provide significant opportunities for growth.

    “The acquisition gives us the opportunity to provide our advertisers with a comprehensive Out Of Home offering as it adds transit and street furniture to our already diverse portfolio. It also opens up opportunities new local government opportunities.  One of the requirements of local government is you have a strong operational capability to manage and service the street furniture assets – this acquisition give us that capability.”

     The deal requires oOh!media to stop using the Adshel brand within three months.

    HT&E chairman Peter Cosgrove announced his retirement after the agreement was announced.  “The company is at a pivotal point,” he said. “The divestment of Adshel is a good result for shareholders and provides a number of strong capital management initiatives to further strengthen the business.”

    Both deals are subject to approval by the Australian Competition and Consumer Commission (ACCC). JCDecaux’s acquisition of APN Outdoor must also go before the Foreign Investment Review Board and the New Zealand Overseas Investment Office.

    According to researcher IBISWorld, APN Outdoor and oOh!Media are the two biggest companies in the billboards and outdoor advertising market in Australia.

    Last year, the ACCC blocked an attempted merger between the two market leaders.

  • Xeikon Café warms up in ANZ

    (L-R) Bent Serritslev, Trevor Crowley, Dr Adrian Steele, and Richard Maarschall.

    Converters in Sydney, Melbourne and New Zealand found plenty of value in Xeikon’s first Cafe events in the region, with expert advice on the pros and cons of going digital.

    The Sydney conference, held at the Mercure in Wolli Creek, featured a lineup of speakers including Bent Serritslev, managing director of Xeikon Asia-Pacific, who gave an overview of the supplier’s business; Trevor Crowley, sales general manager for Xeikon Australia and New Zealand, who examined the different applications of toner and inkjet technology; Richard Maarschall from CERM, who presented an overview of the Belgian software company’s workflow offerings; and Dr Adrian Steele of Britain’s Mercian Labels, who charted his company’s digital journey and outlined the challenges around investing in digital capacity.

    According to Crowley, events like this are valuable for converters looking to expand their digital offerings. “When you have people like Dr Steele and his presentation, mapping out what his journey’s been like – the good, the bad and the ugly – there’s a lot of value in people seeing that, especially those looking to get into digital for the first time,” he said.

    Though just starting out, the conferences paid off for both the hosts and the attendees. “The roadshow events yielded some high-value discussions and meetings with a number of potential label customers interested in learning more about the Xeikon technology,” said Crowley. “Feedback from those who attended was that the information delivered around the Xeikon business, inkjet versus toner technology, and enterprise resource platform systems were very useful.”

    Xeikon Café visited Sydney on Monday the 18th and Melbourne on Wednesday the 20th, and Xeikon held meetings with key accounts in New Zealand on Friday the 22nd.  “The visits worked very well. It’s a model that’ll probably work well in this part of the world, lining up a few key accounts and having deep-dive visits over the course of a week or so,” said Crowley.

  • Accurio to the rescue at MBE Applecross

    Andrew Ingram, director, MBE Applecross with his new Konica Minolta AccurioPress C2070.

    A recent upswing in demand for printing jobs at Mail Boxes Etc. (MBE) Applecross in Perth WA meant the company was being forced to outsource much of its printing work to other providers.

    “Initially we had a printer that was more suited to office work than the commercial work we wanted to do,” says Andrew Ingram, director, MBE Applecross. “One of the key types of printing we do is meeting notices for mining exploration companies. These 16-32-page booklets need to be high quality and produced in time for meeting season, which is around the end of May. To meet this demand, we needed a commercial printer that could deliver reliably and quickly.”

    At MBE’s national conference, MBE Applecross directors met with representatives from Konica Minolta and determined that the KM AccurioPress C2070 would be the ideal machine to meet the business’s needs.

    “The previous printer couldn’t handle heavier stocks even though we’d been told it could,” says Ingram. “We needed a printer that could handle up to 350gsm because we wanted to print business cards and high-quality covers for the mining companies’ booklets.” The C2070 was also more than twice as fast as the previous machine, he said.

    “Before, I was embarrassed to show people our printer,” Ingram says. “Now, it’s the first thing I show anyone when they come into the office. We wanted to be a place that did printing, not a place that sent printing jobs to other companies. Putting the Konica Minolta printer in place let us make that change. We don’t need to outsource as much work now because the C2070 can handle just about everything.”

    MBE Applecross, Perth.

    Ingram says one of the most important benefits for MBE Applecross has been the service and support provided by Konica Minolta.

    “The assistance from Konica Minolta has been brilliant. One night, we ran out of staples in the middle of a job. I rang customer support and three hours later we had the staples and the job was back up and running. That was a fantastic effort.

    “Every time I had a question for the Konica Minolta team, I got an immediate answer and that impressed me. As a business owner, to know I’ve got that level of backup and support is crucial. The C2070 is our main breadwinner, so having such reliable support for it really delivers peace of mind.”

    Mail Boxes Etc. (MBE) is a global company that provides courier, shipping, printing, and mailbox services. Originally established as a US-based franchise, MBE now has 32 locations in Australia.

  • P21 Issue 1021 – June 22, 2018

    There’s no end in sight yet for the industrial action at Note Printing Australia, with production now slashed by a fifth and new measures in place from the unions that will see it drop even further. Here’s hoping both sides can come to the table and work out a deal that everyone can agree on.

    Welcome to the latest issue of Print21, the premier news and information service to the printing industry across Australia and New Zealand.

    Jake Nelson
    Labels and Industrial Editor