Archive for October, 2018

  • Print21 Newsletter Issue 1053

    Good luck to everyone tonight at the Print2Parliament event, great to see so many politicians and printers getting together. Printing is a $7.5bn a year advanced manufacturing industry that the people in power should be fully supporting.

     

    Welcome to the latest Print21 newsletter, the premier news and informaiton source for the Australian and New Zealand print industries, read by more print professionals than any other.

     

    Wayne Robinson
    Editor

  • Printers vs Pollies, big night in Canberra

    Tonight will see a bevy of print leaders and federal politicians come face to face in the Print2Parliament event.

    Organised and hosted by the PIAA, the event will take place at Parliament House in Canberra, and will see several government ministers with direct impact on the printing industry looking to hear from printers, and discuss important issues.

    Minsters present will include Angus Taylor, Minster for Energy, Mitch Fyfield, Minister for Communication, which includes Australia Post, Michaelia Cash, Minister for Small and Family Business, Skills and Training, and Kelly O’Dwyer, Minister for Industrial Relations. Their shadow cabinet members, who may be in power in six months time, will also be present.

    Energy: Angus Taylor

    Josh Frydenberg, Federal Treasurer, has accepted an invitation to come, although he may or may not be able to attend. Tanya Plibersek, deputy leader of the Labor Party will be there, as will shadow Treasurer Chris Bowen.

    In addition a plethora of local MPs will be turning up, and as well as talking to printers will be able to see the full range of winning print from the National Print Awards.

    Those with more exotic tastes may be interested to note that Pauline Hanson has also accepted an invitation to attend.

    The welcome will be given by Theo Pettaras, owner of DigitalPress in Sydney. Andrew Macaulay, CEO of the PIAA will welcome the speakers, who will include Michael Sukar from the Liberal party and Wayne Swan from the Labor party. Graham Russell, CEO of Media Super will speak, and PIAA President Walter Kuhn will give the formal thankyou.

    Shadow Treasurer: Chris Bowen

    Andrew Macaulay is urging printers to communicate the ‘Top Six’ issues facing the industry to the pollies, including the need for reliable and affordable energy, increased funding for skills training, less red tape for IR, recognition of the environmental accreditation programme, an Australia first print procurement plan for state and federal government, and AusPost to consult with the print industry before raising prices.

  • Tasmanians shoot for Wrap King crown

    Inspired: Josh Nielsen (centre) with the Fingerprint team and their Wrap Like a King entry.

    Launceston sign company Fingerprint Signs is one of four continental winners in the Avery Dennison Wrap Like a King competition, with its “Barn Find 24/7” design sending the company to Las Vegas for the final at SEMA 2018 later this month.

    Fingerprint’s Josh Nielsen said he was shocked to find out the entry, inspired by abandoned cars found in barns and paddocks, had won the Australia and New Zealand title. “Wrap Like a King has been a great experience and opportunity for me and the team at Fingerprint Signs. We didn’t expect to become the continental winner for ANZ, but it has made us feel so much better about our work,” he said.

    “I have always been inspired by the wrap work done all over the world, which pushed me to follow my dream in becoming a wrap designer and installer. I never thought I would get this far, and it’s a great feeling to know that my work is not only enjoyed by the locals in Tasmania but now all over the world.”

    According to Nielsen, the entry took more than 50 hours of hard work. “I actually wrapped a 1/24 scale model before I wrapped the car itself, to make sure everything would fit right,” he said.

    The Fingerprint team will now face off against the other continental champions, from South Korea, Florida, and the UK, to determine 2018’s King of the Wrap World.

    Jeff Losch, marketing director at Avery Dennison Graphics Solutions, says he and the judges are looking forward to the final in Vegas. “We’re one step away from a new global wrap king, and each of the remaining entries is a strong representation of what this challenge is all about,” he said. “Our team cannot wait to see the winners in Las Vegas, because each one has accomplished something remarkable.”

    The reigning champion, Nick Caminiti of Exotic Graphix in Melbourne, hung up his crown this year.

  • Label innovation show rolls into Sydney

    Innovation presenters: (l to r) Jack Malki, Gary Seward and Peter Scott with Dieter Niederstadt in front.

    Jet Technologies and Screen drew a good crowd of industry professionals for the Sydney leg of a three-part series presenting the latest in labelling and narrow web printing.

    Jack Malki hosted the event at the company’s Rosebery HQ introducing a heavyweight line-up of speakers that includes Gary Seward of UK-based Pulse Roll Label Products, Dieter Niederstadt of Asahi Photoproducts in Dortmund as well as Peter Scott, the local managing director of Screen. Topics ranged from colour management between digital and flexo, how to improve overall equipment effectiveness with flexo to what we can do to ameliorate the amount of plastic waste going into landfill.

    Seward took a light-hearted approach to the bewildering array of regulations in the EU, the UK and Australia/NZ for food packaging. With a stereotypical British penchant for making light of serious matters he illustrated his presentation with examples of extreme regulations from the EU. He made the point that apart from tin and ceramics all material, including plastics, allow migration of chemicals through to foodstuffs. Much of the regulations are about finding an acceptable level of migration. As the managing director of his own ink manufacturing company this is a major preoccupation for Seward and essential knowledge to be passed on to his label and packaging printing customers.

    Clean transfer technology and a fixed seven-colour palette are the latest developments in flexo printing. Niederstadt proved to be a technology guru for the sector. He showed how printers by changing to Asahi’s new CTT plates were able to get the press running at 33% faster with one set of plates able to print for up to 22 hours.

    Peter Scott pressed the point that while the global print market is worth US$790 billion it’s only increasing at 0.8 every year. The packaging-printing sector on the other hand is at US$329 billion with a growth of 5.3%. Of that only US$10 billion is currently done by digital, which is increasing by 12% per annum. There’s a lot of upside there for printers looking to get into the digital end of the market.

    Jack Malki bookended the session with a piece on the impact of sensory packaging on consumers. It’s a favourite topic and valuable information for label printers to present to brand owner customers. Then he spoke with great conviction of the need for printers to get in front of impending regulation with OXO-biodegradable films. These can reduce landfill waste by up to 70%. It’s obviously something Malki feels very strongly about.

    The Innovation Series was in Auckland on Monday night, hosted by SALMA. Tomorrow Thursday it’s in Melbourne at the Yarra Yarra Golf Club, Bentleigh East, kicking off at 7.45am.

    It’s well worth your time.

     

     

     

     

     

     

     

  • Landa ships first B1 perfecting press

    First one ships: Landa S10P at drupa 2016

    The long-awaited roll-out of Benny Landa’s nanographic printing technology is starting to gather pace, as the company ships its first B1 inkjet perfecting press.

    New York commercial printer Mercury Print Productions is the destination for the world’s first Landa S10P. The 50 year old company currently runs multiple B1 Heidelberg offset presses, a trio of Kodak Prosper inkjet presses, as well as sheetfed digital systems.

    The Landa S10P prints at up to 6,500sph in straight mode, or half that 3,250sph in perfecting. However there is a high speed option, which doubles the speeds. The S10P can be configured with four to eight-colours.

    Benny Landa launched the nanographic concept at drupa 2012, promising offset quality on offset stocks at offset speeds, but with digital printing, so no plates, no make-ready and variable data. So impressive was his presentation that some 400 printers stumped up $10,000 each for a place in the queue, including several Australian outfits.

    However since then the technical challenges of nanographic printing (micro particles), particularly the physics and the chemistry, have meant progress has been slower than expected.

    Landa currently has two beta installations of its straight printing S10 models, at Graphica Bezalel in Israel and Edelmann in Germany. A Swiss commercial, packaging and display printer is currently installing an S10.

  • Six make Konica Minolta finals

    Finalist: (l-r) Leon Wilson, Revolution, with Sue Threlfo, Konica Minolta; John Schreenan, Revolution; and David Proctor, Konica Minolta, and the B2 sheetfed inkjet press

    B2 sheetfed inkjet printer Revolution is among the six printers to make the finals of the Konica Minolta National Specialised Print Awards, from a record 246 entries.

    Revolution is joined by Imagination Graphics, Tennyson Group, Whoyou Creative, Tako Print Solutions and Elect Printing in the finals, each of the six winning their state competition.

    The Konica Minolta judges will now decide on the winning entry, which will be revealed at a gala event at the Park Hyatt in Sydney next Wednesday, October 24, at which all six finalists will attend.

    The 246 entries came in one of five categories: digital flat sheet; digital print bound books; digital brochures and booklets; digital label print; and digital embellishment.

    The national overall winner will receive an exclusive trip to visit Konica Minolta’s headquarters in Tokyo, including a tour of its Customer Experience Centre and R&D facilities.

    The company says the National Specialised Print Awards have been created to celebrate exceptional craftsmanship in digital printing with the help of a Konica Minolta digital press system.

  • Ricoh hosts graphic arts showcase

    Alive with colour: (l-r) Jackie Tan, Mike Herold and Simon Lane, Ricoh.

    Ricoh has launched its Pro 7200 and Pro 9200 series of toner-based cutsheet graphic arts presses in Australia at a hands-on night at its Sydney showroom, which featured guests from the US and Thailand.

    The event gave new and existing Ricoh customers the opportunity to see the products for themselves. It was the first time they had been shown in Australia, following a trip by 40 local printers to the company’s Customer Experience Centre (CEC) in Thailand. Jackie Tan, head of the CEC, flew out to attend the Sydney event, alongside Mike Herold, director of global marketing.

    “This launch is stimulated by the arrival of two great products: the Ricoh Pro 7200 and 9200,” said Andy Berry, managing director of Ricoh Australia. “It is really about engaging customers on three key things: getting a sense of where the industry is going, giving the opportunity for a hands-on look at the new presses, and talking about services, the guys who keep the printers running.”

    Success: Andy Berry, Ricoh (left) and Bill Sawtell, Printercorp.

    Berry said there was plenty of interest from guests in the new products and in a keynote presentation from Herold, on Ricoh’s inkjet machines. “Turnout has been great, everyone seemed really engaged. There was a good opportunity beforehand for people to look at the equipment, and to talk to the technicians and pre-sales guys,” said Berry.

    Herold, who flew out from Colorado to deliver the keynote, said Ricoh’s investment into commercial and industrial print is substantial. “We’re making a commitment to our business, to the industry, to the marketplace, in an effort to differentiate ourselves from others in the market. That includes core print technology, software, and professional services,” he said. “We go beyond just the product, to include people, processes, and other ways to help customers expand beyond that initial investment.”

  • Starleaton brings dye sub expert to Australia

    Dye sub from Starleaton: Gert-Jan Breukink (left) out to Australia from Nennah Coldenhove (left) with John Buitenkamp, product manager at Starleaton

    Wide format supplies company Starleaton has brought Dutch dye sub expert Gert-Jan Breukink from paper manufacturer Neenah Coldenhove out to Australia for a two week tour.

    Starleaton is now supplying the Neenah Coldenhove range of dye sub papers, following its acquisition of Uniscreen earlier in the year. Breukink is visiting customers to highlight the benefits of the Neenah Coldenhove dye sub papers, and to understand the Aussie working practices.

    Breukink says, “Digital textile printing offers tremendous opportunity, and for printers there are multiple applications to work with from the same machine, with the Neenah Coldenhove dye sub papers.

    “The five main sectors we have identified are soft signage, sportswear, hard substrates, home furnishings and fashion. As we have assessed the Australian market it is clear the first three are ready for digital printers to enter the market.”

    John Buitenkamp, product manager at Starleaton says, “Dye sub papers were the missing link in our range, and one we wanted to address, as digital textile printing is going to be a growth area. Our recent purchase of distributor Uniscreen is enabling us to supply the world’s best dye sub papers to the Australian market.

    “Among the many benefits of Neenah Coldenhove is the fact that they come in widths up to 3.2 metres, which means they can be supplied for the EFI FabriVu for instance.”

    Bruekink says, “There are three key benefits to the Neenah Coldenhove dye sub papers. First their inherent strength means their run ability is as high as it gets, with no breakages stopping the printer. Second is the reproducibility of the image, its fidelity to the original and its consistency over the run. And third is the ink transfer yield, which is the highest in the industry, currently 97 per cent and getting higher, compared with an average of 70-80 per cent. This means lower ink usage, as it take less ink to get the same coverage.”

    Proponents believe dye sub textile printing offers a higher quality than direct to garment digital printing, and point out that direct-to-garment is actually itself a two stage process and still needs calendering post-printing.

    John Buitenkamp says, “There is no doubt digital printing on textiles is going to surge, it is a market in its infancy, but the arguments in its favour are compelling. With Neenah Coldenhove Starleaton is able to supply local printers with the best in class solution.”

  • Printers meet thinkers in Parramatta

    Connections: (l-r) Nicholas Haskins and Don McCallum, NSSN; James Cryer, JDA; Andrew Macaulay, PIAA.

    Printing Industries and the NSW Smart Sensing Network (NSSN) have hosted a Bridge the Gap breakfast to connect industry with academics.

    A variety of speakers from different scientific fields, including physics and chemistry, spoke to a packed room at the Rydges Parramatta about what their technologies could do for the printing sector, and how industry could access funding from government to partner with academia on research and development projects.

    The event was the brainchild of Dr Don McCallum, development manager at NSSN, and James Cryer of JDA Print Recruitment. “It is very hard in our industry to put our minds to inventing and innovating, because the pressure is to keep the presses running and the customers happy rather than messing around with new ideas,” said Cryer. “Printing companies have such incredible time pressures that they might not have time to invest in innovation.”

    Despite this, the grants on offer from government will help printers who want to push the envelope, says Cryer. “It’s a reminder not to give up – now there’s someone prepared to pay for your exertion, there’s an incentive to innovate,” he said.

    Andrew Macaulay, CEO PIAA, was pleased with the event, and looks forward to planning similar meetups across Australia. “It’s been a terrific day, great dialogue with industry, and we intend to repeat it in other states,” said Macaulay. “I didn’t hear a single speaker who didn’t have relevance to the print sector. There were ideas that would increase the efficiency and productivity of any printer in the country.”

  • EFI promoting digital textile printing

    Digital textiles: EFI at ITMA Asia

    With digital textile printing set for rapid growth EFI is showing its latest series of textile printers at ITMA Asia this week, including the 12-colour EFI Reggiani Colors printer.

    The company – which is about to get a new CEO Bill Muir to succeed long serving Guy Gecht – is also showing its Reggiani Terra solution featuring new pigment ink with binder for a greener, faster and competitive textile process; and its EFI Optitex 2D/3D CAD design software; as well as the EFI Fiery DesignPro software suite for print preparation and production.

    EFI says its ecosystem of textile technologies leverages EFI Reggiani’s 70 years as a leader in textile industry innovation with digital and conventional processes. The company says its EFI Reggiani products, along with some of the industry’s most advanced software innovations, are designed to simplify the transition from conventional to digital production.

    At ITMA Asia, EFI experts will highlight the company’s completely renewed digital printer line, including products that give users improved production workflows and the ability to move to greener, more environmentally friendly processes.

    The Reggiani Colors printer – EFI’s fourth high-tech industrial textile printer launched in less than a year – offers an imaging configuration that the company says is important for customers seeking to establish a distinct competitive advantage. The printer runs at speeds up to 560sqm an hour, delivering says EFI printing quality and uniformity with an extended colour gamut, colour depth and increased penetration into fabric.
     
    EFI says users can place the printer’s 12 colours in a high-productivity 6+6 configuration for superior imaging at much faster throughput speeds. An innovative continuous ink recirculation system ensures reliability and lets users print with a wider variety of inks while reducing purging and maintenance.

    Proprietary electronics on the printer reduce setup time and streamline maintenance tasks. New EFI Reggiani printing software on the Colors model allows for real-time image processing, which improves users’ overall workflow performance. The printer, which is available in 180mm, 240mm and 340mm widths, can also use nearly any configuration of inks – including special inks, inks with different chemistry types, and special treatments.
     
    EFI is also presenting the Reggiani Terra solution for direct-to-textile production. Terra eliminates the need for steaming or washing on direct-to-textile applications using a greener, more efficient polymerisation process that takes place as printed textile goes through the printer’s on-board dryer.
     
    The new version of EFI Optitex software on display, O/18, provides more than 100 types of pre-defined fabrics to choose from. Users can now visualise their designs before creating physical samples in a better, more realistic digital environment. And, a new EFI Optitex Marker Creation Wizard enables users to create and define multiple markers within a single, user-friendly interface.

  • Cosmopolitan to cease production

    Iconic women’s fashion and lifestyle magazine Cosmoplitan is to close, 45 years after the title made its Australian debut.

    PMP will lose the job, which had around 148pp an issue, but with declining run lengths.

    Closing: Cosmo

    Cosmo was launched in Australia in 1973 under licence from the Hearst Corporation, and is best known for its risque sex tips, fashion and make-up, and truth is stranger than fiction stories. It is aimed at the 18-34 year old female demographic.

    Publisher Bauer Media said the magazine was no longer sustainable. It joins other major Bauer titles Cleo and Men’s Style which closed in 2016, and the Aussie edition of music industry bible Rolling Stone, which stopped printing earlier this year.

    Printed magazines present a mixed picture, some women’s magazines showed the biggest growth of all last year, Frankie was the fastest growing women’s fashion magazine increasing 19.7 per cent, followed by Elle up 17.1 per cent. Vogue Australia was also a strong performer increasing its readership to 355,000, up 8.9 per cent.

    According to Roy Morgan research two thirds of Australians aged 14 years or more read print magazines in 2017. The magazines from supermarket giants Coles and Woolworths are the biggest in the country.

  • AGS snaps up Morgana in Victoria

    Done deal: Nathan Broughton, Print and Pack (left) with Glenn Maynard, AGS.

    Australian Graphic Servicing (AGS) has signed on as a reseller of Morgana finishing equipment in Victoria, thanks to a deal with supplier Print and Pack Australia.

    The reseller agreement will see AGS supply Morgana equipment across Victoria including the DigiFold Pro creaser/folders, which combine creasing, folding, perforation and cross perforation. “The Morgana range fills a void in our equipment portfolio for creasing and folding products.  It is a solidly built, well-recognised brand with a reputation for reliability,” said Maynard.

    AGS has a number of Morgana products on display in its Mulgrave showroom already. Andrew Dunn, business development manager at AGS, says the company is excited about the deal. “We did go and speak to many of our customers and their feedback on Morgana centred around its reliability and fit for purpose products. I believe the partnership with Print and Pack, with our first focus being the customers, will be a win-win for all,” he said.

    According to Nathan Broughton, national product manager for bindery and digital finishing at Print and Pack Australia, PPA is always on the lookout for new opportunities to expand the reach of the products it supports. “AGS is a well-established business, which offers ideal synergies to this philosophy by facilitating a nice showroom and after sales support team,” he said. “AGS takes a professional approach when dealing with industry needs within this digital print and finishing sector. Therefore, when the opportunity arose, PPA acted swiftly to secure AGS as a reseller of our Morgana equipment range.

    “To put it simply, the Morgana range is very sought after and we are certain AGS will bring further great results for Morgana, PPA, and Victorian printers alike.”

  • Inkjet makes a splash on Print21 cover

    Inkjet technology takes centre stage and front cover in the latest issue of Print21 magazine.

    The road show by Jet Technologies and Screen across Auckland, Melbourne and Sydney set the tone for the industry’s most popular and engaging publication. Check out Eddie Gulmen’s Infinite Coding on the cover and link into Jet Technologies Innovation Series to register for the event. Download the free ScanM App to see the future of printing.

    This latest issue is jam-packed full of exciting features and articles, news and views of the people who power the dynamic and progressive graphic arts industry across the region. Put together by the leading team of experienced editors and journalists it’s required reading for anyone who wants to keep up.

    Highlights include the arrival of the latest HP Indigo 20000 at Read Labels and Packaging delivered by Currie Group, the massive array of printed solar panels in Newcastle, Sydney’s first Gallus Labelfire at Dragon Printing, and the installation of an Océ VarioPrint i300 in Fred Soar’s plant in Auckland.

    It’s a well-travelled issue too with a report by Patrick Howard from the IGAS trade show in Tokyo, and a review by Jake Nelson of the largest group of Ricoh customers ever to fly to the company’s Experience Centre in Thailand.

    Were you among those who attended the inaugural LIVE! event in Sydney? There’s a full report on the PKN co-promoted seminar on page 18.

    Meet Wayne Finkelde, boss of AAB in Sydney, the well-known, dynamic printing identity. With his eyes firmly set on growing his business he talks about a life in print and what it takes to succeed in this tough competitive business.

    Looking to add value to your print? Andy McCourt shows you how in a double-page spread.

    And let’s not forget, this is the first issue from Print21’s new editor, Wayne Robinson, who has stepped up and put his personal mark onto the leading industry publication. Meet the new man on Page 13 and throughout the magazine.

    Then there’s our star line-up of contributors including Andy Yarrow from EFI, David Crowther from Colour Graphics Services, Andrew Macaulay and Ruth Cobb from the leading industry associations on both sides of the Tasman as well as Doris Prodanovic with her popular insight into the challenges of the publishing industry.

    There’s heaps more to read, including the venerable Keith Ferrell’s views on grand format inkjet – no one knows big ink better.

    Click here to read it online and if you’re not already on our mailing list for the printed copy, sign on to get the premier printing and graphic arts industry publication in your mailbox every two months.

  • Unpaid benefits claim in ACM collapse

     

    Photo: Jobs Australia

    All Colour Media Printing in Clayton South, Victoria, has entered liquidation after racking up more than a million dollars in debt, with claims of unpaid benefits from former workers.

    A Google review from Hui-Rong Gao, who claims to be an ACM employee, alleges that management owed wages and unpaid super to the workers. “I am only one of the many victims. As far as I know, there are many workers who have been owed wages by the boss,” said Gao, who added that complaints had been made with Fair Work. The Fair Work Ombudsman was not able to verify Gao’s claim at time of writing.

    According to receivers Jirsch Sutherland, ACM was put into receivership on Wednesday October 3, and liquidators Dye and Co were called in on Friday October 5, under the terms of a debt finance agreement with Scottish Pacific Debtor Finance from mid-2017. Glenn Crisp and Malcolm Howell of Jirsch Sutherland are serving as receivers. “The company ceased to trade just prior to Glenn’s and Malcolm’s appointment and currently they are still undertaking their investigation to determine the financial position of the business,” said a Jirsch Sutherland spokesperson.

    ACM management was unavailable for comment, as the phone number has been disconnected.

  • News brews up mX comeback

    Back for a limited time: mX returns after three years.

    Three years after the demise of free commuter newspaper mX, News Corp has resurrected it for a limited four-week cameo run in Melbourne in conjunction with Carlton and United Breweries.

    Dubbed mX Zero, the paper was relaunched as part of a deal with CUB to promote its new alcohol-free beer, Carlton Zero, and will be available every Wednesday until October 17 from Southern Cross, Flinders Street, Melbourne Central, Parliament, Flagstaff, and Richmond stations.

    According to Ondrej Foltin, head of content for Victoria at News Corp Australia, the deal with CUB was a good match. “Throughout mX’s 14-year history, readers came to expect the unexpected. mX certainly rewrote the newspaper rules with its irreverent news delivery, and now it’s comeback. CUB is rewriting the beer rules with the first non-alcoholic beer in its 180-year history. The partnership is a natural fit,” he said. “We’ve created a pop-up newspaper, in the modern vernacular.”

    The rebooted mX is being printed at News Corp’s plant in Westgate Park, sharing space with the Herald-Sun. “We started at print runs of about 70,000 per edition, and adjusted that as we’ve received feedback,” said Foltin.

    The newspaper includes sections from its original run, including mX Talk, Goss and Glam, and For What It’s Worth. “Everyone loves a comeback. Sporting revivals are hugely popular, and fairly frequent. Think Tiger Woods. But newspaper comebacks are much less likely, and that’s exactly why we expect this improbable comeback will be so popular,” said Foltin. “mX was a much-loved newspaper with its own unique style that commuters really enjoyed reading on their way home. It’s a comeback story that we’re excited to be a part of.”

    The response from consumers has been positive, says Foltin, with plenty of people calling for mX to make a permanent return. Though it’s early days, Foltin believes the possibility isn’t off the table, provided advertisers, who deserted the paper for mobile in its original run, sign on again. “It’s had some traction with advertisers appearing back on the market, and we’ve also fielded a couple of early enquiries from some sizable advertisers asking about the possibility of doing something similar, having an integrated campaign with mX. We expect there to be some ads outside of CUB in the fourth edition.

    “There’s been a lot of love out there for mX and its comeback. It’s been a load of fun for my team, and we think that’s been reflected with the readers. In a serious world, it’s good to have fun,” he said.

  • EFI’s one-stop digital shop

    EFI has shown off the benefits of its Digital Storefront web-to-print solution to a webinar audience across Australia and New Zealand. The software provides one-stop self-service to print customers.

    Engagement: Joe Fedor, EFI.

    Presented by Joe Fedor, print, web and marketing technologist at EFI, the webinar took 35 guests through what Digital Storefront has to offer, including the elimination of touchpoints and their associated costs.

    Fedor stressed that automation is not just about the printing process itself, but what comes before and after the presses fire up. “Digital Storefront helps you be relevant and engage with your customers online,” he said.

    Digital Storefront replaces physical forms or email orders with a one-stop interface that customers can use to submit their print jobs, whether they’re catalogue jobs using existing templates, or files uploaded by the customers themselves. All Digital Storefront packages come with SmartCanvas, which allows users to customise and tweak the design of their jobs before submitting them for print. No web design or coding experience is required to make use of Digital Storefront, with a variety of off-the-shelf themes available for printers’ e-commerce portals.

    According to Megan Bisson, senior regional marketing for EFI Asia-Pacific, attendees were engaged with the webinar and gave a good response. “The feedback we received from attendees was positive. There were some good conversations going on, which we followed up afterwards, and people are interested in getting more information about Digital Storefront,” she said. “We dialled Joe in from the US for this, and he very much enjoyed the questions and conversations as well.”

  • Holy rollers pre-empt PrintEx

    Sydney’s major print trade show PrintEx has been pushed back to August 2019, owing to a double booking with Hillsong Church at the venue, Sydney Olympic Park.

    The best laid plans: Peter Harper, Visual Connections.

    The best laid plans of mice and printers oft go astray, especially when they come into conflict with supernatural forces.

    The organisers of next year’s PrintEx exhibition, originally scheduled for 9-12 July 2019, were unexpectedly overwhelmed by the sound of music. No, not Julie Andrews and the von Trapp family, but Hillsong, the evangelist megachurch in Sydney’s Hills District, which is scheduled to hold its Conference at the Qudos Bank Arena, close to the Olympic Park Showground at the same time. Church founders Brian Houston and his wife Bobbie are expecting around 35,000 charismatics to assemble, booking out every available room, filling the air with hosannas and undoubtedly inviting all and sundry to come and be saved.

    Ignoring the question whether printers or indeed printing itself may be in need of a little divine intervention, the PrintEx organising committee bowed to inevitable and shifted the dates of the show to 13-16 August.